Keynote Lecture (1) by Alexandra Munroe)<\/a>. At the closing program, British curator David Elliott delivered the second Keynote Lecture to the public.<\/p>\nElliott started his curatorial career in 1970 and has been known as an active figure in contemporary art since then. Like Munroe, he has for many years researched Japanese modern and contemporary art. The show, \u201cReconstructions: Avant-garde Art in Japan 1945-65\u201d at the Museum of Modern Art, Oxford in 1985 became the earliest survey show of Japanese modern and contemporary art in the West, to be followed by \u201cJapon des avant-gardes,1910-1970\u201d at the Centre Georges Pompidou, Paris in 1986, and Munroe\u2019s \u201cJapanese Art After 1945: Scream Against the Sky\u201d at the Japan Society Gallery, New York in 1994. As the first director of the Mori Art Museum, Tokyo (2001-2006), he became a familiar figure in the Japanese art scene. This experience later prompted him to organize \u201cBye Bye, Kitty!!! Between Heaven and Hell in Contemporary Japanese Art\u201d at the Japan Society Gallery in New York in 2011. He has worked as the director of numerous museums after twenty years\u2019 work in Oxford; including Moderna Museet, Stockholm, the Mori Art Museum, Tokyo and the Istanbul Museum of Modern Art. Elliott is currently the deputy director and senior curator of the Redtory Museum of Contemporary Art (RMCA), Guangzhou, China and is finishing his new book, \u201cArt and Trousers: Tradition and Modernity in Contemporary Asian Art\u201d which will appear in 2020.<\/p>\n
His lecture described how he encountered modern and contemporary art outside the UK and examined how, from the beginning of the 1980s, he has engaged with modern and contemporary art in a global field.<\/p>\n
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photo by Ujin Matsuo<\/p>\n
1. Early 1970s: First Steps<\/strong><\/p>\nElliott got involved with art relatively early. While an undergraduate student in history at Durham University in the UK during the late 1960s, he had been wondering what to do with his life and tried in vain to make sense of the world. His interest in history was related to the nature of his generation: the first generation born in postwar Europe, the age of the Cold War.<\/p>\n
His critical encounter with art outside his own culture happened on visits to Leicester Art Gallery and Museum which was near to where he went to school. The museum was well known for its collection of British art, particularly Sporting Painting, but in two galleries it had a very different collection of German Expressionism that had arrived there via Jewish emigr\u00e9s who during the 1930s had fled Germany from the Nazis. These works were so different from British Art, quite unlike anything else he had seen, and his \u201cdiscovery\u201d of them provoked a kind of epiphany. They included, for instance, Lovis Corinth\u2019s Symbolist \u201cPortrait of Carl Ludwig Elias Aged 7 1\/4\u201d (1899) and Expressionist Ludwig Meidner\u2019s \u201cApocalyptic Vision\u201d (1912). Such works had been labelled as \u201cdegenerate\u201d under Hitler\u2019s dictatorship and had been destroyed, burned, or sold abroad. Elliott said that this experience opened his eyes to other kinds of art and made him think \u201cIf this was degeneracy, I wanted a slice of it.\u201d In 1970, when he was an undergraduate student of history, at Durham, and inspired by an exhibition of Surrealism made by a friend. This led him to curate, \u201cGermany in Ferment: Art and Society in Germany 1900-1937.\u201d The exhibition focused on the development of modernism in German culture from the time of Impressionism to \u201cDegenerate\u201d art and also traveled to museums in Sheffield and Leicester.<\/p>\n
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2. Later 1970s\uff1aMuseum of Modern Art, Oxford<\/strong><\/p>\nWhen he was offered a first job at the Leicester Art Museum after graduation, Elliott was acutely aware that he didn’t know much about art as his major had been history. So he took\u00a0 further studies in Art History at Courtauld Institute of Art in London and then worked for just over two years at the Arts Council of Great Britain in London. In 1976, at the age of 27, he was offered the directorship of the Museum of Modern Art, Oxford.<\/p>\n
