Sake cup (guinomi) 2012

Editor: This is a Sake cup, called ‘guinomi’, created in 2012 by Tabuchi Tarō. It's ceramic, and at first glance, I notice the wabi-sabi aesthetic – that appreciation for imperfection. What can you tell me about it? Curator: That's a great start! We often view ceramics, especially tea and sake wares, through a lens shaped by centuries of socio-cultural practice. Think about the formal tea ceremony: a powerful statement of cultural identity for Japan, but what does it mean when this is encountered and interpreted in the West? Editor: I guess I haven’t considered the politics of it much. What role does its display in a museum play? Curator: Museums, traditionally spaces of Western power, began collecting and exhibiting Asian art in the 19th century, a time of intense colonialism and trade. Consider this guinomi displayed in a museum: Is it venerating the object and Japanese culture, or exoticizing it for Western consumption? Does placing a functional object, imbued with ritualistic meaning in its native culture, on a pedestal alter its purpose? Editor: That’s a good question, because now that you point it out, its 'everydayness' is really apparent. It doesn't strike you as immediately precious, right? Curator: Exactly. Tarō is making an interesting comment on value, accessibility, and artistic status here, particularly in relation to a globalized art market. He's reminding us that these objects exist in a complex network of meaning, complicated even further once it enters into museum culture. Editor: That’s something to think about, especially in how the Minneapolis Institute of Art displays such a seemingly humble cup. I hadn't considered its positioning as cultural artifact with historical and political baggage. Curator: It requires a step back, for sure, to understand the history influencing our interpretation of the piece.