International Workshop Mutual Images

PAINTING EAST: ARTISTIC RELATIONS BETWEEN JAPAN AND THE WEST [ARTISTS, AESTHETICS, ARTWORKS] University of Vigo (Pontevedra Campus) Spain, 3 - 4 June 2019 MONDAY SCHEDULE TUESDAY 19.06.03 19.06.04

9.30 OPENING AND ARTS & AESTHETICS WELCOME REMARKS 20TH AND 21ST CENTURIES ______

12.30

JAMI WATSON

University of Minnesota DESING & FASHION ______Writings of Contemporary Japonisme

______16.00 TERESA PÉREZ CONTRERAS 13.00 University of Granada ARTS & AESTHETICS DAMASO FERREIRO UNTIL THE 19TH CENTURY Japanese graphic design: cultural identity in a Hiroshima University global world ______Painting the west in the 20th century Japanese 10.00 modern literature: Akutagawa´s attitude towards the modernization of Japan seen 16.30 ALEJANDRO M. SANZ GUILLÉN through the works of Gauguin and Renoir TATIANA LAMEIRO GONZALEZ ______PHOTOGRAPHY POPULAR CULTURE LINET HEREDIA OTERO Zaragoza University ______MANGA AND ANIME 13.30 LUNCH BREAK University of Vigo The perception of Japan in seventeenth 17.30 ______century Europe: illustrated books and the ______POPULAR CULTURE TECHNOLOGY Bilateral influences in Graphic Design construction of an image ANA TRUJILLO DENNIS 10.00 between Japan and The West: Shigeo ______16.00 ______Fukuda, a case study Universidad Pontificia Comillas (Madrid) OSCAR GARCÍA ARANDA ______10.30 LORETO LARRAÑAGA ABAJAS 12.00 Advancing Japan. Photomontage as Pompeu Fabra University 17.00 COFFEE BREAK ELETTRA GORNI NaArt – Nature-Garden & Landscape propaganda in the context of Japan’s IMEN BOUZIRI BOULLOSA Research Institute diplomacy in the 1930s Representations of Europe in Japanese anime: ______Independent scholar and artist ______an overview of study cases and theoretical Complutense University of Madrid Nature as Art, a space of memory (the frameworks 17.30 Representation methods between Europe Japanese garden: poetic chance and spatial 17.55 ______LILYVERSE & AETHERIAL MACHINES. and Japan: exchanges and experimentations reason. Its imprint on Visual Arts since Techno-embodied Japanese media texts and IRIA ROS PIÑEIRO crossing Japanese xylography (mokuhanga) 20th century) EMILY COLE techno-orientalist western readings 10.30 during XVIII and XIX century ______University of Valencia ______University of Oregon, History Department KARIM EL MUFTI University of Tokyo (visiting researcher) 16.25 12.30 Undressing Japonism: the true dresses of Political Science Institute (Sciences-Po Beirut) 11.00 European and Japanese fashion LAURA MESA LIMA Photographic encounters during the Allied Saint-Joseph University (USJ) LINET HEREDIA OTERO ______MARIKO HIRABAYASHI occupation of Japan Higher School of Art and Design ______Influence and success of the Japanese University of Vigo University of York Fernando Estévez Grendizer in the Arab World, mirror of 18.00 18.20 violence and expectations for [ A E S T H E T I C ] Iconography: SARA MARTÍNEZ PÉREZ Albert Moore and ukiyo-e: aesthetic Japonism From archipelago to archipelago. The Japan generations of Arabs Appropriation of Japanese pop culture images in Britain in the late 19th century that draws in the Canary Islands ANTÓNIO JOÃO SARAIVA ______through Vaporwave music University of Vigo ______CEMRI- Universidade Aberta, Lisboa 11.00 Mutual Influences between Japan and Europe 11.30 16.50 13.00 across fashion. Pattern design making as Pine journey JOSÉ ANDRÉS SANTIAGO IGLESIAS constructive thinking PANEL DISCUSSION PANEL DISCUSSION ______PANEL DISCUSSION ______University of Vigo CHAIR CHAIR 18.45 CHAIR 18.30 Dr. José Andrés Santiago Iglesias Dr. Ana Soler Baena Manga à la mode. Exploring Lastman from a Dr. José Andrés Santiago Iglesias dx5 - digital & graphic art_research Director of dx5 - digital & graphic art_research PANEL DISCUSSION mangaesque perspective dx5 - digital & graphic art_research PANEL DISCUSSION & CLOSING REMARKS ______CHAIR CHAIR 12.00 COFFEE BREAK 17.10 COFFEE BREAK Dr. Aurore Yamagata-Montoya 11.30 COFFEE BREAK 13.30 LUNCH BREAK Dr. Román Padín Otero President of Mutual Images Research Association Fine Arts Faculty (University of Vigo) ______MONDAY ABSTRACTS 19.06.03