Elliott was involved in both museum and academic practices, and remembers that contemporary art faced \u201ca crisis\u201d towards the end of the 1970s \u201cwhen what we think of as \u2018the age of the avant-garde\u2019 came to an end.\u201d American critic Lucy Lippard\u2019s book \u201cThe Dematerialization of the Art Object\u201d (1973) summarised this perfectly: \u201c(in the Western world) art increasingly became less material, so as to almost \u2018dematerialize\u2019 itself out of existence.\u201d This led to \u201ca kind of implosion in a belief in the idea of a progressive \u2018avant-garde\u2019 as people waited for something else to happen.\u201d<\/p>\n
Under such conditions, Elliott curated numerous shows. A number of leading women artists such as Mary Kelly, Susan Hiller and Jo Baer were shown at this time. He then examined the early classical avant-garde through solo-exhibitions of Soviet artists El Lissitzky (1977) and Aleksandr Rodchenko (1979) as part of a \u201creconstruction of the history of the avant-garde in East-West Europe.\u201d \u201cThe Falling Leaf: Aerial-Dropped Propaganda 1916-68\u201d (1978) looked at the relationship between propaganda, advertising and art through the medium of small leaflets dropped out of planes. Many of these were from Asian conflicts during World War II and the Vietnam War.<\/p>\n
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photo by Ujin Matsuo<\/p>\n
3. 1980s 1\uff1a A Return to Painting<\/strong><\/p>\nAs part of the \u201cimplosion\u201d in art history, and the rising desire for something new in response to the \u201cdematerialization\u201d of Minimalism and Conceptualism, the exhibition \u201cA New Spirit in Painting\u201d (1981) at the Royal Academy of Art, London was a milestone. The display of 38, largely male, figurative and abstract western painters indicated a return both to historicism and the medium of paint and this had a strong impact on the art market.<\/p>\n
At the same time, US President Ronald Reagan and British Prime Minister Margaret Thatcherite came together as leaders of the \u201cFree World\u201d and indulged in an orgy of \u201cBig Bang That cher ite Reaganomics.\u201d The freeing of the money markets that this entailed had a vast impact on the art market as this \u201cnew spirit in politics\u201d injected vast amounts of new wealth into the system. The expanding market in contemporary art was a perfect receptacle for new, sometimes suspect, money. Elliott recalls that \u201ccontemporary art, formerly a relatively modest concern, suddenly began to cost.\u201d<\/p>\n
In the midst of this increasingly market-oriented art scene, Elliott consistently began to organize exhibitions that insisted on a historical context as part of their viewpoint. \u201cTwenty Years of Work,\u201d (1982) was an accurate reconstruction of an exhibition that Russian futurist poet and artist Vladimir Mayakovsky had staged in Moscow and Leningrad in 1930 just before he committed suicide when under critical pressure from the newly restrictive mandate of Stalinism. This was a critical step for the end of the Avant-garde in the Soviet Union. A completely different show was of Jorg Immendorff\u2019s \u201cCaf\u00e9 Deutschland\u201d paintings (1982) that while being part of the \u201cnew spirit\u201d of the late 1970s and \u201980s also made Elliott\u2019s audience aware of the oppressive undertow of power during the Cold War, an impression he reinforced through the exhibition \u201cTradition and Renewal: Contemporary Art from the GDR\u201d (1984).<\/p>\n
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photo by Ujin Matsuo<\/p>\n
