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This is a past display. Go to current displays

Jiro Takamatsu, Oneness of Cedar 1970. Tate. © Estate of Jiro Takamatsu, courtesy Yumiko Chiba Associates, Tokyo.

A View From Tokyo: Between Man and Matter

Discover how sculptors working in Japan, Europe, and the United States in the 1970s inspired and influenced each other

The decades following the Second World War were a time of radical experimentation for Japanese artists. Many of the groups who emerged during this period focused on actions and performance. In the late 1960s, however, Jiro Takamatsu began to make sculptures that explored the inherent properties of materials such as cedar and concrete. Soon afterwards his students, including Lee Ufan and Koshimizu Susumu, started to exhibit together. Working with raw materials such as metal and wood, they laid works on the floor or leaned them against the wall, rather than using the pedestal or the frame. Instead of ‘creating’ objects, they wanted to show the world as it was by making minimal interventions on materials. In 1973 the group became known as ‘Mono-ha’, or ‘School of Things’.

These artists had a number of opportunities to exchange ideas and experiences with western artists. One of the most significant was the 1970 Tokyo Biennale, ‘Between Man and Matter’. The European and North American artists whose work is displayed here were among those who travelled to Tokyo. The exhibition enabled Japanese and western artists to meet, experience each other’s work, and share ideas.

This is one of a series of rooms at Tate Modern, each offering ‘a view from’ a different city. They focus on a period when new approaches to art-making emerged, developing locally and in dialogue with artists from other parts of the world

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Tate Modern
Natalie Bell Building Level 4 West
Room 5

Getting Here

13 June 2016 – 17 November 2024

Free

Nalini Malani, In Search of Vanished Blood  2012–20

Nalini Malani’s ‘video shadow plays’ combine video, shadow and sound to tell multiple stories. In this work, she creates a tribute to women’s lives forgotten throughout history. Each cylinder in In Search of Vanished Blood is reverse painted and features images of dispossessed people, mythological figures and surgical instruments. The artist draws inspiration from a range of sources. We hear Cassandra, a figure from Greek mythology who predicts the future but is cursed, so no-one believes her. Referencing texts from German writers Christa Wolf and Heiner Müller, Indian writer and activist Mahasweta Devi, Irish author Samuel Beckett, and others, Cassandra anticipates violence against women during periods of political upheaval.

The title of the work In Search of Vanished Blood is from the poem Lahu ka Surag 1965 by Pakistani writer Faiz Ahmed Faiz. Lines from the poem appear over Cassandra’s veiled face. Malani’s work reflects her commitment to feminist activism. In Search of Vanished Blood amplifies women’s voices to express Malani’s belief in humanism – the strength of what we have in common rather than what divides us.

Gallery label, April 2025

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artworks in A View From Tokyo: Between Man and Matter

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T15837: In Search of Vanished Blood
Nalini Malani In Search of Vanished Blood 2012–20
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