Os 500 Arhats
o retorno de Murakami Takashi e a transformação da arte japonesa
DOI:
https://doi.org/10.26512/vis.v16i1.20486Keywords:
Art. Tradition. Modernity. Post-Fukushima. Murakami Takashi.Abstract
Murakami Takashi is one of the most celebrated contemporary international artists. His exhibitions, held at the greatest museums in the world and in famous places such as the Rockefeller Center or the Palace of Versailles, have attracted millions of visitors, fueled the artist’s popularity and created a legion of admirers inside and outside Japan. Murakami, whose achievement counts on the joint work of hundreds of people, impresses by the dimensions, the quality and the use of digital media. Through his art, Murakami manages to blend traditional iconography with that of manga, and the trends of otaku culture with foreign influences in postwar Japanese society. In October of 2015, after 14 years of absence of the artistic scene of his country, Murakami decided to expose again in Tokyo, in the Museum Mori. The result was The 500 Arhats exhibition, a series of new works that have as their theme art, religion, death and human limitations. The title of the exhibition refers in particular to a painting 120 meters long (one of the largest ever made in the history of world art), which was originally produced for the State of Qatar as a personal way of thanking of the artist for the support Japan received from that country after the 2011 Tsunami. The proposal of this article is to analyze the meaning and importance of the Murakami exhibition in today’s cultural context of Japan, and at the same time, it aims to reflect about his role as an artist and his complex relationship with some aspects of Japanese cultural tradition.
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References
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