Inspiring Moments at the Kyoto Museum of Contemporary Art
As an art and history enthusiast, I have always been fascinated by the interplay between traditional and contemporary art forms. My recent visit to the Kyoto Museum of Contemporary Art (MoMAK) offered me a unique opportunity to explore this dynamic relationship in the context of Japanese art and architecture.
Upon entering the museum, I was immediately struck by the harmonious blend of traditional and modern architectural elements. The building itself is a testament to the seamless integration of Japan’s rich cultural heritage with contemporary design principles.
The museum building makes extensive use of varied materials: stone, glass, steel. The outer wall is made of Portuguese granite. Its gray, textured surface is imposing, but on stepping inside, visitors encounter a radically different white marble space. As they walk further and encounter the stairs, they find railings made from a combination of steel and glass.
Another notable point is that the staircase columns are coloured vermilion or grey. Architect Maki said, “I intend to create a seemingly ‘De Stijl’ world.” Among the works in the MoMAK collection is Composition (1872-1944) by Piet Mondrian, leader of the De Stijl group, and at the museum, wrapped in its grid of tiles, rooms, and layers, it is said that visitors can experience a world such as Mondrian envisioned.
The museum was designed by architect Maki Fumihiko. Over the more than 30 years since its construction in 1986, they have held nearly 300 exhibitions. However, MoMAK is not only a venue for exhibitions, as many students and architects visit the museum specifically to view the architecture, today I was here for both.
The series of exhibits at the MoMAK provided a comprehensive overview of the evolution of Japanese art, from its traditional roots to its current manifestations in the contemporary art scene. One of the highlights of my visit was the exhibit featuring Dada works by Max Ernst and Francis Picabia, as well as “readymades” of Marcel Duchamp represented by his Fountain, and collage works by Hannah Höch and Kurt Schwitters.
The works on display showcased the artists’ innovative use of materials and techniques, reflecting their desire to break free from traditional artistic constraints. It was inspiring to witness their confidence in challenging established norms and pushing the boundaries of creative expression.
Kurt Schwitters (1887-1948), a leading figure in Hanover, Germany who’s work spanned several genres and media, including Dadaism, constructivism, surrealism, poetry, sound, painting, sculpture, graphic design, typography, and architecture — much of which later came to be known as installation art, is best known for “Merz,” his own term for his practice of making assemblages and collages using discarded materials, scraps of paper, tickets and other objects and fragments found on city streets. Underlying this ongoing project was his experience of World War I and his belief that “everything is ruined, the task is to build something new out of the rubble.”
As an avid collector and archivist of paper-based artifacts from my travels, my visit to the MoMAK became an unexpectedly delightful exploration of artistic intersections, particularly when reflecting on the work of Kurt Schwitters. Little did I know that my personal fascination with preserving tickets, beer labels, museum tickets, flyers, and other memorabilia would find resonance in the surprising overlap between Dadaism and contemporary Japanese art.
The Dadaist artists, with their bold defiance of convention, redefined the boundaries of artistic expression by incorporating ordinary objects into their works. This innovative approach mirrored my own fascination with collecting and preserving paper-based mementos from my travels. Just as the Dadaists saw artistic potential in the everyday, I, too, found joy in uncovering the narratives and significance embedded within seemingly ordinary items.
What struck me during my exploration of the museum was the unexpected convergence between my personal collecting habits and the artistic practices prevalent in contemporary Japanese art. Like the Dadaists, Japanese artists embraced the transformative power of found objects and collages, infusing their works with a sense of cultural significance and personal expression.
In Japan, the reverence for the beauty of impermanence and the value of transitory moments resonates deeply. This connection became apparent as I delved into my collection of paper artifacts, realizing that they, too, captured fleeting moments and preserved them in a tangible form. The act of cherishing and archiving these items mirrored the Japanese cultural practice of honouring and preserving objects that hold personal or cultural significance.
In Japan, paper holds a deep-rooted significance that stems from historical moments and cultural practices. The country’s reverence for paper can be traced back to ancient times when it was introduced from China. Throughout history, Japan has developed its unique papermaking techniques, such as washi, characterized by its exceptional quality and craftsmanship.