______

10.30

ELETTRA GORNI

Independent scholar and artist Representation methods between Europe ARTS & AESTHETICS ______and Japan: exchanges and experimentations 20TH AND 21ST CENTURIES crossing Japanese xylography (mokuhanga) 16.00 during XVIII and XIX century ______LORETO LARRAÑAGA ABAJAS A method of representation always brings a 12.30 ARTS & AESTHETICS system of thought, a specific notion of space: NaArt – Nature-Garden & Landscape Research Institute UNTIL THE 19TH CENTURY through the dissemination of the treatise JAMI WATSON “Perspectiva pictorum et Architectorum” by ______Andrea Pozzo, operated by the Italian brother University of Minnesota Nature as Art, a space of memory (the Jesuit Giuseppe Castiglione in the East, two Japanese garden: poetic chance and spatial 10.00 worldviews, two ways of representation of Writings of Contemporary Japonisme reason. Its imprint on Visual Arts since reality meet and compare. ______20th century) ALEJANDRO M. SANZ GUILLÉN In 1735 Castiglione edits the first chinese- ______In 1914, Japonisme was divided into two language book on the mechanics of eras—the traditional era pre World War I 13.00 This study has investigated the garden as a Zaragoza University perspective entitled SHIXUE (Visual Learning), 11.00 and the contemporary era post WWI. This respected work of art and aims to give birth adapting some sections of the first volume past year, Paris organized a grand festival DAMASO FERREIRO to the hermeneutics of the Japanese garden The perception of Japan in seventeenth of the Pozzo’s “Perspectiva Pictorum et MARIKO HIRABAYASHI entitled: Japonismes 2018 to celebrate the as a nature created by man included in the century Europe: illustrated books and the Architectorum”. The publication of SHIXUE 150th year of French-Japanese relations. This Hiroshima University field of architecture as a pictorial three- construction of an image represented the first formal dissemination of University of York season featured many sponsored events and dimensionality combining literary components techniques and mechanisms used in western exhibitions including art, music, and theatrical Painting the west in the 20th century Japanese which are a synthesis of art and nature and At the beginning of the seventeenth art at the Qing court to the Chinese public. Albert Moore and ukiyo-e: aesthetic Japonism performances but didn’t include events modern literature: Akutagawa´s attitude thus the principal idea behind this project, century, after more than fifty years of In Japan, the treatise was probably imported in Britain in the late 19th century within the role of literature in Japonisme. towards the modernization of Japan seen entitled Nature as art, a space of memory. relations between European nations and by the Jesuits or by the Western merchants In celebrating the beginning of French- through the works of Gauguin and Renoir On contemplating the evolution undergone Japan, the first images about the Japanese who traded in southern areas such Nagasaki Albert Moore (1841-1893), a Victorian Japanese relations since the restoration, by the Japanese garden over the great archipelago were created in Europe. These and Kobe. Aesthetic artist, depicted Japanese artefacts some of the most influence of Japonisme By the beginning of the 20th century, when cultural epochs I have been witness to the images evolved during the century but were The contact with the western techniques and ancient Greek-style women in paintings is portrayed in literature—fictional works Japan took the West as a model for its own introduction of a diversity of techniques conditioned by the traumatic persecutions of representation and painting arouses famed for their beautiful colour harmony. This written by French, Japanese, and biracial modernization, Western artists, especially and design elements, which have gradually of the Catholics at the end of the sixteenth interest among Japanese artists, especially paper will explore the influence of ukiyo-e writers. While the influence of Japanese painters, played an important role in this become incorporated into a design corpus century and the isolation of the country the mokuhanga artists, who are open to (Japanese prints) on Moore’s paintings, culture on French writers isn’t a new idea, the process. This presentation explores the and, together with aesthetic principles, have from 1639. These illustrations were based comparison with the representation of the emphasising the formal, political, and art influential effects of Japonisme has made a ontological ways of understanding the works smoothed the way for creators to centre the on the reports published before the closure third dimension, that seems an interesting historical significance of Moore’s Greco- lot of impact over this era. It is not uncommon of Gauguin and Renoir seen through the point of interest of their works of art. of the Japanese borders, mainly written by method to give more realism to their prints. Anglo-Japanese style in the broader context to read subtle mentions of Japan in French eyes of Akutagawa Ryūnosuke, a famous I have considered necessary to analyzing some Iberian missionaries, and by the information Starting around 1740 mokuhanga artists of British Japonism. fictional writing, along with stories based writer of Taishō period who wrote his poetic paradigmatic gardens in order to cover the of the workers of the Dutch East India embark on study and interpretation of the Following the Great Exhibition in 1851 and on fictional characters of different races and testament before committing suicide in 1927. coexisting aesthetic-visual and interdisciplinary Company, who will be the only Westerners perspective technique: the effort leads to the International Exhibition in 1862, interest nationalities featured within a French and In this last essay titled