4. 1980s II\uff1a An Encounter with Global Art<\/strong><\/p>\nElliott remembered that \u201c (\u2026) with the end of the canonical idea of progressive movements forward, the whole idea of \u201cavant-garde\u201d suddenly evaporated and created a vacuum.\u201d Curators who would have hated paintings in the 1970s suddenly started to look at nothing else and this seachange made him think about the fallibility of the criteria with which to view contemporary art in order to come to an opinion about whether it was any good. Decisions about quality in art, as in many other things, are a matter of comparison. The art world now began to seem a rather small place as it was obviously mainly run by white males who happened to live in western Europe or the USA. He began to realise that contemporary art worth considering must surely be much larger than this.<\/p>\n
In 1982, he grasped an opportunity to organize a series of exhibitions about modern and contemporary art and culture in India. \u201cIndia, Myth and Reality: Aspects of Modern Indian Art\u201d showed the work of members of the Bombay Progressive Artists\u2019 Group (set up in 1947 immediately after Independence from the British Empire) to the youngest generation. \u201cGods of the Byways (from Rajasthan and Himachal Pradhesh)\u201d examined aspects of folk art in an equal way. \u201cThe Other India: Seven Contemporary Photographers\u201d\u00a0 lighted on the different approaches of photographers across the sub-continent; from those who meditated on the melancholy decay of temples in the South to those who documented the tragic drug addictions of western hippies. He learnt about Indian art quickly, both through direct experience of visiting and talking with artists and the examples of Ebrahim Alkazi, former principal of the National School of Drama and a leading advocate of contemporary Indian art and Victor Musgrave who, since the late 1950s, had shown it in his London gallery. About this, Elliott recalls: \u201cI had crossed a barrier. The obvious quality of the works in these exhibitions pushed me to look further afield.\u201d<\/p>\n
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5. Reconstruction: Avant-garde Art in Japan 1945-65<\/strong><\/p>\nAfter Southern Asia, his next focus moved further East: Japan. In the West, people knew a little about Gutai but not much else. He asked colleagues in Oxford if anyone knew anything more about this and one of them mentioned Kazu Kaido who was completing a doctoral thesis on post-war Japanese Art at the university. When she showed him the work in which she was interested, he was \u201cabsolutely stunned\u201d by what he saw. This experience moved him to collaborate with her in curating \u201cReconstructions: Avant-garde Art in Japan 1945-65\u201d in 1985.<\/p>\n
The exhibition consisted of 36 artists, including four women. Although these works were not in the exhibition, the exhibition catalogue started with an image of Kenichi Nakamura\u2019s war painting \u201cLanding Operation, battle of Kota Baru\u201d (1941) followed by Koyo Ishikawa\u2019s photo documentation \u201cTokyo Ruins after Aerial Bombing 10th, March, 1945.\u201d In this way Japanese experiences of World War II were expressed to a British audience some of whom doubted whether any kind of culture existed at that time.<\/p>\n
The exhibition not only focused on the difficulties and conflicts of actual post-war reconstruction but also examined a period of avant-garde history that had been neglected in Japan itself. It was introduced by the realist painting of a pile of corpses in \u201cDefeated in Battle\u201d (1948) by Ichiro Fukasawa opposite the surrealist \u201cDemonic Music\u201d (1948) by Iwami Furusawa, a red painting showing ruins dwarfed by a giant female devil and a vast atomic mushroom cloud. The exhibition was accompanied by two others: \u201cBlack Sun: The Eyes of Four. Roots and Innovation in Japanese Photography\u201d (1985) curated by Mark Holborn, with photographs by Eiko Hosoi, Shomei Tomatsu, Masahisa Fukase and Daido Moriyama, and \u201cDada in Japan 1920 to 1970,\u201d a modest documentary show put together by artist Yoshio Shirakawa that had been first shown at the Kunstmuseum Dusseldorf in Germany. There were also supporting programmes of feature and documentary films and lectures.<\/p>\n
