Exhibitions

Past Exhibition Collection Exhibition

2015-1 MOMAT Collection

Date

Location

Collection Gallery, from the fourth to second floors

A special display : “What Are You Fighting For? (4th–2nd floor)

AI-MITSU, Landscape with an Eye, 1938

In this edition of the exhibit, we present “What Are You Fighting For?”, beginning on the fourth floor and continuing down to the second floor of the museum. This year marks the 70th anniversary of the end of World War II. Here, we present approximately 200 works that are meant to inspire thought about “fighting,” including conflicts between animals, nations, men and women, and those from different generations.

The title is derived from “Taga tame ni” (For Whom), the theme song of an animated TV show called 009 Cyborg (1979-1980, second season), which was based on a story by Ishinomori Shotaro. A serialized manga of the same name (which began in 1964) centers on nine humans, who are turned into cyborgs by Black Ghost, an evil organization that has continuously profited from war. The cyborgs rebel against the group and attempt to annihilate it in order to achieve peace. In this paradoxical effort to fight for peace, it gradually becomes clear that Black Ghost’s hidden drive is actually the human desire to wage war. The words to “Taga tame ni” were also penned by Ishinomori and both these lyrics and the story present us with important questions in 2015.

List of Works

  • 展示内容、開館日・開館時間の変更の可能性がございます。詳細はハローダイヤル(03-5777-8600)にてご確認願います。
  • 原則として各室ごとに国内作家(姓)50音順、外国人作家(姓)アルファベット順、同一作家内は、ほぼ作品の制作年順。
  • Please note that the exhibits and the exhibition schedule are subject to change without previous notice. For up-to-date information, please kindly check our website.
展示場所(Shown on/at;
Room No.)
重文(Important
Cultural
Property)
会期(Phase
of the exhibit)
音声ガイド(Audio
Guide)
作家名題名制作年
(Year of
Produc-
tion; c.=
~年頃)
技法・支持体収蔵経緯、寄贈、寄託(Mode of acquisition;
Long term loan)
Name of
the Artist
Title
(in English)
Material
(technique,
support)
4F (Fourth floor)
1室  12荻原守衛1910ブロンズ文部省管理換OGIWARA, MorieWomanbronze
1室  47川端龍子草炎1930絹本彩色文化庁管理換KAWABATA, RyushiFlaming Grasscolor on silk
1室  岸田劉生道路と土手と塀
(切通之写生)
1915油彩・板文化庁管理換KISHIDA, RyuseiRoad Cut through a Hilloil on board
1室  40古賀春江1929油彩・キャンバス購入KOGA, HarueSeaoil on canvas
1室  27関根正二三星(さんせい)1919油彩・キャンバス購入SEKINE, ShojiThree Starsoil on canvas
1室  18土田麦僊島の女1912絹本彩色文部省管理換TSUCHIDA, BakusenIsland Womencolor on silk
1室 1原田直次郎騎龍観音1890油彩・キャンバス寄託(護國寺蔵)HARADA, NaojiroKannon Bodhisattva Riding the Dragonoil on canvas
1室  21村山槐多バラと少女1917油彩・キャンバス山本孝氏寄贈MURAYAMA, KaitaRoses and a Girloil on canvas
1室   萬鉄五郎太陽の麦畑c.1913油彩・板購入YOROZU, TetsugoroA Cornfield in the Sunoil on board
1室  24オスカー・ココシュカアルマ・マーラーの肖像1912油彩・キャンバス購入Oskar KokoschkaPortrait of Alma Mahleroil on canvas
1室   ジョアン・ミロ絵画詩
(おお!あの人やっちゃったのね)
1925油彩・キャンバス購入Joan MiroPainting-Poem (“Oh! One of those gentlemen who did all that!”)oil on canvas
1室   パブロ・ピカソラ・ガループの海水浴場1955油彩・キャンバス購入Pablo PicassoBeach at La Garoupeoil on canvas
4F、EVホール   マーサ・ロスラーキッチンの記号論1975ヴィデオ、モノクロ、サウンド、6分09秒購入Martha RoslerSemiotics of
the Kitchen
video, b&w,
sound, 6’09”
2室   靉光ライオン(シシ)1936油彩・キャンバス寄託AI-MITSULionoil on canvas
2室  62靉光眼のある風景1938油彩・キャンバス購入AI-MITSULandscape with an Eyeoil on canvas
2室   靉光素描図巻1938-39墨、彩色・紙購入AI-MITSUScroll of Drawingsumi and partly color on pape
2室   佐藤玄々(朝山)1929購入SATO, Gengen (Chozan)Movementwood
2室  8竹内栖鳳飼われたる猿と兎1908絹本彩色文部省管理換TAKEUCHI, SeihoMonkeys and Rabbitscolor on silk
2室   竹内栖鳳草相撲1937墨、朱墨、木炭、
胡粉、紙
購入TAKEUCHI, SeihoWrestling in Fieldsumi, cinnabar, charcoal and shell white on paper
2室   藤田嗣治1940油彩・キャンバス購入FUJITA, TsuguharuCatsoil on canvas
2室   藤田嗣治動物宴1949-60油彩・キャンバス寄贈FUJITA, TsuguharuFeast of Animalsoil on canvas
2室   吉岡堅二1939紙本彩色作者寄贈YOSHIOKA, KenjiHorsescolor on paper
2室   淀井敏夫聖マントヒヒ1966ブロンズ文化庁管理換YODOI, ToshioSacred Baboonbronze
3室   海老原喜之助殉教者1951油彩・キャンバス文部省管理換EBIHARA, KinosukeMartyroil on canvas
3室  79河原温孕んだ女1954油彩・キャンバス作者寄贈KAWARA, OnPregnant Womanoil on canvas
3室   田中忠雄基地のキリスト1953油彩・キャンバス作者寄贈TANAKA, TadaoChrist in a Baseoil on canvas
3室   津田青楓ブルジョワ議会と民衆生活 下絵1931油彩、コラージュ・
キャンバス
作者寄贈TSUDA, SeifuThe Bourgeois Diet and People’s Life, Studyoil and collage on canvas
3室   津田青楓犠牲者1933油彩・キャンバス購入TSUDA, SeifuThe Victimoil on canvas
3室   野口弥太郎踏絵1956油彩・キャンバス購入NOGUCHI, YataroProving Non-Christianoil on canvas
4室   ジョージ・グロス版画集「影の中で」より 2.工場前にて1920/21リトグラフ購入George Grosz2.Front of the Factory from “In the Shadows”lithograph
4室   ジョージ・グロス版画集「影の中で」より 3.傷痍軍人と労働者1920/21リトグラフ購入George Grosz3.Disabled Ex-servicemen and Workers from “In the Shadows”lithograph
4室   ジョージ・グロス版画集「影の中で」より 5.給料日1920/21リトグラフ購入George Grosz5.Payday from “In the Shadows”lithograph
4室   ジョージ・グロス版画集「影の中で」より 6.夕暮れ1919/20リトグラフ購入George Grosz6.Dusk from “In the Shadows”lithograph
4室   ジョージ・グロス版画集「影の中で」より 7.まだ5時だというのに!1920/21リトグラフ購入George Grosz7.Early Yet, It’s Five O’clock from “In the Shadows”lithograph
4室   ジョージ・グロス版画集「影の中で」より 8.インフレ1920/21リトグラフ購入George Grosz8.Inflation from “In the Shadows”lithograph
4室   ジョージ・グロス版画集「影の中で」より 9.通りの人々1920/21リトグラフ購入George Grosz9.People in the Street from “In the Shadows”lithograph
4室   パウル・クレー山への衝動1939油彩・綿布購入Paul KleeConquest of the Mountainoil on cotton
4室   パウル・クレー破壊と希望1916リトグラフ、手彩色購入Paul KleeDestruction and Hopelithograph colored by hand
4室   クルト・シュヴィッタースE. +E. シュヴィッタースより1947コラージュ・紙フランシス・ロイド氏寄贈Kurt SchwittersFrom E.+E. Schwitterscollage on paper
5室   石川寅治渡洋爆撃1941油彩・キャンバス無期限貸与ISHIKAWA, TorajiTransoceanic Bombingoil on canvas
5室   小川原脩成都爆撃1945油彩・キャンバス無期限貸与OGAWARA, ShuBombing Chengduoil on canvas
5室   佐藤敬クラークフィールド攻撃1942油彩・キャンバス無期限貸与SATO, KeiAir Raid on Clark Fieldoil on canvas
5室   御厨純一ニューギニア沖東方敵機動部隊強襲1942油彩・キャンバス無期限貸与MIKURIYA, Jun’ichiAssault on the Enemy’s Mobile Troops Off New Guineaoil on canvas
5室   鶴田吾郎神兵パレンバンに降下す1942油彩・キャンバス無期限貸与TSURUTA, GoroParatroops Descending on Palembangoil on canvas
5室   藤田嗣治哈爾哈河畔之戦闘1941油彩・キャンバス無期限貸与FUJITA, TsuguharuBattle on the Banks of the Khalkha, Nomonhanoil on canvas
5室    情報局編『写真週報』第238号(1942年9月16日)1942 個人蔵 Johokyoku (Information Agency) ed.,
Shashin shuho (Weekly Photographic Report),
No. 238, September 16, 1942
 
