Japan is an orderly place, run by officials and managers who tend to be risk averse. That’s why things work so efficiently and effectively here.
Thus, when Tokyo2020 organizers created an Artist Selection Committee to create official posters for the lead up to the 2020 Tokyo Summer Olympics, I would have expected them to be traditional in their outlook.
After all, the posters that have been in the public eye for the past few years have been those of the Olympic and Paralympic logos – as conservative as you can be.
But Tokyo2020 is not your grandparent’s Tokyo1964. The committee commissioned19 artists to create posters, and I imagine that the brief they were given was very liberal. Of the 20 official posters that were officially revealed in early January, only 4 at most would be identified as representing the Olympics and Paralympics, either because the official logos are referenced, or Tokyo 2020 is explicitly displayed. The other 16 could be posters for anything.
But that’s OK. They are a wide variety of styles and interpretations of what the Olympics and Paralympics represent, which is in line with the hopes of Masayoshi Aoyagi, the chairman of the artist selection committee, who said in this article that the committee looked for a diversity of values and aesthetic sense to reflect this era of diversity, and so they selected photographers, manga artists, graphic designers. He said that you can see the very rich diversity of the art scene, as well as the incredible individuality and creativity of these artists.
If you are in Tokyo, you can see all 20 posters on display at the Museum of Contemporary Art Tokyo until February 16, 2020. There is no charge for viewing this exhibit.
HARMONIZED CHEQUERED EMBLEM STUDY FOR TOKYO 2020 OLYMPIC/PARALYMPIC GAMES, by Asao Tokolo
Tokolo was selected to design the logos for Tokyo 2020 in April, 2016, and it is his design that has been the object of the posters promoting the Olympics. For this larger poster project, Tokolo reimagined his design for two separate Olympic and Paralympic posters, creating patterns that to me, reflect celestial bodies or traditional Japanese fabrics. Tokolo said that “…these designs, ‘individual’ rectangles form ‘groups’ under ‘rules.’ The designs were created partly on the computer, partly by hand. My aim was to create a ‘relay baton’ to be passed on from 2020 to future generations. I created the designs as a tribute to the Tokyo 1964 designers, who relied on compasses and rulers for their creations, and by imagining what mediums would be employed by designers of the future.”
Now it’s your turn! by Naoki Urasawa and The Sky above the Great Wave off the Coast of Kanagawa by Hirohiko Araki
Both Urasawa and Araki are acclaimed artists of manga, the Japanese style of comic book drawing. Urasawa of Tokyo, whose manga works include best-selling titles as “Yawara!” and “MONSTER,” created a comic page that shows an athlete getting ready, with the anticipatory words “tsuzuku,” at the bottom, which means “to be continued.” Araki, a Miyagi artist who is known for his comic series, “Jojo’s Bizarre Adventure,” riffed on a very popular Japanese image – Hokusai’s “Great Wave off the Coast of Kanagawa. “I imagined the gods of sports descending on Japan from a sky filled with clouds resembling turbulent waves.
FLY HIGH by Shoko Kanazawa and Open by Koji Kakinuma
Two calligraphers were invited to create posters for Tokyo2020. Kanazawa selected the first character in her first name “sho,” to boldly represent her wish that “everybody supporting the Olympic Games, will soar high above Tokyo to reach people the world over.” The character “sho” means “to fly high.” Kakinuma selected the characther “開,” which means “open.” He said “I imagined Olympic and Paralympic athletes working toward new height every day, and told myself, ‘Open, open, open!’ as I applied brush to paper until I felt myself to be completely ‘open.'”
Flow line, by Daijiro Ohara
Ohara is an artist from Kanagawa, Japan who imagined the route of the Olympic flame from Athens to Tokyo as a jumbled set of intersecting lines and loops, which reflects the complexity of connectivity. “What could possibly link an individual with an event in which world-class athletes compete?” asked Ohara. “It is not easy to grasp what does connect a huge-scale event with an individual – such connections can be erratic, or elusive.”
Higher than the Rainbow by Mika Ninagawa, and Ludus, by Viviane Sassen
Ninagawa is a photographer and filmmaker who is reflecting the limitless potential of para-athletes. Of this image of Renshi Chokai, she said “para-athletes are cool. This simple message is what this picture is about.” Sassen, a photographer, from Amsterdam, said she wanted to “depict the JOY of PLAY,” as well as cultural diversity and the variety of nationalities who all come together to participate in the Olympic Games.”
Wild Things – Hachilympic, by Tomoko Konoike
The most arresting poster to me was this “wild thing,” chasing a bee (“hachi” in Japanese). Perhaps Konoike, an artist from Akita, was channeling Maurice Sendak’s Wild Things. She said that “as animals, each human being grasps the world with totally different perceptions. We see the world through our own unwelts. None are the same. No words are identical. No light is identical. If the Olympic Games prepare themselves for that and address it honestly, then in time, a new ecosystem, filled with the senses, for a small organism, will begin to function.”
All photographs above were taken by the author.
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