DOCSLIB.ORG

Cazador, 1967 ©The Estate of Jiro Takamatsu, Courtesy of Yumiko Chiba Associates Photo: FUJITSUKA Mitsumasa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cazador, 1967 ©The Estate of Jiro Takamatsu, Courtesy of Yumiko Chiba Associates Photo: FUJITSUKA Mitsumasa At the production of the mural drawings by Jiro Takamatsu, Supper Club Cazador, 1967 ©The Estate of Jiro Takamatsu, Courtesy of Yumiko Chiba Associates Photo: FUJITSUKA Mitsumasa Cazador KURAMATA Shiro / TAKAMATSU Jiro Photographed by FUJITSUKA Mitsumasa June 18 – July 19, 2014 Yumiko Chiba Associates viewing room shinjuku Gallery Talk & Opening Reception： Saturday, June 28 Yumiko Chiba Associates viewing room shinjuku is pleased to present, from June 18, 2014, an exhibition of a photographic record by Mitsumasa Fujitsuka, who photographed a joint workspace, a bar called Supper Club Cazador, in Shinjuku, Tokyo, which was produced by Shiro Kuramata and Jiro Takamatsu. In Japan, from the end of the ’60s to the beginning of ’70s, the people who expressed themselves in various fields—art, music, architecture, photography, design, and drama—joined together and further developed their activities, spurring one another on. In the meantime, they posed a fundamental inquiry of what an artistic expression should be and what is the grounds for being so, in their performances achieved in such an inspiring circumstances. With such a background at the time, Kuramata, who had established his own design practice, took on the interior of the Supper Club Cazador in 1967 and commissioned Takamatsu to create a mural for its walls. Through their collaboration, a new space was established inside the bar, which was illusory yet real, crossing shadows on the walls painted by Takamatsu with real shadows. Here, presence (the real shadows) coexisted with absence (the mural shadows), and the state was visualized. Takamatsu simply created the shadows (from his Shadow series) in the mural, thus he could release them from the existing frame of art and came to realize more genuine concept of absence. Kuramata also presented a new state of space and its concept beyond the scope of interior design. Fujitsuka, who had been taking photos of Kuramata’s works, mentioned that Kuramata must have been awakened by a “philosophical logic of space” after his collaboration with Takamatsu. The exhibition is a cooperation by Itaru Hirano, the chief curator of the Museum of Modern Art, Saitama. It aims to reveal the concepts of Takamatsu and Kuramata in each production and to expose the characteristics of their time through Fujitsuka’s photographs of Takamatsu’s mural drawings from his Shadow series. This exhibition features a hardly-publicly-known, very rare photographic record of the production of the collaborative space by Shiro Kuramata and Jiro Takamatsu, who were in the leading positions in their fields of interior design and contemporary art in Japan, respectively. For further information, Mr. Hirao’s research book, The Shadows of Cazador, is scheduled to be published on June 28. ■Gallery Talk With Mitsumasa Fujitsuka, Photographer and Itaru Hirano, Chief Curator of the Museum of Modern Art, Saitama Saturday, June 28, 17:00-18:30; booking required, ¥900 (includes the research book on Shiro Kuramata & Jiro Takamatsu) *For booking, send an email with your name, address, and telephone number to <[email protected]> ■Book The Shadows of Cazador, Research Book on Shiro Kuramata & Jiro Takamatsu Written by Itaru Hirano, ¥1,000 Published by: Yumiko Chiba Associates Publication Date: June 28, 2014 Cooperated by: HELICO, Kuramata Design Office, heuristic Co., Ltd. ■Profile KURAMATA, Shiro 1934 Born in Tokyo (died 1991) 1950 Entered Tokyo High School of Industrial Art, Wood Craft Dept. 1954 Joined Teikok Kizai Furniture Factory, Tokyo 1955 Entered Kuwasawa Design Institute, Dept. of Interior Design, Tokyo 