3F (Third floor)
6室   中村研一コタ・バル1942油彩・キャンバス無期限貸与NAKAMURA, Ken’ichiKota Baruoil on canvas
6室   中村宏基地1957油彩・合板購入NAKAMURA, HiroshiThe Baseoil on plywood
6室   藤田嗣治アッツ島玉砕1943油彩・キャンバス無期限貸与FUJITA, TsuguharuFinal Fighting on Attuoil on canvas
6室   古沢岩美餓鬼1952油彩・キャンバス作者寄贈FURUSAWA, IwamiStarvelingoil on canvas
6室   宮本三郎香港ニコルソン附近の激戦1942油彩・キャンバス無期限貸与MIYAMOTO, SaburoFierce Fighting Near Mount Nicholson, Hong Kongoil on canvas
6室   山下菊二あけぼの村物語1953油彩・ドンゴロス購入YAMASHITA, KikujiThe Tale of Akebono Villageoil on dungarees
7室   岡本太郎コントルポアン1935/54油彩・キャンバス購入OKAMOTO, TaroCounterpointoil on canvas
7室   岡本太郎夜明け1948油彩・キャンバス作者寄贈OKAMOTO, TaroDawnoil on canvas
7室  69岡本太郎燃える人1955油彩・キャンバス作者寄贈OKAMOTO, TaroMen Aflameoil on canvas
7室   Chim ↑ PomREAL TIMES2011ヴィデオ カラー 
サウンド 11分11秒
寄託Chim ↑ PomREAL TIMESvideo color sound 11’11”
7室   間所紗織女(B)1955染料、その他・布間所幸雄氏寄贈MADOKORO, SaoriWoman (B)dye, etc. on cloth
7室   間所紗織神話 神々の誕生1956染料、その他・布間所幸雄氏寄贈MADOKORO, SaoriMyth―Birth of Godsdye, etc. on cloth
7室   間所紗織神話より1956染料、その他・布間所幸雄氏寄贈MADOKORO, SaoriFrom the Japanese Mythdye, etc. on cloth
8室   河原温浴室11953鉛筆・紙作者寄贈KAWARA, OnBathroom 1pencil on paper
8室   河原温浴室21953鉛筆・紙作者寄贈KAWARA, OnBathroom 2pencil on paper
8室   河原温浴室31953鉛筆・紙作者寄贈KAWARA, OnBathroom 3pencil on paper
8室   河原温浴室41953鉛筆・紙作者寄贈KAWARA, OnBathroom 4pencil on paper
8室   河原温浴室51953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 5pencil and color pencil on paper
8室   河原温浴室61953-54鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 6pencil and color pencil on paper
8室   河原温浴室71953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 7pencil and color pencil on paper
8室   河原温浴室81953鉛筆・紙作者寄贈KAWARA, OnBathroom 8pencil on paper
8室   河原温浴室91953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 9pencil and color pencil on paper
8室   河原温浴室101953鉛筆・紙作者寄贈KAWARA, OnBathroom 10pencil on paper
8室   河原温浴室111953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 11pencil and color pencil on paper
8室   河原温浴室121953鉛筆・紙作者寄贈KAWARA, OnBathroom 12pencil on paper
8室   河原温浴室131953鉛筆・紙作者寄贈KAWARA, OnBathroom 13pencil on paper
8室   河原温浴室141953鉛筆・紙作者寄贈KAWARA, OnBathroom 14pencil on paper
8室   河原温浴室151953鉛筆・紙作者寄贈KAWARA, OnBathroom 15pencil on paper
8室   河原温浴室161953鉛筆・紙作者寄贈KAWARA, OnBathroom 16pencil on paper
8室   河原温浴室171953-54鉛筆・紙作者寄贈KAWARA, OnBathroom 17pencil on paper
8室   河原温浴室181953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 18pencil and color pencil on paper
8室   河原温浴室191953鉛筆・紙作者寄贈KAWARA, OnBathroom 19pencil on paper
8室   河原温浴室201953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 20pencil and color pencil on paper
8室   河原温浴室211953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 21pencil and color pencil on paper
8室   河原温浴室221953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 22pencil and color pencil on paper
8室   河原温浴室231953鉛筆、色鉛筆・紙作者寄贈KAWARA, OnBathroom 23pencil and color pencil on paper
8室   河原温浴室241954鉛筆・紙作者寄贈KAWARA, OnBathroom 24pencil on paper
8室   河原温浴室251953鉛筆・紙作者寄贈KAWARA, OnBathroom 25pencil on paper
8室   河原温浴室261954鉛筆・紙作者寄贈KAWARA, OnBathroom 26pencil on paper
8室   河原温浴室271953-54鉛筆・紙作者寄贈KAWARA, OnBathroom 27pencil on paper
8室   河原温浴室281954鉛筆・紙作者寄贈KAWARA, OnBathroom 28pencil on paper
8室  85草間彌生冥界への道標1976詰物入り縫製布、靴、木、彩色購入KUSAMA, YayoiA Signpost to Hadessewn stuffed fabric, shoes, wood and paint
8室   工藤哲巳あなたの偶像1962木、鋼鉄、ガラス瓶、
ビニール製人形、
注射器、ワックス、毛、その他
購入KUDO, TetsumiYour Idolwood, steel, glass bottles, plastic dolls, injectors, wax, hair, etc.
8室   細江英公薔薇刑 作品181961ゼラチン・シルバー・
プリント
購入HOSOE, EikohOrdeal by Roses No.18gelatin silver print
8室   細江英公薔薇刑 作品321961ゼラチン・シルバー・
プリント
購入HOSOE, EikohOrdeal by Roses No.32gelatin silver print
8室   細江英公薔薇刑 作品381961ゼラチン・シルバー・
プリント
購入HOSOE, EikohOrdeal by Roses No.38gelatin silver print
8室   細江英公薔薇刑 作品291962ゼラチン・シルバー・
プリント
