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Daily Life
Float Fishing
鯛よりおめで”たい”
08/09/2016
In Japan it is customary to drink green tea. During brewing, it sometimes happens that a small stalk of leaves floats vertically in the middle of the cup. This is considered a sign of good omen in the country, and, inspired by this, Tatsuya Tanaka associated the plant with a fishing float and created this work that resembles a fishery.
Another auspicious symbol is the snapper fish (tai in Japanese), for its name resembles the word medetai, which means “happy, fortunate, which foreshadows something good,” reinforcing the idea of the title.
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Daily Life
Rice Ball Tent
静かなご飯の森の陰から♪
06/17/2021
The central element of this work is onigiri, traditional rice balls, usually made in a triangular shape and wrapped in nori seaweed. Here, these delicacies simulate camping tents, and the seaweed represents the door of the tent. The fire in the front is also not what it seems: it was made from grilled salmon, a common filling for onigiri.
Camping is among the Japanese habits and is a very popular activity, and rice balls are a typical food of these moments, due to the ease of storage and consumption. Although camping is popular in Japan, Tatsuya Tanaka says he doesn’t have this habit, but he relates it to his childhood, when he used to do outdoor activities with his parents, and until today he admires those who do it, that is why he created this work.
The title of the work associates his childhood memories of camping with the children’s song “Shizuka na kohan,” which begins with the verse “Shizuka na kohan no mori no kage kara” (From the shadow of the forest to the shores of the quiet lake). The title exchanges kohan (湖畔) for gohan (ご飯), the cooked rice, the main ingredient of onigiri.
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Daily Life
Sushi-Go-Round
寿司ん物発見
12/06/2020
This work, like “Sushi City,” uses the concept of kaiten-zushi, or sushi on a conveyor belt, as a starting point. Tatsuya Tanaka tells us that the idea came when, during a business trip, he saw the baggage claim area at the airport and thought it would be interesting if the conveyor belt carried sushi instead of luggage. With this in mind, he did some research and discovered that there is a baggage claim area at Oita airport, in Japan, where replicas of sushi, in fact, are carried on the conveyor belt as a way to advertise the products of the local fishing industry, highlighting aspects of the region in an amusing way.
The title rhymes the first part of a very common warning at airports, “if you find anything suspicious (fushin butsu wo hakken), please inform us,” with the word sushi.
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Daily Life
Sushi Chart
会議は巻きでお願いします
02/03/2020
In Japan, when one wants to ask for a meeting or a speech to be short, it is customary to say “onegaishimasu maki,” where maki means “to play a video at accelerated speed.” The title of the work is a pun on this maki with the maki from makizushi, a kind of sushi wrapped in dehydrated nori seaweed. In this context, the filling of the sushi itself is arranged as if it were a pizza chart, widely used in the professional environment and in presentations.
To convey the mood that the scene represents a meeting that is not going well or is taking too long, the artist has included characters whose countenance appears demotivated.
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JHSP
Feijoada Beach
美味しさは海を越える
Japan and Brazil are on opposite sides of the globe, and although there are differences in culture and lifestyle, the appreciation of food is common to all human beings. Understanding food and eating as something capable of uniting people, the artist developed a new work for the exhibition at Japan House São Paulo.
During several conversations and research about various aspects and elements of Brazilian daily life, Tatsuya Tanaka was impressed with feijoada, a dish consumed in many places in the country. The combination of beans and rice surprised the artist, for they are also familiar foods to the Japanese, who consume them in very different ways, including sweet preparations. From these two items came, then, the idea of creating a work related to Brazil that was associated with the beach: rice as the clear sand and the sea being represented by beans, or even by feijoada itself. For the conception of this works, the artist was also inspired by the famous black and white stone pattern on the sidewalks of Copacabana, in Rio de Janeiro, which simulates the sea waves.
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Modern Japan Scenery
Breakfast Train
九州新幹線「たらこ」
08/31/2019
This work was created for an exhibition in the city of Fukuoka, which has as one of its specialties mentaiko, cod roe (tarako) preserved in salt and red pepper. Thus, the reproduction of this delicacy is the main element of the composition that is representing the famous Japanese bullet train or high-speed train, called Shinkansen. The first station of the Kyushu Shinkansen line is Hakata, located precisely in Fukuoka.
The artist’s intention was to associate the first station of the train with the idea of “starting point,” so he placed scenes of Japanese breakfast—which indicate the beginning of the day—around the mentaiko. The station building is a bowl of miso soup, and the mountains in the background are rice balls, the onigiri. He also put green tea, and the gravel under the tracks is made of white rice grains. Also, when looking closely at the construction site, we notice a sign at the station that is named Mentaiko, with the indication that the previous station is called Tsukemono (pickled vegetables), and the next, Nattō (fermented soybeans), i.e., names of common Japanese breakfast side dishes.
