M+ Picasso Exhibition Notes｜A Cross-Temporal Dialogue Between Eastern and Western Art

In-Depth Tour 1. Curatorial Insight: Deconstructing the Genius through Four Archetypes The exhibition deconstructs Picasso through four identities: "Genius, Outsider, Magician, Apprentice." Picasso’s Blue Period "Portrait of a Man" is displayed alongside Hong Kong painter Chan Fook Shan’s "Wealth and Prosperity," where the loneliness in cool tones resonates across a century; "The Korean Massacre" is placed next to Japanese artist Fujiwara Simon’s cartoon reconstruction, bridging the trauma of war across East-West contexts. The most brilliant part is the Peace Dove section—Picasso’s print doves engage in a dialogue across space with Qi Baishi’s ink painting "Peace Dove," affirming the universal spirit of anti-war art. 2. Controversial Juxtaposition: The Tension of Blurred Subject and Object The number of Asian works (about 130 pieces) far exceeds Picasso’s originals (over 60), sparking a "subject-object" debate. Isamu Noguchi’s bronze sculpture "Strange Bird" shares the space with Picasso’s "Swimmer" series; though materials and concepts transform, their styles differ greatly. However, Yasumasa Morimura’s "Picasso Self-Portrait in Costume" mimics Picasso’s style so closely that viewers often mistake it for Picasso’s own work. This deliberate blurring provokes reflection: when Western masters no longer occupy the center, is the dialogue more equal? Or does it cause cognitive confusion? 3. Exhibition Experience: A Site of Diverse Collisions Eastern and Western audiences react differently inside the gallery: European visitors analyze Cubism in front of "Portrait of Dora Maar," while local students take photos and check in at Leung Wai Kui’s woven installation "Voodoo Doll." The interactive zone is the liveliest—children use AR technology to "Picasso-ify" their self-portraits, completing a cross-cultural awakening amid laughter. Before leaving, a final surprise: a real image of Picasso shot by Duano at the entrance mirrors Yasumasa Morimura’s "Playing Picasso" at the exit, symbolizing the eternal theme of identity deconstruction. “True dialogue arises not from harmonious symphony, but from the collision and questioning of different tracks.” The ambition and controversy of this exhibition perfectly reflect Hong Kong as a cultural hybrid hub.