購入HOSOE, EikohOrdeal by Roses No.29gelatin silver print
8室   渡辺克巳ゲイボーイ、新宿1967
(c.2005 print)
ゼラチン・シルバー・
プリント
購入WATANABE, KatsumiHost in a bar for male homosexuals,Shinjukugelatin silver print
8室   渡辺克巳ヌードスタジオ嬢、新宿1968
(c.2005 print)
ゼラチン・シルバー・
プリント
購入WATANABE, KatsumiGirl in a nude studio,
Shinjuku
gelatin silver print
8室   渡辺克巳ゲイボーイ、新宿1969
(c.2005 print)
ゼラチン・シルバー・
プリント
購入WATANABE, KatsumiHost in a bar for male
homosexuals, Shinjuku
gelatin silver print
8室   渡辺克巳ヌードスタジオ嬢、新宿1969
(c.2005 print)
ゼラチン・シルバー・
プリント
購入WATANABE, KatsumiGirl in a nude studio,
Shinjuku
gelatin silver print
9室   森村泰昌烈火の季節/
なにものかへのレクイエム(MISHIMA)
2006HDTV カラー 
サウンド 7分47秒
購入MORIMURA, YasumasaSeasons of Passion/ A Requiem: MISHIMAHDTV color sound 7’47”
9室   森村泰昌なにものかへのレクイエム(MISHIMA 1970.11.25-2006.4.6)2006タイプCプリント購入MORIMURA, YasumasaA Requiem: MISHIMA, 1970.11.25 – 2006.4.6type C print
10室   朝倉摂黒人歌手ポール・ロブソン1959紙本彩色作者寄贈ASAKURA, SetsuPaul Robeson, black Singercolor on paper
10室 F  今村紫紅「印度旅行スケッチ帳」より 西湖(せいこ)孤山ノ塔1914墨、彩色・紙購入IMAMURA, ShikoTower on Gushan Mountain, Lake Xi from “Sketches from the Trip to India”sumi and color on paper
10室 F 今村紫紅「印度旅行スケッチ帳」より 西湖(せいこ)1914墨、彩色・紙購入IMAMURA, ShikoLake Xi from “Sketches from the Trip to India”sumi and color on paper
10室 F 今村紫紅「印度旅行スケッチ帳」より 西湖(せいこ)1914墨、彩色・紙購入IMAMURA, ShikoLake Xi from “Sketches from the Trip to India”sumi and color on paper
10室 F  今村紫紅「印度旅行スケッチ帳」より 西湖(せいこ)1914墨、彩色・紙購入IMAMURA, ShikoLake Xi from “Sketches from the Trip to India”sumi and color on paper
10室 F  今村紫紅「印度旅行スケッチ帳」より 西湖(せいこ)1914墨、彩色・紙購入IMAMURA, ShikoLake Xi from “Sketches from the Trip to India”sumi and color on paper
10室 F  今村紫紅「印度旅行スケッチ帳」より 雷峰塔西湖(せいこ)1914墨、彩色・紙購入IMAMURA, ShikoLeifengta Tower, Lake Xi from “Sketches from the Trip to India”sumi and color on paper
10室 S  今村紫紅「印度旅行スケッチ帳」より 迦耶(ガヤー)所見1914墨、彩色・紙購入IMAMURA, ShikoA Scene in Gaya from “Sketches from the Trip to India”sumi and color on paper
10室 S  今村紫紅「印度旅行スケッチ帳」より 迦耶(ガヤー)所見1914墨、彩色・紙購入IMAMURA, ShikoA Scene in Gaya from “Sketches from the Trip to India”sumi and color on paper
10室 S  今村紫紅「印度旅行スケッチ帳」より 迦耶(ガヤー)ノ町1914墨、彩色・紙購入IMAMURA, ShikoThe Town of Gaya from “Sketches from the Trip to India”sumi and color on paper
10室 S  今村紫紅「印度旅行スケッチ帳」より 迦耶(ガヤー)所見1914墨、彩色・紙購入IMAMURA, ShikoA Scene in Gaya from “Sketches from the Trip to India”sumi and color on paper
10室 S 今村紫紅「印度旅行スケッチ帳」より 仏陀迦耶(ガヤー)ノ寺ノ門1914墨、彩色・紙購入IMAMURA, ShikoA Temple Gate in Buddha-Gaya from “Sketches from the Trip to India”sumi and color on paper
10室   加山又造悲しき鹿1954紙本彩色購入KAYAMA, MatazoPathetic Deercolor on paper
10室   下村良之介飛翔への抵抗1963-64板、紙粘土に彩色購入SHIMOMURA, RyonosukeStruggle for Flightpaper clay and pigment on panel
10室   下村良之介1958紙本墨画高橋義博氏寄贈SHIMOMURA, RyonosukeFusssumi on paper
10室   福田豊四郎山河1951紙本彩色文部省管理換FUKUDA, ToyoshiroLandscapecolor on paper
10室   福田豊四郎英領ボルネオを衝くc.1942紙本彩色無期限貸与FUKUDA, ToyoshiroAttack on British Borneocolor on paper
10室   星野眞吾失題・歯車1952紙本彩色高畑郁子氏寄贈HOSHINO, ShingoTitle Lost, Cogwheelscolor on paper
10室   三上誠カランの火1962紙に蠟、彩色購入MIKAMI, MakotoFire in Harancolor and wax on paper, framed
10室   吉岡堅二椅子による女1931紙本彩色作者寄贈YOSHIOKA, KenjiWoman Sitting on a Chaircolor on paper
10室   吉岡堅二氷原1940紙本彩色作者寄贈YOSHIOKA, KenjiIce Fieldcolor on paper
10室   吉岡堅二1948紙本彩色作者寄贈YOSHIOKA, KenjiPersimmoncolor on paper
10室   吉岡堅二楽苑1950紙本彩色作者寄贈YOSHIOKA, KenjiA Paradisecolor on paper
10室   吉岡堅二ブラカンマティ要塞の爆撃1944紙本彩色無期限貸与YOSHIOKA, KenjiBombing the Fortress at Blakang Maticolor on paper
10室   吉岡堅二高千穂降下部隊レイテ敵飛行場を攻撃す1945紙本彩色無期限貸与YOSHIOKA, KenjiThe Takachiho Paratroop Unit Attacking an Enemy Airfield on Laytecolor on paper
10室   渡辺学魚・人1962紙本彩色購入WATANABE, GakuFish, Mancolor on paper
10室    「第三回新日本画研究会展覧会」『阿々土』20号
(1937年7月)
1937 東京国立近代美術館 “The Third New Nihon-ga Research Society
Exhibition”,Aato = art, no.20, July 1934
 
