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

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	女	1910	ブロンズ	文部省管理換	OGIWARA, Morie	Woman	bronze
1室			47	川端龍子	草炎	1930	絹本彩色	文化庁管理換	KAWABATA, Ryushi	Flaming Grass	color 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, Ryusei	Road Cut through a Hill	oil on board
1室			40	古賀春江	海	1929	油彩・キャンバス	購入	KOGA, Harue	Sea	oil 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, Shoji	Three Stars	oil on canvas
1室			18	土田麦僊	島の女	1912	絹本彩色	文部省管理換	TSUCHIDA, Bakusen	Island Women	color 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, Naojiro	Kannon Bodhisattva Riding the Dragon	oil 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, Kaita	Roses and a Girl	oil on canvas
1室				萬鉄五郎	太陽の麦畑	c.1913	油彩・板	購入	YOROZU, Tetsugoro	A Cornfield in the Sun	oil 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 Kokoschka	Portrait of Alma Mahler	oil 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 Miro	Painting-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 Picasso	Beach at La Garoupe	oil 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 Rosler	Semiotics 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-MITSU	Lion	oil on canvas
2室			62	靉光	眼のある風景	1938	油彩・キャンバス	購入	AI-MITSU	Landscape with an Eye	oil on canvas
2室				靉光	素描図巻	1938-39	墨、彩色・紙	購入	AI-MITSU	Scroll of Drawing	sumi and partly color on pape
2室				佐藤玄々(朝山）	動	1929	木	購入	SATO, Gengen (Chozan)	Movement	wood
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, Seiho	Monkeys and Rabbits	color on silk
2室				竹内栖鳳	草相撲	1937	墨、朱墨、木炭、 胡粉、紙	購入	TAKEUCHI, Seiho	Wrestling in Field	sumi, cinnabar, charcoal and shell white on paper
2室				藤田嗣治	猫	1940	油彩・キャンバス	購入	FUJITA, Tsuguharu	Cats	oil on canvas
2室				藤田嗣治	動物宴	1949-60	油彩・キャンバス	寄贈	FUJITA, Tsuguharu	Feast of Animals	oil on canvas
2室				吉岡堅二	馬	1939	紙本彩色	作者寄贈	YOSHIOKA, Kenji	Horses	color 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, Toshio	Sacred Baboon	bronze
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, Kinosuke	Martyr	oil 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, On	Pregnant Woman	oil 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, Tadao	Christ in a Base	oil 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, Seifu	The Bourgeois Diet and People’s Life, Study	oil and collage on canvas
3室				津田青楓	犠牲者	1933	油彩・キャンバス	購入	TSUDA, Seifu	The Victim	oil on canvas
3室				野口弥太郎	踏絵	1956	油彩・キャンバス	購入	NOGUCHI, Yataro	Proving Non-Christian	oil 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 Grosz	2.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 Grosz	3.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 Grosz	5.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 Grosz	6.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 Grosz	7.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 Grosz	8.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 Grosz	9.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 Klee	Conquest of the Mountain	oil 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 Klee	Destruction and Hope	lithograph 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 Schwitters	From E.+E. Schwitters	collage 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, Toraji	Transoceanic Bombing	oil 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, Shu	Bombing Chengdu	oil 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, Kei	Air Raid on Clark Field	oil 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’ichi	Assault on the Enemy’s Mobile Troops Off New Guinea	oil 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, Goro	Paratroops Descending on Palembang	oil 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, Tsuguharu	Battle on the Banks of the Khalkha, Nomonhan	oil 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’ichi	Kota Baru	oil on canvas
6室				中村宏	基地	1957	油彩・合板	購入	NAKAMURA, Hiroshi	The Base	oil 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, Tsuguharu	Final Fighting on Attu	oil on canvas
6室				古沢岩美	餓鬼	1952	油彩・キャンバス	作者寄贈	FURUSAWA, Iwami	Starveling	oil 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, Saburo	Fierce Fighting Near Mount Nicholson, Hong Kong	oil 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, Kikuji	The Tale of Akebono Village	oil 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, Taro	Counterpoint	oil on canvas
7室				岡本太郎	夜明け	1948	油彩・キャンバス	作者寄贈	OKAMOTO, Taro	Dawn	oil 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, Taro	Men Aflame	oil on canvas
7室				Chim ↑ Pom	REAL TIMES	2011	ヴィデオ　カラー　 サウンド　11分11秒	寄託	Chim ↑ Pom	REAL TIMES	video 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, Saori	Woman (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, Saori	Myth―Birth of Gods	dye, 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, Saori	From the Japanese Myth	dye, etc. on cloth
8室				河原温	浴室1	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 1	pencil on paper
8室				河原温	浴室2	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 2	pencil on paper
8室				河原温	浴室3	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 3	pencil on paper
8室				河原温	浴室4	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 4	pencil on paper
8室				河原温	浴室5	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 5	pencil and color pencil on paper
