BERLIN.- In a special exhibition at the Museum of Asian Art within the Humboldt Forum, Japanese artist Mio Okido (*1986) presents four new works created during her fellowship as part of “The Collaborative Museum” project of the Ethnological Museum and the Museum of Asian Art. The theme of the works explores the constructions of memories related to the period of Japanese imperialism, colonialism, and fascism in East Asia from approximately 1872 to 1945.
Confronting Historical Narratives
A starting point for Okido’s works are neo-traditional, national Japanese images known as Nihonga, which were featured in the 1931 exhibition “Japanese Painting of the Present” held in Berlin. Four of these works are displayed in Room 318. In her newly created piece titled “Spirits,” Okido confronts these images with motifs referencing Japan's military aggression in Manchuria during the same year.
The two-channel video installation “Observing” combines footage Okido captured in 2023 during her travels to South Korea and Japan, featuring sites, buildings, monuments, and artworks that embody conflicting emotions and interests. These are juxtaposed with historical images and documents to create a complex atlas of memory. All images appear in black and white in a uniform format. With the artist's blinking eye, the overall image of the projection is in constant flux, illustrating the ambiguities, openness, and constructed nature of the narratives associated with the images of history(ies).
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Exploring Identity Through Art
In her piece “Facade of the Face,” the artist presents herself with a veil made of medallions. These medallions depict images of “great men” regarded as heroes of Japan's modernization, presented here in miniature form as chosen by Okido. In this way, the feminine encounters the masculine, individuality meets plurality, and history intersects with the present.
The wall-based text work “Human Relations” extends the discourse into the German language, reaching out to Berlin and the contemporary world. By condensing the remembered narratives of history(ies) into terms such as “to kill” or “to be killed,” she poses a central question for both the present and the narratives of the future.
Accompanying the exhibition, a booklet will soon be available as a PDF here: Mio Okido Exhibition Booklet.
Curatorial Collaboration
The exhibition is curated by Alexander Hofmann, curator for Japanese art at the Museum of Asian Art, and Kerstin Pinther, curator for modern and contemporary art at the Museum of Asian Art / Ethnological Museum, in collaboration with Mio Okido.
The Collaborative Museum Project
The Ethnological Museum and the Museum of Asian Art of the State Museums in Berlin emphasize trans-cultural collaborations in their programming. Through the extensive project “The Collaborative Museum,” the two institutions are developing multi-perspective approaches to explore their collections and experimenting with new formats of collaboration with an international museum and academic community, as well as representatives of the creator communities.
A New Lens on Historical Memory
Mio Okido’s exhibition promises to be a thought-provoking exploration of the past, inviting viewers to reflect on how history is remembered and constructed. The interplay of imagery, text, and context allows visitors to engage deeply with the narratives that shape our understanding of identity and culture in both historical and contemporary contexts.
As the exhibition unfolds, it aims to challenge preconceived notions of history, particularly regarding Japan’s role in East Asia. By using art as a medium for reflection and dialogue, Okido encourages visitors to confront difficult memories and engage with the complexities of cultural identity.
An Invitation to Dialogue
The collaborative aspect of the exhibition is particularly significant. By working alongside curators and engaging with the audience, Okido creates an interactive space where multiple voices can be heard. This aligns with the broader goals of the Humboldt Forum, which seeks to foster cross-cultural dialogue and understanding through art and scholarship.
The rich tapestry of narratives presented in “Remembered Images, Imagined History(ies)” not only serves to highlight the complexities of Japan's past but also resonates with contemporary issues of representation, memory, and identity. As visitors navigate through the exhibition, they will encounter not just the art but the stories and histories that these works evoke.
Looking Forward
The opening of this exhibition marks a significant moment for the Museum of Asian Art as it embraces a new direction in its approach to curatorial practices. By integrating contemporary artists like Mio Okido into its programming, the museum not only showcases diverse artistic expressions but also contributes to ongoing discussions about culture, history, and memory.
As the exhibition runs from September 14, 2024, to February 3, 2025, it offers ample opportunity for audiences to engage with these critical themes. The accompanying events, including artist talks and workshops, will further enhance the dialogue around the exhibition, allowing for a deeper exploration of the issues raised.
In conclusion, Mio Okido’s exhibition at the Museum of Asian Art provides a unique lens through which to view Japan’s complex history and its lasting impact on contemporary culture. Through her innovative works, Okido invites us to reconsider our understanding of history and the narratives we construct around it. The exhibition is not merely a reflection on the past but a call to action for the present and future, encouraging viewers to think critically about their own roles in shaping historical memory.
