The term ‘Fountain’ would spark discourse more than a
century after its conception by Marcel Duchamp, the father of conceptual art.
What started as a critique of the art world quickly became a global movement
that both celebrated the commonplace object as well as acted as a social
commentary on consumerism.
Fountain. (1917).
Marcel Duchamp.
Wanting to test the limits of what could be
considered art, Duchamp submitted a urinal under the pseudonym ‘R. Mutt’ to the
Society of Independent Artist, which ultimately got rejected.
Duchamp went on to creating more widely celebrated
ready-mades – such as L.H.O.O.Q, a reproduction of Leonardo da Vinci’s Mona Lisa, of which he made many
versions of throughout his career. Naturally, questions of uniqueness and
originality then arise. But what is this premium we place on authenticity?
L.H.O.O.Q. (1919). Marcel Duchamp. Whether or not the item is a readymade does not matter
– the fact is that it was chosen by the artist. Arguably, this concept has been
adapted by Hiro Ando, a
contemporary Japanese artist who fuses traditional icons (e.g. samurais, sumo
wrestlers, koi fishes) with modern aesthetic concepts. Using bright arbitrary
colours reminiscent of the neo-pop art movement coined by Takashi Murakami,
Hiro Ando creates playful
sculptures that come in sets of original editions.
Robocat Red Fiber Resin
60 x 40 x 20 cm
Edition of 26
Sculptures such as Robocat Red
features Japan’s beloved cultural icon “Maneki Neko”, a recognised symbol of
wealth and prosperity. This icon appears to have been given a playful
mechanical upgrade, as it is depicted in robot form, with a bright red
colouring and glossy surface conveying a sense of urban modernity. Robocat thus
is a tribute to Japan's current status as an expansive technological hub,
playing on modern-day aesthetic constructions of robo-tech and artificial
intelligence. Existing as an edition of 26, all of Robocat Red are originals
and valuable given their limited quantity. Reproducibility in art is a nod towards conceptual
art, as the meaning rather than the form often takes precedence. Interestingly,
Hiro Ando’s works is a witty conflation of both. Having a distinctive
aesthetic, he takes inspiration from the streets and elevates Japanese
iconography into the high art world.
Samuraicat,
collected by Steve Aoki
Fiber Resin,
150 cm
As another
part of his cat series designs, Samuraicat features Maneki Neko in a samurai costume depicted
in metallic blue. The work is again reminiscent of Japanese pop culture and
manga and emblematic of the allure of a society highly engrossed in visual
cultures.
Taro Takatora Mix Media Stainless Steel Polished and Resin Painted And Varnished, 50 x 30 x 30 cm
Kabuto Jiro
Mix Media Stainless Steel Polished and Resin Painted And Varnished
50 x 30 x 30 cm
In another work, Kabuto Jiro
pays homage to the film ‘Ran’ by Japanese filmmaker Akira Kurosawa. Featuring a
black helmet worn by feudal Japan Samurais, he re-contextualizes the Samurai
warrior, an iconic symbol of Japan, into modern-day culture.Ultimately,
the value of art is what we make it out to be.
With today’s technology, the term no longer has the same connotation as it had during the 1914 opening of
the Society of
Independent Artist’s exhibition. Artists like Hiro Ando have continued to push
this boundary, bringing exciting sculptures to the forefront of the high art
world.Interested to find out more? Check
out more of Hiro Ando’s works here.