175:(1949-1963), the annual exhibition where Hi-Red Center (and other collectives such as Kyushu-ha, Group Ongaku, Zero Dimension , Jikan-ha ) were active. Artists at the Yomiuri IndĂ©pendant Exhibition âadvocated making junk art and violent demonstrations to protest the conventional practice of artâ, degrading Art's status as rarefied objects to commonplace items. Reiko Tomii notes that Hi-Red Center treated this redefinition of the position of Art more directly, enabling Art to descend to everyday life by making everyday life and spaces the site of their work. The group had suspicions about the constraints of traditional art exhibition spacesââwhat is offered to the public, at which venue, by whom, under what circumstances, resulting in what reception?â.
286:). They saw the train systems as a "terrain of the everyday", using the individual bodies of the artists to demonstrate how these symbolic events have long-lasting effects on the citizen body, long after public political discourse and dissent wanes. Thus, this quietness or calmness is qualified on the level of public consciousness, rather than a literal silence or emptiness. The choice of staging the event on the Yamanote loop, one of the busiest commuter lines, demonstrates this prioritisation. Their choice of setting can also be attributed to the larger desire for âdirect actionâ (chokusetsu kodo), in the wake of waning public protests post-Anpo.
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and life. Their happenings were not a mere displacement of art to the streets, but inherently reshaped the relationship between objects and performance. Akasegawa in particular questioned the ways in which objects, actions, and environments gained coherence in relationship to each other and how artistic intervention acts could disrupt this. Furthermore, they wished to pronounce how their small gestures and ordinary objects were intertwined with inherent âstructuresâ (as
Nakanishi called them) or âsystemsâ (as Akasegawa called them in
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toes in various orientations, intercutting as if to trace the process of measurement integral to the piece. This assemblage of fragments from the events question the indexicality of the film document, and its status as capturing the "live" happening. It is also crucial to note that this film work was not conceptualised by Hi-Red Center as an official form of documentation, yet nonetheless provides a document to be studied. Akasegawa himself believed that a document of a performance manifests its power. However, for works such as
276:, Takamatsu had unravelled his 3.5 km long Point-string, knotted with similar domestic objects, on the station platform. Later, he stood on the side of the carriage, reading a newspaper with holes in them. Other participants, such as Murata Kiichi, applied white face paint and brought additional objects, including rope, real eggs and a chicken foot. Murai Tokuji documented the happening with photography, depicting the puzzled expressions of commuters watching Nakanishi. Akasegawa was also present as a photographer.
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1000-yen note as a passport. The name, date of birth, address, and belongings of each guest were verified, and fingerprints and body measurements were taken. Each participant was photographed from six points of viewâface, left profile, right profile, back, top and bottomâto create a custom-sized model of a shelter that could be ordered in four sizes, ranging from life-size to one-tenth of life-size. They then had to be measured for their body volume by being immersed into a bathtub filled with water.
428:, were invited into the Hi-Red Center suite to have their measurements taken, on the pretence of customising one-person nuclear bomb shelters. The process of inspecting each guest, despite them having received an invitation card and an instruction card, was intended to be alienating and objectifying, as though they had been arrested. The instructions included the following steps:
506:. Drinks were served. By subverting the functions and performativity of exhibition openings and closings, the collective wanted to position the space exterior to the gallery space as the work or panorama on display, rather than what is contained within the gallery space. No longer was the artwork form in questionâthe exhibition format needed to be challenged as well.
679:, scholars have argued that the group had staged the event with photographic documentation in mind, Daria Melnikova claiming that the event was staged for the camera itself. They go as far as to assert that " documentation as an essential part of performance production, and with an even more radical stance of valuing the image more than the live action."
