#mavo

[scopophilic1997]

scopOphilic_micromessaging_1509 - scopOphilic1997 presents a new micro-messaging series: small, subtle, and often unintentional messages we send and receive verbally and non-verbally. (2025)

[nobrashfestivity]

Unknown, MAVO performance, 1924 Date 1924 Scanned from. Scanned from a book: Geniffer Weisenfeld: "Mavo, Japanese Artists and the Avant-Garde 1905 -1931",University of California press, 2002, p.238. Author Photograph in Mavo magazine nº 3, August 1924, done in 1924

[smolfux]

silly polykour that happened with some frens

heres the design hehe

[dysfunctionalto]

Holy shit. Non snuggly cat. Curled up on my lap fully unprompted. Purring.

Bad mood cancelled I’m actually healed

[thisobscuredesireforbeauty]

MAVO performance, 1924. “MAVO was a radical Japanese art movement of the 1920s. Founded in 1923, as a re-institution of the Japanese Association of Futurist Artists, the anarchistic artist group displayed an outdoor exhibit in Ueno Park in Tokyo in protest of conservatism in the Japanese art world. The group leader was Tomoyoshi Murayama (1901 - 1977). The group deployed an interdisciplinary array of performance art, painting, illustration and architecture, to communicate anti-establishment messages to the mainstream. Fueled by responses to industrial development, the MAVO group created works about crisis, peril and uncertainty.“ (Wikipedia)

[kittanimo]

I have finally made a proper ref for this bad boy-

Tbh im actually kinda proud of this

[emrysdrawsshit]

mods are asleep post oc x canon

[theallart]

The anarchic 1920s Tokyo art movement Mavo

In July 1923, a new Dadaist-Constructivist art group debuted in Tokyo. Calling themselves ‘Mavoists’, and taking the letters MV as their monogram, the five founding members announced the establishment of Mavo in a manifesto published on the occasion of their first group exhibition: ‘We are standing at the cutting edge, forever standing at the cutting edge. We have no constraints. We are radical. We will revolt. We will advance. We will create. We ceaselessly affirm and negate. In all senses of the word we are alive – more alive than anything.’

Masao Kato, The Delightful Castle Gate, Mavo, issue 4, 1 October 1924

Mavo, issue 6, 18 July 1925, reissued 1991

Iwane Sumitani, Tatsuo Okada and Michinao Takamisawa, Dance, performance documentation, published in Mavo, issue 3, 1 September 1924

Tomoyoshi Murayama Construction, 1925, oil, paper, wood, cloth and metal, 84 × 113 cm. Courtesy: Gallery TOM, Tokyo

Left: illustrations for Toshio Maki’s ‘Two Theatre Proposals as Part of a Commonsense Process Toward a Movement to Eradicate Drama and Theatres’; right: Urban Power Construction League announcement; Mavo, issue 7, 24 August 1925

Against the backdrop of an expanded empire and economy post-World War I, and a government that sought to suppress oppositional politics, the Mavoists, whose numbers fluctuated over the course of the group’s short life, were inspired by anarchist, nihilist and leftist thought. They practiced what their catalyst, the artist Tomoyoshi Murayama, called ‘conscious Constructivism’, a dialectical approach to art that rejected universal aesthetic values and challenged the artist to push beyond individual subjectivity. Made with materials including photographs and advertising imagery, samples of Russian texts, concrete, cans and women’s shoes, their mixed-media collages, paintings and assemblages reflected the emerging global culture.