unchi! (うんち)

In Dennou Coil, Kyoko (age 3) has a penchant for running about, pointing at things, and exclaiming, “unchi!” (poop):

dennou coil 2

This is fairly accurate as far as a characterization of 3-year old humor goes. By that logic, the Himeji City Museum of Literature, in Himeji, Japan (near Osaka) was until May of this year the funniest place in the universe. This is because the museum, inexplicably, had an exhibit devoted to poop:


Everybody come and play! Come and look! We have poop books!

Rabbit: It’s poop time!

Gorilla: Come and see my poop too!

Elephant: Animal poop is here yo!

See it. Touch it! Smell it! Explore!

Can you guess what animals made this poop? (3 pictures)

Himeji Museum Of Literature, Special Exhibit. April 1st-May 18th

Head over to thomas’s post at Babelhut and see for yourself. It is in fact not only exactly what it seems to be, but in fact even more so than you think it would be. Fear the Japanese, indeed. Though it must be admitted that were this exhibit to come to any children’s museum in the United States, it would make more money than the mind can comfortably comprehend.

(It should be noted that I have blogged about poop before. I also have on occasion been fascinated with toilets. Insert bad joke about straining too hard here…)

art stinks

There are an infinite number of better puns I might make about this story, but I’d be violating my kawaii-safe rule in doing so. Via Art News Blog, artist Santiago Sierra has unveiled a new exhibition at the Lisson Gallery in London:


The work is made of 21 modules of human faeces, each measuring 215 x 75 x 20cm. […] Workers of the sanitary movement Sulabh International of India are mostly scavengers who, by birth, have to undertake the physically and psychologically painful task of collecting human faecal matter, being charged with the blames of a previous life of bad deeds.


It’s a striking work, each slab reminiscent of the Monolith from 2001: A Space Odyssey (but of course, representing almost the exact opposite). ArtNewsBlog appreciates the installation on multiple levels:

There’s a message that the artist wants to get across, which could be honorable or mocking, depending on which side of the fence you choose to sit. The optimist in me sees an artist highlighting the exploitation of a group of people that need a hand up. The cynic in me sees an artist doing something shocking for the sake of publicity (exploiting the media). The humorous me sees an artist shi$%ing on the floor of an upmarket art gallery and laughing at those that take it seriously (exploiting the gallery and public).

I’m inclined to give Sierra the benefit of the doubt with respect to being merely a publicity seeker, though the PR aspect is undeniable. Still, as an artist, Sierra’s focus is on class issues. For example, another work of his, “Economical Study of the Skin of Caracans“, touches on a similar theme (details below the fold). At any rate, the art does at minimum force the viewer to wonder how such an enormous pile of shi% could be assembled, and the physical reality of it in front of the eyes attunes their mind to the plight and working conditions of these laborers at the bottom of the bottom of India’s society, a depth which we simply cannot fathom from our everyday experience alone.

I confess that my ethnic heritage drives my interest in this art; I’ve been on a tear recently about Indian laborers working in Dubai at my political blog recently as well. This is the kind of art I like – simple, understated, and yet carrying a hefty social message, not overly preachy but relying on the innate compassion of the viewer to make the connection.

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