Home
Feature
The Small Print
Faces & Places
The Goods
Travel
Tech Know
Sports
Cars & Bikes
Arts & Entertainment
Music
Japan Beat
Clubbing
Art
Stage
Books
The Agenda
Listings
TV
Movies
Dining Out
Sake
Wine
Tastemaker
Table Talk
Local Flavors
International Dining
Restaurant Review
Bar Review
Classifieds
Jobfinder
Horoscope
Mailbox
The Last Word
Photo of the Week
Archive
About Us
Subscribe
Search
Distribution Points




exhibitions
 ARTIFACTS

Since the late 19th century, Japanese art has been schizophrenically split into yoga (Western-style) and nihonga (Japanese-style). The latter arose as a self-conscious response to the inroads of the former. Nevertheless, when nihonga took up the challenge of Western art, it was unable to avoid borrowing some of its ideas, most notably the romantically inflated concept of the “divine” artist. But instead of Michelangelo or van Gogh, nihonga found its role models in the elite artist/craftsmen of the Rinpa school. The Yamatane Museum of Art’s exhibition What Did Nihonga Learn from Rinpa? uses 50 mainly large works to look at echoes of the school in the works of 20th-century nihonga artists. Particularly worth seeing is Kaii Higashiyama’s vast seascape Rising Tide and Gyoshu Hayami’s Falling Camellias.

Through Dec 25. See exhibition listings (Ginza/ Kyobashi/ Tokyo) for details. CBL

Giveaway!
Metropolis is offering readers ten free tickets to “What Did Nihonga Learn from Rinpa?” For your chance to see this excellent exhibition, email the following information by Wednesday, December 17, to editor@metropolis.co.jp:

1. Name; 2. Address; 3. Age; 4. Home country; 5. Last exhibition you visited

Include the text “Nihonga” in the subject line. Winners will be selected at random.