Bungeitekina, amarini elements, and including a re-reading of in contact with the Japanese until the mid- uki-e prints by and in Japanese art in Britain quickly grew, and Japanese backdrop. A few of these current bungeitekina, Akutagawa goes further a its visual dimensionality, coupled with the nineteenth century. Utagawa Toyoharu and to megane-e prints by collections were built up by both museums writers including: Reiko Sekiguchi, Elisa Shua mere description of the works of both French aesthetic derivatives arising in relation to the The objective of this communication is analyze Maruyama Oukyo. and individuals, particular of ukiyo-e. Among Dusapin, Sébasiten Raizer, and Maëlle Lefèvre, painters and chooses them in an attempt to projection of these works in the West -in both the prints in the books about Japan published During the first half of XIX Century Western artists, James Abbott McNeill Whistler have undertaken the role of publishing their universalize the two possible ways of facing the discourse of visual arts and the work of in Europe during the seventeenth century. realism and perspective are investigated with played a central role in British Japonism, fictional works based off their personal and the psycological pain modernity causes to significant artists in the international context With this research we can determinate how a new sensibility by ukiyo-e masters collecting ukiyo-e by Katsushika Hokusai imaginative experiences within the Occidental humankind. Of course conflicts between since 20th Century- especially from the end of the first images of Japan and its inhabitants Katsushika and Utagawa : their prints and Torii Kiyonaga. Whistler was a close and Oriental worlds. In my paper, I will discuss culture and nature, education and instincts, the Second World War onwards. were built in Europe. As well, we can study went over realism, resemblance and Western friend of Moore’s, whose enthusiasm for the importance of literature in the field of tradition and modernity are tackled by several However, on combining the above with how this illustrations changed considering works copy. They clearly show an interiorization ukiyo-e directly affected him, although Moore Japonisme and the intersectional influence different authors of the same period and Japanese aesthetic concepts relative to the some factors as the relations between of the perspective view of the landscape that preferred Kiyonaga’s harmonious beauty to of French and Japanese worlds within in they are visible even in some of Akutagawa´s vitality of art, this study has erred on the both territories. For this proposal, we will is completely different from Western art and Hokusai’s bold and eccentric prints. the works of the writers mentioned above. earlier works such as Yoshinakaron. However, side of the contemporary Japanese garden present several analyzes of the different its imitation, and at the same time they also Examining the connection between Moore By analyzing the role of their writings within the fact of giving an ontological dimension selecting the figure of Mirei Shigemori illustrated works. From the publication of deeply renew Japanese tradition. and ukiyo-e further, I reveal clear parallels contemporary Japonisme, I will address to Gauguin and Renoir in order to explain his (1896-1975), an erudite, solidly-trained artist, Beschryvinghe vande voyagie, (Amsterdam It’s singular that these prints – synthetizing a between Moore’s paintings and ukiyo-e by how these writers portray themselves within own conception of modernity is something whose work represented the complexities and Rotterdam, 1601) with the voyages of the perspective view introduced into Japan one Kiyonaga, whose depictions of ‘the Venus[es] French and Japanese contexts. Through an completely innovative. In this presentation I of combining the wisdom of the ancient Dutch navigator Olivier van Noort in, to the Century before – are so deeply influencing of the Edo era’ draw them together, and draw analysis of a selection of these writings, my would like to clarify the following two main traditions of Japanese art with the skill most richly illustrated title on Japan in this Western art when it is trying to get free from into alliance British, Japanese, and Greek paper will explore contemporary French- questions: by conferring that dimension to and courage to bring about a vanguard period, Gedenkwaerdige Gesantschappen tradition - specially impressionists and post art. In so doing, the paper will deepen our Japanese literature and engage in scholarship Gauguin and Renoir is Akutagawa falling into metamorphosis in the art of the Japanese (Ámstredam, 1669), written by the pastor impressionists - during the second half of understanding of Moore as the only British on Orientalism and Japonisme by Edward contradiction within his own poetry? If Shiga garden. His work shows us the birth and Arnoldus Montanus. Furthermore, we will Nineteenth Century. Van Gogh’s paintings artist who integrated Japanese, British and Said, Gabriel Weisberg, and Pamela Genova Naoya is the model Akutagawa proposes to evolution of what could be called the modern prove the importance of this images in the depicting the prints of Hiroshige witness the Greek styles, and as a key player in British to better express the role of French and follow in literature and Gauguin the one to Japanese garden and looks to the future influence on other prints of the eighteenth final step of a journey there and back of the Japonism besides the better-known Whistler Japanese writers and their literary role within follow in painting, what can be the possible being a source of inspiration in the design of and nineteenth centuries. influences and the knowledge. and Dante Gabriel Rossetti. contemporary Japonisme. connection between them? the post-modern landscape.

