Makoto Aida continued

I looked briefly at Makoto Aida’s work here. Exploring his role in “Bye Bye Kitty” and his work. In doing this research I came across these images…

 

Aida is what I consider an activist photographer. Although he might not think it himself his work comments on the society he lives in a provokes change. Making the spectator question what they except as normal.

Japanese artist Makoto Aida used the form to make a biting commentary on how manga and anime objectifies the female form by drawing eyes on model’s breasts. When it’s not, the medium is people barely dodging a police fine for public indecency.
– http://kotaku.com/makoto-aida/

Kawaii is the dominant culture in Japan. How do you combat this or incorporate it in order to keep your work interesting?
It is a strange thing to say, but I did grow up among what they call “kawaii culture.” I say strange as we all take it for granted. I guess we’ve been exposed to such [kawaii] images without even realizing it. They are everywhere so, it’s always been in my subconscious. I do not take this whole thing too negatively, but still I am a man, I am not fanatically into what is considered kawaii in general. I guess you could say that I do incorporate the idea, or what I consider kawaii into my work unconsciously.
– http://hifructose.com/2012/12/19/exclusive-interview-with-makoto-aida/

Aida is known for his paintings rather than his photographs. It is hard to find text and information on his photographs, I will scouer the internet and try my best. If I can’t find anything I will have to put my own analysis skills to test.

 

An interview with Makoto Aida

Makoto Aida’s name is unavoidable when researching work that opposes consumption in Japanese culture. Aswel as being featured in “Bye Bye Kitty: Between Heaven and Hell in contemporary Japanes art” he is a key figure in the Japanese art scene, and his name appears everywhere.

This is an Interview with Makoto Aida from the Bye Bye Kitty exhibition

It’s interesting that Makoto Aida considers himself as a “Conceptual Artist” rather than a painter, his work does cross over multiple platforms.

When asked about his depiction of young girls he says…
“I believe there is an abundance of problematic points in the current generation of Japanese society and Japanese mentality”

“In a simpler manner there is one reason; after Japan lost the war Japanese people became people who were left without fatherly and patriarchal existences. This includes the fact that the Japanese Self-Defence Forces are not a proper army… I believe that there haven’t been many incidents in history where a nation has been in such denial of masculinity and become so feminine. Wether for better or worse, maybe if the whole world were Japan it would be in peace”

“I want to further expose Japans twisted parts”

“I would like people to know there are many active artists out there other than just Takashi Murakami and Yoshitomo Nara.”

I want to look more into Makoto Aida’s photographs, although he isn’t as well known for them as his paintings, they intrigue me and a I want to know more.

https://i0.wp.com/beautifuldecay.com/wp-content/uploads/2009/03/photo02-sma_l.jpghttps://i2.wp.com/www.buamai.com/wp-content/uploads/2009/08/kc4.jpg
Left photo, “Body Painting with Koe in Stockholm” 2004

Right photo, “Girls Don’t Cry” 2004

Aida eschews irony to delve into the underbelly of his country’s booming culture industry; he exposes the edges where the fabric unravels to reveal something else — not quite an alternative, but a glimpse of something unsettling, reminding us that all is not well below the shiny happy surface.” – http://beautifuldecay.com/2009/03/25/makoto-aida/ March 25, 2009 by 

There is a documentaru about Makoto Aida in which he is followed around. It’s called….

Makoto Aida: Cynic in the Playground

This is the trailer, I will be ordering the DVD soon and writing up a review.

Bye Bye Kitty: Between heaven and hell in contemporary Japanese art

It seems there is an influx of photographers who are aiming to break the kawaii nature on Japanese culture. On researching the Superflat movement one thing I have noticed is the lack of photographers involved. The only examples I can find are advertising campaigns, thinking about it that fits in the with superflat ideals of consumerism.

“Bye Bye Kitty Between heaven and hell in contemporary Japanese art” is an exhibition of new breed artists who’s work openly contradicts that of Takashi Murakami and the ideals associated with superflat movement as well as Kawaii and otaku culture.

Art in America’s blog writes this about the exhibition:

Featuring work by 17 artists”Bye Bye Kitty” reflects a decisive shift away from the cult of the cute, or kawaii, that appears in the art of Murakami. But the exact identity of this new style is difficult to pin down over all.

Gaia Gallery Art Blog writes:

“Bye Bye Kitty!!!” is a radical departure from recent Japanese exhibitions. Moving far beyond the stereotypes of kawaii and otaku culture, Japan Society’s show features sixteen emerging and mid-career artists whose paintings, objects, photographs, videos, and installations meld traditional styles with challenging visions of Japan’s troubled present and uncertain future. Each of the three sections, Critical Memory, Threatened Nature, and Unquiet Dream, not only offers a feast for the senses but also demolishes our preconceptions about contemporary Japan and its art.

Time entertainment, offers a more contextual look at the event:

In a lecture delivered on February 17, a month before the March 11 earthquake and tsunami, curator David Elliott said that “One of the things that is interesting [about the show] is its apocalyptic nature,” and argued that the mood of foreboding in the works on display was “based on the artists’ experience” but also “based on their living in an earthquake zone — that something bad could easily happen.”

Sixteen artists are featured, split evenly between men and women, and the show is divided into three sections. “Critical Memory” examines the role played in the Japanese psyche by classical art, including the traditional painting forms of ukiyo-e and nihon-ga. “Threatened Nature” looks at environmental crisis. Finally, “Unquiet Dream” reveals the artists’ inner anxieties with works of haunting beauty and gallows humor.

– http://www.time.com/time/arts/article/0,8599,2069261,00.html#ixzz2BMS825iw

Yoshitomo Nara, untitled, 2008. C-print, 10 1/2 × 7 7/8 in. (26.6 × 20 cm). Courtesy Tomio Koyama Gallery. Copyright © Yoshitomo Nara.
Kohei Nawa, PixCell Deer #24, 2011. Taxidermized deer, crystal glass balls. © Kohei Nawa.
Miwa Yanagi, My Grandmothers/HYONEE, 2007. C print, plexiglass, text panel, 51 1/4 × 39 3/8 in. (130 × 100 cm). Courtesy of the artist and Yoshiko Isshiki Office. Private collection, New York. Copyright © Miwa Yanagi.
Tomoko Yoneda, Kimusa (National Military Defense Security Command), 2009, no. 09. C-type print, 25 1/2 × 32 3/8 in. (65 × 83 cm). Courtesy ShugoArts. Collection of the artist. Copyright © Tomoko Yoneda.