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Modern Japan Scenery
Makeup City
メイクパレッ都
01/26/2021
In this work the artist used various cosmetic products to represent buildings. His intention was to express the colorful neon lights and street lighting of Tokyo. In the center, in the background, he used mascara to represent the Tokyo Tower—a telecommunication tower located in the Minato region. Next to it, Roppongi Hills—a complex of buildings and leisure areas in the center of the Japanese capital—is represented by a lipstick, while the eyeshadow applicators in the sky are shooting stars, and the round foundation represents the moon. The association of night in the metropolis with makeup came to the artist from the song “Make-up Shadow,” sung by Yōsui Inoue, with its unique version of a night view of Tokyo.
The title of this work is a game with the words in which the ideogram 都 (to), meaning “metropolis” of Tokyo (Tokyo-to in Japanese), was used to express the to ending of the expression “make-up palette” in English, pronounced in Japanese as meiku paretto.
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Modern Japan Scenery
Sushi City
おスシティー
11/01/2018
Since the 1950s there has been a type of restaurant in Japan called kaiten-zushi, a place that serves “sushi on a conveyor belt,” as its name says in Japanese. This system consists of a conveyor belt that runs along the entire length of the counter and tables of the establishment, carrying the dishes towards the customers, who serve themselves by taking what they want. Widely popular, these establishments combine convenience, affordability, and speed, attracting both local and tourist customers.
According to the artist, this is one of his most representative works: “I often go to sushi restaurants that have a conveyor belt with my family, and the kids fight over who has eaten the most by the number of plates piled up. Gradually [the plates] start to look like groups of buildings, and on the table the image starts to resemble a city. The belts through which the sushi is delivered are the expressways. This work is thus a representation of that metropolis. In the foreground are the disposable chopsticks, arranged on top of the plate as if they were a construction crane. In other words, the person determined to eat more will use them to increase the tower of plates, simulating the function of the automobile. This, for example, is also an allusion to the fact that in Japanese cities there is always construction going on somewhere, as if competing on the height of their buildings.”
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Modern Japan Scenery
Tokyo Skytree
高さ 634mmの東京スカイツリー
05/22/2017
The Tokyo Skytree is Tokyo’s new telecommunication tower. Opened in 2012, it is 634 meters (2,080 feet) high and was built because of the high density of skyscrapers that have been built around the city, making it impossible for the Tokyo Tower alone to cover the receiving and sending waves. It was designed by the engineering and architectural firm Nikken Sekkei, in collaboration with architect Tadao Ando and sculptor Kiichi Sumikawa, and is currently the tallest tower in the world. Located in Sumida, Tokyo, near the Asakusa district, the tower is exactly 634 meters high for a specific reason: the area where it is located was in the past called Musashi, a word pronounced just like “six hundred and thirty-four” written in ancient Japanese numbers. Traditional Japanese architectural styles were also used, such as sori (a gently curved line, like a Japanese sword) and mukuri (a slightly protruding shape that can be seen on the pillars of Hōryūji Temple).
In the work, the artist played precisely with the size of the construction, changing the unit to millimeters, so he recreated it with 634mm (24.9 inches). The screws used to represent the Skytree relate to the fact that the district in which the tower stands is now known for its thriving manufacturing industry. In the foreground is a cityscape surrounding the building, made up of Japanese sockets called “type A”, with two vertical and parallel slits.
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Modern Japan Scenery
Tokyo Tower
高さ 333mmの東京タワー
07/17/2018
The Tokyo Tower is a 333-meter-high (1,092 feet) telecommunication tower built in 1958. Its design was inspired by the Eiffel Tower in Paris, France, and it became a great symbol of Japan’s post-war ascendancy, having a special meaning for the generation that lived during the country’s economic miracle in the 1960s.
To create this work, the artist played with the dimension of the tower—he changed the unit of measurement and made a 333-millimeter-tall (13.1 inches) model. The main element chosen for the representation of the tower was the clothespin. As a child, Tatsuya Tanaka used to play at connecting many clothespins to create dinosaurs and robots, among other characters, so he used them as an extension of this old game.
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Seasonal Events
New Year’s Sunrise
旧年から新年に衣替え
12/31/2017
This work represents the first sunrise of the year, called hatsuhinode. It is a highly valued moment in Japanese culture, and its contemplation is part of the new year celebrations. It is said that the New Year’s deity, Toshigami, comes with the sun that rises on the first day of the year, and so people can worship him.