 PAST ISSUES

775: Twelve Travels
773: Fuchu Biennial
769: Leonard Foujita
767: Andrew Wyeth
765: Tokyo in the 1930s
763: Treasures by Rinpa Masters
761: Yokohama Triennale 2008
759: Vermeer & The Delft Style
757: John Everett Millais
755: Avant Garde China
753: The Railway Museum
751: Parallel Worlds
749: George Raab: Canadian Wilderness Etchings
743: Daido Moriyama
741: Bauhaus Experience, Dessau
739: The Perry & Harris Exhibition
737: The House
735: XXIst Century Man
733: Kaii Higashiyama
731: Three Weeks of Art Celebration
729: Fashion + Art
727: New Horizons: The Collection of the Ishibashi Foundation
725: Yokoyama and Toulouse-Lautrec
723: Goth: Reality of the Departed World
721: Genesis Art Lounge
717: Tatsuya Matsui: Flower Robotics
715: Space for Your Future: Recombining the DNA of Art and Design
713: MoMA Design Store + Gallery White Room Tokyo
711: Roppongi Crossing 2007: Future Beats in Japanese Contemporary Art
709: Daikanyama Installation 2007
707: Nippon to Asobo
705: Marina Kappos at Tokyo Wonder Site
703: African-American Quilts: Women Piecing Memories and Dreams
701: Kids Earth Fund
699: The Mural Art of Kotohira-gu Shrine: Okyo, Jakuchu and Gantai
697: “Ayakashi” and “Odilon Redon”
695: Architects Around Town
693: Chocolate
691: My Civilization: Grayson Perry
689: Henry Darger: A Story of Girls At War—of Paradise Dreamed
687: Taisho Chic: Japanese Modernity, Nostalgia and Deco
685: Marlene Dumas: Broken White
683: The Mind of Leonardo: The Universal Genius at Work
681: Suntory Museum of Art and 21_21 Design Sight
679: Art Fair Tokyo 2007
677: Gregory Colbert: Ashes and Snow
675: The Door into Summer: The Age of Micropop
673: World of Kojima Usui Collection
671: Keeping TABs
669: The National Art Center, Tokyo
667: New Year’s Preview
665: Jason Teraoka: Neighbors
663: The 3rd Fuchu Biennale: On Beauty and Value
661: Bill Viola: Hatsu-Yume (First Dream)
659: Shinro Ohtake Zen-Kei
657: Prism: Contemporary Australian Art
655: The Royal Museums of Fine Arts of Belgium Exhibition
653: Luisa Lambri
651: Modern Paradise
649: The Legend of Ultraman
647: Nihonga Painting: Six Provocative Artists
645: Echigo-Tsumari Triennial
643: Art × Communication = Open!
641: YOROYORON: Tabaimo
639: Africa Remix
637: Mashcomix
635: Move On Asia and Hitoshi Nishiyama’s White Out
633: A Passion for Plants
631: Chikaku: Time and Memory in Japan
629: A Sense of You, Created by Me
627: Beautiful Cities in Dreams
626: 77 Million
625: No Border
623: The 9th Annual Taro Okamoto Memorial Award for Contemporary Art
621: Tokyo-Berlin/Berlin-Tokyo
619: Conversation With Art, On Art
617: Olafur Eliasson: Your light shadow
613: Mayumi Terada: New Works
611: Gerhard Richter: New Works
609: Hokusai
607: Stephan Balkenhol: Skulpturen und Reliefs
605: International Triennale of Contemporary Art 2005
603: CWAJ 50 Years of Print Show
601: Hiroshi Sugimoto: End of Time
599: Shinji Ohmaki: Echoes-Infinity
597: Miwa Yanagi
596: Cubism in Asia: Unbounded Dialogues
595: Canada Tsuga: The Feeling of Wood
594: Laurie Anderson: The Record of the Time
593: Today's artists X: Nishimura Morio/Matsumoto Yoko
592: Masaaki Yamada
591: Follow me!
590: Daido Moriyama: Buenos Aires
589: Mutsuro Sasaki: Flux Structure
588: Shinro Ohtake
587: Masterpieces of the Louvre Museum
586: Tabaimo: Yubibira
585: Yasumasa Morimura: Los Nuevos Caprichos
584: Julian Opie: Films and Paintings
583: Masterpieces of the museum island
582: The Elegance of Silence
581: Tapies
580: The world is a stage: Stories behind pictures
579: Shigejiro Sano At Play in the Esprit of Paris
578: The Body: Hitoshi Abe
577: Tenshin Okakura: The Awakening of Japan
576: Contemporary Spanish Photography: Ten Views
575:Taro Okamoto Memorial Award
574: Takeshi Tamai: Till Moss Grows On
573: Laura Owens
572: Alphonse Mucha: Treasures Of The Mucha Foundation
571: “Welcome, Welcome” Art-Beijing-Contemporary
570: The hidden side of Japanese art
569: Art Scope 2004: Cityscape Into Art—Michiko Shoji + Johannes Wohnseifer
568: Life Actually
567: Traces: Body and Idea in Contemporary Art
566: Mirrorical Returns: Marcel Duchamp and the 20th Century Art
565: Archilab: New Experiments In Architecture, Art and the City, 1950-2005
564: The Second Annual Fuchu Biennale
563: Have We Met?
561-2: Fluxus: Art Into Life
560: Christopher Wool
559: Pop Art and co.
558: Art & Money
557: Art of the Japanese Postcard
556: Yayoi Kusama: Eternity-Modernity
555: Ihei Kimura: The Man with the Camera
554: Wolfgang Tillmans: Freischwimmer
553: Emerging Generation
552: Larry Clark: Punk Picasso
551: Cool & Light: New Spirit in Craft Making
550: Angelo Mangiarotti: Un Percorso
549: Endo Akiko: Poetry of an Everlasting Life
548: Paris and Klein
547: Yoshitomo Nara: From the Depth of My Drawer
546: Colors: Viktor & Rolf & KCI
545: Micro Presence & Macro Presence
544: Non-sect Radical: Contemporary Photography III
543: Pastoral and Flowers in Modern French Painting
542: Collapsing Histories: time, space and memory
541: Supernatural Artificial
540: Jiro Takamatsu: Universe of His Thought
539: The World Press Photo 2004
538: I Dreamt of Flying: Noguchi Rika
537: Man Ray Exhibition: The Gift of His Vision
536: Why Not Live For Art?
535: Brazil: Body Nostalgia
534: n_ext: New Generation of Media Artists
533: Empty Garden II
532: Street Art in Africa: A Color Commotion
531: Modern Crafts and Design from the Museum Collection: Art Deco
530: And or Versus? : Adventures in Images
529: Modern Means
528: Remaking Modernism in Japan 1900-2000
527: Treasures of a Sacred Mountain: Kukai and Mount Koya
526: Jan Jansen: Master of Shoe Design
525: Yasuo Kuniyoshi: Between Two Worlds
524: Beyond The Border: Seung H-Sang and Yung Ho Chnag
523: Testimony of Life: Ancient Roman Portraits from the Vatican Museums
522: I Love Art
521: "My" Siberia and "My" Earth: The 30 Year Memorial Retrospective Exhibition of Yasuo Kazuki
520: Time of My Life: Art with a Youthful Spirit
519: Joy of Life: Two Photographers from Africa-JD 'Okhai Ojeikere and Malick Sidibé
518: Roppongi Crossing: New Visions in Japanese Art 2004+Kusamatrix
517: Exposition Musee Marmottan Monet
516: Treasures of a Great Zen Temple: Nanzenji
515: Johannes Itten: Ways to Art
514: Meiji Kaigakan (Memorial Picture Gallery)
513: Kaii Higashiyama: One Man's Path
512: Future Cinema: The Cinematic Imaginary after Film
511: Yasujiro Ozu: Japanese Film Master
509/10: End-of-the-year review and 2004 preview
508: Surface tension
507: Jean Nouvel
506: Makoto Aida: My Ken Ten
505: Gaudi: Exploring Form
504: Ino Tadataka and Old Maps of Japan/Fusuma Paintings of Jukoin
503: Naoshima Contemporary Art Museum
502: Happiness: A Survival Guide for Art and Life
501: Today's Man
500: Taro Shinoda: Helicopter 1