8室				河原温	浴室6	1953-54	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 6	pencil and color pencil on paper
8室				河原温	浴室7	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 7	pencil and color pencil on paper
8室				河原温	浴室8	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 8	pencil on paper
8室				河原温	浴室9	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 9	pencil and color pencil on paper
8室				河原温	浴室10	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 10	pencil on paper
8室				河原温	浴室11	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 11	pencil and color pencil on paper
8室				河原温	浴室12	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 12	pencil on paper
8室				河原温	浴室13	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 13	pencil on paper
8室				河原温	浴室14	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 14	pencil on paper
8室				河原温	浴室15	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 15	pencil on paper
8室				河原温	浴室16	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 16	pencil on paper
8室				河原温	浴室17	1953-54	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 17	pencil on paper
8室				河原温	浴室18	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 18	pencil and color pencil on paper
8室				河原温	浴室19	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 19	pencil on paper
8室				河原温	浴室20	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 20	pencil and color pencil on paper
8室				河原温	浴室21	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 21	pencil and color pencil on paper
8室				河原温	浴室22	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 22	pencil and color pencil on paper
8室				河原温	浴室23	1953	鉛筆、色鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 23	pencil and color pencil on paper
8室				河原温	浴室24	1954	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 24	pencil on paper
8室				河原温	浴室25	1953	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 25	pencil on paper
8室				河原温	浴室26	1954	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 26	pencil on paper
8室				河原温	浴室27	1953-54	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 27	pencil on paper
8室				河原温	浴室28	1954	鉛筆・紙	作者寄贈	KAWARA, On	Bathroom 28	pencil 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, Yayoi	A Signpost to Hades	sewn 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, Tetsumi	Your Idol	wood, steel, glass bottles, plastic dolls, injectors, wax, hair, etc.
8室				細江英公	薔薇刑　作品18	1961	ゼラチン・シルバー・ プリント	購入	HOSOE, Eikoh	Ordeal by Roses No.18	gelatin silver print
8室				細江英公	薔薇刑　作品32	1961	ゼラチン・シルバー・ プリント	購入	HOSOE, Eikoh	Ordeal by Roses No.32	gelatin silver print
8室				細江英公	薔薇刑　作品38	1961	ゼラチン・シルバー・ プリント	購入	HOSOE, Eikoh	Ordeal by Roses No.38	gelatin silver print
8室				細江英公	薔薇刑　作品29	1962	ゼラチン・シルバー・ プリント	購入	HOSOE, Eikoh	Ordeal by Roses No.29	gelatin 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, Katsumi	Host 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	1968 (c.2005 print)	ゼラチン・シルバー・ プリント	購入	WATANABE, Katsumi	Girl 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, Katsumi	Host 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, Katsumi	Girl 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）	2006	HDTV　カラー　 サウンド　7分47秒	購入	MORIMURA, Yasumasa	Seasons of Passion/ A Requiem: MISHIMA	HDTV 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, Yasumasa	A Requiem: MISHIMA, 1970.11.25 – 2006.4.6	type 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, Setsu	Paul Robeson, black Singer	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)孤山ノ塔	1914	墨、彩色・紙	購入	IMAMURA, Shiko	Tower 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, Shiko	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, Shiko	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, Shiko	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, Shiko	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　雷峰塔西湖(せいこ)	1914	墨、彩色・紙	購入	IMAMURA, Shiko	Leifengta 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, Shiko	A 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, Shiko	A 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, Shiko	The 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, Shiko	A 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, Shiko	A 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, Matazo	Pathetic Deer	color 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, Ryonosuke	Struggle for Flight	paper clay and pigment on panel
10室				下村良之介	騒	1958	紙本墨画	高橋義博氏寄贈	SHIMOMURA, Ryonosuke	Fuss	sumi on paper
10室				福田豊四郎	山河	1951	紙本彩色	文部省管理換	FUKUDA, Toyoshiro	Landscape	color 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, Toyoshiro	Attack on British Borneo	color 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, Shingo	Title Lost, Cogwheels	color on paper
10室				三上誠	カランの火	1962	紙に蠟、彩色	購入	MIKAMI, Makoto	Fire in Haran	color 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, Kenji	Woman Sitting on a Chair	color on paper
10室				吉岡堅二	氷原	1940	紙本彩色	作者寄贈	YOSHIOKA, Kenji	Ice Field	color on paper
10室				吉岡堅二	柿	1948	紙本彩色	作者寄贈	YOSHIOKA, Kenji	Persimmon	color on paper
10室				吉岡堅二	楽苑	1950	紙本彩色	作者寄贈	YOSHIOKA, Kenji	A Paradise	color 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, Kenji	Bombing the Fortress at Blakang Mati	color 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, Kenji	The Takachiho Paratroop Unit Attacking an Enemy Airfield on Layte	color on paper
