giovedì 8 settembre 2011

what on new of art, micropop, pixel generation of youth japanese's "bad girls"

whats on new about art, micropop, pixel generation of the youth japanese's "bad girls". From the problems of contemporary adolescence pixel generation (Akane Koide, Rei Sato, Mahomi  Kunikata, Makiko Kudo, Keiko Mori  etc...) to the identity Micropop as global and critical mass of consumerism (the generation that Nara and Murakami was the teacher, as example Tomoko Nagao -here in italy-, Cinatsu Ban, Ciho Ahoshima, Aya Takano (in USA, taiwan and Japan ... collected also by french's) the generation which has been tested and proven as a mainstream product (such as example is Hello Kity).


TOMOKO NAGAO: FUWARI -unflatable sculpture-

I'm trying to make people understand or even to understand the phenomenon to the industry.
Movement "micropop" here in Italy, I'm trying to make it known through the arts and social networks, unfortunately it is a slow path, only the young give me satisfaction. Obviously young people in Italy do not have a purchasing power.

Rei Sato
Ciho Ahoshima
I was already organize in Milan the first preview exhibition "micropop & nipposugegstioni" as presentation of such awesome arts scene, and where come from as culture suggestions and influence.

For example, the exhibition "Winter Garden" was produced in 2009 under the curation of art critic Midori Matsui as a sequel to the exhibition The Door into Summer (Art Tower Mito, Japan, 2007). Winter Garden features 35 works—drawings, paintings, and video works — by 14 young Japanese artists active from the latter half of the 1990s throughout the first decade of the 21st century. The artists present their distinctive views of world through the combination of fragments, imbuing the obsolete or the commonplace with new functions or meaning, a style of _expression that Matsui dubbed “Micropop.”
Aya Takano

Keiko Moritsugu

Mahomi Kunikata

Akane Koide

Akane Koide

Today, many artists' MICROPOP "bad girls "were understood by KAIKAIKIKI or Art galleries French (or collectors, owners of big brands) and New York. They had a chance to explain and express themselves. a good thing but often runs the risk of endangering the fragile sensitivity, psychological expectations of these young Japanese artists.
A generations after OTAKU, across AKIKOMORI subjectivity, a pixelated generations of the new internet global era.

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