In recent years modern and contemporary Japanese art has seen a meteoric rise in appeal, thanks in part to several major exhibitions; in New York in 2013 alone, crowds flocked to “Gutai: Splendid Playground” at the Guggenheim
, “Tokyo 1955–70: A New Avant-Garde” at MoMA, and recently “Yayoi Kusama: I Who Have Arrived In heaven
” at David Zwirner
. Along with Kusama, big names
, among others, have established a tradition of Japanese artists as major contenders in the global art market. Additionally, the nation has seen renewed interest in dynamic artist groups from the 1950s, namely
, causing a shift in previous conceptions regarding the scope of the international avant-garde during the 20th century.
At the Japanese platform at Art Stage Singapore, Mami Kataoka, chief curator at the Mori Art Museum in Tokyo, orchestrates “dark matter: invisible presence” an exhibition that takes its inspiration from the ambiguous, invisible substance that supposedly occupies a quarter of the universe. Addressing concepts including the afterlife, states of consciousness, and memory, the exhibition considers the vast universe and its interventions in everyday life.
Platform highlights include: ’s Beans Cosmos
, a universe of beans suspended within glass cubes; ’s Sleeping Machine
video consisting of dark, dreamlike episodes; ’s
“Between Visible and Invisible”, a series of gelatin silver prints that imagine the viewpoints of historical intellectuals through their actual eyeglasses; and ’s
multi-layered drawings that allude to the passage of time.