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Olympic Dissent: Art, Politics, and the Tokyo Olympic Games of 1964 and 2020

Published online by Cambridge University Press:  14 March 2025

Namiko Kunimoto
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Through an examination of Olympic-related art and the gendered, labored bodies that produce the Olympic spectacle, “Olympic Dissent: Art, Politics, and the Tokyo Games” reveals continuities in the political and artistic stakes of the Tokyo Olympic Games in 1964 and 2020.

Keywords

1964 Olympicsart and politics2020 Tokyo gamesnational identityNakamura HiroshiTakayama Akira
Type
Research Article
Information
Asia-Pacific Journal , Volume 16 , Issue 15 , August 2018 , e3
Copyright
Copyright © The Authors 2018

References

Notes

1 Noriko Aso, “Sumptuous Re-past: The 1964 Tokyo Olympics Arts Festival” positions: east asia cultures critique, vol. 10, no. 1 (Spring 2002): 14.

2 Noriko Aso, “Sumptuous Re-past: The 1964 Tokyo Olympics Arts Festival” positions: east asia cultures critique, vol. 10, no. 1 (Spring 2002): 10.

3 Noriko Aso, “Sumptuous Re-past: The 1964 Tokyo Olympics Arts Festival” positions: east asia cultures critique, vol. 10, no. 1 (Spring 2002): 15.

4 National Museum of Modern Art, Tokyo, Design Project for the Tokyo 1964 Olympic Games (Tokyo: National Museum of Modern Art, 2013), 122.

5 Yoshikuni Igarashi, Bodies of Memory: Narratives of War in Postwar Japanese Culture, 1945-1970 (Princeton, N.J.: Princeton University Press, 2000), 153-55.

6 Author interview with the artist at Fuma Contemporary, Tokyo, May 23, 2017.

7 For more on the construction state in Japan, see Gavan McCormack, The Emptiness of Japanese Affluence, Japan in the Modern World (Armonk, N.Y: M.E. Sharpe, 1996); Thomas Feldhoff, “Japan's Construction Lobby Activities - Systemic Stability and Sustainable Regional Development,” ASIEN 84 (January 1, 2002).

8 Author interview with Yoshiko Shimada and the artist at Fuma Contemporary, Tokyo, May 23, 2017.

9 Fujieda Teruo, “Painting After the End of the Avant-Garde” From Postwar to Postmodern: Primary Documents, (New York: The Museum of Modern Art, 2012), editor's notes, Note 1, page 305.

10 As a result, the works are no longer extant and cannot be included in this essay.

11 Author interview with Nakamura Hiroshi, Tokyo, May 23, 2016.

12 Nakamura Hiroshi, “Akasegawa Genpei: A Proletariat with an Object” in Kagaisha (Tokyo: Bijutsu Shuppansha, 2003), 147.

13 For more on this, see Kyoko Iwaki, “The Politics of the Senses: Takayama Akira's atomized theatre after Fukushima” in eds. Barbara Geilhorn and Kristina Iwata-Weickgenannt, Fukushima and the arts: negotiating nuclear disaster (London: New York: Routledge, 2017), 199-220.