PoNJA-GenKon in Partnership with CTCA Launches the “Online Bibliography of Post-1945 Japanese Art” Project
——March 15, 2018
PoNJA-GenKon is pleased to announce the launch of a project to create an “Online Bibliography of Post-1945 Japanese Art” to mark its 15th anniversary, in partnership with CTCA (The Centre for Transnational Cultural Analysis) at Carleton University, Ottawa.
The online bibliography created by PoNJA-GenKon and hosted by CTCA will consist of searchable bibliographic items on post-1945 Japanese art history, primarily in English and possibly other Western languages. It will also include one or more PDF files listing select entries that will serve as a study guide, a research reference, and other such introductory and advanced citation tools. The expected completion date is 2019.
The project is funded by Alexandra Munroe through a donation of her 2017 Japan Foundation Award prize money.
‘Japanorama – A New Vision on Art since 1970’ marks the final exhibition in Centre Pompidou-Metz’s year-long Japanese season (September 2017 – May 2018). Curated by Yuko Hasegawa, Artistic Director of the Museum of Contemporary Art Tokyo, it’s the most extensive survey exhibition of contemporary Japanese art outside of Japan since Alexandra Munroe’s ‘Japanese Art After 1945: Scream Against the Sky’ – which toured to The Yokohama Museum of Art, Yokohama, The Guggenheim, New York, and San Francisco MoMA in 1994 – and Jonathan Watkins’ ‘Facts of Life: Contemporary Japanese Art’ at the Hayward Gallery in London in 2001. This exhibition, however, consciously follows on from Centre Pompidou’s own 1986 show ‘The Avant-Garde Arts of Japan 1910-70’, which examined Japanese modernity chiefly in relation to the Western avant-garde.
In this special closing event for Turn It On: China on Film, 2000–2017, join cocurators of Art and China After 1989Alexandra Munroe, Samsung Senior Curator, Asian Art, and Philip Tinari, Director of the Ullens Center for Contemporary Art, Beijing, as they reflect upon their curatorial experiences and address broader themes in the exhibition and film series that touch upon China from 2007 to the present. The discussion will be moderated by Andrew Solomon, award-winning author and president of PEN America, copresenter of Turn It On. A screening of Ai Weiwei’s Fairytale (2007) immediately follows.
$20, $15 members, $10 students. Refreshments will be available for purchase in The Wrightfrom 5:15–6:30 pm.
Directed by Ai Weiwei艾未未
Mandarin with English subtitles, 153 min.
In 2007 Ai Weiwei took part in Documenta 12 with a participatory event called Fairytale, after the Brothers Grimm who were born in Kassel, the German city that hosts the famed art exhibition. Ai invited 1,001 people from China, many of whom had never been abroad before, to travel to Germany, live in a dormitory of Ai’s design, and freely wander the city and the exhibition. Ai’s studio recruited the applicants from the Internet. He also sent 1,001 Ming period–style wooden chairs, which were arranged throughout the exhibition hall as gathering spaces. Fairytale opens with the project’s inception and takes us through its full enactment, recording the experiences of participants of all backgrounds to create a series of portraits woven together by a single event.
Organized by the Guggenheim Museum in conjunction with Art and China after 1989: Theater of the World. Presented in collaboration with PEN America. Support is provided by The Hayden Family Foundation. A program of the Sackler Center for Arts Education.
First the good news. “Art and China after 1989: Theater of the World,” now appearing at the Guggenheim Museum in New York through January 7, samples China’s most fertile and challenging post-Mao period of art production in ways that are stimulating for specialists and general viewers alike. Organized by three experts intimately involved in the history they present—Alexandra Munroe, the Guggenheim’s senior curator of Asian art; Philip Tinari, director of the Ullens Center for Contemporary Art in Beijing; and Hou Hanru, artistic director of MAXXI, the National Museum of 21st Century Art, in Rome—the exhibition eschews a strict chronological format. Instead, it strives, through savvy and sometimes unexpected selections, creatively mixed, to convey the ferment of a time in China when liberation was in the air, anything seemed possible, and avant-garde artists, at first little appreciated (and sometimes persecuted) at home, sought to take their place in the global art system. The realization that those times have sadly changed is due in equal measure to a cultural revanchism in the People’s Republic of China and a resurgence of moral provincialism in the United States.