There is something still very post-colonial in the way the West has been obsessed with China and other new art powers in Asia. These countries are developing fast, they might be coming a threat to Western hegemony, and there are opportunities for making lots of money there. That’s how the thinking goes. Everyone has turned away from Japanese art, because there is no money in it.

Yet Japan is in a very different situation, since the early 1990s in fact. Japanese art is thus related to a post-development, post-Bubble scenario, which the West in fact now has a lot to learn from. The forms of culture that came out of the decadent crisis years of the mid 1990s in Japan were simply extraordinary, and the forms now coming out of the next generation — those born in the 1970s and after, whose futures were dramatically cut off by the collapse of the boom years — are quite uniquely sensitive and thoughtful about our present day condition. Japan is also interesting because of the relative lack of the conceptual fads and fashions that dominate global art everywhere else.  (via Taking a Flat Approach | TABlog | Tokyo Art Beat)

I like the cut of this Adrian Flavell guy’s jib. Heck, he recently pissed Yoshitomo Nara off something fierce, just short of calling him a fraud…now that’s something I can get behind.