Takashi Murakami – Birth of Superflat

*my opinions written in blue

This is a channel 4 documentary on Takashi Murakami, the founder of ‘Superflat’.

Key notes:
-Highly theoretical
– Jelly fish eyes 2001 & Jelly fish eyes wallpaper: “An instillation about the concept of a hallway”
Pop Art
– Warhol – Images from mass media, reproduced and enlarged them.
– Jeff Koons – Kitsch and Pop culture.
– Murakami – Japanese cartoons & enlarging them.
– Childlike but repulsive. On first sight it’s pink, then it’s a fleshy pink.
– Flower artwork, critique of contemporary Japan, culture is childish and empty,
– Superflat – Dark vision of contemporary Japan
-Paul Schimmel, Chief curator @ MoCA Consumerist Aesthetic – Dirty words,
– Tom Eccles, Director of Public Art Fund, New York – Murakami celebrates consumerism, Warhol showed campbell soup cans, he didn’t actually design them unlike Murakami.
– Artists usually see art and business as two separate things. Murakami doesn’t. – “New form of Art” – Murakami

Superflat – “It’s a catch phrase” – Murakami
– Japans loss of national identity
– “The Otaku are grown ups who act like children” – says the presenter. Completely disagree, getting into the debate of what is Otaku is a different research project, but I am not taking this stance for my research project. My opinion is Otaku’s in Japan are looking for escapism  they hold well paid jobs and are very intelligent, but the pressure of society is too much for them so they enjoy adolescent things like anime and games.

Hiroki Azuma- Writer on Otaku culture
– Murakami’s used of big eyes reflect on the dark side of animation

David Elliot – Director, Mori Museum
– Everything has an emblem, a police station has a mascot. Murakami’s Mr. Dob is one of those, but he’s nasty, “he’s a rouge
muppet”

“After 1945 America swamped Japan with it’s consumer culture, Japan became the worlds best consumers.” Not sure it’s fair to say “best consumers” – like it’s a competition, in my eyes they are the “worst” consumers, they have fallen for consumerism which isn’t a positive thing.

Since 1990’s Japanese economy has been flat – terrorist cult with otaku links hacked the subway with poison gas, an Otaku killer was on the loose. Animation before this showed a hopeful future. Now they are a social malade [malade meaning – someone who is crazy, a patient]

“Society has become superflat”, David Elliot – Director, Mori Museum,”things get dumbed down”.

3 dimensions to Superflat
– Sociological
– Historical
– Aesthetic

Murakami appropriates others work, traditional Japanese art & Wester culture. Mr. Dob – Like Mikey Mouse with the stylish of traditional Japanese paintings.

Any irony involved? making the finest Japanese tradition of art (scrolls) to make a print of flowers? – doesn’t really give us an answer

Little Boy
Japans childish culture & the name of the bomb dropped on hiroshima.
Time Bokan – Murakami – 2001 – name taken from the animation – every week the bad guys would get defeated and a mushroom cloud would appear at the end in the form of a skull.

Murakami talking about “Time Bokan” – “This is typically Japanese, we have taken the worst tragedy that ever befell us and turned it into a joke”… “Just 30 years after the war, this fascinates me” “In the west Skulls are dark symbols of death. In japan they are not so negative. We in Japan have no awareness of our cultural identity. There is a reason Manga obsessively shows images of the atomic bomb. We are the only people who have experienced the atomic bomb…. thanks to man-made forced more powerful that gods. This has made us numb, past feeling and caring.”

The smiling flowers are like surrendering. In the future it will be hard to tell the difference between art and other commercial materials. Art is becoming simpler but toys are becoming sophisticated.

This documentary has been very informing, yet it tends to do what I hate, there is no conclusion, the narrater simply states the future remains to be seen and how we read Murakami’s work, ironically or not is a choice. I suppose as a BBC documentary it has to remain balanced as a PBS.

However it has made me think about my project. Why am I trying to use Murakami as an example of Kawaii culture? when he is a mesh of both, his art comments on this work, whilst making money from the consumerists. This could be something to explore, does Murakami’s work oppose Kawaii culture as much as photographers does?