______TUESDAY 19.06.04

______

______10.30

17.55 KARIM EL MUFTI

EMILY COLE Political Science Institute (Sciences-Po Beirut) Saint-Joseph University (USJ) University of Oregon, History Department University of Tokyo Influence and success of the Japanese ARTS & AESTHETICS POPULAR CULTURE Grendizer in the Arab World, mirror of 20TH AND 21ST CENTURIES Photographic encounters during the Allied MANGA AND ANIME violence and expectations for occupation of Japan generations of Arabs ______My paper examines cross-cultural The UFO-Grendizer Japanese manga was 16.25 encounters between Japanese and Western 10.00 introduced in the Arab world in the mid- photographers during the Allied Occupation 1970s in an Arabic dubbed version and met LAURA MESA LIMA PHOTOGRAFY of Japan (1945-1952), asking how these OSCAR GARCÍA ARANDA a gigantic success. Its main dubbing artists, ______encounters influenced Japanese photographic mainly Lebanese (among whom M. Jihad El Higher School of Art and Design trends, as well as how photographic images Pompeu Fabra University Atrache) and Palestinian, as well as the singer Fernando Estévez 17.30 and discourse shaped postwar Japanese of the credits song (M. Sami Clark) were cultural identity. Representations of Europe in Japanese anime: among the makers of this particular success From archipelago to archipelago. The Japan ANA TRUJILLO DENNIS Building upon research framed by theories an overview of study cases and theoretical within the Arab cultural scene. that draws in the Canary Islands of contact zones, cross-cultural encounters, frameworks Indeed, the Japanese manga quickly Universidad Pontificia Comillas (Madrid) and hybridity (see Mary Louise Pratt, Melissa became a cultural phenomenon for an entire The Japanese and Canarian archipelagos Miles & Kate Warren, Homi Bhabha), I argue The following paper consists in a literature generation in Arab countries, from the Gulf to are separated by 12,369 km. The influence Advancing Japan. Photomontage as that photography magazines functioned review about the different academic sources the Levant. Today, many Arab artists, studios of Japanese art in the Spanish islands has propaganda in the context of Japan’s as contact zones by providing spaces for that have been written discussing and and underground circles continue to refer never gone beyond a theoretical relationship, diplomacy in the 1930s exchange between Western and Japanese theorizing the iconographic representations, to the Grendizer myth, an object that has mental, ideal if we want. Historically, there photographers. These photographic contact settings and visions of Europe in Japanese transformed into a cult object, symbolizing have been no departures or arrivals of When studying how Japan has been perceived zones facilitated cross-cultural encounters anime. Understanding “Europe” as a cluster both humanistic and alternative (or left-wing) works from overseas in any of the ways. from a foreign lens, it is also important to through multiple platforms: interviews and of cultural elements related with nations, cities values. The latter have been formulated in Japan has been a conceptual reference, but understand the different efforts by which round table discussions of photographic and historical periods, the project compiles the Arabic lexicon by the term “progressive” not a palpable and close plastic influence Japan has tried to consolidate an image trends; articles on and photo series by and analyzes a dense field of theories, and shaped political, cultural and artistic on techniques or expressions. However, of itself outside its borders. In this regard, Western photographers; and images by ______concepts and multidisciplinar approaches trends going back to the 1980s. A recent and this is where the confluence is found, Japan’s cultural diplomacy, in its efforts of both Western and Japanese photographers related with the representation of those mural illustration of the robot-hero produced there is a special relationship between our self-representation in different historical depicting Western cultural material and 18.20 contents in anime that, actually, are still on in Beirut in 2014 by the Ashekmon group ways of looking and letting ourselves be moments, has used art as a visualization of landscapes, such as photographs of Western- work and development. Following this aim, claiming in Arabic: “A people with Grendizer enlightened. Unwittingly, modelled by an Japaneseness. These efforts can be related to style fashion, domestic space, and daily ANTÓNIO JOÃO SARAIVA a chronological overview of the question by its side cannot die”, has created a real insular medium man have been carácter ideas of Orientalism and Self-Orientalism. life in European and American cities. Such has been developed arguing different buzz on the Internet and confirmed the great biulding with a certain way of being, as This proposal for the Mutual Images 7th encounters directly influenced photographic CEMRI- Universidade Aberta, Lisboa theoretical frameworks, such as the condition appeal of the manga character within the García Cabrera would say. both geographies International Workshop focuses on the efforts trends in Japan. Features on Henri Cartier- of anime as a transcultural media, Koichi Lebanese society. and architectures share similarities in the carried out by Japanese diplomacy in the Bresson, Robert Capa, and Ernst Haas, Pine journey Iwabuchi’s (2002) concept of “mukokuseki”, This communication suggests exploring treatment of light, and this has made Canarian 1930s to promote abroad a positive image for example, contributed to the postwar the media pilgrimage phenomena and the reasons behind this success in a region artists especially comparable to Japanese of a modern Japan, and more specifically, popularity of humanism. In Japan Pines, (Matsu) expressively/ different theories regarding the representation commonly cursed by war and