December 2019 – January 2020

Noted

‘Japan supernatural’

By Miriam Cosic
Utagawa Yoshimori, The Tongue-cut Sparrow [detail]

Utagawa Yoshimori, The Tongue-cut Sparrow (Shitakiri suzume), 1864 [detail]; woodblock print; ink and colour on paper; 36.7 cm x 75 cm. Art Gallery of New South Wales, Yasuko Myer Bequest Fund 2019; photo by Jenni Carter, AGNSW

The Art Gallery of NSW’s examination of Japan’s centuries-long artistic traditions depicting the spirit world and the macabre

The concept of shibui permeates Japanese culture: its arts, its architecture, its dress, its food, its politesse. It refers to subtlety, simplicity, precision, elegance, understatement. It’s not an attribute of an old-school upper class but one found in the everyday.

The Art Gallery of New South Wales’s wonderful exhibition, Japan supernatural, displays the id behind the nation’s superego, in an enduring engagement with the turbulent world of ghosts and monsters and terrifying supernatural goings-on that are the flip side of the outward Japanese self-discipline. Unlike in Europe, where the horror of traditional fairytales was eventually tempered for children’s consumption, the Japanese kept the psychological and the pre-scientific explanatory value of scary stories intact.

All manner of media, from early silk scrolls to towering contemporary sculpture, have been included in the show.

The centrepiece is a giant panelled painting by celebrity artist Takashi Murakami, commissioned by the AGNSW. Titled Japan Supernatural: Vertiginous After Staring at the Empty World Too Intensely, I Found Myself Trapped in the Realm of Lurking Ghosts and Monsters, it is as dizzying as it sounds. Despite its jumble of selfie-worthy spooks and samurai, and the giant cross-eyed cat at its centre, Murakami has said that the terrible 2011 tsunami was on his mind when he made it.

Less blinding but more engrossing is the large number of beautifully executed woodblock paints by the great 19th-century masters – Hokusai, Hiroshige, Yoshitoshi and more – lent by museums around the world. The style of Ukiyo-e – “pictures of the floating world” – is connected with ethereal images of landscapes and urban pleasures spanning from the Edo period in the 17th century to their time of profound influence on the French impressionists and post-impressionists.

The occult also fascinated 19th-century Japan, and ghosts and demons and towering skeletons were as much a part of that period’s artists’ repertoire as more tranquil subjects.

Another highlight is the contemporary photography and video by two women artists, both of whom explore femineity and death. Fuyuko Matsui’s mesmerising 2012 video, Regeneration of a breached thought, combines moving images of a beautiful white saluki (with tail-hair extensions!), the face of a lovely woman and a bleeding eyeball in a manner that magically coheres. And the grim photographs from Miwa Yanagi’s Fairy Tale series include one in particular – Little brother and little sister, of a woman lying prone in a plant-rimmed pond, like a memory of Millais’ Ophelia, but indoors, with a deer looking at her from the bank – that has haunted me ever since.

Miriam Cosic

Miriam Cosic is a Sydney-based journalist and author.

In This Issue

Photo of Stasi agent

Stasiland now

Thirty years after the fall of the Berlin Wall, the author of ‘Stasiland’ reveals the ongoing power of the former East German regime, not just in politics and business but also in shaping perceptions of victimhood in unified Germany

Image of US troops in Syria

Peace with dishonour

On the West’s Trump-led exit from the wreckage of the Middle East

Image of Alan Bond and Bob Hawke

Australia 2.0

The America’s Cup winged keel and the transformation of a nation

Image of family members of Tanya Day

Remember her name

Systemic racism, unconscious bias, and the death in custody of Tanya Day


Online exclusives

Image of Joseph Engel and Sara Montpetit in Falcon Lake, directed by Charlotte Le Bon. Photo by Fred Gervais, courtesy of MK2 and Metafilms

Cannes Film Festival 2022 highlights: part one

Mia Hansen-Løve’s ‘One Fine Morning’, Charlotte Le Bon’s ‘Falcon Lake’ and Dmytro Sukholytkyy-Sobchuk’s ‘Pamfir’ were bright spots in an otherwise underwhelming line-up

Image of a man updating a board showing a tally of votes during independent candidate Zoe Daniel’s reception for the 2022 federal election. Image © Joel Carrett / AAP Images

The art of the teal

Amid the long decline of the major parties, have independents finally solved the problem of lopsided campaign financing laws?

Image of Monique Ryan and family on election night

The end of Liberal reign in Kooyong

At the Auburn Hotel on election night, hope coalesces around Monique Ryan

Image of US President Joe Biden meeting virtually with Chinese President Xi Jinping from the Roosevelt Room of the White House, November 15, 2021. Image © Susan Walsh / AP Photo

The avoidable war

Kevin Rudd on China, the US and the forces of history