Yasumasa Morimura, Une Moderne Olympia( 2018 ). Courtesy of the craftsman and Luhring Augustine, New York.( c) Yasumasa Morimura.
For over 30 years, artist Yasumasa Morimura has been at the forefront of international contemporary skill. In programmes spanning photography, carve, performance, and video, he has transformed himself into iconic representations of the past–from Vincent van Gogh and Frida Kahlo to Marilyn Monroe and Yukio Mishima. In the process, he has uncovered the intermingled seams of art history, Japanese postwar biography, and personal history, de-centering the notion of “the self.”
Yasumasa Morimura: Ego Obscura be the first time that institutional solo show in New York devoted to this prolific and versatile master, cross-examine his design from the 1980 s to today. By conflating his own mas with iconic imagery, Morimura’s oeuvre both commentaries and remunerations adoration to art history, and autobiography more broadly, while at the same time questioning gender, race, and the national identity.
Complementing a representative selection of major photographic self-portraits, Morimura’s first full-length video article, Ego Symposion, features the master symbolizing twelve surmount creators known for their self-portraits. His interpretations, gleaned from self-revealing items in their decorates, molted light on their incitements as creators. In Nippon Cha-cha-cha, which was developed from a live performance of the same deed staged at the Centre Pompidou-Metz and Tokyo Commons in 2018, Morimura metamorphoses into key illustrations from the 20 th century, like Yukio Mishima and General Douglas MacArthur, situating his own biographic ego within a broader context of Japan’s complex, multilayered post-war history.
Yasumasa Morimura: Ego Obscura is on view through January 13, 2019 at Japan Society Gallery( 333 East 47 th Street ). For more information see japansociety.org .
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