1957-1964 Joined San-ai Co. Ltd., Advertisement Dept., Tokyo 1964-1965 Joined Matsuya Department Store, Interior Design Room, Tokyo 1965 Started Kuramata Design Office, Tokyo 1967 Worked with Jiro Takamatsu for the interior design of Supper Club Cazador, Tokyo 1969 Joined the creators’ group, Silencer, Tokyo 1970 Participated in Japan World Exposition (EXPO'70), Osaka 1971 Worked with Jiro Takamatsu to set the enclosure during construction of Carioca Building, Tokyo 1972 Received 18th Mainichi Industrial Design Award Worked with Jiro Takamatsu for the interior design of Pub-Bar Bistro, Fukuoka 1973 A Glimpse of Kuramata's Work, Matsuya Ginza Design Gallery, Tokyo 1977 Art Today '77- Structure of Seeing, The Seibu Museum of Art, Tokyo 1978 MA Espace-Temps du Japon, Musee des Arts Decoratifs, Paris, France Design and Art of Modern Chairs, The National Museum of Art, Osaka 1981 Joined the Memphis Group, Milano Received the 2nd Japan Design Award Shiro Kuramata Designs, Aram Design Gallery, London 1986 Shiro Kuramata, Galerie Yves Gastou, Paris 1989 Shiro Kuramata, Galerie Yves Gastou, Paris 1990 Awarded French l’Ordre des Arts et des Lettres 1991 Sealing of Dreams, Gallery MA, Tokyo 1996 Shiro Kuramata 1934-1991, Hara Museum, Tokyo 1997–1999 Shiro Kuramata 1934-1991, World Tour (Mexico City, San Francisco, New York, Montreal, Paris, Vienna, Kyoto) 2011 Shiro Kuramata and Ettore Sottsass, 21_21 DESIGN SIGHT, Tokyo 2013 Floating Design: Shiro Kuramata and His Contemporaries, The Museum of Modern Art, Saitama TAKAMATSU, Jiro 1936 Born in Tokyo (died 1998) 1954 Entered Tokyo University of the Arts, Department of Painting, Oil Painting 1966 Jiro Takamatsu “Identification”, Tokyo Gallery, Tokyo From Space to Environment, Matsuya Department Store Ginza, Tokyo 1967 Worked with Shiro Kuramata for the mural of Supper Club Cazador, Tokyo 1968 XXXIV Esposizione Internazionale d'Arte la Biennale di Venezia, Venice, Italy Awarded ”Carlo Cardazzo” prize. 1971 Worked with Shiro Kuramata to set the enclosure during construction of Carioca Building, Tokyo 1972 Worked with Shiro Kuramata for the mural of Pub-Bar Bistro, Fukuoka 1973 XII Bienal Internacional de Sao Paulo, Sao Paulo, Brasil 1977 Documenta 6, Kassel, Germany 1978 Design and Art of Modern Chairs, The National Museum of Art, Osaka, 1996 Jiro Takamatsu at Present, Niigata City Art Museum, Niigata and Mitaka City Gallery of Art,Tokyo 1999 Jiro Takamatsu－Paintings and Drawings for “Shadow”, The National Museum of Art, Osaka 2000 Jiro Takamatsu－1970s Three-dimensional Works and Others, Chiba City Museum of Art, Chiba 2003 Re-verification: Paintings of Jiro Takamatsu from his studio, Mitaka City Gallery of Art, Tokyo 2004 Jiro Takamatsu－Universe of His Thoughts, Fuchu Art Museum, Tokyo, and Kitakyushu Municipal Museum of Art, Fukuoka 2005 Yokohama Triennale 2005, Art Circus, Jumping from the Ordinary, Yamashita Pier No.3 and No. 4 Warehouses, etc. in Yokohama, Kanagawa 2008 Daiwa Press Viewing Room vol. 08 3,918 drawings by Takamatsu Jiro Daiwa Press Viewing Room, Hiroshima 2009 The 5th Dazaifu Tenmangu Art Program Jiro Takamatsu / Ryudai Takano “Photograph of Photograph”and Photograph, Dazaifu Tenmangu, Fukuoka 2010 Jiro Takamatsu Shadow Paintings, McCAFFREY FINE ART, New York, U.S.A. Jiro Takamatsu Early Works, Yumiko Chiba Associates Viewing Room Shinjuku, Tokyo 2011 Jiro Takamatsu, McCAFFREY FINE ART, New York, U.S.A. Light and Shadow, Yumiko Chiba Associates Viewing Room Shinjuku, Tokyo. Jiro Takamatsu Words and Things - Refinement and Tautology - NADiff Gallery, Tokyo 2012 Jiro Takamatsu Smashing of Everything, Yumiko Chiba Associates Viewing Room Shinjuku, Tokyo Jiro Takamatsu These Seven Letters, Yumiko Chiba Associates Viewing Room Shinjuku, Tokyo 2013 Jiro Takamatsu, Stephen Friedman Gallery, London Jiro Takamatsu Perspective – Space in Two Dimensions,Yumiko Chiba Associates Viewing