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Surrealist artwork featuring a large patterned head with closed eyes, partially submerged in a landscape with water, abstract structures, and scattered geometric and organic forms.

Myths, Monsters, and Manga:
The Art of Fantasy in Asia

Myths, Monsters, and Manga:
The Art of Fantasy in Asia

17 Oct 2026
4 Apr 2027

Myths, Monsters, and Manga: The Art of Fantasy in Asia explores the role of fantasy in the evolution of Asian visual culture and its global impacts. Spanning from the nineteenth to twenty-first centuries, the exhibition presents fantasy as a potent creative tool for artists to respond to shifting sociopolitical conditions. Through imaginative stories, characters, and worlds, these artists confront complex realities that resonate with contemporary experiences. This groundbreaking exhibition reveals the links between a wide range of genres and styles, highlighting historical connections that have rarely been explored.


Unfolding across four chapters, the exhibition begins with pre-modern traditions such as Japanese ukiyo-e woodblock prints, Indonesian shadow puppetry, and Tibetan Buddhist scrolls. These traditions helped establish fantasy as a foundational element of Asian visual culture. Chapters two and three trace major twentieth-century developments, including the spread of Surrealism through Asia and the post-war emergence of Japanese manga and anime. The final chapter presents the explosion of fantastical anime aesthetics in art, design, architecture, film, fashion, video games, and digital culture around the world that continues to the present day. It shows how these creative forms move fluidly across disciplines and regions in the twenty-first century.

Illustration of surreal, fantastical characters standing in a vibrant landscape with a red sky, glowing moon, and multicoloured terrain.

Ho Tzu Nyen, Publicity poster of Night March of Hundred Monsters, [no date]. M+, Hong Kong. Acquisition in progress. Image courtesy of the artist and Kiang Malingue

A still from My Neighbour Totoro showing a lush forest scene with three characters—a child, a small white creature, and a larger blue creature—moving through a tunnel-like path of trees.

My Neighbor Totoro, 1988. © 1988 Hayao Miyazaki / Studio Ghibli

A illustration of cartoon character Atsro Boy flying through space with a large ringed planet in the background, surrounded by smaller celestial bodies and swirling blue patterns.

Astro Boy, 1952. © Tezuka Production

A photograph of a fashion model walking down a runway in an avant-garde outfit with metallic gold fabric, dramatic spiked elements, and a tall crown-like headpiece.

Sensen Lii, Closing look of Windowsen SS2023 Ready-To-Wear Collection The Reincarnation of MX Ridiculous, 2023. Nylon, chinlon, cotton, fur, acrylic, polyester, glass, and crystal. M+, Hong Kong. M+ Council for Design and Architecture Fund. Acquisition in progress. Image courtesy of Windowsen

Illustration of surreal, fantastical characters standing in a vibrant landscape with a red sky, glowing moon, and multicoloured terrain.

Ho Tzu Nyen, Publicity poster of Night March of Hundred Monsters, [no date]. M+, Hong Kong. Acquisition in progress. Image courtesy of the artist and Kiang Malingue

A still from My Neighbour Totoro showing a lush forest scene with three characters—a child, a small white creature, and a larger blue creature—moving through a tunnel-like path of trees.

My Neighbor Totoro, 1988. © 1988 Hayao Miyazaki / Studio Ghibli

A illustration of cartoon character Atsro Boy flying through space with a large ringed planet in the background, surrounded by smaller celestial bodies and swirling blue patterns.

Astro Boy, 1952. © Tezuka Production

A photograph of a fashion model walking down a runway in an avant-garde outfit with metallic gold fabric, dramatic spiked elements, and a tall crown-like headpiece.

Sensen Lii, Closing look of Windowsen SS2023 Ready-To-Wear Collection The Reincarnation of MX Ridiculous, 2023. Nylon, chinlon, cotton, fur, acrylic, polyester, glass, and crystal. M+, Hong Kong. M+ Council for Design and Architecture Fund. Acquisition in progress. Image courtesy of Windowsen

Image at top: Kim Younghwan, Self-Portrait Landscape, 1962. Oil on canvas. Collection of MMCA. Image courtesy of MMCA, Korea

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