Here's the final presentation from Scenes for a New Heritage featuring Takashi Murakami, Luis Camnitzer, Song Dong, and Rabih Mroué

1. Takashi Murakami
727
1996
Synthetic polymer
paint on canvas
board, three panels

2. Takashi Murakami
727
1996
Synthetic polymer
paint on canvas
board, three panels
This piece features Mr. DOB,
Murakami’s creation
inspired by anime. The wave
in the background is
suggestive of the famous
Japanese wood-block prints
of Japanese artist Hokusai.
Hokusai
The great wave off Kanagawa

3. Hokusai’s 36 views of Mount Fuji
See all 36 here:
https://www.youtube.com/watch?v=IYiL1dDM3Gg

4. Takashi MURAKAMI
"Tan Tan Bo Puking - a.k.a. Gero Tan"
2002
Acrylic on canvas mounted on board

5. One of the most acclaimed artists
to emerge from postwar Asia,
Takashi Murakami—“the Andy
Warhol of Japan”—is known for
his synthesis of fine art and
popular culture, particularly his
use of a boldly graphic and colorful
anime and manga cartoon style.
Murakami became famous in the
1990s for his “Superflat” theory
and for organizing the
paradigmatic exhibition of that
title, which linked the origins of
contemporary Japanese visual
culture to historical Japanese art.
Takashi Murakami,
Kaikai Kiki News
2001 Acrylic on canvas

6. His output includes paintings,
sculptures, drawings, animations,
and collaborations with brands
such as Louis Vuitton. “Japanese
people accept that art and
commerce will be blended; and in
fact, they are surprised by the rigid
and pretentious Western hierarchy
of “high art’,” Murakami says. “In
the West, it certainly is dangerous
to blend the two because people
will throw all sorts of stones. But
that’s okay—I’m ready with my
hard hat.”
Murakami’s
collaboration with
Louis Vuitton
Takashi Murakami
Flower ball (3D)
2002, Acrylic on canvas mounted on board,

7. Takashi Murakami
(1962- )
Born in 1962 in Tokyo, Takashi
Murakami attended the Tokyo
University of Fine Arts and Music
and majored in Nihonga, the
“traditional” style of Japanese
painting that incorporates
traditional Japanese artistic
conventions, techniques and
subjects. Though he would go on
to earn a Ph.D. in Nihonga, he
gradually became disillusioned
with the field’s insular, highly
political world.

8. Takashi Murakami
(1962- )
“History is History.
Now is now.
Forget about History.
Now is Happy.”
“We want to see the newest things. That is because we
want to see the future, even if only momentarily. IT is the
moment in which, even if we don’t completely
understand what we have glimpsed, we are nonetheless
touched by it. This is what we have come to call art.”

9. Luis Camnitzer

10. Luis Camnitzer

11. Luis
Camnitzer
Memorial
2009
Portfolio of 195
digital prints

12. Luis Camnitzer
Luis Camnitzer's 195-part
artwork, Camnitzer
replicates the Montevideo
telephone directory, in
which he has meticulously
inserted the names of the
Disappeared in Uruguay.
During the military
dictatorship that ruled the
country between 1973 and
1985, nearly 300
Uruguayans were victims of
forced disappearances.

13. Luis Camnitzer Working with lists of names
culled from public resources,
Camnitzer used digital
techniques to create space in
the ready-made phonebook and
added lines of type, resulting in
the reappearance of hundreds
of names that are now
indistinguishable from the
names in the original
phonebook. In this way,
Camnitzer renders useless the
very action of list-making and
counting–political or otherwise.
At the same time, the work
levels roles of target and
perpetrator, victim and survivor,
prisoner and liberated.

14. Luis
Camnitzer
(1937- )
Artist, critic, educator, and theorist Luis Camnitzer was born Germany and
moved to Uruguay when he was a year old. In 1964, he founded the New York
Graphic Workshop with artists Liliana Porter and José Guillermo Castillo, and in
1971 helped establish New York’s Museo Latinoamericano, and a splinter
group, Movimiento de Independencia Cultural de Latino América (MICLA). The
Uruguayan artist’s work underscores the fact that art history is written by
those in power, and tends to exclude certain accounts.

15. Camnitzer’s installation Art History Lesson no.6 (2000) is made up of ten
slide projectors ranged around the gallery space, each one casting an
empty rectangle of light onto the wall. It was featured in the Under the
Same Sun Exhibition at the Guggenheim in 2014, which was a survey of
Latin American Art. Though the show raised the question of what
exactly is “Latin American Art?”
Luis Camnitzer
Art History Lesson no.6
2000
Slide projectors

16. Camnitzer’s work points to the
fact that Art History is written by
those who are in power, which
tends to exclude stories,
narratives, and dialogues from
non-European countries.
This work’s empty projectors
present viewers with a space
within which to imagine and
potentially write their own
narratives.