Room Shinjuku, Tokyo Floating Design: Shiro Kuramata and His Contemporaries, The Museum of Modern Art, Saitama 2013–2014 Hi-Red Center: The Documents of “Direct Action”, Nagoya City Art Museum, Nagoya, and The Shoto Museum of Art, Tokyo FUJITSUKA, Mitsumasa 1939 Born in Tokyo 1961 Graduated from Tokyo Junior College of Photography, Joined JAPAN INTERIOR DESIGN 1965 Started as a freelance photographer 1979 ONE DAY ONE SHOW, Tokyo Designer’s Space, Tokyo 1985 Shitsunai Magazine Front Cover Exhibition, Design by Igarashi Takenobu, Matsuya Design Gallery, Tokyo 1987 FUJITSUKA Mitsumasa to Doujidai no Kenchikukatachi [Mitsumasa FUJITSUKA & Contemporary Architects], INAX Gallery 2, Tokyo Received Japan Interior Designer’s Award 1995 Sekai Fushigi Kenchiku-ten [World Mysterious Architecture Exhibition], Tokyo Designers Space, Tokyo 2009 Kuramata Shiro To be free FUJITSUKA Mitsumasa Ten, Gallery Yume no Katachi, Tokyo (FUJITSUKA took charge of curation) Mihoya Garasuten 101 nenme no Shisaku-ten [101st Anniversary Works-in-Progress for Mihoya Glass], AXIS Gallery, Tokyo 2011 Higashi Nihon Daishinsai Charity GSS Original Print Hanbai [Charity Photo Exhibition by GSS for the Great East Japan Earthquake], AXIS Gallery, Tokyo *Magazines & Books 1961-1985 JAPAN INTERIOR DESIGN (The Text) 1979-2006 Front cover of monthly magazine Shitsunai 1986 Iji no Toshi Jutaku [Urban housing with its own way], Text by Hiroshi Nakahara 1987 Awatsuji Hiroshi Sakuhinshu [Awatsuji Hiroshi’s collection of works], Design by Ikko Tanaka 1991 Gendai no Shokunin [Artisan at the present time],Text by Osamu Ishiyama 1993 Yomihitoshirazu [Anonymous],Text by Kiko Mozuna, Design by Kan Akita 1992-1995 Kenchiku Rifuru Zen 10-kan, [Architecture riffle with 10 volumes] Text by Kengo Kuma, Design by Kan Akita 1998 PLAY STRUCTURE, Text by Mitsuru Senda 2002 Mijikana Technology [Familiar Technology],Text by FUJITSUKA 2004 Fujimori Terunobu Tokusen Bijutsukan Zanmai, [Fujimori Terunobu - Absorbed in the Choice Museums] Text by Terunobu Fujimori, Design by Katsuhiro Kinoshita 2009 21-seiki
Load more

Recommended publications
  • Fergus Mccaffrey, St. Barth Natsuyuki Nakanishi / Jiro Takamatsu August 6
    Fergus McCaffrey, St. Barth Natsuyuki Nakanishi / Jiro Takamatsu August 6 – September 15, 2015 Fergus McCaffrey, St. Barth is proud to present an exhibition of paintings and works on paper by two of the most influential Japanese artist. Natsuyuki Nakanishi / Jiro Takamatsu will be on view from August 6 - September 15, with an opening reception from 6:00 – 8:00 PM on Thursday, August 6. Natsuyuki Nakanishi and Jiro Takamatsu formed the legendary collective Hi Red Center in 1963 along with Genpei Akasegawa; named from the English translations of the first characters of their surnames-- “taka” (high), “aka” (red) and “naka” (center). The movement was short-lived, but produced performance pieces involving the community and participants in Tokyo, which sought to eliminate the boundary between art and life. After the movement ended in 1964, Nakanishi and Takamatsu worked individually in order to pursue their own artistic practice. In his over 50-year career, Nakanishi has constantly challenged the role of the artist and his relation to art making. Describing his art as coming to its own fruition, Nakanishi works to deconstruct formal elements to recompose them into abstract forms. The drawings featured in the exhibition each have their own individual development, yet are explorations of a continuous idea. Though minimal in nature, Nakanishi’s works hold much depth and investigate the abstract process that gravity imposes on the medium on a flat plane. Perhaps one of the most influential artists working in Japan during the 1960s and 1970s, Jiro Takamatsu altered the evolution of conceptual art in Japan as an artist and theorist, dominating Japanese artistic discourse during those years.
