logo
‘Anything Goes': Yoshitomo Nara on His Creative Process as London Exhibition Opens

‘Anything Goes': Yoshitomo Nara on His Creative Process as London Exhibition Opens

Asharq Al-Awsat09-06-2025

Artworks by Yoshitomo Nara go on display in London this week in what organizers say is the largest European retrospective of the Japanese artist.
The show, running at the Hayward Gallery by the River Thames, features more than 150 works - drawings, paintings, sculptures, ceramics and installations - nodding to the longtime influences of Nara's works including music, nature, the importance of home and the peace movement.
"This is about 40 years' worth of my work," Nara told Reuters at a press preview on Monday.
"When I look at my work, I don't think what I'm trying to say has actually changed in that time. Whatever period I look at reflects a part of myself, which is why this exhibition is not done chronologically."
Nara, 65, is best known for his portraits of child-like characters with big gazing eyes.
"I think all the pictures I've created are like my reflections," he said when asked about them.
On display are plenty of those kinds of paintings and drawings as well as sculptures.
"Anything goes," says Nara, who was born in Aomori Prefecture in northern Japan and lived in Germany early in his career before moving back home, said of his creative process.
"I don't think about what I'm doing, but when I've done something good, I can feel the reason behind it almost like a kind of hindsight."
The show is an expanded version of a touring exhibition previously put on at the Guggenheim in Bilbao and Museum Frieder Burda in Baden-Baden.
"What's quite interesting, I think, for audiences in London and in Europe overall (is)... we don't actually get to see Nara's work in person that often," exhibition curator Yung Ma said.
"We've all seen his paintings and drawings on our devices...but I think all these kind of images, they don't do the works justice. So it's actually quite important to come and see because you can actually then understand (that)... he's a really good painter...but you can actually really see the texture of the works and the colors and the layering of the paint."
The exhibition runs from June 10 to August 31.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Kenzo Brings Mischief Back to Paris' Iconic Maxim's With a Riot of Color and Clash
Kenzo Brings Mischief Back to Paris' Iconic Maxim's With a Riot of Color and Clash

Al Arabiya

time15 hours ago

  • Al Arabiya

Kenzo Brings Mischief Back to Paris' Iconic Maxim's With a Riot of Color and Clash

Few Paris addresses conjure myth quite like Maxim's, the gilded Belle Époque haunt where artists and aristocrats once jostled for a seat at dinner and a place immortalized in Cole Porter's lyrics and classic Hollywood films as the very symbol of Parisian chic. On Friday night at Paris Fashion Week, the renowned restaurant-turned-nightclub became the improbable stage for Kenzo's latest co-ed show–a riot of pop color, celebrity, and cultural collision served tableside. Guests perched around white tablecloths as Nigo, the first Japanese designer to helm Kenzo since the late, great Kenzo Takada, set out to prove the house can still surprise. What unfolded was a knowingly playful mash-up of preppy classics and off-kilter eveningwear: eye-popping pink dresses loosely gathered and knotted, each one tossed with a Left Bank silk scarf; a slinky tuxedo jacket paired with a blaring urban-printed tee in wild color topped with a cartoon bunny in intentional clash. Think cocktail hour by way of Shibuya street style. Tongue-in-cheek references ran rampant–a circus master's striped waistcoat here, sheeny tiger-motif pants there, all nodding to Kenzo's signature mix of high craft and subcultural wink. If the goal was to recapture the house's historic sense of fun, Nigo went all in. While the creativity on display was undeniable, the sheer abundance of ideas sometimes made it hard for a single vision to shine through. With so many bold references and layers echoing recent seasons' spirit of collaboration and eclecticism, the collection sometimes felt more like a lively collage than a focused statement. Still, there were moments where the craftsmanship and playful accessories truly stood out, offering glimpses of the distinct Kenzo spirit that Nigo has made his own. Since joining Kenzo, Nigo has brought a fresh spirit of collaboration and cross-cultural exchange, most visibly in his headline-grabbing work with Pharrell Williams at Louis Vuitton and his frequent partnerships with artists from across the globe. That outward-looking energy has helped pull Kenzo back into the pop-culture conversation, blending the house's playful legacy with new momentum. As part of the LVMH stable, Kenzo now enjoys the reach and resources of the world's largest luxury group, giving Nigo freedom to experiment, push boundaries, and reawaken the brand's irreverent roots. It was a night that nodded to both past and future. After a string of worn years under the previous design duo, Kenzo seems determined to shake off old dust and reclaim its seat at Paris's most storied table. The show at Maxim's–equal parts fashion circus and cultural memory–was a reminder that Paris style is best served with a wink, a clash, and more than a little mischief.

