(The Pompidou Center Metz itself was designed by the Japanese architect Shigeru Ban). Transfigurations unfurl throughout this section: Ms. Hasegawa notes “traumatic ideas about the atomic bomb and pollution-activated mutation” in two “very weird, very critical” late 1960s cocoon pods by Tetsumi Kudo). Rhizomatiks contributes a visualization of Bitcoin’s blockchain system rejigged according to live transactions, in a digital ballet that shows a forward-looking evolution of Japanese creativity. Within the Pop Art sphere, Ms. Hasegawa has highlighted works with a strong conceptual background and Japanese specificity. His lesser-known “Polyrhythm Red” canvas, adorned with Tamiya soldier figurines, reflects, Ms. Hasegawa said, “Japanese culture becoming childish,” and a malaise about violence and vulnerability.

Source: New York Times October 30, 2017 06:00 UTC