10室    福田豊四郎「感想一束 新日本画に就て」『美之国』13巻12号
(1937年12月)
1937 東京国立近代美術館 Fukuda Toyoshiro,“A Bundle of Impressions:
Concerning New-Nihon-ga”
Binokuni no.13-12,December 1937
 
10室    『歴程美術』1号
(1939年7月)歴程美術協会
1939 東京国立近代美術館 Rekitei-bijutsu no.1, July 1939 
10室    四宮潤一「第一回歴程美術展覧会」『阿々土』25号
(1939年4月)
1939 東京国立近代美術館 Shinomiya Jun’ichi,“The 1st Rekitei Art Association Exhibition”, AatoAato = Art no.25, April 1939 
10室    「陸軍作戦記録画優秀作品評」『美術』4号
(1944年5月)
1944 東京国立近代美術館 “Review of Excellent Work:
Documentary Paintings of Army Strategy”, Bijutsu (Art), no.4, May 1944
 
10室    桑原武雄『現代日本文化の反省』白日書院(1948年3月)「第二芸術―現代俳句について―」1948 個人蔵Kuwabara,Takeo“A Second-Class Art: On Contemporary Haiku” Kuwabara Takeo, Reflections on Contemporary Japanese Culture (Hakujitsu Shoin, March 1948) 
10室    小野十三郎「奴隷の韻律」『短歌雑誌 八雲』通巻12号(1948年1月)1948 個人蔵 Ono Tozaburo, “Slave Rhythm”,
Tanka Journal Yakumo, no.12, January 1948
 
10室    臼井吉見「展望」『展望』5号
(1946年5月)
1946 個人蔵 Usui Yoshimi, “Tenbo”,Tenbo no.5, May 1946 
10室    藤本韶三「三彩雑記」『三彩』9号
(1947年7月)
1947 個人蔵 Fujimoto Shozo, “Sansai Zakki”,Sansai no.9
, July 1947
 
10室    「『創造美術』の結成」『三彩』17号
(1948年3月)
1948 個人蔵 “The Formation of Sozo Bijutsu”,Sansai no.17, March 1948 
10室    曽宮一念「美術の天気予報」『三彩』18号
(1948年4月)
1948 個人蔵 Somiya Ichinen, “Art Weather Report”,Sansai no.18, April 1948 
10室    「日本画滅亡論」『三彩』26号
(1949年1月)
1949 個人蔵 “The Theory of Nihon-ga’s Demise”,Sansai no.26, Janualy 1949 
10室    土門拳「審査風景『三彩』25号(1948年12月)1948 東京国立近代美術館 Domon Ken,“Examination Scene”,    
Sansai, no.25, December 1948 issue
 
10室    S. F. 「三彩雑記」『三彩』30号(1949年5月)1949 個人蔵 S.F., “Sansai zakki”,Sansai no.30, May 1949 
10室    今泉篤男「近代絵画としての日本画」『三彩』32号(1949年7月)1949 東京国立近代美術館 Imaizumi Atsuo, “Nihon-ga as Modern Painting”,Sansai no.32, July 1949 
10室    パンリアル展第1回 1949年5月1949パンフレット(コピー)東京国立近代美術館 1st Pan-Real Exhibition, May 1949Brossure(photocopy)
10室    東京パンリアル展 第1回 
1955年10月 パンリアル事務所
1955パンフレット東京国立近代美術館 1st Pan-Real Exhibition, Tokyo, October 1955Brossure (photocopy)
10室    中村義一「パン・リアル展評」『美術批評』39号(1955年3月)1955 東京国立近代美術館 Nakamura Yoshikazu, “Review of Pan-Real Exhibition”,
Bijutsu-hihyo, no.39, March 1955
 
10室    東野芳明「パンリアル展」『美術批評』48号(1955年12月)1955 東京国立近代美術館 Tono Yochiaki, “Pan-Real Exhibition”,
Bijutsu-hihyo, no.48, December 1955
 
10室    東野芳明「新制作日本画部評」『三彩』81号
(1956年11月)
1956 東京国立近代美術館 Tono Yoshiaki, “Review of Shinseisaku Exhibition,
Section of Nihon-ga”,Sansai no.81, November 1956
 
