![]() ![]() ![]() Knives are often present, and intimations of murder and violation, though not quite on the scale of Rape of the Sabines. Represented by Taka Ishii Gallery, Kawahara gives her work a photo-realistic finish, but drains it of colour. ![]() Anyway, she impressed some of the judges at Geisai Lily Franky (best-selling author of Tokyo Tower) gave her a prize, and apparently Aida Makoto loved her piece too.Ī more interesting self-objectifier - and a much more talented artist - is Naoto Kawahara, a painter who depicts her own frail, bare body in the erotic poses of classical Western paintings. After a long string of movies for AV companies like Moodys and Kuki, she's trying to launch a somewhat spurious art career, and the rumour is that she doesn't really shoot her own self-portraits. Here you'll find vegetables as anal probes, tentacle rape fantasies, and vast actionist paintings made of vegetable dye sprayed out of Terunuma's enema-charged anus.įareeza Terunuma (her unusual first name comes from the fact that her father is Turkish) is a "splash queen", veteran of movies with names like Tokyo Slimy Night, Splash Girl and Non Stop Orgasm. A little research (I do it so you don't have to) reveals that Terunuma actually is a porn star, as her blog Yuka Osawa in Wonderland reveals. We mentioned Fareeza Terunuma the other day - she's been appearing in a self-objectifying installation at young art fair Geisai 12, sitting on a toilet surrounded by self-portraits as a porn star. In Japan, whatever is wasteful, excessive or selfish just won't cut it anymore, no matter how snazzy the design." In 2008 Sugatsuke Masanobu, ex-editor of Composite, told Japan Journal: "Right now, no fashion trend could emerge or last very long without giving a big bow to the environment. They're both the cutting edge of bourgeois consumer refinement, even if they seem to be moving in different directions. A lot of the people (editors, producers, art directors, musicians) associated with Shibuya-kei in the 90s veered towards Slow Life, LOHAS and the ecological movement in the 00s, and I can only explain this apparent reversal by saying that eclectic global consumerism was to the last decade what ethical local consumerism is to this one. Ecocolo focuses on ecological issues and Slow Life, and has so far published 35 editions.Ĭomposite billed itself as a "stylebook of real creative people around the world", but I think of it as essentially a Shibuya-kei title, and what interests me is how it's gone green, because I think of Shibuya-kei as a movement celebrating the global reach of 1990s consumerism, whereas eco-consumerism is about contracting consumerism and going local. I wasn't quite sure whether this Japanese culture and fashion mag still existed (I mean, that's true of just about any magazine these days and quite a few newspapers too), but Hisae told me it had morphed into a new title called Ecocolo in early 2007. The next thing I want to talk about today is Composite magazine. That, the high cheekbones and the immaculate sleeves. The Crepuscule repertoire was very eclectic, but there's something Lynchian and off-kilter about everything which ties it together. Or perhaps I mean there's more juice and character in these provincial scenes they're more interesting to rummage through, and their strangeness brings them to life as something yet-to-be-accommodated. It reminds me of the marginal modernisms happening in regions like Brazil, and how, in some way, you can learn more about modernism from them than from mainstream accounts. Hennebert was a huge influence on Mike Alway, and on my own 1982 sleeve for my first album with The Happy Family, which employed Clarendon type and big asterisks and the kind of tweaked 60s retro Hennebert was so good at (and I wasn't).Ĭooper has added a row of videos of Crepuscule acts which really makes me think of Brussels as the site of an alternative, parallel history of the New Wave, a much more interesting history than the authorised version. Galerie Dennis Cooper (actually an imaginary art gallery that consists of novelist Dennis Cooper posting stuff on his blog) presents, intriguingly enough, an exhibition of Benoit Hennebert's sleeves for Brussels record label Les Disques du Crepuscule (1981-1987) this week. ![]()
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