destruction. aesthetics. Contemporary creators such as in the use of photomontage as a tool for Further, these encounters provided a conduit impressively mark different spatial-temporal of Western contents in relation with the In the 1975-1985 phase which coincides Gonzalo González, Julio Blancas, Davinia self-representation. Attention will be placed through which photographers and readers places with high symbolic power in the internationalization of the media. Through with the screening of the show towards the Jiménez Gopar, Laura Mesa and Marco Alom on Japan’s participation in international confronted or embraced Western cultural Japanese landscape mental construction. these approaches, the European cultural first generation of fans, no less than three show these similarities in their drawings in fairs, such as the International Exposition material at a time when Japan underwent The pine tree is a symbol of longevity. It is baggage has been identified and studied wars agitated the Middle East: the Israeli- a latent way. In their works the importance of Art and Technology in Modern Life a cultural identity crisis brought on by the also considered a warrior who fights against as an ecclectical source to create fictional Palestinian conflict, the neighboring Lebanon of darkness, the treatment of light close organized in Paris in 1937, or the New devastation of defeat and foreign occupation. adversity, resisting against the cold, the wind imaginaries (settings based on the Middle which will experience a bloody fifteen years to the concept of the recently discovered York World’s Fair, in 1939, analysing how In this way, photographic contact zones and the snow. The Japanese place the pine Ages or an steampunk Industrial Revolution, civil war (1975 to 1990), in addition, from 1980 liquid light, the use of the concept of space photomontage was used in the Japanese simultaneously functioned as spaces that at the top of the tree hierarchy. we travel among others) while being an useful resource to 1988, to the first Gulf War struck between -empty- or the austere use of compositional pavilions, as a vehicle to communicate mediated what exactly “Japanese culture” through the virtues of the pines, inseparable to develop other narrative meanings and Iraq and Iran. resources, go hand in hand with the complex with images specific ideas that can be meant in Japan’s new postwar world. from the virtues of the gardeners who care for themes in the case of 1970s shōjo series and From there, it would be interesting to concepts wabi, sabi, yûgen or shibumi. From considered propagandistic. This practice was An analysis of photographic media during them. We listen to their voice. How did the the Nippon Animation “meisaku genre”. On understand how the Arabic Grendizer, the assumption of a geographical-conceptual not exclusive of the Japanese organizers. the Allied Occupation reveals ways in which episteme represented by Pine, (Matsu) impact the other hand, some other particular studied Japanese story of an invasion against Earth positioning in both cases determined by In the Japanese case, the use of these Occupier and Occupied encountered each Japanese culture? cases as Hayao Miyazaki’s films show us the and battles successively won by an invincible an insular spatiality, many artists from both photomontages has to be contextualized in other outside strict social hierarchies imposed In view of this question the presentation will accurate depiction of European settings robot piloted by the hero Daysuki / Duke archipelagoes construct parallel narratives the background of Japan’s rising imperialism under occupation regimes. Photography address the question concern with a milieu/ through an intense fieldwork by their artists Fleed (Dayski/Doq Fleed in Arabic), has strongly based on the intention of dominion, in the 1930s, a moment when the use of magazines in particular provided spaces for mindscape which is a specific ground of human and producers, a case that exemplifies the impacted a region familiar with this type of that is, containment, of light and space. In this photomontage was very important, not consistent contact, interaction, and cultural experience within a geographical setting. viability of the media pilgrimage framework narrative, ultimately forging a stature of myth way, the most representative works of these only in international exhibitions, but also in exchange between Japanese and Western We presented a photo essays with four spatial- to the development of future researches that and legend at the hands of Arab artists. The Spanish artists in this sense will be analysed, multiple magazines published at the time photographers, as well as for the magazines’ temporal points of observation. would like to deepen in other particular cases themes of war, justice, peace, occupation, relating them directly not only to the most with clear propagandistic intentions, under readership—encounters that went beyond and related issues. resistance, forgiveness and comradeship theoretical aspects of Japanese aesthetics, but the guidance of organizations such as Kokusai simply influencing Japanese photographic Point 1: Mountain Landscape This presentation will be based on my brought by the Japanese manga Grendizer also to authors such as Michiko Kon, Misato Bunka Shinkokai. Furthermore, the style of trends to shape postwar constructions of Point 2: Wenceslau de Moraes final degree project for the University of have struck a deep cord across generations of Kurimune, Reiko Tsunashima, Hiraku Suzuki or these photomontages reveals the influence of Japanese cultural identity, especially as it was Point 3: Namban Screen Barcelona’s Art History degree, submitted and Arab fans, hence mirroring the violence and Satoru Aoyama. European trends, for example the Bauhaus. formed vis-à-vis the occupying ‘Other.’ Point 4: The Garden is also a Picture defended in June 2018 the expectations of an whole era.

