Fujiko Nakaya's fog performance and embodied 'nature'

Research output: Contribution to journalArticleResearchpeer-review

Abstract

This essay discusses Fujiko Nakaya, a Japanese artist who has been known since 1970 for the use of fog in her site-specific installations. Nakaya’s outdoor work is designed for and interacts with a particular site, facilitating spectators’ kinaesthetic awareness through a dynamic visibility and strategies of immersion. This essay discusses Nakaya’s fog work as reflecting her early contact with Western art in the late 1960s and early 1970s, filtered through a particularly Japanese aesthetic. I argue that the underlying principle informing Nakaya’s fog art is one of an imagined natural core that is accessible to the spectator paradoxically through the very artificiality of the environment Nakaya creates, and through the work’s facilitation of a reflexive receptiveness of one’s own transience. Nakaya’s work sustains an irresolvable relation between nature and culture that rejects the simple dichotomy of the human and the natural. Nakaya’s work accentuates the embodied experience of the spectator, giving rise to a new form of participation and ecological awareness.
LanguageEnglish
Pages165-176
Number of pages12
JournalStudies in Theatre and Performance
Volume39
Issue number2
Early online date15 Aug 2018
DOIs
Publication statusPublished - 4 May 2019

Fingerprint

Spectator
Nature
Embodied Experience
1970s
Informing
Dichotomy
Artificiality
Japanese Artist
Art
1960s
Immersion
Visibility
Participation
Western Art
Facilitation
Transience
Japanese Aesthetics
Kinesthetic

Keywords

  • ecology
  • human-nature binary
  • participation
  • performance installation

Cite this

@article{7729130e199a4d63b531d54ba5e6a3e5,
title = "Fujiko Nakaya's fog performance and embodied 'nature'",
abstract = "This essay discusses Fujiko Nakaya, a Japanese artist who has been known since 1970 for the use of fog in her site-specific installations. Nakaya’s outdoor work is designed for and interacts with a particular site, facilitating spectators’ kinaesthetic awareness through a dynamic visibility and strategies of immersion. This essay discusses Nakaya’s fog work as reflecting her early contact with Western art in the late 1960s and early 1970s, filtered through a particularly Japanese aesthetic. I argue that the underlying principle informing Nakaya’s fog art is one of an imagined natural core that is accessible to the spectator paradoxically through the very artificiality of the environment Nakaya creates, and through the work’s facilitation of a reflexive receptiveness of one’s own transience. Nakaya’s work sustains an irresolvable relation between nature and culture that rejects the simple dichotomy of the human and the natural. Nakaya’s work accentuates the embodied experience of the spectator, giving rise to a new form of participation and ecological awareness.",
keywords = "ecology, human-nature binary, participation, performance installation",
author = "Yuji Sone",
year = "2019",
month = "5",
day = "4",
doi = "10.1080/14682761.2018.1506965",
language = "English",
volume = "39",
pages = "165--176",
journal = "Studies in Theatre and Performance",
issn = "1468-2761",
publisher = "Intellect",
number = "2",

}

Fujiko Nakaya's fog performance and embodied 'nature'. / Sone, Yuji.

In: Studies in Theatre and Performance, Vol. 39, No. 2, 04.05.2019, p. 165-176.

Research output: Contribution to journalArticleResearchpeer-review

TY - JOUR

T1 - Fujiko Nakaya's fog performance and embodied 'nature'

AU - Sone, Yuji

PY - 2019/5/4

Y1 - 2019/5/4

N2 - This essay discusses Fujiko Nakaya, a Japanese artist who has been known since 1970 for the use of fog in her site-specific installations. Nakaya’s outdoor work is designed for and interacts with a particular site, facilitating spectators’ kinaesthetic awareness through a dynamic visibility and strategies of immersion. This essay discusses Nakaya’s fog work as reflecting her early contact with Western art in the late 1960s and early 1970s, filtered through a particularly Japanese aesthetic. I argue that the underlying principle informing Nakaya’s fog art is one of an imagined natural core that is accessible to the spectator paradoxically through the very artificiality of the environment Nakaya creates, and through the work’s facilitation of a reflexive receptiveness of one’s own transience. Nakaya’s work sustains an irresolvable relation between nature and culture that rejects the simple dichotomy of the human and the natural. Nakaya’s work accentuates the embodied experience of the spectator, giving rise to a new form of participation and ecological awareness.

AB - This essay discusses Fujiko Nakaya, a Japanese artist who has been known since 1970 for the use of fog in her site-specific installations. Nakaya’s outdoor work is designed for and interacts with a particular site, facilitating spectators’ kinaesthetic awareness through a dynamic visibility and strategies of immersion. This essay discusses Nakaya’s fog work as reflecting her early contact with Western art in the late 1960s and early 1970s, filtered through a particularly Japanese aesthetic. I argue that the underlying principle informing Nakaya’s fog art is one of an imagined natural core that is accessible to the spectator paradoxically through the very artificiality of the environment Nakaya creates, and through the work’s facilitation of a reflexive receptiveness of one’s own transience. Nakaya’s work sustains an irresolvable relation between nature and culture that rejects the simple dichotomy of the human and the natural. Nakaya’s work accentuates the embodied experience of the spectator, giving rise to a new form of participation and ecological awareness.

KW - ecology

KW - human-nature binary

KW - participation

KW - performance installation

UR - http://www.scopus.com/inward/record.url?scp=85052151048&partnerID=8YFLogxK

U2 - 10.1080/14682761.2018.1506965

DO - 10.1080/14682761.2018.1506965

M3 - Article

VL - 39

SP - 165

EP - 176

JO - Studies in Theatre and Performance

T2 - Studies in Theatre and Performance

JF - Studies in Theatre and Performance

SN - 1468-2761

IS - 2

ER -