17. Luis Camnitzer
“The point of art should be to treat the public (students and visitors) as the
artists’ colleagues, not as consumers. We should involve them in the
thought process without allowing them to dismiss something in a couple of
seconds just because they didn’t like or understand what they saw….
…I should confess that I am
increasingly less interested in art and
more interested in education. The
social impact of a piece of art
hanging on a wall is relatively small,
while the effect of a major change in
sharing knowledge in schools is
relatively big.”

18. SONG DONG
Breathing
1996
Color
photography

19. SONG DONG
Breathing
1996
Color photography
These twinned photographs record
two actions performed by Song
Dong in Beijing during the winter
of 1996, on New Year’s Eve.
Alternately laying face down in
Beijing’s Tian’anmen Square
(famous for recent political history
in China) and then on the frozen
surface of Houhai Lake (one of the
man-made lakes fringing the
Western edge of the Forbidden
City), in each case Song simply
breathed for 40 minutes onto the
surface in front of his face.

20. SONG DONG
Breathing
1996
Color photography
In the sub-zero temperatures
of those winter nights his
warm, moist breath formed a
crust of ice on the flagstones
in the former location, but
reportedly had little effect on
the lake’s thick ice. By the
morning all trace of these
activities had disappeared
leaving these photographs
behind as their record.

21. SONG DONG
Breathing
1996
Color
photography
@PS1 MoMA in
Queens

22. SONG DONG Broken Mirror
2005
video
In Broken Mirror, Chinese
conceptual artist Song Dong
destroys one reflective scene to
reveal another, shattering the
viewer's conception of reality
and juxtaposing China's modern
cityscape with its traditional
landscape. Using a succession of
images, the artist exposes a
rapidly modernizing China and
explores notions of transience
and illusion in contemporary
society.

23. Song Dong
Beijing-based Song Dong (b. 1966, Beijing,
China) has emerged from a strong Chinese
avant-garde performing arts community and
developed into a significant contemporary art
figure in the progression of Chinese conceptual
art. Song graduated from the fine arts
department of Capital Normal University in
Beijing in 1989. His work, which is often in
collaboration with his wife and fellow Chinese
artist, Yin Xiuzhen, ranges from performance
and video to photography and sculpture. Song
explores notions of impermanence and the
transience of human endeavor.
Eating Landscape
2005
DVDtotal running time: 00:07:07.

24. SONG DONG
“The medium of video is elemental. It produces
moving images and sounds that cannot be
touched. It has no shape but provides a strong
light and can be projected onto any objects.”

25. Rabih Mroué
The Fall of a Hair
Part 3: Blow Ups
2012
Pigmented inkjet
prints

26. Rabih Mroué
The Fall of a Hair
Part 3: Blow Ups
2012
Pigmented inkjet
prints
In these photographs, it should be noted that these guns are not props. The
images are not set up. These are actual weapons held by actual people. These
photos were taken by Syrian activists during the country’s civil war. Many of
them were taken by mobile phone cameras. They took these photos and
shared them on the internet with social networking sites to show the world
what the Syrian media can not, due to the censorship by the Assad regime. It
is said that one of the men in the installation shot his photographer.

27. Rabih Mroué (born 1967 in Lebanon) is an actor, director, playwright,
visual artist, and a contributing editor of The Drama Review (TDR) as
well as a co-founder and board member of the Beirut Art Center
(BAC), Beirut. In 2010 Mroué was awarded an Artist Grant for
Theatre/Performance Arts from the Foundation of Contemporary
Arts, New York and the Spalding Gray Award.

28. Rabih Mroué
Trois Affinches (On Three Posters)
2000
Video-performance by Rabih Mroué and Elias
Khoury Ayloul Festival, Beirut,
Rabih Mroué’s truly stellar
video Three Posters tackled
head-on both the politically
symptomatic issue of the
reorientation of the Lebanese
resistance movement from
progressive to fundamentalist
and the role of video itself in
the representation of the civil
wars. Aside from that, though,
the works in the show paid
scant heed to how a uniquely
self-reflexive and reality-
probing activity such as art can
provide irreplaceable insight
into political conflict.

29. I could have been with any name.
I could have been merely a number with no name.
I could have been a persona, which exists in a work of art.
I could have been entirely fictional.
I could have been an image or a plot in a movie sequence, with a
narrative structure.
I could have been in any location at any time,
if Catherine had not shouted out my name twice, Rabih!, Rabih!