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methods of âdirect actionâ in their work with Hi-Red Center, borrowing a term from prewar socialist agitators. With âdirect action,â the artists meant to raise to consciousness the absurdities and contradictions of
Japanese society. This interest in Art as direct action has been contextualised as rooted in the atmosphere following massive
272:, transparent forms about the size and shape of an ostrich egg, with sundry or "junk" items such as wristwatches, bits of rope, sunglasses, bottle caps and human hair encased in resin. Nakanishi proceeded to lick his objects, also shining a flashlight upon onlookerâs faces to observe their reactions. Prior to boarding the carriage at
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Committeeâ. The flyer included a list of fictional and actual co-organisers and sponsors, such as the Tokyoâs
Olympics Organizing Committee, Fluxus Japanese Section and Group Ongaku, reflecting the collective conception of the work, without full attribution to the group itself. This event was also submitted to
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Tomii, Reiko. "After the âDescent to the
Everydayâ: Japanese Collectivism from Hi Red Center to The Play, 1964â1973." In Collectivism after Modernism: The Art of Social Imagination after 1945, edited by STIMSON BLAKE and SHOLETTE GREGORY, 45-75. University of Minnesota Press, 2007. Accessed March 28,
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signing a contract and lying on a bed, a still shot of
Nakanishi's clothespin performance, the name card of the Hi Red Center group and the Imperial Hotel contract/rental form, Mystery Cans and a man taking a bath. It obfuscates the human body and figure, showing segments of the torso, back, head and
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Leading up to the happening event itself, the group also prepared flyers as an additional parody of bureaucratic organisation. The flyer posed an open call for participation, detailing arbitrary heuristic information under the organisation of the fictional âMetropolitan
Environment Hygiene Execution
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Naiqua
Gallery was an alternative gallery space adjacent to institutional spaces, existing within a broader system of commercial versus rental galleries which were further distinguished by the curatorial direction and rental paid by the artist. Thus, the space is further encoded with the notion that
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ran from May 12â16 at the Naiqua
Gallery in Tokyo. A questioning of the exhibition format, the group presented an exhibition that was only ever closed and not visible to its audience. They placed an announcement on the door that the space was closed âby the hands of Hi Red Center. When you have free
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Akasegawa referred to the group's work as "secret art", with no "officially fixed form" and existing "in the form of rumours". This reflected the
Happenings event nature of their work, despite requiring prior planning by the group members. However, this quality of secrecy was influenced by the group
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Hi-Red Center is known for "breaking away from the urban centrality of the Tokyo art scene and the focus on the museum/gallery as the core location for the production and consumption of art." By staging these events in the public realm, they acted anonymously while breaching the boundary between art
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event) in court in
October 1966. Their demonstrations were intended to enlighten the court on the "happenings" nature of Akesagawa's work, yet inevitably substantiated their defense by arguing that the objects used in their performance events ought to be treated with museum-like care, contradicting
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Guests were to enter the hotel through the front door, to wear a tie and gloves, and to bring a bag. They were also asked not to leave any fingerprints in the hotel lobby. Once they were invited upstairs and entered the hotel room, the participants received an HRC stampâa red exclamation markâon a
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This event was held on May 28â29 at Gallery Naiqua, inaugurating the space. The group (and its members) had frequently worked and exhibited in Naiqua (ć
ç§; internal medicine) Gallery, and continued to do so individually after their disbanding. Nakanishi was childhood friends with the owner, Miyata
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The group started cleaning the streets in Ginza with inefficient tools, such as cotton balls with ammonia, dental tools, surgeons sponges, tooth picks, linen napkins or toothbrushes, polishing any metal pieces they could find on the pavementâparodying or emphasising the futility of such cleaning
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Nakanishi conceived of the work as interactive, allowing the passerby audience to participate by taking the clothespins off or putting them on. The audience reacted to the work in bemusement, without realising the physical pain Nakanishi had subjected himself to. The group also made suits out of
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art magazine held November that year, with Akasegawa as an interloctor. The symposium examined the relationship between artistic and political action, and allowed the three artists to reflect on the waning of political activity in Japan. All three artists had begun as painters but would embrace
560:, as a criticism of how the Japanese government had hastily beautified and modernised Tokyo to present the city as economically advanced post-World War II. More incisively, these cleaning efforts were specifically targeted against unwanted citizens such as the homeless and âthought perverts" (
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Scholars such as Jessica Santone have read the work as "a critique of Cold War bureaucratic state machines by mimicking their excessive documentation and surveillant control of bodies, while drawing attention to the specificities of the individuals as they differ from normative ideals." Taro
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train heading counter-clockwise on its route, disrupting the normalcy of passenger's commutes through a series of performative actions. While this event was staged prior to the official formation of the group, it demonstrates the core ethos of their subsequent works from 1963 onwards.
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A diagram of the space was produced to indicate the parameters of the exhibition space, namely the closed door. The work was structured by its "opening" and "closing events, which in fact were the inverse, with the sealing of the door at the opening and its unsealing at its closing.
606:, the collective participants being against Japan's rapid urbanisation under the auspices of presenting an illusion of "Progress and Harmony" (Expo '70's theme) at an international event. Both events were documented by photographers Hirata Minoru and Hanaga Mitsutoshi.
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there was simply nothing left to do.â In fact, around that time Akasegawa was becoming increasingly preoccupied with his own trial for alleged counterfeiting of 1,000-yen notes, and thus did not have time for further events and happenings with Hi-Red Center.
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in white. Despite this deliberate self-identification, passersby did not question their clearly heightened act of cleaningâproving the legitimacy of the group's critique of how extreme or performative prior government cleaning initiatives had been.
