How Does the Circulation of Works of Art and Exhibitions Fuel Acculturation?

M USEOLOGICA BRUNENSIA STUDIE/ARTICLES HOW DOES THE CIRCULATION OF WORKS OF ART AND EXHIBITIONS FUEL ACCULTURATION? HARUMI KINOSHITA https://doi.org/10.5817/MuB2017-2-3 ABSTRACT/ABSTRAKT: KEYWORDS/KLÍČOVÁ SLOVA: Museum and MNAM-CCI (Musée National d’Art Moderne-Centre de A museum should be considered acculturation – appropriation – Création Industrielle/the Georges not only a local anchorage but also circulation – diffusion – turnkey Pompidou Center), and describes a place that is integrated into the exhibition the process of acculturation in logic of the flow. Thus, the study akulturace – apropriace – zápůjčky – Japan. If the circulation of works of of the circulation of works of art difúze – „výstava na klíč” art and exhibitions is an instrument and exhibitions is crucial from of acculturation, this acculturation a museology standpoint. This paper phenomenon can be identified, shows the effects of the movement Introduction particularly in Japan, a country of works of art and exhibitions in that often hosts turnkey exhibitions the cultural field. The analysis of A strategy for cultural diffusion by organized by worldwide museums. these effects determines the taste the circulation of works of art and of the public, the construction of exhibitions has experienced strong Chapter 1 introduces the history of a museum’s reputation, and the development over the last ten years the circulation of works of art and phenomenon of acculturation. at museums. Museology, which exhibitions, especially by French By focusing on the process of takes a keen interest in various museums in Japan. Chapter 2 acculturation in Japan through aspects of the museum world, has explains the notion of circulation French museums, this paper argues overlooked that the circulation from a communicational point that the circulation of works of art of works of art and exhibitions of view by referring to that of and exhibitions is one strategy for is part of museums. In fact, such Raffestin (1980), Latour (1996), cultural diffusion. circulation is not just a technical and Jeanneret (2008). Chapter 3 issue that emerges at the artwork describes the diffusion strategy of Jak přispívají zápůjčky management level; it is a social French museums, which lends its uměleckých děl a výstav phenomenon that is intensifying collections around the world, and k akulturaci? and raising questions about the effects of such loans. This work development of a museum’s shows the strategy of cultural Muzea by měla být považována activities. Analyzing the circulation diffusion at museums by the nejen za lokální kulturní centra, of the works of art and exhibitions phenomenon of acculturation. ale i za místa integrovaná do lets us determine symbolic logiky kulturního pohybu. Studie operations in the dimension of 1. Historical approach věnovaná zápůjčkám uměleckých social impact at a museum: what děl a výstav má tedy z hlediska are the effects of the movement Historical research, which is muzeologie zásadní význam. of works of art and exhibitions? necessary to understand the Článek představuje účinky pohybu What are the strategies for their circulation of works of art uměleckých děl a výstav v oblasti circulation? and exhibitions, allows us to kultury. Analýza těchto účinků comprehend the origins, determine určuje vkus diváka, přispívá When considering the circulation of the purposes, and recognize the k budování pověsti muzea works of art related to temporary acceleration of this movement. a fenoménu akulturace. Studie se exhibitions, we should discuss the Chapter 1 treats cultural diffusion soustředí na proces akulturace question of cultural diffusion on from the 1920s until the 1990s. v Japonsku prostřednictvím muzeí an international scale. This paper ve Francii a ukazuje, že zápůjčky focuses on the circulation of works uměleckých děl a výstav jsou of art and exhibitions, especially jednou ze strategií kulturní difúze. at French museums such as the Louvre Museum, the D’Orsay 36 2017 /06 /02 1.1 Initial circulation of works In 1954, the Asahi newspaper described as thirsty for French of art and exhibitions by French company sponsored in Tokyo, Kyoto art. He remarked that many museums in Japan and Fukuoka an exhibition entitled young people saw this exhibition a French Art Exhibition in Japan, and bought many catalogues. In I show first the beginning of the which displayed about 360 works addition to Japanese contemporary circulation of works of art and of art from the early medieval art, he argued that Japanese art exhibitions by French museums in period to the mid-19th century had an international aesthetic. In Japan to explain that the cultural from such artists as Poussin, Le other words, it provided a Japanese diffusion between the two countries Brun, Boucher, Fragonard, Chardin, flavor instead of just importing has been remarkable already in Ingres, Gericault, Delacroix, a western style, and he believed the 1920s and that the process of Chasseriau, Courbet and Renoir. that Japanese art successfully acculturation or appropriation has Note the France and Japan had just