One word I need to explain more is Irony, a word I hate to use in general because it’s so difficult to explain, but is unavoidable, and is a pivoting aspect to this project, consumerism and irony.

Little Boy: ‘The Arts of Japan’s Exploding Subculture’

I have written before about ‘Little Boy’ an exhibition compiled by Takashi Murakami in which a number of artists explore how the Atmoic Bomb made Japan take on the role of a child, hence their Kawaii culture, obsessing over Hello Kitty and anything cute.

On reading the book I have managed to find the original quote which Mirukami suggests this…

It would not be an exaggeration to say that the American-made constitution prevented the nation from taking an aggressive stance… it cast Japan in the role of a “child” obliged to follow America’s “adult” guidance, and the nation willingly complied.

pp08 “Little Boy” by Takashi Murakami

 

Toxic Cuteness

Toxic Cuteness

At the Japan Society’s “Little Boy,” Hiroshima leads directly to Hello Kitty.

By Mark Stevens. Published May 21, 2005

http://nymag.com/nymetro/arts/art/reviews/11707/

On display are dozens of sappy-sweet toys, examples of anime and manga, and many depictions of monsters and adolescent cutie-pies. Works of art based upon this material are also on view, but no strong distinction is made between art and artifact. The key argument here is that, far from being just sugary kitsch, Japanese pop represents the strange, even psychotic response of a population traumatized by World War II, and then made impotent and infantilized by occupation. Fantasy can provide an escape from history. Art averts. Art anesthetizes.

Another example of how modern art and culture has been directly influenced by the bombings. The problem I am facing at the moment is that it’s easy to find Super Flat art but not so much photography, living in the UK means it’s hard to find access to japanese photographers work, other than online, After finishing reading this article my next mission will be to stray away from the artists and instead look at photographers who play part of this extreme escapism method in reaction to the actions of America.

From this vantage point, the firebombing of Tokyo evolved into the city stomp of Godzilla. The mushroom cloud became a pretty flower rising into the sky at the conclusion of a children’s TV show. Fantasies of power are irresistible to the impotent. Little Japanese boys (of all ages) love robots and space suits, and have a kinky obsession with girls who play peek-a-panty. Fashion and shopping provide bits of distracting and addictive glitter. Murakami calls this culture “superflat,” by which he means, in part, that the interior life of the nation has been ironed into an ahistorical and decorative field of games, melodrama, apocalypse, shopping, and cuteness. Everywhere in Japan, for example, you come upon that appallingly cute little figure called Hello Kitty. It has no mouth and no developed limbs—an image of powerlessness and, Murakami suggests, sublimated hysteria.

An interesting take on the meaning of Hello Kitty, I have heard before that she is emotionless therefore you can reflect your ideals and emotions onto her. I have never heard that she is “an image of powerlessness before” it’s a strange thing to suggest as she is one of the most powerful brands in the world. It might be interesting to research deeper into Hello Kitty’s origins, again she is not a photography area but all of this research is providing me context for my project. Giving me that knowledge it’s so important I have before I even start talking.

Also I want to find to superflat manifesto, get my around what it is and decide if it relates to photography or not.

The title “Little Boy” is brilliant: It conflates cuteness with the nickname of the atomic bomb dropped on Hiroshima.

A major artist would have to reach in a powerful way into the sexual, emotional, and historical fear that gives rise to an impotent infantilism. But the show is utterly convincing in one important respect—this isn’t just Disney.

Unfortunately the references aren’t listed, so I can’t find out where Murakami said that Hello Kitty is “an image of powerlessness”.

Little Boy has also been made into a book, one in which I am seriously looking into finding.

Google Books offers us the synopsis

Yale University Press, 11 May 2005 – 312 pages
Little Boy examines the culture of postwar Japan through its arts and popular visual media. Focusing on the youth-driven phenomenon of otaku (roughly translated as “geek culture” or “pop cult fanaticism”), Takashi Murakami and a notable group of contributors explore the complex historical influences that shape Japanese contemporary art and its distinct graphic languages. The book’s title, Little Boy, is a reference to the atomic bomb dropped on Hiroshima in 1945, thus clearly locating the birth of these new cultural forms in the trauma and generational aftershock of the atomic bomb.

