Modern art in the Asia-Pacific region reflects the rapidly changing geo-political landscapes, as well as becoming increasingly integrated into architecture and urban planning. In the Asia-Pacific region, the art of the 21st century can be large scale and includes ambitious installation projects as well as graphic art, graffiti, and urban art. Although influenced by European trends like abstraction and surrealism, the art of the Asia-Pacific region is dedicated to communicating a localized aesthetic. Contemporary art in the Asia-Pacific region can also be politically powerful, designed to make statements. In some cases, art has become a critical component of social justice and communications. The work of Ai Weiwei reflects the fusion of art with politics at critical junctures. In Japan and Korea, political statements were less concerned about protests against governmental institutions and more about gender and oppression in general. Throughout the 20th century, Korean art aimed to celebrate the history and uniqueness of Korean culture.Japanese 21st century art represents a radical shift in aesthetics and artistic ideology. The whimsical work by Takashi Murakami epitomizes the 21st century Japanese zeitgeist. With postmodernist flair and meta-criticism of popular culture, Takashi Murakami incorporates some of the pop art elements of the American 1960s as with his "And Then..." series, depicting a Mickey Mouse-like head in multifaceted new ways. "Tan Tan Bo - In Communication" is one of the artist's most recent works, and it is filled with lively colors and an urban graffiti sensibility. Takashi Murakami has been tremendously influential, founded a movement known as "superflat," and his aesthetic has been borrowed by other Japanese artists working in different media like Chiho Aoshima, and has also permeated the aesthetics of art beyond the Asia-Pacific region (Winners, 2016).
The work of Chiharu Shiota shows how 21st century Japanese art mirrors its counterparts in North America and Northern Europe. Chiharu Shiota's installations are cerebral and conceptual, as well as being large. Central to the artist's approach to installations is interactivity, not in the digital sense, but in an organic way as with Perspectives (2004), which was "made with more than 300 donated shoes accompanied by handwritten notes from each donor, confiding one personal memory," (Winners, 2016). Interactivity is also achieved in the preference for abstract and provocative performance art that requests deep audience engagement divorced from the...
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