Regarding Taro Okamoto\u2019s surrealistic painting \u201cThe Law of the Jungle\u201d (1950), a reference to the Red Purges in Tokyo which were then at their height, Elliott remarked \u201cI was very lucky in the research with Kazu Kaido, I visited Japan on three occasions to meet and get to know the artists and through this \u2018crash course\u2019 began to appreciate the quality and complexity of post-war Japanese art.\u201d He remembered how reportage painter Kikuji Yamashita came to his gallery with his painting: \u201c\u2018The Tale of Akebono Village\u2019 (1953) was not then in a museum collection because his work was not yet highly valued by the Japanese. In fact, the avant-garde in Japan between 1945 to 1965 was not then recognized as a unit or period in Japanese art history but was split up into different individual groups.\u201d<\/p>\n
In a specifically Japanese version of surrealism, On Kawara\u2019s figurative paintings \u201cBathroom (Pregnant Woman)\u201d (1954) and \u201cBlack Soldier\u201d (1955), along with Shigeo Ishii\u2019s \u201cViolence Series: Pleasure\u201d (1957) and Hiroshi Nakamura\u2019s \u201cMetropolis in Revolution\u201d (1959) all expressed resistance to American cultural influence as well as the ressurgent authoritarianism of the state.<\/p>\n
Art from the 1960s was represented by the Neo-Dada Organizers\u2019 documentations of \u201cAction in Ginza, Tokyo in 1960\u201d and also by the works and \u201cEvent\u201d performances of Hi-Red Center (Jiro Takamatsu, Natsuyuki Nakanishi, Genpei Akasegawa). Elliott said that \u201cTheir amazing performances were \u2018punk\u2019. Punk before the fact. I think truly that between 1960 to 1965, the most vibrant, energetic cities in the world for new art were Tokyo, Buenos Aires and New York. In these cities artists were out on the street.\u201d Other artists from the 1950s and \u201960s that were shown included Mokuma Kikuhata of Kyushu-ha, Yayoi Kusama, Hisao Domoto, Toshimitsu Imai, Shusaku Arakawa, Kumi Sugai and artists from Gutai.<\/p>\n
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photo by Ujin Matsuo<\/p>\n
6. Transmissions: A tale of Two cities<\/strong><\/p>\nIn \u201cTokyo-Berlin\/Berlin-Tokyo: Continuing Dialogues of Modern Cities\u201d (2007) at the Mori Art Museum, Tokyo, Elliott focused on cultural links between the newly built capitals, of Berlin and Tokyo from the middle of the nineteenth century to the present. Comparing the two urban cultures through art, architecture, painting, photography, design in their social and political context, Elliott invited the viewer to consider to what extent artists, architects, and designers of both cities had inspired each other over 150 years of cultural transmission.<\/p>\n
There had been many cultural cross overs between Tokyo and Berlin at the turn of the century. For example, in architecture, German Architects Ende & B\u00f6ckman built the Ministry of Justice in a western Gr\u00fcnderzeit<\/em> style, which still stands in Tokyo, while Hermann Muthesius, who later led\u00a0the\u00a0Deutsche\u00a0Werkbund (DWB), designed there the German protestant church. Back in Berlin, staff from Ende and B\u00f6ckmann\u2019s office employed the style of Japonaiserie in new buildings for the Zoo. The main building was destroyed in World War II, but the Elephant Gate still remains.<\/p>\nWhile the institutional German style seemed appropriate for government and public architecture in Tokyo, traditional Japanese culture \u2013 or contemporary versions of it in the form of Japonism – inspired Berliners. Kawakami\u2019s performance company was executing a world tour at that time and Sada Yakko, an actress of the company, fascinated people throughout Europe \u2013 in particular the Berlin artist Max Slevogt who painted her a number of times. Ernst Ludwig Kirchner, a leading member of the Expressionist group Die Br\u00fccke<\/em>, was also fascinated by images of kabuki, geisha, and shunga and depicted them in his paintings.