In 2014, as part of a major season of Japanese art, cinema and design, the Gallery presented ‘Future Beauty: 30 Years of Japanese Fashion’ (1 November 2014 – 15 February 2015) and ‘We can make another future: Japanese art after 1989’ (6 September 2014 – 20 September 2015).

‘We can make another future’ surveyed the art of Heisei or ‘enlightened peace’, the current era in the Japanese imperial calendar, through 100 works by over 40 contemporary Japanese artists.

We can make another future: Japanese art after 1989 Installation view GOMA

We can make another future: Japanese art after 1989 Installation view GOMA / View full image

We can make another future: Japanese art after 1989 Installation view GOMA

We can make another future: Japanese art after 1989 Installation view GOMA / View full image

We can make another future: Japanese art after 1989 Installation view GOMA

We can make another future: Japanese art after 1989 Installation view GOMA / View full image

Beginning in 1989, Heisei has seen significant challenges for Japan, but it has also been the period of ‘Cool Japan’, with widespread international interest in Japan’s contemporary cultural production. As well as 25 years of Heisei, this also marked 25 years of the Gallery’s public engagement with the contemporary art of Japan.

The exhibition was an opportunity to experience the breadth of Japanese art that the Gallery has accumulated since 1989, making it the most significant representation in Australia and follows a number of exhibition and publishing projects that have enabled the Gallery to research and analyse significant areas of the Collection by region. These exhibitions have included ‘The China Project’ (2009), ‘Unnerved: The New Zealand Project’ (2010) and ‘My Country, I Still Call Australia Home: Contemporary Art from Black Australia’ (2013).

We can make another future features works by artists including Yayoi Kusama, Lee Ufan, Takashi Murakami, Yasumasa Morimura, Daido Moriyama, Yoshitomo Nara, Hiroshi Sugimoto and Yukinori Yanagi. QAGOMA’s collection of contemporary Japanese art is the most extensive in Australia and is uniquely positioned to shed light on these artists and various aspects of culture and society in Japan.

Future Beauty: 30 Years of Japanese Fashion Installation view GOMA

Future Beauty: 30 Years of Japanese Fashion Installation view GOMA / View full image

Future Beauty: 30 Years of Japanese Fashion Installation view GOMA

Future Beauty: 30 Years of Japanese Fashion Installation view GOMA / View full image

‘Future Beauty: 30 Years of Japanese Fashion’ explored the tremendous innovation of Japanese fashion designers from the early 1980s to the present. With over 100 garments featured in the exhibition, ranging from the classic and elegant to outrageous, this was a rare opportunity to view these unique creations first hand.

EXPLORE THE EXHIBITION FURTHER

DELVE DEEPER INTO JAPANESE FASHION

Japanese fashion made an enormous impact on world fashion in the late 20th century. Designers such as Issey Miyake, Rei Kawakubo of Comme des Garçons and Yohji Yamamoto revolutionised the way we think of fashion.Their works were shown alongside examples of techno-coutour and the new generation of radical designers.

Curated by eminent Japanese fashion historian Akiko Fukai, Director of the esteemed Kyoto Costume Institute in Japan, this exhibition explored the unique sensibility of Japanese design, and its sense of beauty embodied in clothing.

Brisbane’s Harajuku Girls dressed up and visited the exhibition’s Super Kawaii Zone

Brisbane’s Harajuku Girls dressed up and visited the exhibition’s Super Kawaii Zone / View full image

Future Beauty: 30 Years of Japanese Fashion Hello Kitty designer Yuko Yamaguchi visits GOMA and Future Beauty: 30 Years of Japanese Fashion to celebrate Hello Kitty’s 40th anniversary

Future Beauty: 30 Years of Japanese Fashion Hello Kitty designer Yuko Yamaguchi visits GOMA and Future Beauty: 30 Years of Japanese Fashion to celebrate Hello Kitty’s 40th anniversary / View full image

Future Beauty: 30 Years of Japanese Fashion Hello Kitty designer Yuko Yamaguchi visits GOMA and Future Beauty: 30 Years of Japanese Fashion to celebrate Hello Kitty’s 40th anniversary

Future Beauty: 30 Years of Japanese Fashion Hello Kitty designer Yuko Yamaguchi visits GOMA and Future Beauty: 30 Years of Japanese Fashion to celebrate Hello Kitty’s 40th anniversary / View full image

