Japanese Arts Part 7

The media art is v. a. represented by the artists Tatsuo Miyajima (* 1957) and Hitoshi Nomura (* 1945). The artist collective Dumb Type (founded in 1987) is one of the innovative contemporary multimedia artists. In photography, H. Sugimoto, N. Araki, E. Hosoe, Daido Moriyama (* 1938) and Miyako Ishiuchi (* 1947) achieved international recognition. In recent years they have joined Ryūichi Miyamoto (* 1947), Naoya Hatakeyama (* 1958), Takashi Homma (* 1962) and Miwa Yanagi (* 1967)added.

The revival of traditional firing techniques in old kilns (the former ceramic centers) is characteristic of the younger handicrafts, which in Japan are traditionally in continuous dialogue with the fine arts. Worldwide attention received v. a. the old-style new creations by the potters Hamada Shōji (* 1894, † 1977) in Mashiko and Arakawa Toyozō (* 1894, † 1985) in Seto and Shino. The tradition of metal, ceramic, lacquer, textile, glass and basket work is carried out in the presence of artists such as Yasuki Hiramatsu (* 1926, † 2012), Moegi Itō (* 1942), Kyū Suzuki (* 1947), Shinya Yokokura (* 1956), Yoshikata Katō (* 1951), Kiyotaka Aoki (* 1957), Shichirō Ōzeki (* 1940), Mami Idei (* 1954), Nao Ochiai (* 1954) and Nao Kudō (* 1955).

According to aristmarketing, Japanese architecture gained world renown through K. Tange (Peace Center, Hiroshima, 1955; Olympic Halls, Tokyo, 1964; City Hall of the Shinjukuku District, Tokyo, 1991). Together with K. Maekawa, who worked for Le Corbusier from 1928–30 (Festhalle in Tokyo, 1961), A. Raymond (office building for Reader’s Digest in Tokyo, 1952; Gunma Musikhalle, ibid, 1961) and J. Sakakura (Museum of Modern Art, Kamakura, 1951) he determined post-war architecture in Japan. In 1960 the metabolists formed: A. Isozaki, Kiyonori Kikutake (* 1928, † 2011), K. Kurokawa, F. Maki, Masato Otaka (* 1923, † 2010) and others. Characterized by the interaction of traditional methods, contemporary materials and state-of-the-art technology, some with a particularly ecological focus, some with strong purification, are among others. the buildings by Team Zoo (City Hall, Nago on Okinawa, 1981), by Takamasa Yoshizaka (* 1917, † 1980; Inter-University Seminar, Tokyo, 1966), Kazuo Shinohara (* 1925, † 2006), Takefumi Aida (* 1937) and T. Andō. Traditional symbolism plays a role in the architecture of Shin Takamatsu (* 1948) and Kiko Mozuna, known as Monta Mozuna (* 1941), who deliberately caricature modernity.

In the course of the expansion and redesign of Japanese metropolises, architecture boomed in the 1980s and 1990s. With well-engineered neo-modern buildings, v. a. Maki again attracted attention (inter alia “Spirale” business and cultural center, Tokyo, 1984–85; Municipal Sports Hall, Fujisawa, 1984; National Museum of Modern Art, Kyoto, 1986; Center for the Arts, San Francisco, Calif., 1993). The notable buildings of other metabolists include For example, the Museum of Contemporary Art in Hiroshima (1988) by Kurokawa and the Cultural Center in Mito (1986–90) and the Museum of Science, Culture and Arts (“Domus”) in La Coruña (opened in 1995) by Isozaki. Hiromi Fujii (* 1935) sees in deconstructivism a possibility to break up well-worn patterns of perception and thus tilts the gridded frame elements of his buildings. Buildings by Shinohara that pay homage to the machine aesthetics of high-tech architecture, particularly well-known are the TIT (Tokyo Institute of Technology, Jahrhunderthalle, Tokyo, 1987-88) or the aggressive buildings by Takamatsu (Kirin Plaza, shopping center made up of four High-rise towers, Ōsaka, 1987; Quasar-Haus, Berlin, 1991–94). The guest pavilions of the Sukiya-yu complex (Okayama, 1989) by Katsuhiro Ishii (* 1944) form a post-modern mix of Japanese and European house forms. The architect Itsuko Hasegawa (* 1941) uses the technological possibilities, among other things. for alluding to the importance of nature; the roofing imitates clouds or waves or rises and falls like hill lines (Bizan Hall, Shizuoka, 1982–84; residential unit Dorf Cona, 260 apartments, Amagasaki, 1990). Hiroshi Hara (* 1936) tried something similar in his Yamato International Building in Tokyo (1987). Andō incorporates nature into his quiet and quiet architectural language (Church over the Water, Hokkaidō, 1988; Langen Foundation, Insel Hombroich, 2002-04). With sensational arch constructions and experiments with unusual materials, Shigeru Ban (* 1957) known who designed the multi-storey Japanese paper pavilion for the »EXPO 2000« in Hanover. Yoshio Taniguchi (* 1937) specializes in museum buildings (including the extension of the Museum of Modern Art in New York, completed in 2004). The protagonists of the “architecture of lightness”, which emerges in dialogue with European architects (R. Koolhaas et al.), Are Toyo Ito (inter alia Mediathek, Sendai, 1995–2001) and Kazuyo Sejima (* 1956; inter alia Museum of Contemporary Art, Kanazawa, 1995-2000).

Japanese Arts 7