<\/p>\nJust before the outbreak of World War 1, composer Kosaku Yamada and designer Kazou Saito, who had been studying in Berlin, brought an avant-garde show of work from Der St\u00fcrm<\/em> Gallery to Tokyo. Since 1910, Der St\u00fcrm<\/em> had been one of the city\u2019s leading galleries for new art and also published a bimonthly magazine on new art and literature. This show opened in March 1914 and featured Oskar Kokoschka\u2019s \u201cMurder Hope of Women\u201d drawings as well as drawings and woodcuts by Franz Marc and other leading expressionists. This exhibition was the first to show original prints and drawings of European modernist artists in Tokyo. Young Japanese artists, such as Gyo Fumon, Koshiro Onchi and Kiyoshi Hasegawa were strongly inspired by both the German Expressionists and Italian Futurists who were shown in this exhibition. But even before this, books on German art and the magazine of the St\u00fcrm <\/em>gallery had already made a strong impact in Japan: in 1912 Tetsugoro Yorozu had written in German \u201cSelbstbildnis\u201d (self-portrait) on the back of his \u201cSelf-portrait with red eyes.\u201d<\/p>\nSoon after World War I, the strong link with the Berlin avant-garde was reforged through engagements with Dada by Tomoyoshi Murayama, Yoshimitsu Nagano and Tomoo Wadachi young artists and writers who were living there. On return to Tokyo, Murayama founded the Dadaist MAVO group that published a regular journal and combined artworks with performances and actions. [Elliott also discussed the impact of the Bauhaus on art and design in both cities, the \u201cDark Years\u201d of the 1930s and early 1940s that marked the coeval rise of militarism in Japan and of Nazism in Germany, and the period of reconstruction of both cities after World War II].<\/p>\n
This exhibition also traveled to Berlin to be shown by its co-organisers at the Neue Nationalgalerie, which had been designed by Mies van der Rohe and was an exhibit in its own right. Only the section of contemporary art had changed: in Berlin, the German curators had selected contemporary Japanese artists, architects and designers, while the Japanese team showed contemporary artists from Berlin.<\/p>\n
Elliott summarised this project as follows: \u201cThis exhibition was not merely a cultural conversation between two cities that highlighted similarities and differences, but it also tracked a difficult, at times tragic, story about the development of modernity across the world that has touched us all. In the process it has unearthed a more complex history of cultural exchange that has been previously acknowledged and has also challenged the myth of hegemonic Parisian cultural influence which had previously been the prevailing art historical view of how modernism entered Japanese art.\u201d<\/p>\n
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photo by Ujin Matsuo<\/p>\n
7. Stereotypes: Bye Bye Kitty!!! – Farewell to the Pretty World<\/strong><\/p>\nThe exhibition \u201cBye Bye Kitty!!!: Between Heaven and Hell in Japanese Contemporary Art\u201d (2011) focused on stereotypes of Japanese culture today and how they were understood both inside Japan and abroad. Referring to the character of \u201cHello Kitty,\u201d pioneered by Sanrio as a quintessential kawaii<\/em> figure, this exhibition was a response to Takashi Murakami\u2019s previous exhibition \u201cLittle Boy; the Arts of Japan\u2019s Exploding Sub-Culture,\u201d (2006) that had surveyed the significance of Otaku culture and was also shown in the Japan Society Gallery in New York. Murakami\u2019s subtext, however, was that the image of infantilism throughout Japanese society and politics related to the constitutional embargo on Japanese rearmament after World War II. The title of his exhibition echoed the name given to the Atomic Bomb that the US had dropped on Hiroshima in 1945.<\/p>\nElliott felt that Murakami\u2019s claim that infantilism was inevitably a product of Japan being unable to protect itself was a simplification of both contemporary Japanese culture and of the phenomenon of otaku. \u201cThere is a serious self-critical culture in Japan,\u201d he said, \u201cthere are people who are not only thinking critically about themselves and their own society, but also about their place in the world at large. \u2018Bye-Bye Kitty\u2019 is against the stereotypical kawaii<\/em> view of Japanese culture and implies its subversion. Inevitably, the language of kawaii<\/em> may be used sardonically by artists to achieve this subversion.