3F、
EVホール
   柳原義達犬の唄1961ブロンズ作者寄贈YANAGIHARA, YoshitatsuSong of the Dogbronze
3F、
EVホール
   柳原義達道標(風と鴉)1966ブロンズ作者寄贈YANAGIHARA, YoshitatsuMilestone (Wind and Crow)bronze
3F、
EVホール
   マリノ・マリーニ小さな裸婦1943ブロンズ作者寄贈MARINI, MarinoSmall Nudebronze
2F (Second floor)
11室   土方久功島の男c.1969水彩・紙土方敬子氏寄贈HIJIKATA, HisakatsuMan of an Islandwatercolor on paper
11室   土方久功猫犬1974ブロンズ土方敬子氏寄贈HIJIKATA, HisakatsuCat-Dogbronze
11室   舟越直木Monday2006石膏、スタッフ購入FUNAKOSHI, NaokiMondayplaster and stuff
11室   舟越直木Moon2006石膏、スタッフ購入FUNAKOSHI, NaokiMoonplaster and stuff
11室   舟越保武原の城1971ブロンズ購入FUNAKOSHI, YasutakeHaranojo Castlebronze
11室  82三木富雄EAR1965アルミニウム購入MIKI, TomioEARaluminum
11室   マグダレーナ・アバカノヴィッチアロエス2002-03ブロンズ購入Magdalena AbakanowiczAloesbronze
11室   マグダレーナ・アバカノヴィッチアナスタシヤ・セコンダ2002-03ブロンズ購入Magdalena AbakanowiczAnastazja Secondabronze
11室   ケーテ・コルヴィッツ「農民戦争」より
1. 鋤を引く人
1906
(1921 reprint)
銅版購入Käthe Kollwitz1. The Ploughmen from the “Peasants’ War”etching
11室   ケーテ・コルヴィッツ「農民戦争」より
2. 凌辱
1907
(1921 reprint)
銅版購入Käthe Kollwitz2. Raped from the “Peasants’ War”etching
11室   ケーテ・コルヴィッツ「農民戦争」より
3. 鎌をとぐ
1905
(1921 reprint)
銅版山口貴久男、
美恵氏寄贈
Käthe Kollwitz3. Sharpening a Sickle from the “Peasants’ War”etching
11室   ケーテ・コルヴィッツ「農民戦争」より
4. アーチの下での武装
1906
(1921 reprint)
銅版購入Käthe Kollwitz4. Seizing Arms in a Cellar from the “Peasants’ War”etching
11室   ケーテ・コルヴィッツ「農民戦争」より
5. 突撃
1903
(1921 reprint)
銅版購入Käthe Kollwitz5. Outbreak from the “Peasants’ War”etching
11室   ケーテ・コルヴィッツ「農民戦争」より
6. 戦場
1907銅版購入Käthe Kollwitz6. Battlefield from the “Peasants’ War”etching
11室   ケーテ・コルヴィッツ「農民戦争」より
7. 囚われた人々
1908銅版購入Käthe Kollwitz7. The Prisoners from the “Peasants’ War”etching
11室   タデウシュ・クリシェヴィチ音楽家1929木版日本版画協会
寄贈
Tadeusz KulisiewiczMusicianswoodcut
11室   タデウシュ・クリシェヴィチ農夫1931木版日本版画協会
寄贈
Tadeusz KulisiewiczFarmerwoodcut
11室   タデウシュ・クリシェヴィチ病気の牛1931木版日本版画協会
寄贈
Tadeusz KulisiewiczSick Cowwoodcut
11室   タデウシュ・クリシェヴィチカロラ1934木版日本版画協会
寄贈
Tadeusz KulisiewiczKarolawoodcut
12室   イケムラレイコ横たわる少女1997油彩・キャンバス購入IKEMURA, LeikoReclining Girloil on canvas
12室   イケムラレイコインテリア(室内) I1989木炭・紙購入IKEMURA, LeikoInterior Icharcoal on paper
12室   石内都SCAR-1996, illness1998ゼラチン・シルバー・
プリント
購入ISHIUCHI, MiyakoSCAR-1996, illnessgelatin silver print
12室   石内都SCAR-1984, transplantation1999ゼラチン・シルバー・
プリント
購入ISHIUCHI, MiyakoSCAR-1984, transplantationgelatin silver print
12室   岡本信治郎制服のスフィンクス・スタインベルクの肖像1969アクリリック・
キャンバス
購入OKAMOTO, ShinjiroSphinx in a Uniform, Portrait of Steinbergacrylic on canvas
12室   草間彌生残骸のアキュミレイション(離人カーテンの囚人)1950油彩、エナメル・
麻布(種袋)
購入KUSAMA, YayoiAccumulation of the Corpses (Prisoner Surrounded by the Curtain of Depersonalization)oil and enamel on seed sack
12室   草間彌生集積の大地1950油彩、エナメル・
麻布(種袋)
購入KUSAMA, YayoiEarth of Accumulationoil and enamel on seed sack
12室   小林正人Unnamed #71997油彩・キャンバス購入KOBAYASHI, MasatoUnnamed #7oil on canvas
12室   塩田千春Bathroom1999DVD モノクロ 
サウンド 5分00秒
購入SHIOTA, ChiharuBathroomvideo installation(DVD), b&w, sound, 5 ’00”
12室   奈良美智Harmless Kitty1994アクリリック・綿布購入NARA, YoshitomoHarmless Kittyacrylic on cotton
12室   松本竣介果物を持つ少年c.1942鉛筆、コンテ、
木炭、墨・紙
購入MATSUMOTO, ShunsukeBoy with a Fruitpencil, conté, charcoal and sumi on paper
12室   村岡三郎負のテーブル−関節(クレーター)1998木炭、鉛筆、
コラージュ、
その他・紙
購入MURAOKA, SaburoNegative Table: Joint (Crater)charcoal, pencil, collage, etc. on paper
12室   村岡三郎負のコーナー1998木炭、鉛筆・紙購入MURAOKA, SaburoNegative Cornercharcoal and pencil on paper
12室   村岡三郎負の器−頚動脈1998木炭、鉛筆、
その他・紙
購入MURAOKA, SaburoNegative Vessel: Carotid Arterycharcoal, pencil, etc. on paper
12室   村上隆ポリリズム1991FRP、鉄、タミヤ1/35アメリカ歩兵フィギュア(西ヨーロッパ戦域)購入MURAKAMI, TakashiPolyrhythmFRP, Iron, Tamiya 1/35 scale military miniture models of U.S.
Infantry (West European Theater)
12室   村上隆サインボード TAMIYA1992合板、ステッカー、
焼印
小山登美夫
ギャラリー寄贈
MURAKAMI, TakashiSignboard TAMIYAplywood, sticker, brand
12室   村上隆サインボード TAKASHI1992合板、ステッカー、
焼印
小山登美夫
ギャラリー寄贈
MURAKAMI, TakashiSignboard TAKASHIplywood, sticker, brand
12室   山城知佳子肉屋の女2012ヴィデオ カラー サウンド 28分01秒作家蔵YAMASHIRO, ChikakoA Woman of the Butcher Shopvideo, color, sound, 28’01″
12室   郭徳俊クリントンと郭1993シルクスクリーン購入KWAK, Duck JunClinton and Kwaksilkscreen
12室   郭徳俊クリントンIIと郭1997シルクスクリーン購入KWAK, Duck JunClinton II and Kwaksilkscreen
12室   郭徳俊ブッシュ2001と郭2001シルクスクリーン購入KWAK, Duck JunBush 2001 and Kwaksilkscreen
12室   セバスチャン・サルガド「サへルの飢饉」より コレム難民キャンプ、エチオピア1984ゼラチン・シルバー・
プリント
購入Sebastião SalgadoRefugee Camp at Korem, Ethiopia from “Famine in the Sahel”gelatin silver print
12室   セバスチャン・サルガド「サへルの飢饉」より ファギビーヌ湖、マリ1985ゼラチン・シルバー・
プリント
購入Sebastião SalgadoLake Fagibine, Mali from “Famine in the Sahel”gelatin silver print
12室   セバスチャン・サルガド「サへルの飢饉」より エチオピアのティグレ地方からスーダンへの集団移住、エチオピア1985ゼラチン・シルバー・
プリント
購入Sebastião SalgadoExodus from the Tigray Province of Ethiopia to Sudan, Ethiopia from “Famine in the Sahel”gelatin silver print
12室   嚴培明スーダンの少年1998油彩・キャンバス購入YAN, Pei-MingA Sudanese Boyoil on canvas
2F、EVホール   田中功起一つのプロジェクト、七つの箱と行為、美術館にて2012HDヴィデオ カラー サウンド 13分33秒、段ボール、椅子他購入TANAKA, KokiA Project, Seven Boxes and Movements at the MuseumHD video, color, sound, 13’33”. chairs and cardoboard boxes, etc.
2Fテラス  90アントニー・ゴームリー反映/思索2001鋳鉄購入Antony GormleyReflectioncast iron
2Fテラス   ジュリアン・オピー「日本八景」より 国道百三十六号線から見る雨の松崎港2007映像インスタレーション(液晶モニター2台、コンピューター)購入Julian OpieMatsuzaki Bay in the Rain from Route 136. From “Eight Views of Japan.”double 46 inches LCD screens PC inside, computer film
2Fテラス   ジュリアン・オピー「日本八景」より 真鶴半島の上の月2007映像インスタレーション(液晶モニター2台、コンピューター)購入Julian OpieMoon Over Manazuru Peninsula. From “Eight Views of Japan.”double 46 inches LCD screens PC inside, computer film
2Fテラス   ジュリアン・オピー「日本八景」より 国道三百号線からみる本栖湖の富士山2007映像インスタレーション(液晶モニター1台、コンピューター)購入Julian OpieView of Lake Motosu and Mount Fuji from Route 300. From “Eight Views of Japan. “single 46 inches LCD screens PC inside, computer film
2Fテラス   ジュリアン・オピー「日本八景」より 国道五十二号線から南部橋をのぞむ2007映像インスタレーション(液晶モニター2台、コンピューター)購入Julian OpieView of Nambu Bridge from Route 52. From “Eight Views of Japan.”double 46 inches LCD screens PC inside, computer film
屋外彫刻 Outdoor Sculptures
本館前庭   多田美波Chiaroscuro1979ステンレススチール、硬質ガラス購入TADA, MinamiChiaroscurostainless steel and hard glass
本館屋外   木村賢太郎七つの祈り1969購入KIMURA, KentaroSeven Prayersstone
本館屋外   マリノ・マリーニあるイメージの構想1969-70ブロンズ文化庁管理換Marino MariniThe Idea of an Imagebronze
本館屋外  84イサム・ノグチ1969鋼鉄、彩色購入Isamu NoguchiGatepainted steel