______POPULAR CULTURE TECHNOLOGY ______16.30 12.00 12.30 POPULAR CULTURE DESING & FASHION TATIANA LAMEIRO GONZALEZ MANGA AND ANIME IMEN BOUZIRI BOULLOSA LINET HEREDIA OTERO LINET HEREDIA OTERO ______Complutense University of Madrid University of Vigo University of Vigo 16.00 11.00 LILYVERSE & AETHERIAL MACHINES. [ A E S T H E T I C ] Iconography: Bilateral influences in Graphic Design Techno-embodied Japanese media texts and Appropriation of Japanese pop culture images TERESA PÉREZ CONTRERAS between Japan and The West: Shigeo JOSÉ ANDRÉS SANTIAGO IGLESIAS techno-orientalist western readings through Vaporwave music Fukuda, a case study ______University of Granada University of Vigo This research paper explores the relationship Vaporwave is an electronic music genre that Taking the bilateral influences in Graphic 17.30 between technology and its diverse firstly emerged around 2010. As an internet- Japanese graphic design: cultural identity in a Design between Japan and the West as a Manga à la mode. Exploring Lastman from a embodiments in Japanese popular culture and based music genre, it has been acknowledged global world starting point, in this paper we will try to IRIA ROS PIÑEIRO mangaesque perspective audio/visual media in the last decade, especially as an underground and subcultural product, highlight how the Swiss International Style in cultural products and media mix franchises created and mainly consumed by anonymous In a globalized and increasingly “Japanized” has deeply influenced some of the most University of Valencia In 2001 Frédéric Boilet unveiled his ‘La pertaining to the science fiction genre (with a people; however it has recently caught the world, new aspects of design culture need prominent graphic designers and artists within Nouvelle Manga’ manifesto and claimed a special focus on the cyberpunk subgenre). The eye of many music labels. to be studied from an academic perspective. the Japanese sphere. In order to do so, we will Undressing Japonism: the true dresses of new space halfway between the French bande main purpose of the study is to demonstrate When we talk about Vaporwave we have In terms of graphic design theory, there is analyse Shigeo Fukuda’s remarkable posters European and Japanese fashion dessinée and the Japanese manga, bringing how technology is both thematically to take into consideration both sound and a void, being Western countries the ones designs. Fukuda is now acknowledged as together the best of both worlds. However, represented and materially embodied in image, since vaporwave music heavily that have traditionally led the discourse on one of the most distinguished and influential After the Great London Exposition in 1862 for many readers those works were far from certain audiovisual artworks in a way that allows depends on its imagery — popularly known as research into this discipline. Little is known designers of his time, ambassador of a world- European art was overwhelmed by what would what an ‘European manga’ should be. To a for a transcendence of the textual/semiotic “A E S T H E T I C”— in order to build the about Japanese graphic design, a recent spread artistic movement which still remains later be considered “Japonism”, affecting certain extent, La Nouvelle Manga was but a (representational and discursive) aspect of atmosphere that has ultimately become the and creative field of Japanese visual culture broadly referred and deeply influential within all its facets: painting, design, illustration, commercial label intended to gather different such works and begs for the development of genre’s signature. Whereas the sound involves that is extremely fascinating to the outside the contemporary artistic scenario. and fashion. London and Paris were the independent works under the same umbrella a new theory of technological materiality (or slowed down samples (a portion of music cut world due to the ability of the designers to Graphic design —understood as a discipline main centers of dissemination of Japonism, term. In a similar fashion to what happened techno-embodiment) in the academic field of and reused, often in looping ways) of aging absorb new developments without denying of its own— was born in the mid 20th century, artists from all over Europe illustrated what with the Impressionist artists and Japonisme, new media studies. This material manifestation 80s and 90s hits (pop, jazz and elevator music) the heritage of the past, constantly renewing but its origins can be traced back much they believed was Japanese art, creating a the manga label plays an important role within of technology has been particularly present remixed with retro synthesizers, the aesthetics it. This nostalgia for tradition coupled with further. As culture changes, different cultural new vision of it that affected the european La Nouvelle Manga as a marketing tool, since in contemporary Japanese media texts mainly feature a deliberately awkward mixture constant reinvention is what makes it unique, movements arise, in literature, painting, dress design. The illustrations and designs of this artistic movement aestheticises manga which has led some western scholars to offer of visual tropes, such as 3D rendered objects, a fusion of a religious tradition based on etc. Likewise, over time graphic design has James McNeill Whistler, Vincent Van Gogh, without seeking a deeper understanding techno-orientalist readings, whether based grainy VHS footage, Japanese characters, late concepts such as simplicity and Zen Buddhism undergone a similar transformation giving Henri de Toulouse-Lautrec, Aubrey Beardsley of the medium. Created by Bastien Vivès, on a western Eurocentric gaze or on the 90s popular entertainment and technology, with more contemporary trends such as birth to myriad of different styles. One of the - among others - had idealized the image of Balak and Michaël Sanlaville, Lastman was essentialist theory of a supposed Japanese anime, neon signs and cyberpunk Tokyo- kawaii culture and manga. Although Japanese most important and characteristic movements traditional Japanese costumes, such as the never born with Boilet’s ideas in mind, nor cultural specificity. inspired landscapes. This aesthetic is often graphic