Source photo: TAKASHI MURAKAMI/KAIKAI KIKI CO., LTD.
Pada minggu terakhir tahun ini, Takashi Murakami meluncurkan pameran yang dibuat sendiri yang berjudul “Bubblewrap” di Museum Seni Kontemporer di prefektur Kumamoto, Jepang. Presentasi yang beraneka ragam ini mengeksplorasi gerakan seni tradisional Jepang dan hubungannya dengan contoh terkini, termasuk Murakami’s ubiquitous Superflat. Sebagian besar karya ekspansif yang dipamerkan berasal dari koleksi pribadi Kaikai Kiki Co., Ltd. dengan beberapa karya yang dipinjamkannya.
Salah satu seniman yang disorot adalah Hajime Sorayama yaitu life-sized Sexy Robots yang terinspirasi oleh bentuk ekspresif dan industrial materials yang diamati oleh Mono-ha group.
“Poin utama dari proyek ini adalah untuk meninjau kembali dan memberi sebuah nama untuk tren artistik periode antara Mono-ha dan Superflat yang berkisar antara akhir tahun 1980-an dan 1992, tepat ketika ekonomi Jepang sedang berjaya penuh,” ungkap Takashi dalam keterangan Instagram. “Saya adalah seorang siswa sekolah seni ketika apa yang disebut Bubble Economy berada pada puncaknya saat itu, dan saya bertumbuh sangat dipengaruhi oleh berbagai bentuk ekspresif pada zamannya itu.”
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Today is the opening of an exhibition I’ve curated, Bubblewrap, that reinterprets the art movements in Japan after its defeat in the Pacific war all the way up to the present day. The exhibition title, Bubblewrap, has a veeeery long expository subtitle… “After Mono-ha, the next established art movement is Superflat, but that means the interim period overlapping the years of Japan's economic bubble has yet to be named, and I think calling it "Bubblewrap" suits it well. It especially makes sense if you incorporate the realm of ceramics. This show will contemplate this period through works including those from Takashi Murakami's collection.” The primary point of this project is to revisit and name the artistic movement of the period between Mono-ha and Superflat—between the late-1980s and 1992—right when Japan’s economy was in full bloom. I was an art school student when the so-called Bubble Economy was at its peak, and I grew up heavily influenced by the various expressive forms of the era. So there was a wave of artistic movement before the one I would later name “Superflat,” and yet that movement has never been named. This is because after the wild, jolly antics of the “bubble era," Japanese people wallowed in regret once the economic bubble burst, putting them in a state of mind where they were reluctant to reflect upon those times. However, there is now a trend towards looking back on and reevaluating the era. For example, at the recent Dior men’s show, Kim Jones featured Hajime Sorayama’s Sexy Robot on a giant scale. This exhibition, Bubblewrap, is an attempt at reconsidering the cultural environment and art movements of “bubble era” Japan and examining it relative to the current day. This exhibition is a little bit unusual in that 95% of the exhibited works are from the collection of Kaikai Kiki Co., Ltd., and the remaining 5% is made up of works borrowed from acquaintances, galleries, and the artists themselves. Therefore, rather than it being a comprehensive cultural outlook, it is more of a testament to Takashi Murakami’s extremely personal expertise as a curator. …Continue next page… 
@chiaki_kasahara_ @wakamoon
A post shared by Takashi Murakami (@takashipom) on Dec 15, 2018 at 4:23pm PST
“Jadi ada tren artistik yang nantinya akan saya berikan nama Superflat, namun pada akhirnya gerakan itu tidak pernah diberikan nama. “
Pameran “Bubblewrap” ini bisa kalian kunjungi sampai 3 Maret 2019. Kalian bisa datang ke Contemporary Art Museum, atau melalui situs resmi Kumamoto untuk mempelajari lebih lanjut.
Contemporary Art Museum, Kumamoto
2-３ Kamitoricho
Chuo Ward, Kumamoto
Kumamoto Prefecture 860-0845
Japan
The post Takashi Murakami meluncurkan pameran “Bubblewrap” dengan mengeksplor tren budaya tradisional Jepang appeared first on Japanese Station.