572:" (Cleaning now) in Japanese. The three core members and their associates were dressed in outfits used by laboratory technicians during the Olympic Games, paired with an incongruous pair of shades and a red armband with the groupâs trademark â!â
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Photographic documentation of the group's ephemeral activities was crucial for the works to be studied and historicised. Operating during the 1960s, there was rarely any form of filmic of video documentation of artistic activity in
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being consisted of anonymous members that participated in the organisation of events, without being officially credited. Even the group's name was intended to form a was a fictional character called Mr. "Hi Red Center", similar to
349:, covered with metal clothespins and carrying balloons. These common clothespins were attached en-masse to canvas, clothing and human flesh. The work had previously been staged at the March 1963 Yomiuri Indépendant Exhibition.
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The group also prepared five Mystery Cans or as Akasegawa referred to them, "Universe Cans", which were tin cans marked with the group's signature red â!â insignia and filled with unknown contents. JĆnouchi Motoharuâs film
186:â (hapuningu), âeventsâ (ivento), and âritualsâ (gishiki) in "extraexhibtion projects" required extensive collaboration inter and intra collectives. Thus, Hi-Red Center's form of Anti-Art practice can also be said to be
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being a rare exception that was documented by film. Most of the group's works was photographed by Hirata Minoru and Hanaga Mitsutoshi. Hirata described his documentation practice as capturing "Art that jumped outside "
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At the opening event, the group used hammers and nails to affix the door, with no spectators except for a cockroach trapped in a glass, who was left in sealed gallery space. The closing event was officiated by
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529:). After dropping the objects they collected and packed them all into the battered suitcase, placing it in a public locker and sending the key to the locker to someone chosen at random from a phone book.
156:) movements (in the 1970s), with Anti-Art collectivism being more viscerally driven and Non-Art collectivism more cerebrally engaged. These artists' experimentations with form can be characterised as the
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as their canvas, the group sought to create interventions that blurred the lines between art and everyday life and raised questions about centralized authority and the role of the individual in society.
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1539:"Takamatsu Jiro's String Continue On and On (Takamatsu JirĆ's string objects, at Hi Red Center's 5th Mixer Plan exhibition at Shinjuku Dai-Ichi Gallery) (1963) - Hirata Minoru - M+ Collections Beta"
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time, please make sure not to visit it." The group made sure to include both Japanese and English renditions of the announcement, conscious of foreigners who might want to enter the gallery.
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William Marotti characterizes this work as an intervention into quietness (or calmness), Nakanishi and Genpei situating the work in the wake of large-scale post-war upheavals (such as the
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has been staged out of Japan, though without reference of consideration of the original event's immediate socio-political context. An American edition of the event was organised by
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2013-14, 22 November 2013â9 February 2014. "Great Crescent: Art and Agitation in the 1960sâJapan, South Korea, and Taiwan", curated by Cosmin Costinas, Lesley Ma and Doryun Chong,
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suggests it would be a mistake to interpret it through the history and confines Euro-American movements. Instead, Hi-Red Center's activities can be seen to follow the demise of
1563:"Akasegawa Genpei's Wrapped Objects, with Okamoto TarĆ, at Hi Red Center's 5th Mixer Plan exhibition at Shinjuku Dai-Ichi Gallery (1963) - Hirata Minoru - M+ Collections Beta"
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Tomii, Reiko (2007). "After the 'Descent to the Everyday': Japanese Collectivism from Hi Red Center to The Play, 1964-1973". In Stimson, Blake; Sholette, Gregory (eds.).
129:(1965) represents the corpus of the group's city interventions on a notational cartographic form, implying the confluence of their activities with the urban landscape.
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Later considered to have been one of the most prominent and influential Japanese art groups of the 1960s, Hi-Red Center never officially disbanded, but their happening
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Tomii, Reiko. ""Art Outside the Box" in 1960s Japan: An Introduction and Commentary." Review of Japanese Culture and Society 17 (2005): 1-11. Accessed March 28, 2021.
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1855:"Audience (Takiguchi ShĆ«zĆ on the left) came to the closing party for Hi Red Center's Closing Event, at Naiqua Gallery (1964) - Hirata Minoru - M+ Collections Beta"
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Mark Pendleton argues that this work, and its form of intervention into the everyday, has influenced the ethos of subsequent collectives in the 1970s, such as
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These discussions at the symposium led the artists to work together again to present their three-person show, "Fifth Mixer Plan," at the Dai-Ichi Gallery in
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2018, 28 Septemberâ28 October. "Jiro Takumatsu é«æŸæŹĄé | Hi Red Center | Hirata Minoru ćčłç°ćź | Kim Ku Lim êčê”ŹëŠŒ" curated by Victor Wang, 111 Great Titchfield St,
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Nakanishi positioned himself in the centre of the train carriage, his face painted white and seemingly absorbed in a book. He carried Compact Objects or
1675:"Nakanishi Natsuyuki's Clothespins Assert Churning Action, for Hi Red Center's 6th Mixer Plan event, Tokyo (1963) - Hirata Minoru - M+ Collections Beta"
651:), which also bears the connotations of art existing outside of the institutional site of exhibitions in Japan. Similarly, Nakanishi has described
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584:'s "Tone Prize exhibition" (held at Naiqua Gallery in the same month), which critiqued the jury system of salons and competitive exhibitions.