Important Cultural Properties on display

The collection at the main building of the National Museum of Modern Art, Tokyo now has thirteen pieces that are designated as Important Cultural Properties by the Japanese government, comprising eight Japanese-style paintings, four oil paintings and one sculpture.

The following Important Cultural Properties are shown in this period:

■Harada Naojiro, Kannon Bodhisattva Riding the Dragon, 1890 (Longtime loan;coll. Gokokuji Temple)
■Kishida Ryusei, Road Cut through a Hill, 1915

◆Please visit the Important Cultural Property section Masterpieces for more information about the pieces.

About the Sections

MOMAT Collection comprises twelve(or thirteen)rooms and two spaces for relaxation on three floors. In addition, sculptures are shown near the terrace on the second floor and in the front yard. The light blue areas in the cross section above make up MOMAT Collection. The space for relaxation A Room With a View is on the fourth floor.
The entrance of the collection exhibition MOMAT Collection is on the fourth floor. Please take the elevator or walk up stairs to the fourth floor from the entrance hall on the first floor.

4F (Fourth floor)

Room 1 Highlights * This section presents a consolidation of splendid works from the collection, with a focus on Master Pieces.
Room 2– 5 1900s-1940s
 From the End of the Meiji Period to the Beginning of the Showa Period

A Room With A View
Reference Corner

1. Room 1 Highlights

Over 200 works lined up in this 3,000-square-meter space – these extravagant conditions are the selling point of the MOMAT Collection. But in recent years, we have received an increasing number of comments like, “They’re so many things here, I’m not sure what to see!” and “All I want to do is have a quick look at the famous works in a short period of time!” Thus, in conjunction with the gallery renovation in 2012, we have created this “Highlights” corner to allow visitors to enjoy a consolidation of splendid works from the collection, with a focus on Important Cultural Properties. For the walls, we have selected navy blue to make the works stand out more beautifully. And to eliminate the glare of glass cases, we have opted for a mat black for the floor to help viewers concentrate on the displays.
In this edition of the exhibit, we start off with two folding screens that are perfect for early and midsummer: Tsuchida Bakusen’s Island Women and Kawabata Ryushi’s Flaming Grass. In addition to Important Cultural Properties by Harada Naojiro and Kishida Ryusei, the oil paintings on display include Koga Harue’s Sea. Many viewers are likely to remember this image of a woman standing erect and pointing up at the sky from their school textbooks. There is also a selection of works by foreign artists such as Pablo Picasso, Joan Miró, and Oskar Kokoschka.

