Shuji Mukai, Untitled, 1993, mixed media on board, 162 x 162cm, Courtesy Lin & Lin Gallery More surprisingly, one may also legitimately detect the impact of India ink in more performative and conceptual-but also “technological”-art forms that arose in the 1950s and grew more established in the 60s, such as Minimal Art, happenings, and more extensively in the beginnings of performance art, Neo-Dada, Fluxus, or collectives such as Experimentsin Art and Technology (E.A.T.). This medium and the imaginary world connected to it can also be found in the practice of artists related to American Abstract Expressionism such as Mark Tobey, Robert Motherwell, or Jackson Pollock in that of “action painters” like Sam Francis or Toshimitsu Imai and in the works of informal French artists like the “Western calligrapher” Georges Mathieu. This new “Orientalist” fad, rooted in a rather decontextualized and happily reinvented theoretical magma, revolved primarily around the issues of the line and the deliberate gesture. Courtesy the artist and Leo Xu Projects, Shanghai.Īs often pointed out by modern art historians, notably Bert Winther-Tamaki (2009),(1) the 1950s in the United States and Europe were a time in which numerous painters developed a particular interest for India ink techniques. Dada is not at all modern it is rather a return to a quasi-Buddhist religion of indifference.Ĭonference in Weimar, Germany, 1922 Cabriel Lester, Melancholia in Arcadia, 2011, curtain and plaster, dimension variable.
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