    [Show full text]
  • Art Basel Hong Kong 2016 Press Release English JT(最終調整中)
    Booth No. 3D43 JIRO TAKAMATSU Also find us at Encounters 3E16: Keiji Uematsu “Invisible axis - distance and angle” Jiro Takamatsu ©The Estate of Jiro takamatsu, Courtesy of Yumiko Chiba Associates Yumiko Chiba Associates is pleased to present Jiro Takamatsu’s works, focusing on the period from the middle of 1970s to 1980s; mainly, his “Compound” series as well as the other works symbiotically related to the series will be introduced. After majoring in oil painting at Tokyo University of Fine Arts and Music and graduating in 1958, Takamatsu was active over 40 years as an artist. He had an impact on the movement of post-war Japanese art unfolded over the period from the late 1960s to 1970s, such as Anti-art, Conceptualist, and Mono-Ha, with which he made a significant mark on the Japanese art world. Natsuyuki Nakanishi, an artist, who formed the anti-art group Hi-Red Center with Jiro Takamatsu and Genpei Akasegawa, comments on Takamatsu as follows: "[Takamatsu] reviews things known to the world with an innocent curiosity like that of the newly born child and with an earnest attitude. By doing so, reality and non-reality are separated; from the gap in between the two, a new type of humor reveals itself. This creates a situation in which 'things known to the world' are turned into the unknown, which then expands the world that is filled with the unknown. To possess thoughts toward the ideas we humans did not come up with, and to think that every corner from here to the end of the world is already known - but to have a thought that we 'still don't know'.* Jiro Takamatsu was an artist who kept himself engaged in thinking.
    [Show full text]
  • RARE Periodicals Performance ART, Happenings, Fluxus Etc
    We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES rare PeriodicAlS Please ask for our Catalogues and come to visit us at: per fORMANcE ART, HappENINgS, http://antiq.benjamins.com flT UxUS E c. RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 297 Underground and Counterculture and much more Catalogue No. 297 (2017/2018) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM CONDITIONS OF SALE 1. Prices in this catalogue are indicated in EUR. Payment and billing in US-dollars to the Euro equivalent is possible. 2. All prices are strictly net. For sales and delivery within the European Union, VAT will be charged unless a VAT number is supplied with the order. Libraries within the European Community are therefore requested to supply their VAT-ID number when ordering, in which case we can issue the invoice at zero-rate. For sales outside the European Community the sales-tax (VAT) will not be applicable (zero-rate). 3. The cost of shipment and insurance is additional. 4. Delivery according to the Trade Conditions of the NVvA (Antiquarian Booksellers Association of The Netherlands), Amsterdam, depot nr. 212/1982. All goods supplied will remain our property until full payment has been received.
    [Show full text]
  • Image and Matter in Japanese Photography from the 1970S Curated by Yumiko Chiba May 9 – June 14, 2014 Opening Reception: Friday, May 9, 2014; 6 – 8 PM
    Image and Matter in Japanese Photography from the 1970s Curated by Yumiko Chiba May 9 – June 14, 2014 Opening Reception: Friday, May 9, 2014; 6 – 8 PM In the late 1960s and early 1970s, Japan was witness to a shift in the response to existing fundamentals previously accepted in modern art. Through the reevaluation of conventional approaches to perspective, form, and memory in the postwar era, artists Norio Imai, Masafumi Maita, Jiro Takamatsu, Keiji Uematsu, Kanji Wakae, and Katsuro Yoshida utilized photography, as well as sculpture, painting, and performance art, to challenge the constraints of these boundaries. The result was a surge of coinciding movements, centering around Tokyo, that radically confronted the reaction to the stark realism so implicit in the postwar years, while establishing photography as a progressive art form. As Conceptualism and Pop Art materialized in the West, perhaps the first movement in this direction in Japan, parallel to Western manifestations, was the Gutai, active from the mid-‘50s into the ‘70s and best known for the emergence of an innovative approach to installation and performance. Norio Imai joined the Gutai Art Association in 1965 as its youngest member and moved from filmmaking onto exploring the fusion of photography, performance, and sculpture with a monochromatic approach to minimalism as seen in the artist’s series ‘Fragments of Images’ (1973). By transforming a commonplace object in his photographs, the artist redefined the presence of the objects depicted. The Hi-Red Center was formed in the early ‘60s by Genpei Akasegawa, Natsuyuki Nakanishi, and Jiro Takamatsu with the intent of collapsing the dividing line between art and life.