2. Room 2 Proof of the Wild

This year marks the 70th anniversary of the end of World War II. In this edition of the MOMAT Collection, we make use of the entire museum (beginning on the fourth floor and continuing down to the second floor) to present a special exhibit titled “What Are You Fighting For?” Here, we introduce approximately 200 works that are meant to inspire thought about “fighting,” including conflicts between animals, nations, men and women, and those from different generations.

In Room 2, the start of the exhibit, we have assembled a group of works dealing with animals in order to consider whether it is instinctive for living things, whether human or beast, to fight, and if so, whether it is possible to modify such behavior. In searching for works that would correspond to the theme, we discovered that the majority were made during the 1930s and ’40s – i.e., from around the time of the Second Sino-Japanese War and the Pacific War. The animals scuffle with each other, drop to the ground, and assume unfamiliar forms. When it proves difficult to clearly express their thoughts, artists often make use of a metaphorical approach . In other words, in many of the works you see here, animals are used as stand-ins for people in human conflicts.

3. Room 3 Damaged Sacred Images

In attempting to depict victims of governmental oppression and of war in a monumental way, painters often reference Christian art. Christian art includes a wide range of heartrending portrayals of martyrs that exert a direct effect on the viewer’s emotions. Images of injured people are produced to reflect the conditions of a given era – in particular around the time of Japan’s involvement in the Asia-Pacific wars. Many of these works have links to Christian art.

Ebihara Kinosuke’s Martyr depicts St. Sebastian after he was shot with a barrage of arrows. But unlike traditional icons, the arrows, which emanate from the left side of the picture, do not directly penetrate the figure, merely alluding to their merciless power. In addition to being an expression of heart-stricken grief, St. Sebastian’s unscathed body accentuates the vertical axis of the picture, and this in turn has parallels with the composition of Tsuda Seifu’s work The Victim, which was inspired by the brutal murder of the writer Kobayashi Takiji. In contrast, Kawara On uses an inverted image of a pregnant Virgin Mary in Pregnant Woman. This might also be seen as the artist’s critical view of the upright position used to honor the dead and his opposition to monumental expression.

4. Room 4 Before and After Destruction

World War I, which began in 1914, not only saw the mobilization of soldiers but also those from many other fields, such as economics, science, and culture, and the start of a total war in which entire nations were enlisted as combatants. Moreover, through the advent of warplanes and tanks, and the use of weapons of mass destruction, the conditions of battle, which had traditionally involved direct combat between soldiers with bayonets and cavalries, changed greatly, resulting in unparalleled damage throughout Europe. Scenes of destruction, wrought by the arrival of modern civilization, led to a deep distrust of human reason.

This epoch of the Great War also saw the rapid rise of various movements that set out to disavow traditional values in the arts. Movements such as Cubism, which dismantled perspective, collage, which destroyed the autonomy and uniformity of pictorial space, and Dada, which functioned as a kind of “anti-art” that negated meaning, emerged in quick succession.

In this section, while comparing the work of George Grosz, Paul Klee, and Kurt Schwitters, all three of whom lived through the Great War, we focus on the close connections between innovative styles in painting and global changes brought about by the conflict, and the hallucinatory power of art that anticipated changing times.

5. Room 5 A War of the Eyes

In Japan, which had played virtually no active role in the First World War, images of modern warfare involving fighter planes and tanks first came into people’s consciousness via various media during the Asia-Pacific War (i.e., the Pacific theater of World War II and the Japanese military actions leading up to it). Among these media were war campaign paintings , which still testify to the way 20th century warfare, based in miraculous new science and technology, dramatically transformed people’s visual experience.

The radically elongated horizontal format of Fujita Tsuguharu’s painting is likely rooted in the artist’s own experience with panoramic landscapes, and here serves to convey the immense horizon of the Asian continent to dramatic effect. A desire to attain a panoramic view of the landscape that would be the target of bombing led to the bird’s-eye visions that characterize bombing scenes. Japan’s aerial warfare strategy also inspired works such as Mikuriya Junichi’s dogfight scene, an attempt to render the velocity of fighter planes, and the scenes of descending paratroopers that inspired the military anthem Sora no shinpei  (Sacred Soldiers of the Sky) and film of the same name. All of these are distinguished by a heroic tone against the vast expanse of the sky . They share a romantic vision of the sky that seemingly negates the miserable reality on the ground, and no doubt served to rouse a proud and pure sense of nationalism.

3F (Third floor)

Room 6-8 1940s-1960s
 From the End of the Meiji Period to the Beginning of the Showa Period
Room 9 Photography and Video
Room 10 Nihon-ga (Japanese-style Painting)

Room to Consider the Building

6. Room 6 Two War Paintings

War-record paintings were actually images from the artist’s imagination, shaped by statements from witnesses and documentary materials. If we view records in general as the result of the selection and elimination of certain events, there should be another reality not reflected in war paintings intended for public consumption. The works of Nakamura Ken’ichi, Fujita Tsuguharu, and Miyamoto Saburo shown here are all battle scenes , featuring the dramatic figures of brave fighting soldiers depicted in groups using active gestures, but they avoid gruesome, repellent imagery that might be found in a war scene. Even Fujita, who crossed the line by making a corpse the main subject of a painting, made it evident that the person had died in close combat.

After the war, painters dealt with the challenge of overcoming war paintings’ responsibility for the war. Furusawa Iwami’s Starveling, exhibited at the height of the Korean War, functioned as a parody of war paintings, presenting a montage of the actual violence that these works glossed over, and condemning Japan for once again getting involved in war. Yamashita Kikuji’s work is a report from the front lines of a conflict between landowners and tenant farmers, also employing the montage technique to examine a complex, intertwining reality from multiple angles. After the war, artists were searching for a new realism that would spark changes in reality itself.

7. Room 7 Myth of the Flame

Focusing on the theme of “ What Are You Fighting For?”, this edition of the MOMAT Collection, considers various aspects of “fighting.” In Room 7, you will find several of these. First, there is war as seen in works by Okamoto Taro, who served in the army during the Pacific War, and Madokoro Saori, who was a youth during the war. In the 1950s, the artists suddenly launched into bold artistic expressions as a challenge to the previous generation, who were responsible for the war. Okamoto, however, seems to have felt a strange and complicated attraction to tremendous power with the ability to destroy human beings, such as war and atomic bombs. Men Aflame, a work that deals with the theme of American nuclear tests, depicts nuclear power with an almost mystical sense of dread and anticipation. On the other hand, Madokoro apparently saw the mystical, something which transcended human understanding, as a woman who was the source of all things. In other words, there is another kind of conflict here, one between men and women. The video work, REAL TIMES, by Chim↑Pom, who have various links to Okamoto, addresses the artist’s ambiguous view of nuclear energy via Fukushima 2011. We can also detect a (respectful and affectionate) conflict with the previous generation in this work.