designers have been influenced by in graphic design is the Swiss International kimono. In these illustrations the cut of the with high conceptual expectations, but as The unstoppable encroachment of technology seen in cover artworks and fan-made videos Western culture, they will produce a steady Style, which emerged (mostly) in Switzerland dresses idealized the figure of the woman, a mainstream product. However, within the in our lives is dramatically changing our on youtube channels, and has spread stream of masterpieces that reflect the living after the Second World War. and created sinuous forms covered by endless last few decades, it has become —in many normative, and institutional understanding throughout the internet, becoming a code heritage of the traditional and distinctive The Swiss International Style grew in kimonos, creating a mixture between fantasy regards— the French comics series which has of very complex concepts such as identity, that defines a recognisable and unifying forms of Japanese art. A journey through Switzerland and Germany in the 1950s and and reality regarding the possibility of clothing best managed to capture manga’s essence. subjectivity, memory, or consciousness. identity to this genre. Japanese Graphic Design images is the best was on the rise until the 1970s. Many of in Europe. Thanks to the opening to imports Japanese popular culture -especially Vaporwave has recently become an object way to know the evolution of a society and its the distinguishing theories from the Swiss from the West in Japan, the fabrics really Surprisingly, unlike other works often labelled contemporary science fiction texts- has largely of study for critics and academics as an culture: from ukiyo-e woodblock print that had International Style —especially when it comes arrived to Europe and began to be used in the as manfra, Lastman does not mimic manga contributed to emphasize the increasingly issue that is still open for discussion. So far, a strong communicative appeal to the masses to typographic form and grid composition— fashion of that time. The bustles began to be aesthetics and formal features but manga profound human anxieties and desires it has been linked to an ambivalent attitude and opened the way for a commercial graphic are still broadly applied in todays design sewn with these fabrics, and although it did marketing and production. Defined by its towards technological progress, speculating towards consumer capitalism, longing for communication within Japan, to a revision of schools. Moreover, these formal parameters not change their form in structure, it did in the authors as a “French-style manga”, Lastman on both utopian and dystopian techno- the past and a quite new manifestation of the work of some of the most experimental played an important role in Shigueo Fukuda’s combination of fabrics, colors and designs. is inspired by manga as a product, printed in future-scapes. Through a brief analysis of the techno-orientalism, based on the assumption authors up to the present day. Simultaneously, artworks. Fukuda developed a style of his In some cases, even real kimonos were used kanzenban sized volumes with dust-jacket, three following examples, each pertaining to that it deals with elements of Japanese pop Japanese design culture has permeated the own, communicating complex ideas through to transform them into bustles. At the same and rendering in colour the first pages of each different media: All About Lily Chou-Chou culture that embody escapism, nostalgia and a work of some European graphic designers simple images, which is one of the key time, the bustle arrived to Japan in dresses (otherwise monochrome) volume. Moreover, (Dir. Iwai Shunji, 2001), Serial Experiments sense of strangeness (the new) and familiarity enriching the recent history of graphic design. premises in contemporary’s graphic design. and patterns. Therefore, the idealized image this series relies heavily on manga’s media- Lain (Dir. Nakamura Ryutaro, 1998) and Silent (the old), striving to create a distorting and This paper aims to offer a more inclusive Therefore, in this presentation, we will try to that is given in the plastic arts is somewhat mix potential, with several products such as Hill 2 (Dir. Tsuboyama Masashi, 2001), we ethereal atmosphere, almost mesmerizing and renewed perspective of Graphic design trace a multidirectional formal relationship removed from the real dresses that could a prequel animated series, video-games, and will trace a rhizomatic map of links that will and fairly bizarre. Regardless of the socio- history valuing the role of Oriental design and between Europe and Japan, by analysing — be seen both in the streets of Japan and in merchandising products. Ultimately, in this help us determine how technology does not political readings, Vaporwave is but another its different approaches to design thinking, through various graphic works — the influence European cities. Thus, I intend to show these paper I will try to explore the mangaesque merely appear in these artworks as a theme example of how Japanese pop culture (J-pop, methodology and practice. This difference in of European design in Japan in he second differences with a reconstruction of European elements within Lastman, pondering the or topic but also in a performative way where manga, anime, technology, video games, etc) perception is important to understand graphic half of the 20th century. Ultimately, we will clothing inspired by Japan, and its counterpart strong authorial perspective, with the the artwork itself integrates technological continues to impact the West to a significant design culture from a global perspective and also highlight how these Japanese references in the painting of the late nineteenth century. distinguishing features that are popularly elements, transforming into a sort of level, creating openings and new possibilities the power of images to communicate and became an important part of contemporary As well as the relationship between the bustle perceived as “manga style”. technological device or hybrid. in terms of artistic creation. forge bonds between cultures. graphic design. and the kimono at the end of the 19th century.

