Posts tagged Japanese Surrealism
Today I will present in front of your screens Fuco Ueda, a girl very talented from Japan, born in 1979.
Her talent into Surrealism Pop-Art it’s indisputable.
In December, the 4th, 2014, she was participating in Miami at the SCOPE Miami Beach Art Showscopeart show.
In November 27th 2014 she was at Tokyo’s charity exhibition.
What you’ve seen there it’s her work! and many on her website:
There are few common themes such as music, animal and plant life from the land and sea.
The women are in unreal space and within an aura of hidden violence , as quiet as some situations , but beyond them, in their mind , it is a struggle to rebel against them – the situations – . We see carnage or invisible animals , we see that the zebra is skinned to shoehorn a girl , we see that chewing gum is toxic that the mushrooms rising on the bubble. A toxic plant that tells nothing but the truth .
Surreal reactions are also captured as a psychological game between ‘ morbid subconscious story ‘ .
Meatloaf deer with meat on his horns , a girl with aquarium on her head and with fish going through , and she enters a real decomposition are images straight from unnatural naturalness.
The girl on the stairs, caught in the dead bones , girl caught in large aquarium and seeking for help from the hungry cat are again Surreal situations of great psychological intensity , it can be even Ueda is caught and even thinks : fear of death , fear of loneliness, fear of the dark – we see how her works are full of warm colors , vivid , delicate , fine and still overshadowed by theme – .
I guess the water have her magical role here in these works: it’s like her women, Naiade’s are ALL OVER!
It was a movie in 2006, called LADY IN THE WATER… so… when I’ve seen her works, I’ve had a mind association with the movie.
Water, as symbol, could be here an environment where she finds peace – or not !? – And an environment that hides the reality be beyond the glass – it’s usually the aquarium environment that separate the real- unreal or the dream- real world – .
On the other hand Animals can be symbols of reality.
HERE THE MOVIE:
The French poet and critic Andre Breton often regarded as the founder of Surrealism, placed importance role of Freud’s psychology, while the mouvement’s in Japan countetparts were more intersted in imagery.
In these sense , Solt writes that ‘ the japanese artists are the second – generation reaction to the initiatial experimentation of the Westerners(…)’.
As such Yamamoto’s work may be regarded as ‘ dialogues’ with artists like Dali, Magritte, Man Ray.
His nude of a nude descending a spiral staircase is thus described as a translation of Duchamp’s ” Nude descending a staircase, no 2″.
This highlights how critis are consistently impressed by van Gogh and other Impressionists’ inclusion of ukio-e elememts in their work whereas Japanese artists who incorporated th Western influences tend to be labeled derivative or imitative.
Since Surrealism is a movement whose origins are foreign to Japan , surrealists here are regarded as needing an endorsement from the Western establishment.
Even if in 1929 Japan was’t in the map of of Surrealism, begining with 1936 things will change dramatic, that even Breton will be schocked: were 500 poets and artists in Tokyo whom were considered by themself as ‘surrealists’.
Kansuke is the obvious standout photographer in the exhibition,with almost half of exhibitions from Japan dedicated.
Throughout the 20 years, Kansuke’s work ranged from a pre- war pictorialist to a post- war social commentator and then surrealist.
His gracious photographs with figurative shades or ideas – to established the relationship between those times- are now seen with curiosity. He bound the ligne of imagery stuff with a story who it’s there in front of us.
Many of his works are symbols of devastation and loss to a country living with the after- effects after nuclear warfare.
Konsuke Yamamoto’s created works indicated liberty, antiwar and anti- government in a surrealistic way.
In 1953, Yamamato said that: ‘ The surreal exists within the Real. Tireless experimentation with new photography leads to the creation of a new beauty’.
The french forerunner of Surrealism, Comte de Lautremont, likened the beauty of ‘the unexpected meeting, on a disection table, of a sewing machine and an umbrella’.
Such beauty occurs often in Yamamoto’s photographs, as in the one showing a telephone, a bird cage and a bed. Yamamoto created his photos to take off on wings of poesy, as Man Ray did by positioning objects wholly without context.