10室				渡辺学	魚・人	1962	紙本彩色	購入	WATANABE, Gaku	Fish, Man	color 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 1949	Brossure(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 1955	Brossure (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, Yoshitatsu	Song of the Dog	bronze
3F、 EVホール				柳原義達	道標(風と鴉)	1966	ブロンズ	作者寄贈	YANAGIHARA, Yoshitatsu	Milestone (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, Marino	Small Nude	bronze
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, Hisakatsu	Man of an Island	watercolor on paper
11室				土方久功	猫犬	1974	ブロンズ	土方敬子氏寄贈	HIJIKATA, Hisakatsu	Cat-Dog	bronze
11室				舟越直木	Monday	2006	石膏、スタッフ	購入	FUNAKOSHI, Naoki	Monday	plaster and stuff
11室				舟越直木	Moon	2006	石膏、スタッフ	購入	FUNAKOSHI, Naoki	Moon	plaster and stuff
11室				舟越保武	原の城	1971	ブロンズ	購入	FUNAKOSHI, Yasutake	Haranojo Castle	bronze
11室			82	三木富雄	EAR	1965	アルミニウム	購入	MIKI, Tomio	EAR	aluminum
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　Abakanowicz	Aloes	bronze
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　Abakanowicz	Anastazja Seconda	bronze
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 Kollwitz	1. 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 Kollwitz	2. 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 Kollwitz	3. 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 Kollwitz	4. 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 Kollwitz	5. 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 Kollwitz	6. 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 Kollwitz	7. 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 Kulisiewicz	Musicians	woodcut
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 Kulisiewicz	Farmer	woodcut
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 Kulisiewicz	Sick Cow	woodcut
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 Kulisiewicz	Karola	woodcut
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, Leiko	Reclining Girl	oil on canvas
12室				イケムラレイコ	インテリア(室内) I	1989	木炭・紙	購入	IKEMURA, Leiko	Interior I	charcoal on paper
12室				石内都	SCAR-1996, illness	1998	ゼラチン・シルバー・ プリント	購入	ISHIUCHI, Miyako	SCAR-1996, illness	gelatin silver print
12室				石内都	SCAR-1984, transplantation	1999	ゼラチン・シルバー・ プリント	購入	ISHIUCHI, Miyako	SCAR-1984, transplantation	gelatin 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, Shinjiro	Sphinx in a Uniform, Portrait of Steinberg	acrylic 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, Yayoi	Accumulation 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, Yayoi	Earth of Accumulation	oil and enamel on seed sack
12室				小林正人	Unnamed #7	1997	油彩・キャンバス	購入	KOBAYASHI, Masato	Unnamed #7	oil on canvas
12室				塩田千春	Bathroom	1999	DVD モノクロ　 サウンド　5分00秒	購入	SHIOTA, Chiharu	Bathroom	video installation(DVD), b＆w, sound, 5 ’00”
12室				奈良美智	Harmless Kitty	1994	アクリリック・綿布	購入	NARA, Yoshitomo	Harmless Kitty	acrylic 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, Shunsuke	Boy with a Fruit	pencil, 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, Saburo	Negative 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, Saburo	Negative Corner	charcoal 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, Saburo	Negative Vessel: Carotid Artery	charcoal, pencil, etc. on paper
12室				村上隆	ポリリズム	1991	FRP、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, Takashi	Polyrhythm	FRP, 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 TAMIYA	1992	合板、ステッカー、 焼印	小山登美夫 ギャラリー寄贈	MURAKAMI, Takashi	Signboard TAMIYA	plywood, sticker, brand
12室				村上隆	サインボード TAKASHI	1992	合板、ステッカー、 焼印	小山登美夫 ギャラリー寄贈	MURAKAMI, Takashi	Signboard TAKASHI	plywood, 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, Chikako	A Woman of the Butcher Shop	video, 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 Jun	Clinton and Kwak	silkscreen
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 Jun	Clinton II and Kwak	silkscreen
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 Jun	Bush 2001 and Kwak	silkscreen
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 Salgado	Refugee 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 Salgado	Lake 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 Salgado	Exodus 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-Ming	A Sudanese Boy	oil 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	2012	HD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, Koki	A Project, Seven Boxes and Movements at the Museum	HD 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 Gormley	Reflection	cast 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 Opie	Matsuzaki 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 Opie	Moon 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 Opie	View 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 Opie	View 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	Chiaroscuro	1979	ステンレススチール、硬質ガラス	購入	TADA, Minami	Chiaroscuro	stainless steel and hard glass
本館屋外				木村賢太郎	七つの祈り	1969	石	購入	KIMURA, Kentaro	Seven Prayers	stone
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 Marini	The Idea of an Image	bronze
本館屋外			84	イサム・ノグチ	門	1969	鋼鉄、彩色	購入	Isamu Noguchi	Gate	painted 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!

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