Future Beauty: 30 Years of Japanese Fashion GOMA Comme des Garçons Pocket

Future Beauty: 30 Years of Japanese Fashion GOMA Comme des Garçons Pocket / View full image

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    We can make another future: Japanese art after 1989

    ‘We can make another future: Japanese art after 1989’ includes works by Yayoi Kusama, Lee Ufan, Daido Moriyama and others. This is an insight into the Heisei period and the works it inspired. Running until September 2015, ‘We can make another future: Japanese art after 1989’ surveys the Gallery’s collection of Japanese contemporary art. The exhibition focuses on work made during the period known as Heisei in the Japanese calendar, running from 1989 to the present day. The exhibition brings together artistic responses to questions of a fixed Japanese identity and also reflects on the physical, spiritual and natural worlds, and engagements with the burgeoning field of popular culture. At the outset of Heisei, space, time and encounter — along with the poetry of materials and the role of humans in the natural world — were central tenets of Japanese art. Their resonance with themes in Asian philosophy fuelled the popularity of such work with Japanese and international audiences alike. Coming to international prominence at this time were Yayoi Kusama and Lee Ufan, two senior artists whose practices elaborate on notions of encounter and infinity in distinctive yet complementary ways. Seemingly unconstrained by the physical limits of the canvas, the undulating fields of Kusama’s ‘net’ paintings suggest the possibility of infinite expansion into space, while her mirrored rooms, where repetition is achieved through reflected light, represent a step toward that possibility. Lee, meanwhile, was a central figure in the Mono‑ha (‘school of things’) group of 1968–73, and was instrumental in its deeply philosophical shift from producing objects to orchestrating relationships between them as well as encounters between the audience and the work. Throughout the period, dramatic installations and performances influenced by Mono-ha operated in dialogue with spatial and architectonic propositions in Japanese photography and printmaking. New discourses emerged in response to evolving cityscapes, rapid advances in technology and attendant threats of ecological crisis. From this rich context emerged the dynamic, postmodern syntheses of artists such as Hiroshi Sugimoto, Tatsuo Miyajima and Rei Naito, whose work evoked a digital sublime, the human experience of technological development, and its powerful rhetoric of transcendence and exponential change. By the 1990s, Japanese consumer society had reached its feverish peak, initiating discourses centred on information overload, as well as a reassessment of cultural values. As various media consolidated the image of the Japanese city as neon-drenched megalopolis, a new generation of artists and intellectuals sought creative freedom in abandoning pretence to deeper meaning. Turning away from the pursuit of eternal truths, they looked instead to the very surfaces of popular culture. Interest in the changing textures of consumerism was not new, and senior figures associated with the international Fluxus movement, including Ay-O, Takahiko Iimura and Mieko Shiomi, maintained significant existing practices. Equally significant were photographers like Daido Moriyama, who produced streams of images in an attempt to capture aspects of the modern city that words could no longer describe. But while such work conveyed a sense of unease, a new generation felt at home with collapsing distinctions of high art and popular culture. Two of the best known artists to emerge from this irreverent variant of international postmodernism were Takashi Murakami and Yoshitomo Nara. Privileging the visual and the vernacular, they respectively claimed comic books and punk rock, rather than art or philosophy, as major influences, in a surface-driven approach to representation that Murakami would characterise as ‘Superflat’. In the late 2000s, sculpture and installation experienced a revival as alternative means of exploring visual culture in the digital age, through the work of younger figures such as Yuken Teruya, Kohei Nawa and Teppei Kaneuji. Working through pop motifs and existential dilemmas, they provide valuable reflections on shifting regimes of vision and representation. ‘We can make another future: Japanese art after 1989’ is at GOMA until 20 September 2015.
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    Designing ‘Future Beauty’

