Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
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collectives turned the local populace of the rural villages and towns—who<br />
had practically no familiarity with contemporary art—into willing and crucial<br />
collaborators to produce site-speciWc installations, performances, and<br />
video art, sometimes making them the main subjects and/or objects of the<br />
works. 70 In contrast to HRC’s self-effacing public gesture or Zero Dimension’s<br />
shock parades or Bikyoto’s radicalized actions, today’s descent to everyday<br />
life is not necessarily a gesture of rebellion or dissent, but it can provide an<br />
opportunity to begin a broadly based partnership in grass-roots public engagement,<br />
while incorporating a broader global dimension. More than four<br />
decades <strong>after</strong> its Wrst descent to the everyday, contemporary art today Wnally<br />
meets with everyday people on friendly terms.<br />
NOTES<br />
After the “Descent to the Everyday” 71<br />
I am indebted to many people in preparing this text. Nakajima Masatoshi and<br />
Nakajima Yasuko, as well as Hirai Shoichi, Ikegami Hiroko, Kondo Tatsuo, Kuroda<br />
Raiji, Yamada Satoru, and Yamamoto Atsuo, among others, generously assisted my<br />
research. The artists who provided me with valuable information and material include<br />
Akasegawa Genpei, Hikosaka Naoyoshi, Hori Kosai, Horikawa Michio, Ikemizu<br />
Keiichi, Ina Ken’ichiro, and Kato Yoshihiro.<br />
East Asian names are given in the traditional order, except for individuals who<br />
primarily reside outside their native countries and adopt the Western system (e.g.,<br />
Yoko Ono, Ushio Shinohara, and Yasunao Tone).<br />
Bilingual titles (which may or may not indicate bilingual publications) are separated<br />
by a slash (/); and translated titles created for this publication are enclosed<br />
in square brackets.<br />
All translations from Japanese material are by the author, unless otherwise noted.<br />
1. Hirai Shoichi, ed., “Gutai” tte nanda?/What’s Gutai? (Tokyo: Bijutsu Shuppansha,<br />
2004), 18–21.<br />
2. Alexandra Munroe, Japanese Art <strong>after</strong> 1945: Scream against the Sky (New York:<br />
Abrams, 1994), 87. This volume serves as a basic literature in English on postwar<br />
Japanese art, especially for the 1950s and 1960s.<br />
From the same period, there were a few comparative collectives led or guided by<br />
the prominent prewar Wgures: Jikken Kobo (Experimental Workshop) under the<br />
guidance of the critic Takiguchi Shuzo, the abstract painter Eikyu and his Democrat<br />
Artists Association (Demokurāto Bijutsuka Kyokai), and the critic Tsuchioka<br />
Hidetaro’s Hokubi (“Northern Art”) Culture Association (Hokubi Bunka Kyokai)<br />
based in Fukui.<br />
3. “Kaiin zaiseki kikan ichiran” [List of members and their membership periods],<br />
in Gutai shiryo-shu/Document Gutai, 1954–1972, ed. Ashiya City Museum of Art &<br />
History (Ashiya: Ashiya City Culture Foundation, 1993), 404–5.<br />
4. Yoshihara Jiro, “Sokan ni saishite” [Upon the inaugural publication], Gutai,<br />
no. 1 (January 1955); reprinted in “Gutai” tte nanda? ed. Hirai Shoichi, 37.<br />
5. Ming Tiampo, “Gutai 1954–1972: Breaking Open the Object,” in Resounding<br />
Spirit: Japanese Contemporary Art of the 1960s, exhibition catalog (Potsdam, N.Y.:<br />
Gibson Gallery, SUNY, 2004), 31–46.