8. Room 8 Between Men and Women

The phrase “between men and women” has two different meanings. One suggests that while men and women are attracted to each other, a deep chasm exists between the two sexes, preventing them from ever completely understanding each other. The lyrics to “Song of the Black Ship” (written by the novelist Nosaka Akiyuki and released in 1971), from which this line is taken, make this abundantly clear: “Between men and women, there is a deep black river. And even though no one can ever cross the river, heave-ho! anothera nother ship will be setting sail tonight.” Because of this chasm, our attachment to the opposite sex can sometimes drive us to hurt someone, or as in the case of Kusama Yayoi, it can turn into an obsession and a source of fear.

The second meaning of the phrase suggests that we inhabit spaces that are completely cut off from each other. some people live in the undefined area between male and female . Watanabe Katsumi’s photographs, which he shot in Shinjuku during the 1960s and ’70s, depict the loneliness and pride of those who live “between men and women” in what initially appears to be a world of glamor.

9. Room 9 “Listen Quietly!”

As the shouting man here says, an incident occurred at the Japan Ground Self-Defense Force’s Camp Ichigaya on November 25, 1970. After taking the commandant hostage, the novelist Mishima Yukio attempted to rouse the troops, addressing them without a mic from the balcony of the building. But the speech, originally scheduled for a half hour, ended in only seven minutes, after which Mishima went back inside and decided to commit hara-kiri.

The artist dressed up as Mishima in this work is Morimura Yasumasa. His works are distinguished by the fact that by doing things like becoming part of a masterpiece of Western art history or turning into a famous actress, the artist (a Japanese man) raises a variety of contemporary issues such as gender, the human race, Orientalism, and real and fictional images. The important thing in the works is the “distance” between the impersonator and the impersonated. How about in this work?

Incidentally, Hosoe Eikoh’s work Ordeal by Roses, which takes Mishima as its subject, is being shown next door in Room 8.

10. Room 10 Toward the Future

Room 10 focuses on Japanese painters’ struggles with the Nihon-ga (Japanese-style painting) genre in the early postwar period. During this period, some advocated theories that Nihon-ga was dying or that it was a second-class art, and feeling a sense of crisis, painters sought out their own individual means of revolutionizing the genre. Two groups in particular made bold transformations: the Nihon-ga association Sozo Bijutsu, centered on Yoshioka Kenji and Fukuda Toyoshiro, was formed in January 1948 with the goal of creating Nihon-ga rooted in internationalism, and the Pan-Real Art Association, formed in October 1948 in Kyoto by Yamazaki Takashi, Mikami Makoto, and others. The former introduced Western elements into Nihon-ga, and the latter worked experimentally with the material properties of paint and surfaces.

The above is a textbook explanation of these Nihon-ga innovators. Looking at the actual works of art and materials, however, one realizes that the elements, such as thick paint application and abstraction, which they apparently introduced to the genre were already in use before the war, and that the artists only expanded on existing tendencies. In this sense, their efforts were part of an ongoing campaign to transform Nihon-ga, and it was just this transformation that most magazine articles and other writings on the “death of Nihon-ga” were actually advocating. What was the artists’ vision of the future? And what exactly were they grappling with, when they moved in new directions and conducted experiments that often went “too far,” inviting skepticism from both critics and the public?

2F (Second floor)

Room 11-12 1970s-2010s
 From the End of the Showa Period to the Present

Gallery 4  Things: Rethinking Japanese Photography and Art in 1970s

 Primarily from the Museum Collection

* A space of about 250 square meters. This gallery offers cutting-edge thematic exhibitions from the Museum Collection, and special exhibitions featuring photographs or design.

11. Room 11 The Peasants Fought!

Käthe Kollwitz, 5. Outbreak from the “Peasants’ War”,1903(1921 reprint)

In every age, artists focus sympathetically on those who rise up and fight against adversity. Even if – or rather because – the struggle ends in failure, artists attempt to understand its significance.

Although this room is normally used to show pieces from the 1970s on, this time we present a special exhibit of all seven works in Käthe Kollwitz’ Peasants’ War, an important series from the early 20th century. This is designed to give viewers an opportunity to see the work alongside Funakoshi Yasutake’s Haranojo Castle (1971), a work dealing with the Shimabara Rebellion, the largest peasant revolt in Japanese history. And as an example from the 21st century, we present two works by the Polish artist Magdalena Abakanowicz. If the current state of affairs prohibits us from identifying the source of our oppression, and we are forced to survive without raising our voices in objection, you might say that these empty people are portraits of us.

12. Room 12 Injury Comes with a Fight

Fighting is inseparable from injury. In some cases, these injuries serve as proof of a conflict (Murakami Takashi). In other cases, after suddenly feeling a slight pain, you might come to realize how much you have fought up in the past (Leiko Ikemura). You might also find it impossible to fight against a variety of “looks” prompted by the wounds you have suffered (Ishiuchi Miyako). Or by fighting without any fear of being injured or injuring others, you might arrive at a new light (Kobayashi Masato). Human beings are creatures that are easily hurt. You might also say that it is our very vulnerability that gives us our humanity…. The philosopher Emmanuel Lévinas talked about this. He said that the fact that we naturally react to other people’s pain and that we possess a fragile body and mind that are subject to injury helps support the foundation for human society. And the reason why “vulnerability” is an important theme in contemporary art is perhaps that we tend to forget these “facts.”

About the Exhibition

Location

Collection Gallery, from the fourth to second floors

Date

May 26, 2015 – September 13, 2015

Time

10:00 – 17:00
*Last admission is 30 minutes before closing.

Closed

※Closed on Mondays (except July 20) and July 21

Admission

Adults ¥430 (220)
College and university students ¥130 (70)

*Including the admission fee for MOMAT Collection and /Things: Rethinking Japanese Photography and Art in 1970s *The price in brackets is for the group of 20 persons or more.
*All prices include tax.
*Free for high school students, under 18, seniors(65 and over), Campus Members, MOMAT passport holder.
*Show your Membership Card of the MOMAT Supporters or the MOMAT Members to get free admission (a MOMAT Member’s Card admits two persons free).
*Persons with disability and one person accompanying them are admitted free of charge.

Free Admission Days

*Collection Gallery and Gallery 4
Free on June 7, July 5, August 2 and September 6

Organized by

The National Museum of Modern Art, Tokyo

Page Top