united Japanese traditional already been seen. reached a cultural agreement in sensitivity with European 1953. Even though this exhibition’s contemporary art.9 The exhibition of Contemporary realization was due to this cultural Art in Japan was held in 1922 until agreement, nevertheless, it was not 1.2 A symbolic event: lending the 1931. The 8th exhibition held in easy to send to Japan more than Venus of Milo to Japan for the 1929 presented about 250 works three hundred works of art from 1964 Olympic Games of art from such artists as Boudin, the number of different French Fantin-Latour, Pissarro, Rodin, museums. Prime Minister Shigeru The lending to Japan in 1964 of Van Dongen and Zadkine. Houshin Yoshida5 declared that the French the Venus of Milo, which was Kuroda,1 one of the organizers of culture is admired by the cultured authorized by André Malraux, this exhibition, argued that the people of the world, including the is emblematic because it shows cultural exchange between French Japanese, and believed that this how temporary exhibitions can and Japan through the exhibitions exhibition greatly contributed to function as an instrument to satisfy fueled a mutual understanding the development of the Japanese social demands and to promote between both countries.2 In the culture.6 acculturation. same year, Paris hosted a Japanese art exhibition, as early example of In 1961 in Tokyo, an exhibition The Venus of Milo was shipped reciprocal intercultural knowledge. called French Art Exhibition to Japan in 1964 and exhibited at 1840–19407 presented art from the the National Museum of Western In 1951, the following exhibition mid-19th century through World Art in Tokyo and at the Kyoto was shown in Tokyo: Exposition War II, including works by Millet, Municipal Museum of Art. The d’art français contemporain; œuvres Manet, Degas, Cezanne, Van Gogh, Japanese government sought to présentées à Pairs au Salon de Seurat, Daumier, Redon, Lautrec, display the Venus of Milo as well Mai 1950. About 60 works of art Bonnard, Modigiliani, and Soutine. as the Olympic Games because were presented from such artists This exhibition set a record for both symbolized Japan’s admission as Coutaud, Dufresne, Hartung, visitors: 1 477 388 over a period into the realm of developed Labisse, Schneider and Soulages. of 119 days. It offered not only countries. To achieve this goal, Teiichi Hijikata3 wrote that this a collection from the number of the Asahi newspaper company exhibition offered insights into French museums but also a display took a cultural, diplomatic, and what the new French generation is method. In an interview with economic initiative. thinking.4 Art magazines featured the Asahi newspaper company, this exhibition, and artists and art Bernard Dorival8 said that he was Takio Ena, the department head critics discussed French artists and touched by the positive attitudes of the Asahi newspaper company’s artistic movements in France. Many of the Japanese visitors whom he cultural project, sent a letter on Japanese felt great interest in this May 23, 1963 to Bernard Dorival: 5 Shigeru Yoshida (1878–1967) was former Prime exhibition. Minister of Japan from 1946 to 1947 and from “Following the great achievement of 1948 to 1954. French – Japanese cultural exchange 1 Houshin Kuroda (1885–1967) was an art critic. 6 Cat.Expo. Exposition d’art Français au Japon. program in the two French Art 2 Cat. Expo. Exposition d’art Français Tokyo: Asahi Shimbun, 1954, p. 4. contemporain. Tokyo: Nichifutsu Geijutsusha, Exhibitions in Japan, and it concert 7 This exhibition was also shown in Kyoto in 1929, p. 3. 1962. with the coming big sports event of 3 Teiichi Hijikata (1904–1980) was an art the Tokyo Olympic Game in 1964, 8 Bernard Dorival (1914–2003) was a French historian and art critic. art historian and art critic. He was named the Asahi Shimbun again plans a unique 4 Cat. Expo. Exposition d’art français contemporain; assistant curator of the National Museum of œuvres présentées à Paris au Salon de Mai 1950. Modern Art in 1941. He was the Commissioner- 9 Interview with Mr. Bernard Dorival, in Asahi Tokyo: Mainichi Shimbun, 1951, p. 4. -General for this exhibition. Shimbun, 1961, December 4. 37 M USEOLOGICA BRUNENSIA and quite an ambitious project, directly related to this exhibition Japan, often welcomed them. dynamic enough to cope with the with goodwill and friendliness. We To name a few of these turnkey great international sports event both believe we should not ignore the exhibitions, Japanese museums in its impact on public psychology significant fact that this cultural hosted collections from the Louvre and in its cultural significance – an project contributed a great deal Museum in 1991, 1993 and 1997, exhibition of a single but the supreme to the betterment of the friendly the D’Orsay Museum in 1995 and treasure of France, VENUS OF relations between the two countries 1999, the Barnes Foundation in MILO.”10 through these direct people-to-people 1994, the Tate Gallery in 1998, and contacts.”12 the National Gallery of Washington On February 12, an agreement in 1999.

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