Art in Japan>Contemporary Art 1930-2004>Yasumasa Morimura Self Portraits: An Inner Dialogue with Frida Kahlo

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Yasumasa Morimura Self Portraits: An Inner Dialogue with Frida Kahlo

by John McGee

Yasumasa Morimura, Red Hair Ornament, 2001
(Image ©Hara Museum of Contemporary Art)

Frida Kahlo was, by many accounts, a woman of unique beauty. Yasumasa Morimura, as revealed in his many cross-dressing photo projects, is not. Kahlo was the Mexican painter famed for her impassioned if tortured life captured in many self-portraits before her death in 1954. Osaka-based artist Morimura has been creating self-portraits by insinuating his face into famous artworks since 1985. 

In his "Art History" series of photographs, Morimura recreated the tableaux of such influential works as Manet's Olympia and Rembrandt's Anatomy Lecture of Dr. Nicolaes Tulp, each time posing as the central protagonist or photographically pasting his mug atop every character in the frame.

He followed "Art History" with "Actresses," taking on Marilyn—complete with big plastic breasts—and Madonna roles as captured in famous portraits of their day. Navel-gazing and dressing as a woman seem like a natural progression to Frida Kahlo. 

Kahlo's autobiographical paintings vividly chronicle her pains from countless physical ailments (polio, broken bones, miscarriage, etc.) and complicated love life. Her relationship with her husband, muralist Diego Rivera, was marked by squabbles and trysts (Trotsky was one of her paramours, Kahlo's sister one of his). 

In an effort to identify with Kahlo, Morimura created numerous photographic appropriations of her paintings, sculptural "commotion" objects, and a kind of music video of the artist in the dual role of pianist and a slogan-chanting Kahlo. 

Though not totally satisfying, this show may help dispel Morimura's reputation as a one-trick pony. Instead of merely appropriating the images and tacking his photo in the right place, he has rebuilt details within some of the images and framed others in tropes of Japanese customs or tastes. For example, where Frida swaths herself in an ethnic Mexican shawl, Morimura opts for Louis Vuitton. Where blood seeps from the thorn garland around Frida's neck, Morimura substitutes fine-branched red coral with gemstone droplets at the ends. A shimenawa—a ritual braided rope used at Japanese New Year's—takes the place of Frida's long hair in Red Hair Ornament. And large Frida/Morimura images are framed by Japanese hanawa, garish flower wreaths used at funerals and store openings. 

In order to clarify the parallels between Japanese and Mexican visual culture and bond with the dead artist, Morimura fabricates an interview from beyond the grave—transcribed in the catalog—explaining his intentions, process and admiration for Kahlo. 

Skimming through a Frida Kahlo catalog in the bookshop, though, only confirms how far apart the two really are. Kahlo's ability to capture her emotions on canvas created some harrowing images, powerful even in reproduction. (Popular legend has it that during cremation her body suddenly jerked upright, surrounded in a halo of flames). Morimura's efforts are conceptually interesting, formally palatable, but superficial and lifeless compared to his model. Part of his practice is to eviscerate the mythic quality of art's historically overwrought images, thereby examining the way such images are culturally codified and preached. While it is a commendable task, it can also leave viewers a bit cold. 

For another side of Morimura, check out his permanent display at Hara Museum. A life-size fiberglass replica of the artist—clad only in feathers, gaudy jewelry and a look of ecstasy-lies on its back, legs spread-eagled, with a real toilet (Western-style) extending from his crotch.

This exhibition was held in Aug-Sep 2001 at Hara Museum of Contemporary Art in Shinagawa, Tokyo, Japan.

©2006 John McGee

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