Currently I am working on remakes of Jean-Michel Basquiat (a series of “Soft Basquiat”). The original images are distorted, and his direct touch of the original paintings is missing. They are a type of mannequin that is expressed through works of Basquiat, which makes his new works different from his originals. It shows a new genre that pays homage to Basquiat while remaining original. Contemporary rapidly changes of its structure into hybrid forms, allowing contexts to mix complexly. My art also attempts to cross context in that way.

The scribblings on the wall in the opening scene of "Down by Law" (a 1986 black-and-white independent film) are like the one below.

 

Life is a limbo dance.

   But

It's a question of where you set down

   Not

How low you can set

As for today’s art, there is discretion between the higher and lower. Contemporary art is a type of protocol that works with that discretion, perspective.

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( " PROTOCOL " ) Soft Basquiat / Untitled. 1982 - 1983. 2017.

Oilstick,colored pencil, crayyon and gouache on cotton paper mounted on canvas. 96 x 126 inches ( 243.8 x 320 cm ). © 2016 hideki fukada

 According to Wikipedia, in vernacular English, "modern" and "contemporary" are synonyms, some people define contemporary art as art produced within "our lifetime," recognizing that lifetimes and life spans vary. Although it may be a little known fact, a number of common themes have appeared in contemporary works: identity politics, the body, globalization and migration, technology, contemporary society and culture, time and memory, and institutional and political critique. Regardless of whether it is subcultural or political, contemporary art seems to be slightly conceptual.                                                                                                                                                                                                                             The intellectual and conceptual context of the 20th century ( Marcel Duchamp’s the readymades, conceptual artists in the 60's and 70's like Joseph Kosuth, Lawrence Weiner and the English Art & Language, association with the Young British Artists and the Turner Prize during the 1990s)conflates, overlaps each other, multiple contexts converged to one work from around 2000, and It is a hybrid like a descendant (hybrida) born of a pig and a wild boar.

 As usual China's art market is booming, The report also stated: “After recovering strongly in 2010, the global art market has experienced mixed performance within different sectors and between nations” and “The much more moderate growth in sales over the last three years reflects the fact that different areas of the market have been recovering at different rates”. It seems like reaction that from 2010 onward hybrids and diversity in the art scene have started accelerating remarkably. Many contexts not only exist together but also cross each other, mix and rebound to form a new culture. In such architectural changes, with interbreeding there is no core thought and trend but there are only protocols with countless styles and methods of operation.                                                                                                                                         

The formation of the new culture by complicated context is making an anti-utopia-like thing which is the opposite society of utopia to appear today. The utopia and its derivative, the anti-utopia (dystopia), are genres of literature that explore social and political structures. Utopian fiction portrays a setting that agrees with the author's ethos, having various attributes of another reality intended to appeal to readers. The anti-utopian (dystopian) fiction is the opposite: the portrayal of a setting that completely disagrees with the author's ethos. The Anti-moral side of realized utopia is anti-utopia and they are both sides of a single coin. Today's art and whole culture is political in a way, for politics involves ethics and moral motivation, and morals are among the fundaments of politics.    

Jazz is the tail of the music coin which incorporates elements such as blue notes, syncopation, swing, call, response vocals, improvisation, polyrhythm and sound of any kind, unintelligible or dissonant sound. The dissonance generated by semitones of C of the second string and B of the third string in the code of CM 7 is deviation, distortion and an ambivalent that loves and hates the same person at the same time. 

Currently I am working on remakes of Jean-Michel Basquiat (a series of “Soft Basquiat.). They represent anti-utopia like those of George Orwell, H. G. Wells, Yevgeny and Zamyatin, who reversed the traditional "utopia", and they are jazz incorporating sounds of any kind. I like to emphasize how various contexts cross each other in the works, but if I am aiming for a completely original thing, I would move further away from the contexts, being kicked into a display shelf of diversity and buried in various kinds, now that I would rather relax in historical context.

 

“And he gave it for his opinion, "that whoever could make two ears of corn, or two blades of grass, to grow upon a spot of ground where only one grew before, would deserve better of mankind, and do more essential service to his country, than the whole race of politicians put together.”

― Jonathan Swift, Gulliver's Travels             

 Jean-Michel Basquiat (French: [ʒɑ̃ miʃɛl baskija]; December 22, 1960 – August 12, 1988)

Japanese Culture and Copy, Remake

 

 Essentially there is no distinction between an original and the copy in Japanese culture.  While material culture is made by stone in the western nations, wood is used in Japan. Destroying  the original is a final destruction which can never be brought back to life and as a result  material culture becomes completely extinct. Paris was fighting constantly trying to protect its culture’s destruction in this way.  

 

 However material culture in the West and in Japan was licentiously left to its self­indulgence until its preservation was actively planned according to modern cultural principles. When we think about war or fire in the past, the survival of material culture is indeed merely coincidental. We can’t say that only select and good quality pieces were left in a historical manner. The finest sculpture of Praxiteles in Greece might still lie deep in the mediterranean sea. But the fate suffered in the past by the Japanese  formative arts that depended on woods and papers were much more thorough than this.  The cultural assets that were lost in the Onin war were countless and the temples and shrines in Kyoto that survived this war survived by sheer luck. 

 

 Probably, the relationship to such materials is one of the reason why the adherence to material culture is comparatively thin in Japan and why the transfer to cultural forms with premise disappearance is characteristic.  In this theory, the destruction of the original results in not just the absolute destruction of the original but also a decisive value difference between the original and the copy never occurs. We can see this in the simple example found in the rebuilding of the shrine (Shikinen sengu) in Ise Grand Shrine.  (Shikinen Sengu takes place periodically at Ise Grand Shrine.  Two primary buildings,Naiku(Kotai­Jingu) and Geku(Toyouke­Daijingu) and the other 14  adjacent shrines attached to this shrine are rebuilt and refurbished together with the  deities every 20 years. At the same time Hoden gai heiden, Torii, Mikaki, and Mike­dono etc. total 65 buildings and other treasures, artifacts and the Uji bridge are also refurbished or rebuilt. ) The Shikinen Sengu was begun in the reign of Empress Jito  about 1300 years ago but the newly built Ise Grand Shrine becomes the original. The previous “original” entrust its life to the new “original” and dies down and then the copy becomes the original.  Comparable to the burden of the Classical Period of Greek sculpture that we can only see them today through the copies of the Roman Period, the culture concept of the Shikinen Sengu in Ise Grand Shrine is much more unique. Like “Honkadori” (Elaborate adaptation from a famous poem. Mention later.) and others in the art of Tanka poetry, this kind of culture concept  still occupies a deep part of our heart today.

 

 With a peculiar national character, history, geographical location and climate in Japan, the national traits in the culture is remarkable. The traditional patterns that Japanese entertainment such as Noh and Kabuki is a clue for the transmission to its successors who are also stimulated by the clue itself. Formality constantly arousing freedom is a feature of the Japanese performing arts.   Since early 20th century’s naturalism, Japanese modern novel which seems at first sight the most unfettered genre made several times more effort for the literary style than the ideology even though it was unintentional.

 

 Japanese writer Yukio Mishima says that the essence of culture is not found in either materials or in the spirit of a nation. Although it is the consequence of materials, it is “a form” which may be metaphorically described as a crystal through which we can see the spirit of a nation. No matter how much the crystal becomes opaque, it still holds enough transparency to see them. Therefore it includes not only material culture but also the deeds of the people and the pattern of those deeds.