This generously illustrated book showcases the work of key otaku artists and designers, many of whom are cult celebrities in Japan, and discusses their feature film and video animations, video games and internet sites, music, toys, fashion, and more. In the process, the following questions are posed: What is otaku, and what does it tell us about contemporary social, economic, and cultural life in Japan and throughout the world? How is it related to the pervasive and curious fixation on “cuteness” evident in Japanese popular culture? What impact did the atomic devastation of World War II have on the development of Japanese art and culture?

This brilliantly designed, bilingual (English and Japanese) publication examines these themes to explore how contemporary Japanese art has become inseparable from the subcultural realms of manga and animé (Japanese animation)—a world where meticulous technique, apocalyptic imagery, and high and low cultures meet.

Little Boy concludes Murakami’s “Superflat” trilogy, a project conceived in 2000 to introduce a new wave of Japanese artists and to place their work in the historical context of traditional styles and concepts.

Although this book is priced at over £100 it is key I get my hands on in, a reviewer on amazon says that Murakami himself has written 2 essays within the book that focus on how Kawaii and Otaku are coping mechanisms with what has happened in the past, reverting Japans society to a child like state.
Another reviewer says…
Murakami’s latest curatorial effort has gained nearly universal acclaim amongst the art world. His “Little Boy” exhibition attempts to understand the origins of contemporary Japanese art’s affinity for both the horrifically violent and the frightfully cute (kawaii). Ultimately, Murakami argues that these images are spawned from the atomic bombings of Hiroshima and Nagasaki combined with postwar US domination. Violent imagery becomes a sign for a fascination with the kind of power that postwar Japan lacked. Kawaii imagery is then seen as stemming from Japan’s status as a protectorate of the US. This relationship was not unlike that of a parent and child (the child/adolecent becomes a prevalent theme in Japanese art from postwar era forward.)
– By Andrew C. Raymond
As it turns out we have this book in our library. Keep your eye out for another post on this tonight.

Soasig Chamaillard

 

 

 

 

As you can probably tell from the photographs, Soasig Chamaillard’s work looks at pop culture and relates it to religion. Much in the same way of Pierre et Gilles and David LaChapelle’s work. Mixing iconic figures from religion and transforming them into modern iconic figures comments on today society and the role of products, note that none of the characters depicted are real people, instead products of consumerism that shape pop culture.

www.soasig-chamaillard.com

What is Pop Culture?

According to the oxford english dictionary pop culture is…

commercial culture based on popular taste:fashion, music, and the iconography of pop culture offered the perfect medium for profit

The top answer on Yahoo! is…

The term “pop” is short for popular, same as pop music.
Relative tv shows of their time are generally issues for pop culture, as are books of the day on the must read list, movies and music, sometimes even fashions that form a generation becomes main points of pop culture for that time period. (eg: big hair and shoulder pads were fashion pop culture of the 80’s while bell bottoms, flower power, peace signs and straight hair were in the late 60’s and 70’s…)
Pop culture is something that has more of an impact than a trend, and can define a time period.

Google defines pop culture as…

Commercial culture based on popular taste.

It’s pretty clear that Pop Culture can be defined by one thing, money. Whatever product, person, or fashion makes money becomes a Popular Culture.

An Image search on Twitter quickly revealed what todays popular cultures are…

The interesting thing to note is the symbol under all 3 images. Instagram. Perhaps the biggest player in modern pop culture. This again leads me to the question am I going to look at pop culture in photography or photography as a pop culture?

One thing I do know is pop culture is fast moving and always changing, one minute the world was obsessed with “mummy porn” fan-fiction book 50 shades of grey, and now they are obsessed with Korean popstar PSY who sings ‘Gangnam style’ (you only have to type the letter ‘G’ into youtube to find it)