The red ball of wool in the background represents the sun, and the white balls are snow-capped mountains. The artist chose wool as the central element, because on this date in Japan it is winter. Another custom associated with this period is Hatsumōde, the first visit of the year to a Shinto shrine. In some of these places, deer are treated as messengers of the gods, which is why there is an image of these animals in front of the shrine represented in the miniature. Besides the traditions associated with the New Year, the red wool in the background and the figure of a couple in the foreground were chosen to indicate that the represented shrine does matchmaking, referring to the Japanese legend in which a red thread unites us to the person with whom we will spend the rest of our lives.
The title alludes to the beginning of a new cycle, but also emphasizes the seasons of the year in the Japanese archipelago, which are very marked. As the temperature variation between them is great, it is common to change the closet during its transition.
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Seasonal Events
Tsukimi
想いは“つき”ない
10/01/2020
In Japan, the autumn night when the air is clear, and the full moon can be seen in all its splendor is called Jūgoya. Commonly known also as Tsukimi—月 tsuki = moon and 見 mi = seeing—, this tradition is said to have come from China during the Nara Period (710–794) and was adopted during the Heian Period (794–1185) by the nobility, who held great banquets with music and poetry recitals dedicated to the moon. Only during the Edo Period (1603–1868) did it become a popular custom associated with the autumn festivals in which farmers put out offerings in thanks for the year’s harvest.
On the day dedicated to moon gazing, which always takes place between September and October, families gather to eat dango dumplings—made from rice flour, which can be boiled or steamed. During the gazing there is the tradition of setting a tray called tsukimidai, which is used to offer the dango. In this work, the artist used the dumplings themselves to represent the moon of Tsukimi, and the dolls in the scene are inspired by characters from several Japanese folk tales, such as Princess Kaguya, who looked at the moon and cried with longing, revealing to her family that she came from there. Based on this association, the Japanese title plays on words to say that Princess Kaguya’s feelings for her homeland, the moon (tsuki), have no end (tsukinai).
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Seasonal Events
Osechi Art Museum
おせち現代美術館
01/02/2021
This work is based on Osechi Ryori, the delicacies eaten on Japanese New Year’s Eve with a varied selection and exquisite presentation. These are various foods with different preparations packaged in a box called a jūbako, similar to the bentōbako, the Japanese lunch box, but all the ingredients have special positive meanings, carrying wishes for good fortune. The artist believes that Osechi dishes are a symbol of Japan’s mitate culture. For example, the shrimp alludes to the wish to “have a long life until your back bends like a shrimp.”
In this work, Tanaka used each of the ingredients to represent pieces of an exhibit and divided the interior of the jūbako to recreate rooms of a museum.
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Seasonal Events
Cherry Blossom Viewing
ふせんで場所を確保
03/24/2018
In Japan, when the season of cherry blossoms are close, people gather to contemplate the blooming flowers. Because it is a much-awaited moment, spaces are fought over, and it is common to save room for groups with blue tarps—from younger employees waiting for their colleagues and bosses to family and friends gathering to socialize. Therefore, the artist created this scenario using sticky notes in this shade. These papers were also chosen because, in everyday use, they are pasted on the computer screen or in the notebook, as if they were also competing for space.
The pink sticky notes, on the other hand, represent the sakura, the cherry blossoms themselves, which appear cut in circles alluding to the petals that are both on the trees and on the ground, conveying the delicacy and ephemerality of this flower’s life cycle. The practice of appreciating and observing the blooming of this species is known as hanami.
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Seasonal Events
Fireworks
花火ボンボンボーン盆
08/13/2016
In Japan there is a tradition of firing fireworks in the middle of summer, with many festivals dedicated to this practice, called hanabi taikai. These celebrations mostly take place during Obon, an event held in August to commemorate the ancestors, during which it is believed that spirits temporarily return to this world to visit their relatives. On the last day of Obon, bonfires are lit in order to light the way for the spirits to return to paradise without getting lost, and fireworks are their extension. Despite the profound meaning, fireworks have also become established in the country as a fun summer tradition.
This is a work in which the artist used chrysanthemum flowers to represent the explosion of fireworks that light up the skies. The flower chosen, besides being considered the official seal of the Japanese Imperial Family (in golden color and with 16 petals), is traditionally associated with the deceased and always offered to them. Thus, Tanaka makes this allusion to the period of the Obon celebrations.
The title, besides referring to the period of ancestor worship, contains the onomatopoeia bon-bon, which expresses the sound of exploding fireworks.
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Seasonal Events
Hinamatsuri
ふだ人形
03/03/2020
Hinamatsuri, also known as Girls’ Day in Japan, is held annually on March 3rd and is also called “Joshi” or “Momo no Sekku.” On this occasion, dolls are placed on a decorated altar, which can be from one to seven stories high, in order to pray for the healthy growth of girls. This is an evolution of “Nagashibina,” a tradition in which evil was transferred to the dolls and, to ward it off, they were put in baskets and thrown into rivers. This tradition gave way to the current style in which prayers are said for children’s health. In the past, hina dolls were used—representing the Japanese imperial court in the Heian period (794–1185) and imitating the wedding ceremony held in the Shishinden, the main hall of the emperor’s private space. But today, as many people live in apartments or smaller houses, simplified versions of the traditional seven-story altar with only two dolls are the most widely sold.