______JOINT ORGANISING CHAIRS ______

University of Vigo: Grupo de Investigación dx5 - digital & graphic art_reserach DESING & FASHION Facultade de Belas Artes (Universidade de Vigo) ______Maestranza 2, 36002 Pontevedra (Spain) www.grupodx5.es 18.00 [email protected] SARA MARTÍNEZ PÉREZ _José Andrés Santiago Iglesias

University of Vigo, Spain University of Vigo [email protected] Mutual Influences between Japan and Europe _Ana Soler Baena across fashion. Pattern design making as University of Vigo, Spain constructive thinking [email protected] The research work presented here focuses _Tatiana Lameiro González on the mutual influences between Japan and University of Vigo, Spain Europe through Fashion, from the end of the [email protected] Meiji period to the 90’s decade of the past XX century. The speech will focus on fashion as a social and cultural phenomenon that reflects CHAIRS Mutual Images Research Association: _Aurore Yamagata-Montoya the interconnection between both cultures, ______President of Mutual Images deepening the idea of the pattern as Research Association constructive thought that reflects the way in Lithuania which each culture develops itself and how DR. AURORE YAMAGATA-MONTOYA [email protected] they have influenced each other. Due to the changes that have been President of Mutual Images _Maxime Danesin experienced from the Meiji period to the 90s Research Association Vice-President in charge of events decade of the last century, the evolution of Université François Rabelais de Tours the pattern has been influenced by Japan ______France in Europe and vice versa, so that we have [email protected] witnessed a mutual interest between both cultures, exporting and transferring patterns DR. ANA SOLER BAENA _Marco Pellitteri and uses from one culture to another with Vice-President in charge of publications different adaptations, transformations and University of Vigo Shanghai International Studies University, hybrids; Firstly, westernizing Japanese Director of dx5 - digital & graphic art_research China fashion and at the same time orientalizing [email protected] European fashion, adapting clothes from ______one culture to the other. Secondly, through ______the transformation of patterns, new uses of fabrics and creating new types of garments, DR. JOSÉ ANDRÉS SANTIAGO IGLESIAS Coordination at Mutual Images and thirdly creating a new language that will _Aurore Yamagata-Montoya bring fashion to art, understanding fashion as University of Vigo a plastic language, where Japanese designers dx5 - digital & graphic art_research Workshop’s Director at the Host Institution have transformed the concept of fashion in _José Andrés Santiago Iglesias a radical way. In this way, an understanding ______could be made in relation to how both Coordination at the Host Institution cultures have been mutually influenced _José Andrés Santiago Iglesias throughout the 20th century, creating a DR. ROMÁN PADÍN OTERO _Tatiana Lameiro González language that has transformed the concept of contemporary fashion, transcending its own University of Vigo Graphic design and layout limit as a discipline. Fine Arts Faculty _Tatiana Lameiro González

______GOBIERNO MINISTERIO DE ESPAÑA DE CIENCIA, INNOVACIÓN Y UNIVERSIDADES