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La Recepción Crítica De La Obra De Yayoi Kusama, Yoko Ono Y

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La Recepción Crítica De La Obra De Yayoi Kusama, Yoko Ono Y Máster en Estudios Avanzados del Historia del Arte Trabajo Final de Máster - Curso 2019-2020 La recepción crítica de la obra de Yayoi Kusama, Yoko Ono y Shigeko Kubota en Japón. Del vacío de la posguerra a su recuperación en el siglo XXI Directora: Laura Mercader Amigó Alumna: Nana Nakaguchi Índice INTRODUCCIÓN .............................................................................................................................................. 3 １．LAS CARACTERÍSTICAS DEL MUNDO DEL ARTE EN EL JAPÓN DE LA POSGUERRA Y EL LUGAR DE LAS ARTISTAS ..................................................................................................................................................... 11 1-1. LAS PARTICULARIDADES DEL MUNDO DEL ARTE JAPONÉS ...................................................................................... 11 1-2. LA FORMACIÓN DE MUJERES ARTISTAS .............................................................................................................. 14 1-3. EL SURGIMIENTO DE LOS ARTISTAS DE VANGUARDIA EN LA POSGUERRA .................................................................. 16 1-4. LOS PROBLEMAS DE LOS ESTUDIOS SOBRE LAS MUJERES ARTISTAS EN JAPÓN ............................................................ 19 2. LOS MOVIMIENTOS DE VANGUARDIA DE POSGUERRA Y LA TRANSFORMACIÓN DE LA CRÍTICA DE ARTE EN JAPÓN .......................................................................................................................................................... 25 2-1. “EL TORBELLINO DEL INFORMALISMO” ............................................................................................................. 26 2-2. LA TRANSFORMACIÓN DE LA CRÍTICA SOBRE LAS MUJERES ARTISTAS ....................................................................... 30 2-3. DEL UNIVERSALISMO NEUTRO DEL INFORMALISMO A LA MASCULINIDAD DEL ACTION PAINTING ................................. 32 2-4. EL MOVIMIENTO DE ARE DE VANGUARDIA DE JAPÓN DESPUÉS DEL TORBELLINO DEL INFORMALISMO ........................... 35 3. LA POLÍTICA DE YAYOI KUSAMA: SU COMPRENSIÓN Y AMBICIÓN POR LA TRANSFORMACIÓN DEL MUNDO DEL ARTE, CRÍTICA ARTÍSTICA DE POSGUERRA ............................................................................................. 38 3-1. LINGERING DREAM (残夢)： KUSAMA Y EL MOVIMIENTO DE REFORMA DE NIHONGA .............................................. 38 3-2. LA AMBICION ARTITICA DE KUSAMA Y LAS NUEVAS OPORTUNIDADES ..................................................................... 44 3-3. EL CAMBIO ARTÍSTICO EN EEUU: NET PAINTING ................................................................................................ 47 4. YOKO ONO Y LA CRÍTICA DE ARTE JAPONÉS DE LOS 60 DESPUÉS DEL TORBELLINO DEL INFORMALISMO .. 53 4-1. INICIO DE LA CARRERA: LA ACTIVIDAD ARTÍSTICA EN NUEVA YORK ......................................................................... 53 4-2. EL REGRESO A JAPÓN ..................................................................................................................................... 60 4-3. CUT PIECE ................................................................................................................................................... 67 4-4. ONO Y LA CRÍTICA DE ARTE EN JAPÓN DE LOS 60 ................................................................................................ 69 5. SHIGEKO KUBOTA: SU DESARROLLO ARTÍSTICO DESDE EL CONTEXTO DEL MUNDO DEL ARTE JAPONÉS DE LOS 60 .......................................................................................................................................................... 74 5-1. KUBOTA Y LOS MOVIMIENTOS DE ARTE VANGUARDIA DE JAPÓN ............................................................................ 74 5-2. LA POSICIÓN DE LAS MUJERES ARTISTAS DE VANGUARDIA EN LOS 60 EN JAPÓN ........................................................ 79 5-3. EN EEUU: KUBOTA, FLUXUS Y VAGINA PAINTING .............................................................................................. 83 5-4. INSPIRACIÓN A LA VIDEO ESCULTURA ................................................................................................................ 87 5-5. LAS OBRAS DE VIDEO ESCULTURA ..................................................................................................................... 90 6. SOBRE EL RECONOCIMIENTO DE TRES ARTISTAS ....................................................................................... 98 7. CONCLUSIÓN .......................................................................................................................................... 