Coco Gauff and Aryna Sabalenka dance at Centre Court and post about it on TikTok and Instagram
Coco Gauff and Aryna Sabalenka dance at Centre Court and post about it on TikTok and Instagram

Al Arabiya

time21 hours ago

  • Al Arabiya

Coco Gauff and Aryna Sabalenka dance at Centre Court and post about it on TikTok and Instagram

Just in case anyone might have wondered whether there was any lingering animosity between Coco Gauff and Aryna Sabalenka after their French Open final, the two tennis stars offered proof that all is well by dancing together at Wimbledon on Friday and posting videos on social media. 'TikTok dances always had a way of bringing people together,' Sabalenka wrote on her Instagram feed below a clip of the duo showing off their moves on the Centre Court grass to the strains of the 1990 hit 'Gonna Make You Sweat (Everybody Dance Now)' by C+C Music Factory. Gauff, a frequent TikTok user, put up a video of the pair standing outside the main stadium at the All England Club and mouthing along to a track with the words: 'OK guys we're back. Did you miss us? Cause we missed you.' Gauff wrote: 'The olive branch was extended and accepted! We're good, so you guys should be too.' The No. 1-ranked Sabalenka and the No. 2-ranked Gauff held a practice session together at Centre Court ahead of the year's third Grand Slam tournament, which begins on Monday. Three weeks ago, Gauff beat Sabalenka 6–7 (5), 6–2, 6–4 in the championship match at the last major, the French Open. Afterward, Sabalenka drew criticism from some for saying Gauff won the match 'not because she played incredible, just because I made all of those mistakes from … easy balls.' Later, Sabalenka called her comments unprofessional and said she had written to Gauff to apologize. Sabalenka, a 27-year-old from Belarus, is a three-time Grand Slam champion and was the runner-up both times Gauff, a 21-year-old American, won a major trophy, including at the 2023 US Open. At Wimbledon this year, they only could face each other in the July 12 final.

Chef Nobu Serves His Famous Miso Cod With a Side of Inspiration in a New Documentary
Chef Nobu Serves His Famous Miso Cod With a Side of Inspiration in a New Documentary

Al Arabiya

time21 hours ago

  • Al Arabiya

Chef Nobu Serves His Famous Miso Cod With a Side of Inspiration in a New Documentary

World-famous chef Nobuyuki Matsuhisa has been tantalizing foodies for decades as he built his empire to include more than 50 upscale restaurants and several luxury hotels. The new documentary 'Nobu' reveals the man behind the cuisine in an intimate look at how he found success despite several major setbacks. The film traces Matsuhisa's journey to creating his unique fusion cuisine, blending traditional Japanese dishes with ingredients discovered while living in Peru. Matsuhisa, now 76, was driven to run his own restaurant but faced obstacles including financial woes, doubters, and a devastating fire at one of his first spots. Candid and sometimes emotional interviews with Matsuhisa are interspersed with mouthwatering shots of his Nobu-style culinary treats, made with a precision and standard of excellence his diners have come to expect. 'Nobu' releases widely July 1. Director Matt Tyrnauer and the chef himself sat down with The Associated Press to discuss his perseverance, creativity and influence on the culture. Answers have been edited for clarity and brevity. AP: One of the most dynamic things about the film is the gorgeous food. How did you approach it, Matt? TYRNAUER: Nobu started as a graphic designer, and you can really see it in the plates. The totality of his vision for creating a new type of cuisine, which he calls Nobu style or the signature dishes, was really interesting, but also the beauty of the presentation, which is so important. We had cameras everywhere – on the ceiling, we had them over the shoulder, and anything to kind of get the precision and the detail. At a certain point in the film, you see him correcting some of the chefs who work for him, and it's a pretty tough process because he's a perfectionist. I wanted to show that. AP: There are many difficult moments in the film, and you have to relive some pain from your past. How was that process for you, Chef Nobu? MATSUHISA: Even though my life was pain, but I learned from this pain. Also I learned lots and lots of love from people who supported me. So nothing is losing in my experience. I'd like to say at my age I can say I did my life. AP: Matt, were there any surprises when you were shooting the film? TYRNAUER: When he broke down on camera and couldn't stop crying, it was a big surprise. I didn't understand the true wound of the loss of Nobu's best friend, Sakai. I've interviewed a lot of people. I've never had anyone really be so emotional. I thought it was extraordinary and very beautiful, actually, and very honest. Nobu invited me to go see the grave of his dear friend who had taken his own life, and the pain and the suffering that we see on camera is unexpected in a movie that you think is just going to be about great food and the artistry of being a chef. There's a soulfulness to it. If you or someone you know needs help, the national suicide and crisis lifeline in the US is available by calling or texting 988. There is also an online chat at AP: Your world travel helped you develop your Nobu style. You're still traveling and visiting restaurants. Can you talk about that? MATSUHISA: I made the Nobu corporate teams. These teams that are traveling with me … they stand by at all the locations, and they set up, then they're training for the next generations. The Nobu teams keep growing like a family, and they (are) working there long times so they understand Nobu's quality, philosophy, the passions, how to do service. We have good teams. AP: From 'The Bear' to reality TV, there is high interest in what goes on in restaurant kitchens in pop culture now. Did that play into the film? TYRNAUER: What I wanted to do was show the process and put that on display. Part of the secret to his success is that he's actually created a very civilized culture, and it comes from the top down. I think that's why he goes around the world like he does and visits all these restaurants and trains the chefs personally in his own style. But his own temperament is exemplary. AP: What do you want people to take away from the film? MATSUHISA: I'm very glad because I didn't give up on my life. That's the message. Even (when) the young people has a problem, I like to say, 'Don't give up.' Just don't forget about the ambitions, passions and go step by step.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store