    [Show full text]
  • The World As Gallery
    zöe sutherland THE WORLD AS GALLERY Conceptualism and Global Neo-Avant-Garde n 1989 a special edition of Art in America announced the arrival of global art, its cover adorned with a nasa photograph of the Earth taken from lunar orbit. Yet inside, Martha Rosler warned that the new fetish of the global threatened to obfuscate the mat- Ierial shape of the art world—its circuits of communication, distribution and exchange—where a capitalist restructuring was in process.1 The term ‘global art’ took hold as the Cold War drew to a close, through years when broader discourses of globalization also came to flourish. While the meaning of this term continues to trouble artists and critics, a nor- mative imperative to ‘think global’ has come to structure the practices of art institutions, framing the endless drive for recognition of new artists and regions, as biennales and art fairs proliferate. Conceptualism has always had a special relationship to the question of the global. The issue of its geographical mapping is linked to that of the determinate bounds of artworks and practices—something often explicitly thematized in conceptual works themselves—and a conscious orientation to this question was evident within the movement by the late 1960s, when tensions emerged over whether it constituted an American or an international phenomenon, a reductive formalism or a radically inclusive ‘free-for-all’.2 Dominant figures in the United States, such as Lucy Lippard, Seth Siegelaub and Joseph Kosuth, presented it as fully international, as facilitating
    [Show full text]
  • A Solo Exhibition of Works by Minoru Hirata, from April 25 to May 31, 2014
    Minoru Hirata “ACTION, the 1960s” Date: Apr 25 – May 31, 2014 Location: Taka Ishii Gallery Photography / Film (AXIS Bldg., Roppongi) Taka Ishii Gallery Photography/Film is pleased to present “ACTION, the 1960s,” a solo exhibition of works by Minoru Hirata, from April 25 to May 31, 2014. The exhibition will include 41 images selected from the vast archive of photographs that Hirata took of Japanese avant-garde artists’ actions in the 1960s. In the 1960s, when postwar Japan went through many fundamental changes, there was an explosive movement of young artists who left their studios and staged “actions” in the streets to critique the state of society and to challenge the stagnant art world. Holding a camera in my hand, I witnessed the “charged moments” created by these artists whose actions were at once fresh and photogenic. What I saw through the lens became Photo Art when transferred onto paper. Minoru Hirata Minoru Hirata was born in Tokyo in 1930. As a freelance photojournalist, he documented the activities of avant-garde artists of the 1960s, such as Jiro Takamatsu, Genpei Akasegawa, and Natsuyuki Nakanishi (Hi Red Center), Yoko Ono, Ushio Shinohara and Zero Jigen. At times, Hirata proposed photography-based projects to the artists in an effort to create a broader recognition and understanding of their works. He was thus more of an intimate collaborator than an outside documenter. As a part of his oeuvre, he has also documented Okinawa and sky sports, organizing exhibitions such as “Fly Icarus” at Nikon Salon in 1975 and “Okinawa 1968-1974” at Konica Plaza in 2000.
    [Show full text]
  • Garde Work by American and Japanese Artists Between 1952 – 1985
    Fergus McCaffrey presents an exhibition surveying the artistic networks and avant- garde work by American and Japanese artists between 1952 – 1985 Japan Is America Fergus McCaffrey New York October 30 – December 14, 2019 Fergus McCaffrey is pleased to present Japan Is America, an exhibition exploring the complex artistic networks that informed avant-garde art in Japan and America between 1952 and 1985. Starting with the well-documented emergence of “American-Style Painting” that ran parallel to the Americanization of Japan in the 1950s, Japan Is America endeavors to illustrate the path and conditions from Japanese surrender in 1945 to that country's putative cultural take-over of the United States some forty years later. The exhibition traces the international exchanges that supported and propelled Japanese art forward in unimaginable ways, and shifted the course of American art and culture. The exhibition will be accompanied by an ambitious film program including rarely-seen films by John Cage, Shigeko Kubota, and Fujiko Nakaya, among others. In the aftermath of World War II, both countries sought recognition beyond the cultural periphery, carving out a space for the redefinition of aesthetics in the post-war era. After 1945, Japan focused on rebuilding, countering the devastation of their defeat in World War II. The nation was occupied by American forces between 1945 and 1952. Sentiments of democracy and peace resonated throughout Japan, but art from the region reflected upon and responded to the death and suffering experienced. Japan Is America begins with Tatsuo Ikeda’s kinukosuri portrait of an American soldier’s wife from 1952.