In this work, the artist created an altar using playing cards, and on top, to represent the main figures symbolizing the emperor on the left and the empress on the right, he cut out the suits of spades and hearts. The use of cards is also reflected in the original Japanese title, “Fuda Ningyo” (Fuda Dolls), which is a play on words between hina dolls (hina ningyou) and the suit (fuda) of playing cards.
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Seasonal Events
Rice Fields
美味しい米は食の基盤
12/27/2018
This work was created for the Niigata prefecture, one of the most important rice-maker regions in Japan. The rice culture, the basis of Japanese food, is normally done by transplanting the seedlings born in greenhouses to floodplain areas. The scene chosen to be represented in the miniature shows farmers at work, however it is becoming less and less common to plant rice by hand: nowadays the work is mostly done by machines.
The artist noticed the similarity between the metal parts soldered on printed circuits and the paths in the cultivation fields. Furthermore, the patterning with its colors resembles a mixture of water and mud. So, Tanaka had the idea of connecting agriculture with the digital and information world, which seem very far apart at first glance. This relationship was also carried into the title, which makes a pun, comparing the cultivation of rice—the basis (kiban) of the Japanese archipelago’s food—with electronic boards (denshi kiban).
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Seasonal Events
Rice Harvest
田舎ぶらし
04/03/2017
The rice paddies of Japan, when autumn arrives, turn from green to golden. Laden with rice grains, the ears of rice bend under their weight, as if bowing. During this period, many regions hold festivals to celebrate the successful harvest and to pray for abundance in the following year. Even today, the Japanese archipelago has rice as its main agricultural activity. In its history, rice cultivation occupies an important space, even being determinant in the country’s fiscal calendar: as the grain harvest is done during the autumn, between the months of September and December in the Northern Hemisphere, farmers had a very short time between its commercialization and the collection of taxes, so they were unable to comply with the payments. So, in 1886 a new fiscal calendar was adopted: April became the deadline for paying taxes.
In this work, Tatsuya Tanaka depicted the harvesting of rice using the bristles of the brush as if they were the ears of rice. This quiet scene is seen a lot in the Japanese countryside, and the idealization of “life in the countryside surrounded by these landscapes” by those who live in the rush of big cities is expressed in the title of the work, the expression “inaka gurashi,” meaning “life in the countryside,” making a play on words gurashi, for “life,” and burashi, for “brush.”
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Traditional Japan Scenery
Bamboo Forest
自分を曲げずにまっすぐ伸びよ
07/07/2015
Bamboo is a very common and appreciated plant in Japan. About 250 different species grow there, and there are large areas with these plants, like forests. The Chikurin no Komichi in Arashiyama in Kyoto is famous for the great amount of bamboo, especially the 980-feet path connecting the Ōkōchisansō garden to the Nonomiya Shrine.
Bamboos are used for a variety of purposes in Japanese culture, from food, consumed as shoots (takenoko), to construction and furniture design, and even as a decorative item at festivals and ceremonial rituals. Because it is always green, even in winter, and is very flexible, yet very resistant, and does not break easily, bamboo came to be considered a sacred plant, a symbol of prosperity and good luck. In this work, this symbolism is expressed in the title.
Since bamboo grows vertically, here Tatsuya Tanaka has represented it with straws, which are usually bendable. The artist chose this type of straw to express the wish that people live honestly, without getting carried away or giving up on their goals. Also, the woman in this miniature is looking forward, even though her view may be obstructed in the forest. Thus, the artist’s intention is to demonstrate the attitude of following steadfastly, even if obstacles arise during life.
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Traditional Japan Scenery
Carp
年寄りの目をゴマかす
11/13/2018
With age, people's eyesight often suffers a certain amount of deterioration, causing them to see things in the wrong way. In this work, a woman and a man who appear to be old are standing on a bridge over a lake with several elements. The water is represented by wakame seaweed soup—a very popular Japanese daily dish—and what floats on top of it are sesame seeds (goma), which are perhaps being perceived by the elderly couple as carp. They are being fooled (gomakasu) by their own eyes.
Besides the carp—present in Japanese gardens, temples, and shrines, and which carry a strong symbolism of persistence and prosperity because of their natural ability to swim against the current—, the lake is composed of other ingredients that help set the scene: the floating scallion looks like the leaf of the lotus flower, common in Japanese lakes, while the seaweed that sank in the soup represents vegetation in motion. The bowls turned down in the background are called chawan and play the role of mountains.
