In fact, the metropolis of Edo actually exhibited many of the aspects that would later come to be seen as “modern” by the European definition of the term. Yet the restrictions on international exchange did not mean that Japan was somehow isolated from modernity. During this period, fantasies of Japan proliferated abroad, just as fantasies of the outside world proliferated in Japan. While international travel and trade were indeed forbidden, Japan remained networked with the those beyond its shores through trade with the continent, the Dutch, the Ainu, and the Ryūkyūs. The subject of this initial conference is the longstanding myth that Japan was hermetically sealed from the rest of the world from the 1630s to 1853. Global Edo: Edo in the World and the World in Edo At the conclusion of the year, selected papers will be assembled for publication in the UCLA Clark Memorial Library Series. Each conference will incorporate a site visit to an Edo-period archival resources in Southern California. Throughout the year-long series, the focus will be both historical and historiographical inasmuch as Open Edo asks how Japanese art history might challenge the discourse of early modernity writ large. In an effort to countervail the enduring stereotypes of early modern Japanese art, Open Edo will present a suite of conferences addressing three interlinked themes: the representation and agency of marginalized groups, the ecological horizons of artistic production, and the ongoing need to counter the myth that Japan in early modernity was somehow disconnected from the rest of the world. Yet the outsize fascination with ukiyo-e outside Japan has sorely obscured Edo’s far more diverse social, material, and artistic landscapes. On the one hand, the nineteenth-century proliferation of ukiyo-e-polychrome woodblock prints of the “floating words” of theater and sex work-made the popular visual culture of this city a familiar component of modern art in the nineteenth and twentieth centuries. The art of Japan’s Edo period (1603–1868) presents a paradox. Rudolph Collection of Japanese Maps, Special Collections, UCLA Library. Published by Sanoya Ichigorō, Izumiya Hanbei, and Izumoji Manjirō, n.d. Kersey (Art History, UCLA) “Panoramic Map of the Tōkaidō Highway.” Shōtei Kinsui, drawn by Kuwagata (better known as Keisai). Festivals, installations, and pavilions, 2022 was the year to express local memories to be recognized and celebrated, setting C ommunity and identity as central topics in ephemeral architecture throughout the year.Open Edo: Diverse, Ecological, and Global Perspectives on Japanese Art, 1603–1868 Hence, as architecture produces common living standards, it can also highlight singularities. Cultural differences are undeniable as globalization grows.
While it has also made information more accessible, it has led to homogeneity and identity crisis at melding unique societies and cultural expressions.
Globalization has connected the world boundaryless. Highlighting installations to acknowledge linguistic diversity in NYC, a giant table to celebrate culinary in Barcelona, and a large-scale net in Dubai to represent the local culture, among others, these initiatives seek to understand ways in which local and regional expressions can help cities to be more equal and diverse. A direct and popped-up public installation can shift from preparation to action, reclaiming and defining what makes a community unique. Staged stories on community and identity, ephemeral architecture showed that in 2022 it doesn't have to be permanent to be powerful.
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