Issues 499-
Issues 449-
Issues 399-

By ANDREW CONTI

ARCHILAB: NEW EXPERIMENTS IN ARCHITECTURE, ART AND THE CITY, 1950-2005

THE FUTURE OF ARCHITECTURE THROUGH ITS UTOPIAN PAST

COURTESY OF THE MORI ART MUSEUM © NOX (LARS SPUYBROEK)
Nox (Lars Spuybroek), Soft Office, CG, 2000

PINK BALLOON HOUSES FLOAT THROUGH A DEEP BLUE SKY AS A CITY sprouts legs and walks to a new location. A tree speaks through red lips on its trunk, and the Empire State Building lies on a bed in post-coital tension with the Chrysler Building.

These images comprise a glimpse of the dreams, ambitions, and utopian idealism of avant-garde architecture. Evolving from every manner of experimentation and mutation within architectural thought, these apparitions of buildings possible appear as part of a grandiose stir of the senses at Roppongi’s Mori Art Museum.

Never an institution to shy away from heaping together an uncountable number of artworks, the Mori crams this survey with some of the most innovative and visionary drawings, models, films, computer simulations, and ideas in architecture of the post-World War II era. The result is not simply going over the top, but jumping right off and attempting to fly with the brazen audacity that categorizes the numerous architects and artists whose designs are on display.

COURTESY OF THE MORI ART MUSEUM PHOTO COURTESY SAKURAI TADAHISA
Daniel Libeskind, City Edge, Urban Competition, Bauausstellung, BerlinSite Model A and Site Model B, 1987

The exhibition begins with the Situationist development of an organic and sculptural architecture in 1950s France. It then moves into the chimerical works of groups like England’s infamous Archigram. These works, which are now almost 50 years old, still radiate with surprising contemporary relevance and originality. Works like Instant City (1967) by Peter Cook, of Archigram fame, and Haus-Rucker-Co.’s Pneumacosm (1968) are emblematic of the best of this era as they speak elegantly of an unrealized future.

Later rooms explore such homegrown innovators as Kenzo Tange and Japan’s Metabolist movement. These works are juxtaposed with Europe-based Paul Virilio and Claude Parent as well as Yona Friedman, who examined ideas of an infinitely expanding city and all-encompassing environmental approaches to urban development.

Architecture superstars like Rem Koolhaas and Daniel Libeskind share space in the next sections with artists like Gordon Matta-Clark and Vito Acconci. The anthropomorphic skyscrapers in Koolhaas’ print Flagrante delicto (1975) ironically captured the new deconstructivist philosophies in architecture of the late ’70s and early ’80s. Meanwhile, Libeskind’s startling City Edge, Urban Competition Project (1987) model is a refined text-covered response to West Berlin’s World War II past.

COURTESY OF THE MORI ART MUSEUM
Peter Cook (Archigram), Instant City in a field Long Elevation 1/200, 1969

A wall of pictures and text explains the oddities Acconci added to the campus of Washington State University in a series of comical and thought-provoking public works. The contribution of Matta-Clark’s important “anarchitecture” works, in which the artist cut holes into existing buildings, are regrettably left under-explained.

The exhibition’s final rooms explore the influences of digital technology. Here Lars Spuybroek’s morphing architecture uses the most sensually alluring material in the whole exhibition. Many of these computer-generated works are captivating through their sleek technological finish, yet nothing here overpowers the sci-fi inspired works of previous rooms.

“Archilab” is an overwhelming collection of stimulus and material to absorb. At times the unending walls of drawings become simple backdrops for more attention-grabbing models, and lead to visual exhaustion. Despite this, “Archilab” uses the seductive energy of architectural dreaming to paint a sophisticated picture of the quest for a future utopia.

Mori Art Museum, until March 13. See exhibition listings for details. M

Would you like to comment on this article? Send a letter to the editor at letters@metropolis.co.jp.