Collectivism after Modernism - autonomous learning - Blogs

After the “Descent to the Everyday” 75
66. Chronology in Akasegawa, Tokyo mikisā keikaku, 17.
67. Special feature, “Tokubetsu kodo-sha no kiroku” [Records of persons of direct
action], Keisho, no. 8 (1963). The magazine was renamed as Kikan [Organ], whose
name appeared on the Xyer of Cleaning Event.
The behind-the-scene role Imaizumi played in the work of Hi Red Center was
wide-ranging. See his memoir, serialized in sixteen installments, “Ekaki-domo no
hentekorinna arekore maesetsu” [Preambles to painters’ strange doings], Wrst published
in Niodachi kurabu (1985–89); reissued with a new seventeenth installment
on the Internet, http://www.asahi-net.or.jp/~ee1s-ari/imaizumi1.html, imaizumi2.html,
and imaizumi3.html; and reprinted in Aida, nos. 49–66 (January 2000–June 2001).
68. Shihyo Group and Hikosaka Naoyoshi, “Shudan no shi: Kyodo-sei o tsuikyu
shita 4-tsu no purakutisu” [Death of the group: Four practices in pursuit of collectivity],
Bijutsu techo, no. 372 (October 1973): 148–49.
69. Tomii, “Historicizing,” 631.
70. Reiko Tomii, “Who Needs Globalism?” Art AsiaPaciWc, no. 39 (Winter 2004),
36–42.
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