    In this glimpse behind the scenes, we explain the inspirations that underpin the creative realisation for the exhibition ‘Future Beauty: 30 Years of Japanese Fashion’, from the collection of the Kyoto Costume Institute. The ‘Future Beauty’ exhibition is a celebration of simplicity, designed to showcase the garments on display. The result is a landscape of forms and shadows that are poetic, and embrace the Japanese forms of origami. ‘Future Beauty’ is characterised overall by a minimalist white interior. In The Fairfax Gallery 1.1, the exhibition’s five themes — In Praise of Shadows; Flatness; Tradition and Innovation; Cool Japan; and Designer Focus — take on the elements of the featured garment designs. The Long Gallery is defined by the use of black and shadow play. Incorporated across both galleries are the abstracted origami-inspired patterns, present in partitions and wall elements. The division of these spaces and the layout of the garments create a meandering path of travel that conceals the next grouping. The shift and angling of the partitions within these spaces are arranged to enable them to unfold as one moves through the spaces, with contrasting palettes and spatial associations enhancing the individual themes. The overall design of ‘Future Beauty’ draws parallels with architect Tadao Ando’s purist aesthetic and simple construction techniques. This aesthetic, combined in the Long Gallery with a monochromatic palette, mirrors established aesthetics within the contemporary Japanese fashion scene. The Gallery’s exhibition design team also found inspiration in the Japanese art of origami, seen through the fold and play of angular wall panels, which turn down into key sculptural elements within the space. The principles of origami, also prevalent in Japanese modern art, are expressed in the ‘Tradition and Innovation’ section through Junya Watanabe and Issey Miyake garments. Captured below these folds is one rectilinear plywood box that holds a wealth of rare books, catalogues and magazines highlighting Yamamoto, Miyake and Kawakubo’s collaborations with artists, photographers and designers. Black is used within the Long Gallery, drawing on a cultural sensibility attuned to light and shade and the power of black, prevalent in contemporary Japanese fashion. RELATED: Japanese Fashion RELATED: Behind the costume: Lady Gaga SIGN UP NOW: Subscribe to QAGOMA Blog for the latest announcements, recent acquisitions, behind-the-scenes features, and artist stories. The softness of the shadow is critical to the design experience within ‘In Praise of Shadows’, the first section in the exhibition. The tactile nature of the fibre curtains subtly reveals the space through a six-metre-high fabric drop, which evokes a cathedral-like experience. Mannequins are silhouetted in groups between tensioned fabric panels, adding to the layered tones of shadows. The rectilinear plinth design will resonate with the patrons’ sense of drama and the theatre of a catwalk parade. At the end of this section, plays a large-screen projection of a runway show where Rei Kawakubo and Yohji Yamamoto first introduced some of these concepts to the fashion world. Flatness’ explores the simple geometries and interplay of flat planes and volume, particularly in the work of Issey Miyake and Comme des Garçons (Rei Kawakubo). Here, designers reference the Kimono as carrying a defined sense of space. The use of the suspended tactile fibre curtain has been gathered to provide more visual separation between ‘Flatness’ and ‘Tradition and Innovation’. The next section in the lower galleries focuses on the spectacle that is ‘Cool Japan’, allowing a design approach that tends to the outrageous rather than the discreet. The layout of the partitions assists to define this unique and playful collection of garments, accompanied by a selection of films set within this zone. The black wall and plinth provide a strong contrast as a backdrop for the colourful garments. The final section focuses on each of the exhibition’s principle designers. A key feature within this space is the reproduction of three fabric patterns used as a wallpaper blanket on each display plinth and adjacent wall, emphasising each of the show’s key fashion collections. Situated within the River Room, adjacent to the exhibition, is a custom-designed seating platform for Up Late, accompanied by a kaleidoscopic backdrop closely connected to the ‘Cool Japan’ theming. The overall graphic style of the surrounding stage has been influenced by J-pop star and model Kyary Pamyu Pamyu’s videos, an all-out assault on the senses. The overall effect, we hope, is one of overwhelming cuteness and colour, albeit tinged with a dark twist. Patrons are encouraged to have their photo taken in front of the stage and upload their image to a live feed to be seen on one of the ten screens embedded in the stage backdrop. A cloud of soft toys, inspired by Harajuku fashion styles and the ‘Kawaii’ design leader Sebastian Masuda. The ‘Future Beauty’ design is a result of both the Project Exhibition Designer Grace Liu and Assistant Exhibition Designer Rebecca Shaw’s collective efforts to nurture the design with a sense of the authenticity it deserved. Subscribe to YouTube to go behind-the-scenes / Watch our fashion in-conversations / Read more about your Australian Collection