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Performance Histories. Japanese Performance Art 1960s–70s (24 Oct 2018 at Asia House, London)

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Performance Histories. Japanese Performance Art 1960s–70s
Weds 24 Oct, 6.30–9pm
Asia House, London W1G 7LP
Free, book here

International art historians Yumiko Chiba, Reiko Tomii and Yuri Mitsuda present a series of talks looking at performance collectives and movements in Japan 1960-70s, an era celebrated for its pioneering early experiments and innovations in body-based and time-based art.

Toyko-based Yumiko Chiba discusses her experiences working with the Estate of Jiro Takamatsu (1936-98), a central figure in the development avant-garde movements in post-War Japan. She discusses the significance of Takamatsu’s work, his international legacy, and the influence he has had upon the art world in Japan and worldwide.

Yuri Mitsuda discusses the influential Hi-Red Center (active 1963-64), founded in Tokyo by the artists Genpei Akasegawa, Natsuyuki Nakanishi and Jiro Takamatsu. Hi-Red Center created happenings and events that were socially reflective, anti-establishment and anti-commercial. The group used the urban environment to create interventions that raised questions about centralised authority and the role of the individual in society.

Reiko Tomii discusses ‘Publicity as Reward’ in 1960s Japan, a particular motivational factor in the context of an isolated location and lack of market for contemporary art. Publicity constituted “reward” in otherwise a “rewardless” (mushō) world of vanguard art. Tomii examines how publicity shaped the performative practices of artist Matsuzawa Yutaka (1922-2006), Kansai-based performance and happenings group The Play and Nigata-based group GUN.

This event is part of Curators’ Series #11. Institute of Asian Performance Art. By Victor Wang 王宗孚 

 

ABOUT

YUMIKO CHIBA 千葉由美子 lives and works in Tokyo, Japan. She is the founder of Yumiko Chiba (YCA), an artist management office launched in 1998. YCA represents the Estate of many important artists in Japanese contemporary art history including Jiro Takamatsu, Masafumi Maita and Katsuro Yoshida. In 2010, YCA opened a commercial gallery in Shinjuku, Tokyo as “viewing room” and has held a large number of solo shows for both established artists and artists in the young generation. In addition to the above, YCA has planned and organised contemporary art shows at the galleries and museums inside and outside of Japan. YCA also has published many research booklets with critical essays, contributing to interpretations of artists in terms of art history, including the Critical Archive series looking at movements and ideas in pre- to post-war Japan.

YURI MITSUDA 光田ゆり(b. 1962, Nishinomiya, Japan) is an art critic and curator at Kawamura Memorial DIC Museum of Art. She graduated from Kyoto University, Department of Literature. Some of her major books include Words and Things: Jiro Takamatsu and Japanese Art 1961 – 72(Daiwa Press, 2012), From bijutsu hihyo [Art criticism, 1952-1957] and its Era(Fuji Xerox Art Bulletin, 2006), Yasuzo Nojima(AKAAKA, 2009). Mitsuda has organized exhibitions including Talking about Art: The Viewpoint of Yusuke Nakahara(Kawamura Memorial DIC Museum of Art, 2016), For A New World to Come: Experiments in Japanese Photography, 1968-1979(Japan Society, 2015), Hi-Red Center: The Document of “Direct Action(Nagoya City Museum, 2013- 2014), SHINJIRO OKAMOTO THE BIG BOMB at 25:00(The Shoto Museum of Art, 2011), Yasuzo Nojima 1889 – 1964 Works and Archives(The Shoto Museum of Art, 2009), Nakanishi Natsuyuki New Paintings(The Shoto Museum of Art, 2008), Kiyoji Otsuji: Encounter and Collaboration(The Shoto Museum of Art, 2006) and Nakaji Yasui photographer 1903-1942(Kyodo News, 2004).

REIKO TOMII富井玲子(b. Osaka, Japan) is an independent art historian and curator based in New York, whose work investigates post-1945 Japanese art in global and local contexts for the narration of a world art history of modernisms. Her early works include her contribution to Global Conceptualism(Queens Museum of Art, 1999), Century City(Tate Modern, 2001), and Art, Anti-Art, Non-Art(Getty Research Institute, 2007). As Co-Founder/Co-Director of PoNJA-GenKon, established in 2003, she has organised several conferences and symposiums in collaboration with Yale University, Getty Research Institute, Guggenheim Museum, and University of Chicago, among others. She is a prolific writer whose latest publication is Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan(MIT Press, 2016), which has received the 2017 Robert Motherwell Book Award.