Paper has played a pivotal role in various aspects of Japanese culture. From the elegant art of calligraphy to the delicate art form of origami, paper has been a medium of artistic expression and a vehicle for preserving cultural traditions. The fragility and impermanence of paper are valued in Japan, reflecting the concept of “mono no aware,” which appreciates the beauty of transient moments and the fleeting nature of existence.
Additionally, Japan’s profound respect for nature is intertwined with its affinity for paper. The traditional use of natural fibers, such as mulberry, bamboo, and hemp, in papermaking reflects the country’s harmonious relationship with the environment. This sustainable approach aligns with the Japanese philosophy of living in harmony with nature, known as “wa,” and resonates with their deep appreciation for simplicity and natural beauty.
Furthermore, historical moments like the Heian period (794-1185) and the development of the tea ceremony during the Edo period (1603-1868) contributed to the elevated status of paper in Japan. In the Heian period, the production and use of paper expanded, leading to the creation of literary masterpieces like “The Tale of Genji.” During the Edo period, paper was instrumental in the art of the tea ceremony, where meticulously crafted washi was used for calligraphy, tea utensils, and the construction of tearooms.
Through this unexpected encounter, I discovered a profound parallel between the innovative spirit of Dadaism and the essence of Japanese art. Both celebrated the potential of everyday materials to evoke deeper meanings and create connections between personal experiences, cultural expressions, and artistic innovation.
Another standout exhibit was the collection of modern Japanese calligraphy, which showcased the works of renowned calligraphers such as Shiryū Morita and Yūichi Inoue. The exhibit highlighted the artists’ groundbreaking styles and techniques, which pushed the boundaries of traditional calligraphy and introduced new forms of expression. Witnessing their confidence and boldness in exploring new avenues of creativity was truly captivating.
The exhibition of modern Japanese calligraphy showcased the groundbreaking works of calligraphers like Shiryū Morita and Yūichi Inoue, drawing intriguing parallels with modern American artists, such as the renowned Jackson Pollock. Both Morita, Inoue, and Pollock share a common approach to art, where the process itself becomes as significant as the final result. They push the boundaries of their respective art forms by embracing experimentation, spontaneity, and unconventional techniques. Morita and Inoue challenge traditional calligraphy by introducing new forms of expression, while Pollock’s revolutionary “drip painting” technique redefined the concept of artistic creation. Their boldness and confidence in exploring new avenues of creativity captivate viewers, reminding us that art is a living, evolving process that engages both the artist and the audience. The exhibition offered a thought-provoking experience, connecting the innovative practices of Japanese calligraphers and modern American artists like Pollock, highlighting the universal nature of artistic exploration across cultures and time.
As I moved through the exhibition, I couldn’t help but feel an increasing sense of inspiration and awe. The evolving confidence of the artists was palpable, and their willingness to take risks and embrace innovation resonated with me on a profound level. The art became more powerful, as if it was imbued with a newfound vitality that emanated from the artists’ growing assurance in their creative endeavours.
The MoMAK role in promoting contemporary Japanese art cannot be understated. By providing a platform for both established and emerging artists, the museum fosters a vibrant artistic community that continually pushes the boundaries of creative expression. Furthermore, the museum’s commitment to showcasing the interplay between traditional and contemporary art forms serves as a reminder of the importance of preserving cultural heritage while embracing innovation.
As I reflect, my visit to the Kyoto Museum of Contemporary Art was an enlightening and inspiring experience. The museum’s architecture, exhibits, and the evolving confidence of the artists left a lasting impression on me. As I moved through the exhibition, I felt a growing sense of inspiration and connection with the art. I highly recommend a visit to the MoMAK for anyone interested in exploring the dynamic relationship between tradition and innovation in the world of art.
As I continue to delve into the world of art and explore the dynamic interplay between tradition and innovation, I am inspired to embrace the unexpected and seek out the extraordinary in the seemingly mundane. This remarkable encounter at the museum has enriched my perspective, reminding me of the profound stories waiting to be discovered within the fragments of everyday life.
NOMAD SKETCHBOOK 