\u201d<\/p>\nThe exhibition consisted of sixteen artists born from the 1960s to the 1980s: Yoshitomo Nara, Makoto Aida, Miwa Yanagi, Kohei Nawa, Chiharu Shiota, and others working in a wide range of media: painting, sculpture, installation, video, and photographs. This diverse group all critically examined contemporary social and cultural conditions in Japan. Some did this by riffing on techniques of traditional Japanese painting or of modernity as in Aida\u2019s series \u201cWar painting RETURNS\u201d and in the piled dead bodies of salarymen in the \u201ctraditional\u201d style of sansuiga<\/em> (paintings of mountains and water) in his vast painting \u201cAsh Coloured Mountain.\u201d These were set against Miwa Yanagi\u2019s \u201cfeminist\u201d, photographic images of angry, potent \u201cWindswept Women\u201d and her \u201cGrandmother\u201d series of works that in a reversal of youth against age completely undermined the image of the subservient, obedient Japanese woman. The works in the exhibition were grouped around three core ideas: Critical Memory, Threatened Nature, and the Unquiet Dream.<\/p>\nThe exhibition presented an alternative view of recent decades of Japanese contemporary art that focused on the reanimation of traditional Japanese sensibilities through new means. It aimed to show a sophisticated, nuanced, deeply human concern for art (and life) which could be seen in contrast to both foreign and Japanese obsessions with the mass media languages of otaku, anime and manga. [Incidentally, the exhibition created great interest in New York as it opened just after the Great Tohoku earthquake. This heightened a sense of concern about the wider context of Japanese culture, society and politics.]<\/p>\n
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photo by Ujin Matsuo<\/p>\n
This keynote lecture presented Elliott\u2019s continuing exploration of art outside his country of origin and his various approaches to the consolidation of a global, decolonised history that had grown out of his early encounter with \u201cdegenerate\u201d German modern art. The source of his interest in post-war history synchronizes with his background, having been born just after the end of the World War II. Following his footsteps chronologically, the audience learned how he kept questioning Eurocentric perspectives, and candidly introduced alternative possibilities to this by focusing on different ideas about and traditions of aesthetic quality in showing art outside the western mainstream. The lecture inspired us to think of the ways in which global art, including Japanese art, can possibly be presented to audiences throughout the world today.<\/p>\n
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photo by Ujin Matsuo<\/p>\n
\u00a0David Elliott:<\/strong><\/small><\/p>\nBritish art historian, curator, writer and teacher who has directed museums in Oxford (MoMA 1976-1996), Stockholm (Moderna Museet, 1996-2001), Tokyo (Mori Art Museum, founding director 2001-2006), and Istanbul (Museum of Modern Art, 2007). He is currently Vice Director and Senior Curator at the Redtory Museum of Contemporary Art (RMCA) and Arts District in Guangzhou (at 2019) <\/small> and chairman of the Advisory Board of MOMENTUM in Berlin. A specialist in Soviet and Russian avant-garde, as well as in modern and contemporary Asian art, he has published widely in these fields as well as on many other aspects of contemporary art. In 2008-10 he was Artistic Director of The Beauty of Distance: songs of survival in a precarious age, the 17th Biennale of Sydney; in 2011-12 he directed The Best of Times, The Worst of Times: rebirth and apocalypse in contemporary art, the inaugural International Biennale of Contemporary Art in Kyiv; from 2012 to 2014 he was Artistic Director of A Time for Dreams, the IV International Moscow Biennale of Young Art; and from 2014 to 2016 he was Artistic Director of The Pleasure of Love, the 56th October Salon in Belgrade. Art and Trousers: Tradition and Modernity in Contemporary Asian Art, his new book, will be published by ArtAsiaPacific, Hong Kong\/London in 2019.<\/small><\/p>\n
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