CURATORS’ SERIES (2009 – ongoing) supports independent curators by commissioning special research-based exhibitions. The Series presents diverse fields of knowledge, methodologies and practices. Each year, DRAF invites an individual, duo or organisation to curate an original exhibition.

Previous guest curators have included Cylena Simonds (UK), Raimundas Malasauskas (Lithuania), Mihnea Mircan (Romania), Mathieu Copeland (UK), Simone Menegoi & Chris Sharp (Italy and US), Pablo Leon de la Barra (Mexico), Vivian Ziherl (Australia) & Natasha Ginwala (India), Christine Eyene (France/Cameroon) , Arcadia Missa (London) and Kunsthalle Lissabon (Portugal).

Curators’ Series is supported by Arts Council England. Institute of Asian Performance Art is supported by Great Britain Sasakawa Foundation and Daiwa Foundation.

VICTOR WANG王宗孚 is an independent curator based in Shanghai and London. Recent exhibitions include Michael Dean: Analogue LOL(2018) at ShanghART Gallery, Shanghai;XUZHEN Supermarket (2007/2017) and the group exhibition Zhongguo 2185 at Sadie Coles HQ, London; Katja Novitskova (2017) at the Cc Foundation & Art Centre, Shanghai; Rehearsals from the Korean Avant-Garde Performance Archive (2017) at the Korean Cultural Centre, London; Jac Leirner: Borders Are Drawn By Hand (2016) at MoCA Pavilion, Shanghai; Neïl Beloufa: Soft(a)ware (2016) at K11 Foundation Shanghai; and Ensemble sin órganos (2016) (with Blanca Victoria López) at the Centro de Arte Contemporáneo Wifredo Lam, Havana.

In 2015, Wang was appointed by the K11 Art Foundation as a curator (with Jo-ey Tang) of the travelling exhibition Inside China – L’Intérieur du Géant (Shanghai Station), the first collaborative exhibition between Palais de Tokyo, Paris, and K11 Art Foundation. Wang has curated film programmes, performances, talks and exhibitions at the Institute of Contemporary Arts, London. In 2014 Wang assisted the curatorial team of the Twelfth Havana Biennial (2015), and was Assistant Curator for the Vancouver Pavilion at the 9th Shanghai Biennale (2012).

Wang is a contributor to artforum magazine, and has been a guest editor of LEAP magazine. In 2016 he was awarded the AICA Incentive Prize for Young Critics by the International Association of Art Critics (AICA).

ASIA HOUSEis the UK’s centre of expertise on Asia. Through its Arts and Learning Programme, Asia House’s mission is to inspire and engage diverse audiences by encouraging dialogue aimed at finding common ground amongst different schools of thought on how to look at Asia’s historical and cultural development. This is done through a dynamic series of live events; from panel discussions to music, dance, performance, visual art, film, food, fashion and literature.

www.asiahouse.org

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  • Hi Red Center's Cleaning Event (officially known as 'Be Clean!' and 'Campaign to Promote Cleanliness and Order in the Metropolitan Area'), 1964. © Minoru Hirata / Courtesy of Taka Ishii Gallery Photography / Film
    1/3Hi Red Center's Cleaning Event (officially known as 'Be Clean!' and 'Campaign to Promote Cleanliness and Order in the Metropolitan Area'), 1964. © Minoru Hirata / Courtesy of Taka Ishii Gallery Photography / Film
  • Hi-Red Center, Jiro Takamatsu's performance with a tire in The 6th Mixer Plan, 1963.
© The Estate of Jiro Takamatsu.  Courtesy Yumiko Chiba Assocaites, Tokyo, Fergus McCaffrey, 
New York and Stephen Friedman Gallery, London.
    2/3Hi-Red Center, Jiro Takamatsu's performance with a tire in The 6th Mixer Plan, 1963. © The Estate of Jiro Takamatsu. Courtesy Yumiko Chiba Assocaites, Tokyo, Fergus McCaffrey, New York and Stephen Friedman Gallery, London.
  • Jiro Takamatsu, Temporary Enclosure of Carioca Building Construction Site, 1971. 
© Kuramata Design Office /  The Estate of Jiro Takamatsu.  Courtesy Yumiko Chiba Associates, Tokyo, Fergus McCaffrey, New York and Stephen Friedman Gallery, London. Photo Yasuo Sadayama
    3/3Jiro Takamatsu, Temporary Enclosure of Carioca Building Construction Site, 1971. © Kuramata Design Office / The Estate of Jiro Takamatsu. Courtesy Yumiko Chiba Associates, Tokyo, Fergus McCaffrey, New York and Stephen Friedman Gallery, London. Photo Yasuo Sadayama