104 8. BIBLIOGRAFÍA ........................................................................................................................................ 112 2 9. ANEXOS .................................................................................................................................................. 120 Introducción Objetivo: Este trabajo parte de la duda sobre el vacío de la crítica de arte japonesa respecto a tres artistas japonesas que trabajaron en EEUU y cuyas obras fueron más apreciadas en los países extranjeros que dentro de Japón en tiempos de posguerra. El objetivo de este trabajo es investigar la causa de este vacío y reinterpretar las obras de estas artistas desde este lugar. Las artistas que se tratan son Yayoi Kusama (1929 Nagano-), Yoko Ono (1933 Tokio-) y Shigeko Kubota (1937 Niigata- 2015 Nueva York)1. Kusama y Ono son unas de las artistas japonesas más conocidas del mundo actualmente, pero la crítica artística sobre ellas parece que tiene diferencia de contenidos y etapa de aceptación entre Japón y otros países. El nombre de Kubota, pionera en video escultura, no es conocido en Japón excepto por una parte de los interesados en el arte. Estas artistas han realizado actividades artísticas en Japón y EEUU en los años 50 y 60, y crearon obras radicales, que elaboran un nuevo vocabulario artístico y que se pueden interpretar desde el punto de vista feminista2. Antes de todo, para verificar mi duda sobre el vació crítico de estas artistas en Japón, se ha estudiado el número de críticas de cada artista con los siguientes dos métodos de búsqueda. 1) Búsqueda en Google Académico, como método para comprobar la diferencia de cantidad de estudios en Japón y fuera de Japón, en especial críticas y tesis en campos académicos. Se han puesto los nombres de las artistas con caracteres alfabéticos y con caracteres japoneses en las palabras clave de búsqueda. Debido a que es probable extraer los datos de otra persona con el mismo apellido y nombre en la búsqueda alfabética, se agregó la palabra “arte”3. 2) Búsqueda en línea de la Biblioteca de Dieta Japonesa, como método para buscar artículos de revistas y 1 El nombre japonés, en general, primero se pone apellido, y luego nombre. Sin embargo, en esta tesis para evitar confusión, se pone primero el nombre y luego apellido. 2 Kusama presentó diversas obras de instalaciones llenas de falo en los 60, Ono hizo performance de Cut Piece en 1964, y Kubota presentó performance Vagina Painting en 1965. 3 Ejemplo de nombre de búsqueda： nombre alfabético＋art →Yoko Ono＋art/ nombre japonés→オノ・ヨーコ） 3 tesis publicados en Japón. Esto incluye artículos de revistas literarias y de revistas de prensa rosa. La búsqueda de estos dos métodos está dividida para cada década desde 1960 por el año de la publicación de materiales4. 1) Búsqueda en Google Académico: Kusama tiene un total de 3.280 resultados en la búsqueda de nombre alfabético y 91 en la búsqueda de nombre japonés. Ono tiene un total de 11.800 resultados para la búsqueda de nombre alfabético y 97 para la búsqueda de nombre japonés. Y Kubota tiene un total de 786 en la búsqueda de nombre alfabético y 3 buscando en nombre japonés. En los 60 y 70 en la búsqueda con nombre alfabético, Ono tiene más de 100 resultados, y Kusama tiene 16 en los años 60 y 6 en los 70. En cambio, no existen materiales japoneses durante este periodo. Después del 90, el número de documentos de Kusama y Ono ha aumentado fuera de Japón, por lo tanto, la diferencia entre números en Japón es evidente. Acerca de Kusama y Ono, la mayoría de los documentos en Japón son publicados después de 2010. Kubota es mencionada en artículos académicos, y revistas académicas, en todas las décadas en la búsqueda con su nombre alfabético, pero en Japón solo hay tres casos, uno en los 80 y otros dos en la década de 2010. 2) Búsqueda en línea de la Biblioteca de Dieta Japonesa: se han encontrado 141 obras sobre Kusama, 79 sobre Ono, y 17 sobre Kubota. Dos de los cuatro artículos de revistas de arte de Kusama en los 60 y 70 son contribuidos por la propia Kusama. Tres artículos de los 80 son de revistas de arte y una crítica de exposición. En los 90, comenzando con la cobertura sobre Kusama 5 de la revista de arte Bijutsu techou en 1993, fue cuando las revistas de arte comenzaron a destacar a Kusama. Desde los primeros años de la década de 2000 el número de artículos y tesis sobre Kusama aumentaron mucho, y la mitad del total de los artículos están escritos después de 2010. Con respecto a los materiales relacionados con Kusama, actualmente es difícil obtener los materiales publicados en los años 40 y 50 (Kusama salió de Japón en 4 Véase el cuadro de resultado en Anexos 1 y 2. 5 草間彌生―オブセッショナル・アートの出自と展開 ＜特集＞, en Bijutsu Techo, num.671, 1993, Pp.15-93. 4 1957) y también es imposible extraerlos utilizando el sistema de búsqueda de la Biblioteca de la Dieta. Por esta razón, se ha citado
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