프랑스에서 후카미(Fukami) 전시를 통한 일본 예술의 새로운 인식

Abstract

As part of Japan Artistic Relationship with Europe, I will focus on Fukami exhibition which is an occasion to recall the meaning of 'Japonisme' and its implication in the perception of Japanese art in France. The Japanese curator Hasegawa Yuko wanted to show that Japan is not only a traditional culture but also a leader in avant-garde art as the A.I influence on art. A travel is proposed through time, from ‘Neolithic Jomon’ potery to a film where a dancer robot take place, through space of an antique Ainu tale recitation to the imaginary landscape of Amani Island, in crossing cybernetic world. Thus, this exhibition is a new way to explain what is traditional art in exhibiting altogether antique Jomon potery and ANREALAGE garment created by stylist Morinaga Kunihiko in 2003. The goal of the choice of artists was the meeting between traditional and contemporary art. Thus aesthetic of black colour is expressed in the installation of Haraguchi Noriyuki and the performer Tanaka Min and in the lacquerer works of Shibata zeshin. Zen paintings was shown in order to highlight the movement of “Bareness” in Japanese contemporary art. Lee Ufan installation relatum dwelling was exhibited in this section. He played an important part in the development of Japanese avant-garde movement mono ha(物派). The originality of this exhibition is the reference to Western works like Picasso and Gauguin that, a priori, have nothing to do with an exhibition devoted to Japanese aesthetics. All these meetings between Japanese, Western and Korean works of art that go beyond historical and cultural framework ensure to rediscover the works of art in itself, with their singularity.