This work was made after the artist watched a TV program showing the Emperor of Japan strolling around the pond of a traditional Japanese garden.
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Traditional Japan Scenery
Explore Japan
ちゃわんでジャパン
12/18/2020
This work was created for a NHK—Japan’s public television channel—show aimed at foreign audiences. Using Japanese bowls such as chawan and donburi, the artist developed a typical Japanese landscape. The bowl in the background of the scene, with its mouth downwards, is called an akafuji and mimics Mount Fuji tinged with reddish morning light.
The composition made of several bowl lids is the five-roofed pagoda (gojūnotō), a sacred construction present in all Buddhist temples in the country. It is a place that reveres the ashes of the Buddha and, because of its height, acts as a reference point for the people of the region where it is located. Each of the five roofs represents a plane of the Buddhist world: earth, water, fire, wind, and sky.
The other brown bowls represent mountains or traditional thatched-roof houses, and the bamboo mats at the front express the crops. The original Japanese title plays with the presence of so many bowls, using the rhyme of the word chawan with the English pronunciation of Japan.
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Traditional Japan Scenery
Japanese Garden
新緑抹茶御苑
09/29/2016
This piece uses matcha ice cream to represent moss-covered hills in a Japanese garden. Matcha—green tea buds in powdered or ground form—itself is a very Japanese item, used not only in traditional tea ceremonies, but also in various foods with its flavor, such as cakes and other sweets, which are becoming popular around the world. Japanese gardens, in turn, are representations of natural environments built from a series of rules, elements, and concepts of Japanese philosophy, which propose an immersive and contemplative experience for those who visit them. Moss is present in many of these classic gardens and is a group of plants that grows more freely and require a lot of humidity and little light. Because of these characteristics, it carries very special meanings in this context, representing ideas of beauty, simplicity, humility, and refinement, besides alluding to the aesthetics of wabi-sabi, a concept that speaks of the transitoriness of things and the beauty in imperfection.
The title of the work in Japanese, “shin-ryoku-matcha-gyoen,” literally means “garden of new leaves and matcha.” It is a pun on the name of a Tokyo park, the Shinjuku Gyoen National Garden, and was chosen by the artist to convey the idea that the landscape is part of the season of leaf renewal, shinryoku.
By choosing ice cream, Tatsuya Tanaka also makes use of the food replicas that are very common in Japan. Called shokuhin sampuru, they are, according to the artist, a representative technology of the country and a manifestation of its spirit, because when choosing food in a restaurant, it is easier to understand what it is about by seeing a picture of the dish and not a menu with only letters, but it will be even easier to see the product that simulates the real thing, with its textures and components.
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Traditional Japan Scenery
Miniature Trip in Japan
日本のエッ“センス”
01/01/2019
This work is about the essence of Japan (essensu) seen through fans (sensu), objects commonly used by people to refresh themselves, but also present in rituals and used as accessories in traditional Japanese dances. Many Japanese fans are made with handcrafted techniques and have delicate paintings with floral or nature themes in general. Since the Heian Period (794–1185) fans have been used as adornment in addition to their original function.
This work uses a fan open downward, representing Mount Fuji, and a red fan in the back, acting as the sun. The overlapping fans on the front allude to hills, creating a typically Japanese landscape.
Tatsuya Tanaka presented this work for the first time on January 1st, since he considers the subject to be auspicious—alluding to the first sunrise of the year—, thus wishing people a good year ahead. In this sense, and wishing good things would continue to happen, he also associated the fans with the idea of “favorable winds.”
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Traditional Japan Scenery
Open-air Bath
湯ニークな露天風呂
06/26/2019
In Japan, toothpicks are sold in very full cylindrical packages, and this shape motivated the artist to create this work. He started by using the packaging itself and moved the toothpicks one by one to shape the privacy fences of the Japanese outdoor spas. In this way, he constructed a scene where you can see people relaxing in the bath.
Hot springs are characterized by underground waters warmed by heat from within the ground that rise to the surface. In Japan, a country of great volcanic activity, there are hot springs all over the archipelago, called onsen. Around the world, the most common practice involves going to hot springs in a bathing suit, but in Japan there are separate sections for men and women, who undress completely to enter the waters. Good behavior at Japanese hot springs includes rules such as washing your body before entering the water, not wearing a towel, and not swimming, among others. The rotenburo, outdoor hot springs, provide an even greater sense of freedom and are very popular in Japan.
In Japanese, this work also creates different connections. Its original title takes on a humorous tone by replacing the syllable yu (ユ) in yuniiku (ユニーク), meaning “unique,” with the ideogram yu (ゆ), meaning “bath.” Another relationship established by Tatsuya Tanaka involves the expression “Furo de TSUMAzukanai yōni goYŌJIn” (Be careful not to slip in the bathing area) and tsumayōji, the Japanese word for “toothpick”.