    [Show full text]
  • Hi-Red Center - Through Photographs and Works
    Hi-Red Center - through photographs and works A documentary photograph of Yamanote Line Festival 1962 Gelatin silver print 27x32.5cm, Photo: Tokuji Murai Part I : June 23 (Fri.) -July 13 (Thurs.) 2017 Part II : July 15 (Sat.) – August 5 (Sat.) 2017 *No opening reception will be held. Venue ：Yumiko Chiba Associates viewing room shinjuku Park Grace Shinjuku Bld., 206, 4-32-6 Nishi-Shinjuku, Shinjuku-ku, Tokyo 160-0023 Opening Hours: 12:00-19:00 Closed on Sundays, Mondays, national holidays, and July 14 (Fri.) Yumiko Chiba Associates viewing room shinjuku is pleased to present Hi-Red Center - through photographs and works from Friday, the 23rd of June, 2017. For years, Yumiko Chiba Associates has held an annual show of Jiro Takamatsu during the span of weeks including the anniversary of the artist's death, to introduce the artistic activities that he engaged in in his life time. This year, the gallery will trace some of his activities that he has done with an artistic group named Hi- Red Center in the early years of his career, when he was also creating his works individually on his own. The group name 'Hi-Red Center' had its origin in the surnames of its three members: Takamatsu, Akasegawa, and Nakanishi. The first Chinese character of the three names respectively had the meaning of: high (taka), red (aka), and center (naka.) Hence, the name Hi-Red Center. Although they were officially formed in May of 1963, with the implementation of The 5th Mixer Plan, it may well be said that their activities had actually already started in the December of the previous year, around the time of Yamanote Line Festival.
    [Show full text]
  • Restaging Hi Red Center's Cleaning Event
    Comparative Media Arts Journal Original Paper Restaging Hi Red Center’s Cleaning Event Warren Enström This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License Published online: February 2020 © CMAJournal Abstract As the genre of performance art ages, we will need to develop strategies beyond photo, video, and audio to document this form of art. This article looks closely at the Fluxus tradition of event scores, comparing three different restagings of Hi Red Center’s Street Cleaning Event in order to find elements of performance art pieces that people can think about in undertaking a restaging process. The article references the musicological concept of historically-informed performance practice in order to highlight how music, a performing arts discipline that also relies on scores to restage pieces, has tackled the issue of restaging pieces for which only scores (e.g. no archival documentation beyond the score itself) exist. Using historically informed performance practice to model the author’s thought around scores, it becomes clear that scores are never enough to be able to restage a piece. More research is necessary. The five aspects of restaging the author investigates are location, material, context, intent, and style. When research documents (works of art, archival photographs and footage, and interviews) are analyzed for these five elements, event scores are much easier to interpret and restage, without relying on creating a direct re-performance of the original work. As the artists behind these original works die, new traditions will need to develop around restaging these works. The historically informed performance practice movement in music makes a clear argument for carefully balancing research and creativity in order to bring these old pieces into the present in an informed way, historically and artistically.
