Japan Pop Art

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Almost two centuries after the aesthetic influence of the ukiyo-e art generation of European artists of the late nineteenth and early twentieth century, Japanese art returns to have a strong visual impact on the new generations of artists of the new millennium, through the Manga and the Souls.

In this way, between Europe, America and Asia, an ideal "fil rouge" has been created that links the Hokusai Manga to Monet's water lilies, the extraordinary drawings of Osamu Tezuka (the father of Japanese anime ecartoons as we know them today) and the invention of Go Nagai's Goldrake at Murakami's Luis Vuitton bags, moving from Hello Kitty to the latest Japanese, European and American micropop trends. The idea of the exhibition is therefore to show through 4 artists, with different languages of Japanese POP matrix, the decisive influence that the aesthetics manga and "Edo Pop" renewed and updated has had on contemporary international art in recent years.

The exhibition (from 10 to 31 March in Via Carlo Pisacane 36) will therefore compare the European influences and the representation of the allegory of the globalized society and the mass consumption of the works of Tomoko Nagao, with the relationship between the megalopolis of Tokyo ( 32 million inhabitants) and the many aesthetic trends, customs, language that derive from them, thanks also to social media, often declined in a combination of tradition and hyper contemporary; the characters of Hikari Shimoda between manga and literature, characters coming from an imaginary future that in Japan is already a reality; the pictorial pictures by Hitomi Maehashi that, inspired by the KIGURUMI masks, the icons of the manga and Japanese anime, proposes a very innovative stylistic feature with the icon and the aesthetic code of everydayness in everyday life; the works of Hiroyuki Takahashi, star of social media, eccentric figure of designer / artist / performer and mangaka who has the amazing ability to merge the Japanese cultural tradition with the most quivering Japanese society of consumption.

An ensemble of artists and exceptional works, mainly for women, for an unprecedented comparison that investigates the influence that POP icons and Japanese manga are exerting in contemporary European art and on the imaginary of new emerging artistic cultures. An analysis that, starting from the great influence provoked by artists now extensively historicized as Murakami and Nara, reaches the latest "Superflat" and Japanese neopop trends, passing through the American and European "Pop Surrealism", up to contaminations with the new figuration more ironic and playful international and contaminations with the aesthetics of advertising and street art. Contaminations that can be even more evident in the performance we propose from the title END. A contemporary Dance Performance created by the company Schuko, which dialogues with the work of the visual artist Tomoko Nagao, thus creating a living landscape in continuous transformation. FINE talks about a love story, that between man and the earth, through a visionary aesthetic in which natural and artificial mix and that, according to the Japanese micro-pop art, offers a fanciful and raw reading of reality. The body and the image meet in a research that investigates the concepts of living, possessing, finishing and resisting within the graphic project conceived by Tomoko. Another suggestive proposal for the understanding of the nowadays interaction between the digital and industrial world with the classicity of Renaissance art works, pop-manga magazines, is the production of an installation of video art, or THE BIRTH OF VENUS. Botticelli's Venus appears portrayed by Tomoko Nagao in a 3D anime, which will be screened in March at the Victoria & Albert Museum in London for the exhibition THE BOTTICELLI RENAISSANCE.