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Yasumasa Morimura One Hundred M's Self-Portraits SAMMLUNG FRIEDRICHSHOF Presseinformation April 2016 YASUMASA MORIMURA One Hundred M’s self-portraits Yasumasa Morimura, Doublonnage (Marcel), 1988 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York SAMMLUNG FRIEDRICHSHOF YASUMASA MORIMURA One Hundred M’s self-portraits Eröffnung Samstag, 30. 04. 2016 18.00 – 21.00 Einführende Worte Dr. Hubert Klocker (Direktor Sammlung Friedrichshof) Ort SAMMLUNG FRIEDRICHSHOF Römerstraße 7, 2424 Zurndorf, Burgenland Ausstellungsdauer 01. 05. 2016 – 20. 11. 2016 Der Künstler wird zur Finissage anwesend sein. Öffnungszeiten nach telefonischer Voranmeldung unter +43 (0) 676 7497682 www.sammlungfriedrichshof.at Die Ausstellung am Friedrichshof wird durch die Präsentation von Referenzwerken in der Wiener Dependance STADTRAUM ab 03. 05. 2016 begleitet. Druckfähiges Bildmaterial sowie Texte zur Arbeit Yasumasa Morimuras stehen auf unserer Homepage www.sammlungfriedrichshof.at unter Presseservice / Yasumasa Morimura zum Download bereit. ­Sollten Sie im Vorfeld bereits Bildmaterial benötigen, kontaktieren Sie uns gerne. Für nähere Auskünfte, Besichtigungstermine oder für die Organisation eines Interviews mit dem Künstler wenden Sie sich bitte an Marie Oucherif, [email protected] Die SAMMLUNG FRIEDRICHSHOF zeigt in den von Adolf Krischanitz ausgebauten Ausstellungsräumen ab April 2016 eine Neuhängung der Sammlungsbestände des Wiener Aktionismus mit Schwerpunkt auf Film. Dieser Präsentation werden einmal jährlich ausgewählte Positionen der Gegenwartskunst gegen- übergestellt. Wir freuen uns, in der Frühjahrsausstellung 2016 den japanischen Künstler Yasumasa Morimura zu zeigen. Seite 2 /11 SAMMLUNG FRIEDRICHSHOF Pressetext In Zusammenarbeit mit Luhring Augustine Gallery (New York) wird in der SAMMLUNG FRIEDRICHS- HOF die erste, österreichische Einzelausstellung von Yasumasa Morimura präsentiert. Seine Arbeiten werden am Friedrichshof in Zurndorf, Burgenland, sowie im STADTRAUM, der Wiener Dependance gezeigt. Der Schwerpunkt der Ausstellung am Friedrichshof liegt auf Morimuras emblematischer Foto- serie One Hundred M’s self-portraits, im STADTRAUM zeigen wir drei repräsentative Beispiele aus der Arbeit Las Meninas Renacen de Noche. An beiden Orten wird Morimuras Video Mishima vorgeführt. In dieser Performance nimmt Morimura die ikonische Rolle des bekannten Autors Yukio Mishima ein, der sich nach einem inszenierten Putschversuch durch Harakiri getötet hat. Seit drei Jahrzehnten arbeitet der Künstler als konzeptueller Fotograf und Filmemacher. Seine Arbeit ist allerdings der Performance-Kunst näher als der herkömmlichen Kunstfotografie. Mit seinen Fotos ist er ein bedeutender Vertreter der „inszenierten Fotographie“ (staged photography). Durch die Verwendung von Requisiten, Kostümen, Makeup und digitaler Manipulation verwandelt er sich in beeindruckender Weise in Sujets des westlichen Kunst- und Kulturkanons. Als Künstler der 2. Generation der appro- priation artists stellt Morimura nicht nur Autorenschaft, Originalität und geistiges Eigentum in Frage, sondern setzt sich vordergründig auch mit Gender, Identität und Differenz auseinander. Japan hat schon seit jeher fremde Kulturen in sich aufgenommen, diese später mit seiner eigenen ver- knüpft und dadurch eine starke Hingabe für den Westen entwickelt. Diese Faszination spiegelt sich in der gesamten japanischen Gesellschaft und Kunst wieder. Morimura basiert seine Fotografien auf prägende Gemälde von z.B. Édouard Manet, Frida Kahlo oder Vincent van Gogh und nutzt ebenso aus- gewählte Bilder aus historischen Materialien, Massenmedien und der Popkultur für seine Arbeiten. Seine Neuer findung von ikonischen Fotografien und Meisterwerken der Kunstgeschichte fordert nicht nur die herkömmliche Auffassung dieser Themen und den Blick der Betrachters heraus, sondern kommen- tiert ebenso die komplexe Beziehung Japans in Bezug auf die Integration und Absorption des westlichen Kulturkreises. Er eignet sich den Okzident durch Bilder an, die für ihn wie Ikonen der Fremde, des Unbekannten funktionieren. Indem er sie in seine eigenen Bilder umwandelt, passt er sie seinen beson- deren Eigenheiten an. Der Körper wird zum Zeichen und die Arbeit Morimuras in diesem Sinne auch oft mit der Cindy Shermans assoziiert; vor allem, wenn die Dekonstruktion betrachtet wird, mit der sich auch Sherman in Bezug auf Fragen von Genre und Authentizität beschäftigt. Wenn man die Tradition des Kabuki-Theaters in Betracht zieht, in der Frauenrollen von Männern interpretiert werden, können die Arbeiten von Morimura als Aussage über den Bruch von kulturel- len Barrieren beschrieben werden, die mit großem Einsatz von Humor und Ironie arbeiten. Während ­Morimuras Werke üblicherweise Weiblichkeit durch die ikonischen Abbildungen von Frauen in der Kunstgeschichte und Popkultur untersucht, wie in One Hundred M’s self-portraits, erforscht Requiem for the XX Century das weit verbreitete Bild von prominenten männlichen Persönlichkeiten des letzten Jahrhunderts. Dabei spielte jeder dieser Protagonisten eine bedeutende Rolle in Anbetracht eines Höhe- punkts der Geschichtsschreibung und wird visuell eingefangen. Indem er sich mit Ideologien, ­Diktatoren oder brillanten Köpfen substituiert, reflektiert Morimura über seinen persönlichen Zugang und die Begegnung mit diesen Bildern. Egal ob es sich um Einstein, Che, Lenin, Mao oder Trotzky handelt, ­Morimura wirft den Begriff der Maskulinität in der Politik und im Krieg auf. Er zeigt ein neues, erfrisch- tes Bild dieser Männer, die sich durch Weisheit, Hass, Ideologie oder Idealismus in unsere kollektive Psyche eingeschrieben haben. Seite 3/11 SAMMLUNG FRIEDRICHSHOF In der Erforschung von Las Meninas Renacen de Noche entwirft Morimura ein neues Narrativ, in dem er die Position der Personen sowohl in der eigentlichen Komposition, als auch im visuellen Raum des Museums verändert. Seit 1990 verwendete der Künstler die Bildwelt von Velasquez, als er Prinzes- sin Margarita Die Infantin personifizierte und zu einem Foto seiner Serie machte. Zusätzlich zu den elf Personen, die er von Las Meninas Renacen de Noche übernimmt, portraitiert er sich zum ersten Mal selbst, unkostümiert, als Künstler. In der Neubetrachtung dieses Gemäldes hinterfrägt Morimura Velasquez Ansatz in Bezug auf Perspektive, Autoren schaft und Identität. In der Wiener Dependance STADTRAUM werden drei Bilder dieser Velasquez Reihe gezeigt. Die Präsentation von Morimuras Arbeiten wird von der Neuhängung der Sammlungsbestände des Wiener Aktionismus begleitet. Yasumasa Morimura wurde 1951 in Osaka, Japan, geboren, wo er lebt und arbeitet. Einzelausstellungen seiner Arbeiten wurden im Jahr 2013 im Andy Warhol Museum in Pittsburgh, Hara Museum in Tokio und der Shiseido Gallery in Tokio vorgestellt, wo Las Meninas Renacen de Noche debütierte. Morimura war künstlerischer Leiter der von der Kritik gefeierten 2014 Yokohama Triennale. Seine Arbeit ist in den Sammlungen des Whitney Museum of American Art in New York, San Francisco Museum of Modern Art, J. Paul Getty Museum in Los Angeles, Museum of Fine Arts in Boston, Museum of Contemporary Art in Chicago, The Museum of Contemporary Art in Los Angeles und des Carnegie Museum of Art in Pittsburgh vertreten. Derzeit bereitet Morimura eine Einzelausstellung (05. 04. – 19. 06. 2016) für das National Museum of Art in Osaka vor. Seite 4/11 SAMMLUNG FRIEDRICHSHOF Yasumasa Morimura, One Hundred M‘s self-portraits, 1993 – 2000 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Yasumasa Morimura, Las Meninas Renacen de Noche II: Finding a tiny waiver within silence, 2013 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Yasumasa Morimura, A Requiem: Mishima, 1970, 2006 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Seite 5/11 SAMMLUNG FRIEDRICHSHOF Yasumasa Morimura, Self-Portrait (Actress) / Red Marilyn, 1996 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Yasumasa Morimura, One Hundred M‘s self-portraits, 1993 – 2000 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Yasumasa Morimura, One Hundred M‘s self-portraits, 1993 – 2000 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Seite 6/11 SAMMLUNG FRIEDRICHSHOF Yasumasa Morimura, Soluble Photography / Che, 2007 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Yasumasa Morimura, A Requiem: Red Dream / Mao, 2007 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Yasumasa Morimura, One Hundred M‘s self-portraits, 1993 – 2000 © Yasumasa Morimura; Courtesy of the artist and Luhring Augustine, New York Seite 7/11 SAMMLUNG FRIEDRICHSHOF Solo Exhibitions 2016 Yasumasa Morimura, National Museum of Modern Art, Osaka, Japan Yasumasa Morimura, Sammlung Friedrichshof, Zurndorf Austria 2014 – 2015 Las Meninas Renacen de Noche (In Praise of Velázquez: Handmaidens Reborn in the Night), Galería Juana de Aizpuru, Madrid, Spain Yasumasa Morimura: Las Meninas Renacen de Noche, Luhring Augustine, New York, NY, USA 2013 – 2014 Yasumasa Morimura: Theater of the Self, Andy Warhol Museum, Pittsburgh, PA, USA 2013 Las Meninas Renacen de Noche (In Praise of Velázquez: Handmaidens Reborn in the Night), Shiseido Gallery, Tokyo, Japan Rembrandt Room Revisited, Hara Museum of Contemporary Art, Tokyo, Japan 2012 Requiem for the XX Century: Self Portraits in Motion, Ikkan Art Gallery, Singapore A Study of Yasumasa Morimura, Mitsubishi-Jisho Artium, Fukuoka, Japan 2011–2012 Eshashin + The Kimono, Takashimaya
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