“Prism of the Real” Reframes Japan’s Creative Evolution 1989–2010 at NACT

Pure Spectacle! Every Work in the Exhibition Is a Must-See

First, let’s talk about the sheer grandeur of Prism of the Real: Making Art in Japan 1989–2010. This exhibition boasts an exceptional lineup of artists. From Takashi Murakami, Shinro Ohtake, Miyako Ishiuchi, and Rieko Shiga to international figures like Christo, Joan Jonas, Dumb Type, Hito Steyerl, and Matthew Barney, the roster combines fame, skill, and influence—true stars who have defined their era.

The works on display include pieces that are emblematic of the artists themselves or pivotal in their careers, such as Kōsuke Yanagi’s Ant Farm series, Kenji Yanobe’s Atom Suit (Protective Gear), and Miwa Yanagi’s photographs inspired by elevator girls.

With such a diverse lineup of artists, the exhibition spans painting, photography, crafts, sculpture, installation, and video, creating a dynamic and varied experience. Each work has a striking individuality, giving the overall space an intense, concentrated energy. Every piece on display is a highlight in its own right.

Early Heisei Art: The Prologue & Introduction

Next, we dive into each chapter of the exhibition, highlighting artists and works that make a lasting impression. Before the first chapter, the Prologue and Introduction set the stage. In the years leading up to 1989, as Japan experienced rapid economic growth, exchanges with international artists such as Joseph Beuys and Nam June Paik began to flourish. The gallery displays archival items like the chalkboard Beuys used during dialogue sessions at Tokyo University of the Arts, alongside documents recording Japanese artists’ participation in major international art events such as documenta and the Venice Biennale.

This period also saw artists breaking away from traditional materials, experimenting with everyday objects. Kodai Nakahara’s LEGO, Takashi Murakami’s Polyrhythm crafted from plastic models, and Noboru Tsubaki’s monumental urethane sculpture Aesthetic Pollution are prime examples. Bold in concept and striking in appearance, these works heralded the arrival of a new era in Japanese art.

Confronting the Trauma of War: A Unique Exploration

Chapter 1, Ghosts of the Past, features works related to war.

Immediately upon entering, visitors are struck by Yoshitomo Nara’s deceptively cute figures. His painting of a wide-eyed child bears the title Agent Orange, referencing the chemical weapon used by the U.S. military during the Vietnam War. The child’s head resembles a soldier’s helmet, and the contrast between the figure’s innocence and the weight of its title evokes a subtle but unsettling tension in the viewer.

Continuing along, a brightly colored kimono immediately catches the eye. It is Yui, You-I by Yuken Teruya, dyed using Bingata, a traditional Okinawan technique dating back to the Ryukyu Kingdom. On closer inspection, among auspicious motifs like pine and cherry blossoms, paratroopers descend from the sky, fighter jets and helicopters appear, and even what seems to be a dugong—displaced from its habitat—can be seen. These unsettling motifs, hidden within the beauty of a garment made with traditional techniques, create an eerie tension. The work makes one acutely aware of how such scenes and issues exist within everyday life in Okinawa.

Other works in the chapter revisit historical and political issues through contemporary lenses: Makoto Aida’s Beautiful Flag (War Paintings RETURNS) revives war paintings for the present; Tomoko Yoneda’s Japanese House series focuses on Japanese-style residences built in Taiwan during the colonial period; and Simon Starling’s Project for a Masquerade (Hiroshima) reexamines history through sculptures in Hiroshima and Chicago. These works collectively highlight how artists confront and reinterpret historical and political challenges.