    [Show full text]
  • Performed at the Opening of Horst Egon Kalinowski’S Bildschreine Exhibit
    Performances Düsseldorf, Galerie 22, November 13. Hommage à John Cage: Musik für Tonbänder und Klavier(premiere). 1959 Performed at the opening of Horst Egon Kalinowski’s Bildschreine exhibit. Cologne, Atelier Mary Bauermeister, Contre Festival during the 34. Fest der Internationalen Gesellschaft für 1960 Neue Musik, June 17-19: Hommage à John Cage: Musik für Tonbänder und Klavier. Stockholm, Liljevalchs Konsthall, Action Music, September 27. Do It Yourself-Answers to La Monte Young 1961 (premiere); Simple (premiere); Read Music. Travelled to Louisiana Museum, Copenhagen, Ny Musik and Konstindustrimuseet, Oslo. Cologne, Theater am Dom, Originale by Karlheinz Stockhausen, Oct. 26- Nov. 6. For his role in this 1961 production Paik performed Zen for Head (premiere); Étude Platonique No. 3 (premiere); and Simple. Düsseldorf, Kammerspiele, Neo-Dada in der Musik, June 16. One for Violin Sonata quasi una fantasia; 1962 Smile Gently (Étude Platonique No.5); Read Music: Do It Yourself-Antworten an La Monte Young read by C. Caspari; and selections from Bagatelles Americaines performed with Batzing, Bonk, Reddeman and Wiesbaden,Tomas Schmit. Hörsaal des Städtischen Museums, Fluxus Internationale Festspiele Neuster Musik, Sept. 1: La Monte Young’s 556 [Any Integer] for Henry Flynt performed with J. G. Fritsch and others; Smile gently (É 1962 tude Platonique No.5). Sept. 16: Simple; Hommage á John Cage: Musik für Tonbänder und Klavier; Étude for Pianoforte; and Sonata quasi una fantasia. Paik may have also performed La Monte Young’s Death Chant with J.G. Fritsch and others. Amsterdam, Kunsthandel Monet, Parallele Aufführungen Neuester Musik, Oct. 5. Serenade for Alison; Zen 1962 for Walking; followed by Moving Theater No.
    [Show full text]
  • In the Late 1960S and Early 1970S, Japan Was Witness to a Shift in the Response to Existing Fundamentals Previously Accepted in Modern Art
    In the late 1960s and early 1970s, Japan was witness to a shift in the response to existing fundamentals previously accepted in modern art. Through the reevaluation of conventional approaches to perspective, form, and memory in the postwar era, artists Norio Imai, Masafumi Maita, Jiro Takamatsu, Keiji Uematsu, Kanji Wakae, and Katsuro Yoshida utilized photography, as well as sculpture, painting, and performance art, to challenge the constraints of these boundaries. The result was a surge of coinciding movements, centering around Tokyo, that radically confronted the reaction to the stark realism so implicit in the postwar years, while establishing photography as a progressive art form. As Conceptualism and Pop Art materialized in the West, perhaps the first movement in this direction in Japan, parallel to Western manifestations, was the Gutai, active from the mid-‘50s into the ‘70s and best known for the emergence of an innovative approach to installation and performance. Norio Imai joined the Gutai Art Association in 1965 as its youngest member and moved from filmmaking onto exploring the fusion of photography, performance, and sculpture with a monochromatic approach to minimalism as seen in the artist’s series ‘Fragments of Images’ (1973). By transforming a commonplace object in his photographs, the artist redefined the presence of the objects depicted. The Hi-Red Center was formed in the early ‘60s by Genpei Akasegawa, Natsuyuki Nakanishi, and Jiro Takamatsu with the intent of collapsing the dividing line between art and life. In the series ‘Photograph of Photograph’ (1973- 74), Takamatsu hired a photographer to photograph prints from the artist’s personal family photo album, resulting in a fragmented narrative that provides an authentic exposure of the world as it actually is – also termed as the “naked reality.” In doing so, Takamatsu successfully disregarded traditional perspective.
    [Show full text]
  • Video from Tokyo to Fukui and Kyoto Edited by Barbara J
    Video from Tokyo to Fukui and Kyoto Edited by Barbara J. London, [photos. by Barbara J. London] Date 1979 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/2300 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art LIBRARY Museum of Modsrn Aft Video from Tokyo to Fukui and Kyoto Edited by Barbara J. London The Museum of Modern Art, New York "Video from Tokyo to Fukui and Kyoto, " organized and first shown at The Museum of Modern Art in April 1979, is part of "Japan Today, 11a series of cultural programs held during the spring of 1979 in five United States cities. "Video from Tokyo to Fukui and Kyoto" was made possible by grants from the National Endowment for the Humanities, the National Endowment for the Arts, Matsushita Electric (Panasonic), and The Japan Foundation, and by assistance from The International Council of The Museum of Modern Art. Following the showing at The Museum of Modern Art, the exhibition is presented on tour in the United States, Canada, and Japan. I wish to thank Kira Perov for helping to organize the catalog materials, Susan Wei ley for her editorial guidance, Michiko Miyamoto for assisting with translations, and the staff of Japan Society for their generous support. I also wish to express my gratitude to the people in this country and in Japan, not individually named here, who also generously provided information and assistance.
    [Show full text]