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Traditional Japan Scenery
Petal Boat
花筏
03/30/2017
The word hanaikada (花筏 ), in its literal translation, means “raft flower” and is an existing expression in the Japanese language. It refers to the petals of flowers that fall and float on the surface of the water.
The petals represented in this work are from the cherry blossom, or sakura, a very important species to the Japanese people, whose blossom occurs between the months of March and April, announcing the beginning of spring and the start of a new fiscal year, which in the Japanese archipelago also occurs in April. However, the sakura has a very short life span and its petals are easily shed. For this reason, it has come to be related to Japanese concepts such as wabi-sabi, which deals with the beauty of imperfection and the impermanence of life, and mujōkan, whose message brings a reflection on the constant change: everything, one day, will come to an end.
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Traditional Japan Scenery
Yonago Castle Ruin
食事のあとは城の跡
04/23/2022
This work was created on the occasion of an exhibition in Yonago, Tottori prefecture, and represents the Yonago Castle Ruins. It is said that the castle was built in the 15th century and over time was enlarged, becoming the largest fortress in the San’in region. However, it was demolished in 1880, after the Meiji Restoration, with only parts of its stone walls remaining.
The ruins are traces of a previous construction, so the inspiration for this work was the idea of representing a “place where there was something, but it has disappeared.” For this, the chosen material was the empty container in which zarusoba is served—a dish whose main ingredient is soba, buckwheat noodles served cold, with broth on the side. In the upper part of the work, the ruins seem to be covered by grass, and what gives this effect is precisely the bamboo mat where the dish is served, which is placed under the soba to express the vegetation. At the bottom you can see another type of green noodle, the chasoba—a type of soba in which green tea is added—to imply that there was soba in the containers before.
The original title of this piece can be read as “After the meal, the ruins of the castle.” In Japanese, there is a pun on the word ato, which means “after” and also “ruins.” This composition also holds the sense that a visit to Yonago Castle, located in an elevated area, requires a long walk, which makes it a good exercise for digestion after tasting soba in the city’s famous restaurants. The artist himself once took this route after enjoying this local dish.
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Traditional Japan Scenery
貼る日の出
2018
This work was created while the artist was working on a book of postcards. He decided to make them in a special format so that they could be used as nengajō, the New Year greeting cards. To this end, when he looked at the shape of a tape holder, he remembered the famous ukiyo-e woodcut work “The Great Wave of Kanagawa” from the series “Thirty-six Views of Mount Fuji” by Katsushika Hokusai. So, he immediately related the object to the wave. From there, the ideas kept coming: the part that holds the tape would become Mount Fuji, and behind it would come the sun. Since it was a New Year’s card design, Tatsuya Tanaka inserted symbols of good luck, such as cranes flying.
The title “haru hinode” plays with the expression “hatsu hinode,” the first sunrise of the year, and the word haru, which means “to paste” in Japanese. In Japan the use of the old lunisolar calendar made the New Year occur in early spring, and so the date is still called shinshun (new spring). The title expands on this idea more, since haru also means spring.
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Traditional Japan Scenery
Kumamoto Castle
お城納豆
06/07/2018
Tatsuya Tanaka created this work for his hometown, Kumamoto. The artist chose as the essence of the place the Kumamoto Castle—a construction that marks the landscape of the region, besides being considered one of the most important in Japan. Its construction was started in 1467, and over the centuries it has undergone several renovations, modifications, and improvements made by the rulers who passed through there. It is known for its sumptuous black exterior and sloping ramparts, and also for having been specially designed to hinder and discourage possible attacks and invasions. Since 1871 it belongs to the Japanese government.
The work was developed on a low round table, traditionally used as a dining table in Japan, on which the artist placed bowls and chopsticks. In the center is the castle made from packages of nattō—a traditional Japanese food made from fermented soybeans. The composition features a doll of General Kiyomasa Kato, who led the construction of the castle. The artist made a connection between the tenacity of the castle that resisted invasions and the gooey aspect of nattō that resists detaching from its container. When seen up close, the work actually represents a castle, but as we move away, the landscape is configured as a typical Japanese breakfast.
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Traditional Japan Scenery
The Way Home
帰り道
10/7/2013
This work was especially chosen to be at what seems to be the end of the exhibition. Its title, not by chance, speaks about the return home, almost as a message or wish that the public, which is reading, returns home safely.
