![]() Pure Land induces the viewer to at first observe and consider the critical and irreverent actions portrayed in Moris work, and then to engage, as one navigates the museum, in a performance that seemingly contradicts the previously implied contentions regarding sexism and capitalism as they exist in Japan. The show opens a provocative dialogue about the relationship between fantasy, gender and consumer politics, but quickly allows the overriding sensation and ceremony of the exhibit to mute the debate. On whole, the collection expresses the ubiquity of imaginative role-playing, examining how it is employed in religion, sales and sex. While one photowork suggests that fantasy pervades and impels consumer desire, another simultaneously reveals how it propagates religious devotion. Pure Land explores the divergent ways this enactment creates meaning and power. Yet the concept of performative fantasy, the acting out personas or roles constructed from underlying desires and imaginative compulsionsa concept central to the exhibit, has been largely neglected in discussions of Moris work. The return to her native country has been well received, with critics in the national newspapers praising her "universality" and then eagerly citing her brief stretch in modeling all in the same breathe. ![]() Pure Land, at the Museum of Contemporary Art Tokyo, (JanuaryMarch 2002), is Mariko Moris first large scale solo exhibit in Japan, although she has held numerous solo exhibitions in both private and public galleries in the United States and Europe. ![]()
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