By Paul Virilio, Julie Rose

Paul Virilio lines the dual improvement of paintings and technology over the twentieth Century, a improvement that emerges as a nightmare dance of loss of life. In Virilio's sizzling imaginative and prescient, artwork and technology vie with one another for the destruction of the human shape as we all know it. initially of the twenty first Century technological know-how has ultimately left artwork in the back of as genetic engineers arrange to show themselves into the worst of expressionists, the Human Genome undertaking their godless manifesto, the man or woman, the uncooked fabric for brand spanking new and mammoth different types of lifestyles.

Virilio makes the entire connections transparent: among the best way early twentieth Century avant-gardes twisted and tortured the human shape ahead of making it vanish in abstraction and the blasting to bits of fellows who have been not more than cannon fodder within the trenches of the nice warfare; among the German Expressionists' hate-filled pics of the damned and the "medical" experiments of the Nazi eugenicists; among the mangled messages of sensationalist advertisements and terrorism. A brutal common sense ideas this shattering of illustration: our methods of seeing at the moment are fatally formed by means of exceptional "scientific" modes of destruction.

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42 In this respect, Tanaka’s work may also allude to the challenged condition of a human body after the atomic war. While her male colleagues such as Shiraga had attempted to reclaim the living human body through violent physical actions against objects, Tanaka emphasized the transience and fragility of the body through calm actions with objects. While members of Gutai were the first Japanese artists to use their bodies in onstage performance after World War II, Tanaka became the first Japanese woman artist to do so.

This dramatic change and the chaos that accompanied it provided a freedom for Japanese artists’ radical experimentation. 27 In the immediate postwar period, Japanese art became internationalized, with frequent artistic exchanges with the West. Japanese artists considerably increased their knowledge of the contemporary Western art that was introduced to Japan through exhibitions and art magazines. This internationalization coincided with a renaissance of the Japanese mass media, which had been suppressed during the war.

22 Although this ratio may not reflect the actual ratio of women artists to the total number of Japanese artists in Western media during the 1950s, it at least suggests the increasing presence of women artists in the 15 Historical Background, Common Issues 01-R3287 3/14/05 12:55 PM Page 16 16 Into Performance avant-garde arena. More than the half of the six women artists remained independent without affiliating with any particular bijutsu dantai, while others belonged to avant-garde artists’ collectives.

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