The artist says that to create this work he thought about how it would be possible to express nostalgia, and what came to his mind was the image of a mother carrying a child on her back, leaving at sunset. This scene, says Tatsuya Tanaka, is common in the childhood of many Japanese, and even those who did not have this experience must have close memories, such as on the way home from school or on the way home in the late afternoon. The idea of using mats as the main element of the composition is also related to his childhood times, when the artist used to play with toy cars on this floor covering typical of traditional Japanese houses, imagining its edges to be paths, streets, roads. Thus, we can observe here these long paths that not only emulate the road, but also allude to the rice fields, his many memories, and the desire to return home.
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Traditional Practices
How to Make Pasta
生パスタではなく窯パスタ
08/21/2022
This work contains the same figure of the ceramist seen in “Art in Nature.” The artist says that the idea for the miniature came when he looked at the shell-shaped dough and noticed its resemblance to clay being shaped on the lathe. The “unfinished” look of the dough before being baked resembles the look of ceramic before being firing. Tanaka also frequently uses various types of noodles in his creations, as it is a familiar ingredient in most parts of the world, creating connections wherever he exhibits his works.
In the original title, one can see the pun with “fresh noodles” (“nama pasuta” in Japanese), which in this case is being “cooked” in the ceramist’s oven (kama). That is why Tanaka titled it “kama pasuta.”
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Traditional Practices
Art in Nature
究極の美は自然の中にある
01/10/2022
In this work, Tatsuya Tanaka compares shells with ceramic vases. In Japan there are several ceramic and porcelain producing regions with particularities of each place, such as mashiko-yaki from Ibaraki prefecture, kutani-yaki from Ishikawa prefecture, hagi-yaki from Yamaguchi prefecture, and imari-yaki and arita-yaki from Saga prefecture, among others.
Each ceramic production works with different types of raw material, colors, and aesthetic aspects, and, although within the same style, each piece is unique, since it is a handmade practice. The same can be seen in the patterns and shapes of the shells, which, although similar, have their own singularities. From this idea of individuality, the artist brought these elements together and found similarities when choosing shells with spiral shapes, referring to the process of molding the clay on the craftsman’s lathe during the creation process.
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Traditional Practices
Japanese Drum
魂の演奏に涙が止まらない
11/17/2020
Taiko in Japanese literally means “drum” and is a term used to refer to traditional Japanese drum practice. The type of Japanese drum pictured in the miniature is the ōdaiko, a large taiko played horizontally. The part of the drumhead—the upper part that is touched with the drumsticks (bachi) to emit the sound—is white, while the body is made of wood, which gives it a brownish hue. Because of the similarity in color, the artist associated the instrument with a sliced onion.
In Japan it is a common idea that the sound of the taiko makes the whole body and even the soul vibrate. Therefore, the title in Japanese, which literally means “tears keep falling with the performance of the soul” connects the idea of tears of emotion when listening to a taiko show to the fact that we shed tears when cutting onions.
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Traditional Practices
Kyudo
弓道ねぎ
10/14/2019
This work uses the cross-section of the Japanese scallion, known as naganegi, which is similar to leeks, to represent the target of kyudo, a martial art that uses a Japanese bow to shoot the arrow and hit the target. The cross-section of the scallion has concentric layers, so it inspired the artist to transform it precisely into a target. To make it easier to visualize and recognize the food, Tanaka arranged it on a cutting board, making the association with its original use, in the kitchen, for food.
The title, kyudo-negi (kyudo scallion), is a pun on the name of a species of scallion called kujo-negi (kujo scallion).
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Traditional Practices
Musical Radish
だいこんだいこ
06/11/2019
Just as in “Japanese Drum,” this work again brings the taiko, now in an even bigger version. This time the element chosen to represent it is the Japanese turnip, daikon, which besides the instrument was also used to create the full moon that appears in the background. In front, musicians who play shamisen and koto—traditional Japanese string instruments—perform together.
Tatsuya Tanaka says that to produce the photograph for this work he used a real turnip, a food he consumes a lot in preparations such as furofuki daikon, the vegetable cooked and seasoned with miso. The reference to musical instruments is also related to his past experiences: when he was in college, he played the shamisen in the club to which he belonged.
The original title unites the drum with the plant and plays, in Japanese, with the similarity between the words daikon (turnip) and daiko (Japanese drum). Actually, in Japanese the word for drum is taiko, but when it is joined with another expression, it is pronounced as daikô. And in the title of this work in Portuguese, the two words, taiko and daikon, are joined to form taikon.
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Traditional Practices
Small Sumo
「どら焼きが1つ、残った残った〜」
04/25/21018
Dorayaki is a sweet made with sponge cake dough filled with sweet azuki bean paste called anko. The name comes from its shape, which resembles a gong (dora).
In this work, the artist has used the delicacy’s round shape to represent a Sumo ring, dohyō. In Kumamoto, Tanaka’s hometown, when there is only one sweet or some other kind of food left, everyone is too polite to take it. This situation is called “Higo iccho nokoshi” and alludes to the ancient name of the region, Higo. In other parts of the country, the expression used is “Enryo no Katamari” and refers to the excessive formality represented by the one leftover item. Thus, the title makes a pun between this “leftover” sweet (nokotta in Japanese) and the expression “nokotta, nokotta” that the Sumo referee shouts during the fight. And as opposed to ōzumo, which is the professional competition organized by the Japanese Sumo Association and literally means “Big Sumo,” it is presented here by the artist as “Little Sumo”.
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Traditional Practices
Training
みじん斬りを習得中
09/15/2019
The scallion is a widely used vegetable in Japan, commonly served on top of cold tofu or inside misoshiru, the miso soup, for example, adding flavor and highlighting characteristics of the other elements as a seasoning. The one present in Tatsuya Tanaka’s work, called aonegi or hanegi scallion, has a longer green part than the white one and is cultivated mainly in the Kansai region.
Usually eaten thinly sliced, it is impressive to see skilled people in the kitchen cutting them in a quick, precise, and standardized way. This work therefore brings together the image of the cook’s training—agility, precision, and organization—with that of the samurai who practiced cutting bamboo in the middle of the forest. The Japanese title, “mijingiri wo renshūchū,” which literally means “training the technique for finely chopping food,” uses the ideogram of “cutting the enemy with a sword” (斬) instead of the ideogram commonly used for chopping food (切). By making this game with the ideograms, the artist related the idea of training the cutting technique with the cook’s knife and that of training the samurai’s sword technique.
The scene depicted in the work comes from training in iaidō, a type of sword martial art in which practitioners cut the makiwara (bamboo poles covered with straw) diagonally, and also from the stories of Musashi Miyamoto (1584–1645)—a very famous swordsman among the Japanese who lived in the early Edo period, whose story is the subject of several novels and films—who used to practice his skills in the forest.
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About the artist
Tatsuya Tanaka is a miniature photographer and mitate artist born in 1981 in Kumamoto, Japan. He graduated from the Faculty of Education at Kagoshima University.
In 2011, he started “MINIATURE CALENDAR," an art project in which he reimagines, from the miniature perspective, everyday objects as something else. Since then, he has been presenting his creations every day on the Internet. He is currently holding exhibitions in Japan and abroad, including "MINIATURE LIFE: Tatsuya Tanaka's World of Miniatures," which has attracted a total of over 2 million visitors (as of Sep 2022). He took part in the 2020 Dubai International Expo as an exhibition creator for the Japan Pavilion. Over 3.6 million people follow his Instagram account (as of Sep 2022). He has authored "MINIATURE LIFE," "Small Wonders," "MINIATURE TRIP IN JAPAN," and the picture book "Assemble and Resemble (‘KuMitate’)," "SUSHI came to buy clothes".
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Broccoli
For Tatsuya Tanaka, broccoli is a very important element. It was from its association with the image of a tree that the artist began to explore the concept of mitate in his creations. He constantly includes this vegetable in his exhibitions and in the setting of his works because of how immediately this vegetable is recognized as a representation of a tree—an idea shared by people from different cultures around the world.
In addition, in Japan the broccoli flower means “small happiness,” and this feeling connects with Tanaka’s goal of reaching the public through humor and wit.
Often in his shows the artist positions himself under the broccoli tree, a puppet he calls a “Tanaka doll,” holding a camera.
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Other Perspectives
Tatsuya Tanaka’s work was developed from an observation game many of us played in childhood: looking at a bouquet of broccoli and imagining that, if we were very small, we would be facing a leafy tree or an entire forest.
This enchantment, usually more common in the children’s world, is also a playful way to change perspective, create stories and an entire universe thanks to the exercise of changing scale.
Tanaka creates his scenes using everyday elements, reconfiguring, transforming, and giving new meaning to these mini-worlds by inserting small dolls, which modify our point of view.
Inspired by the Japanese technique of mitate, a figure of speech comparable to metaphor, especially widespread in the Edo Period (1603–1868) in poetry, but also in the visual arts, every day Tanaka creates and photographs dioramas that become a fun calendar, published by him on his popular Instagram.
For his first exhibition in Latin America, we have jointly selected models and photographs that focus on aspects of daily life in Japan, thus illustrating some of the traditions, habits, legends, landscapes, and scenarios of this fascinating country, which can also be discovered in the captions.
Based on his imaginary about Brazil, added to characteristic elements and researched information, the artist has created a new piece especially for the show.
The exhibition layout, carefully articulated to promote views from different points, allows our visitors several ways of observing the models: sitting, standing, in rotation… and encourages them to have fun exploring Tatsuya Tanaka’s extraordinary small world.
Natasha Barzaghi Geenen
Cultural Director of Japan House São Paulo and curator of the exhibition
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