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not even this alternative space can contain or host the kind of Art worth exhibiting, providing a deeper impetus to seek Art in the streets.
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Whirlwind," a Japanese version of gestural abstraction. Hi-Red Center prefigured collaborative collectivism, bridging Anti-Art to Non-Art (
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293:. The collective also situated their work in the Tokyo train system, installing a dining table and hosting a meal on a subway carriage in
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525:(October 10, 1964), the group heaved a suitcase and its contents off the building of the IkenobĆ Flower-Arranging Schoolâs headquarters (
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The group was commenting on how the apparatus of media functions in a capitalist society, namely how news reportage preceded the event.
66:(1962) (detailed below) in October 1962, subsequently participating in the "Signs of Discourse on Direct Action" symposium sponsored by
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There have been a few solo retrospectives dedicated to the activities of Hi-Red Centre, all mainly situated within gallery spaces.
1831:"Jasper Johns opening the door at Hi Red Center's Closing Event, at Naiqua Gallery (1964) - Hirata Minoru - M+ Collections Beta"
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Pendleton, Mark. "Bringing little things to the surface: intervening into the Japanese post-Bubble impasse on the Yamanote." In
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Morgan, Robert C. "Conceptualism: Reevaluation or Revisionism?" Art Journal 58, no. 3 (1999): 109-11. Accessed March 28, 2021.
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494:, who pulled out the first nail of the sealed gallery door. This closing event had a sizeable audience, including art critic
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was the three person exhibition that led to the founding of the group, and was staged in May 1963 at the Dai-Ichi Gallery in
452:, stating that the surveillance of bodies by the government was intended to present a veneer of a physically fit populace.
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62:, a similar art collective focused on performance art and happenings. Nakanishi and Takamatsu worked together to stage
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argues that the shift from the display of objects in an exhibition format to the installation and organisation of â
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to be a invocation to break out of the box, by stubbornly repeating events that did not belong to the structure (
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Ippolito, Jean M. "The Search for New Media: Early Avant-Garde Momentum for the Digital art Pioneers of Japan."
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exists as a form of documentation of the event itself, but includes images of other events. In the film, we see
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Bonehill, Jessica. "Art on the Outside: The contextualising of a Fluxus work in the Urban Environment." (1966).
22:(ăă€ăŹăăă»ă»ăłăżăŒ, Haireddo SentÄ) was a Japanese artistic collective, founded in May 1963 and consisting of artists
1969:"MITSUTOSHI HANAGA | Hi Red Center Dropping Event at Ikenobo Kaikan in Tokyo, October 10, 1964 (2020) | Artsy"
1921:"'Hi Red Center's Dropping Event at Ikenobo Hall, Tokyo, October 10, 1964', Minoru Hirata, 1964, printed 2011"
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Melnikova, Daria. "Body, Camera, Action: Understanding the Metamorphosis of Performance Art in Japan." (2018).
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Wade, Mackenzie. "The Yamanote Loop: Unifying Rail Transportation and Disaster Resilience in Tokyo." (2020).
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2013-14. âHi-Red Center: The Documents of âDirect Actionââ. Dedicated to the 50th Anniversary of the group.
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Tomii, Reiko (2002). "State v. (Anti-)Art: Model 1,000-Yen Note Incident by Akasegawa Genpei and Company".
1272:: The Yomiuri Indépendant Artists and Social Protest Tendencies in the 1960s". In Munroe, Alexandra (ed.).
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Tomii, Reiko. âHi Red Center, Great Panorama Exhibitionâ . In Mathieu Copeland and Balthazar Lovau (eds.),
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Akesagawa was found guilty, and appealed the verdict to the High and Supreme Courts (in 1970) to no avail.
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1999, April 28âAugust 29. "Global Conceptualism: Points of Origin, 1950s -1980s", curatorial team led by
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The group has also been featured in the following seminal post-war Japanese art blockbuster exhibitions.
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and thus found the group Hi-Red Center in May 1963. The name "Hi-Red Center" was derived from the first
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which documented the even shows that Nakanishi had papered the walls of the suite with images from the
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Tomii, Reiko (2019). "'A Test Tube' of New Art: Naiqua and the Rental Gallery System in 1960s Japan".
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happening proved to be their final artistic act. Akasegawa would later cryptically remark that âafter
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Tomii, Reiko. "State v.(anti-) art: Model 1,000-yen note incident by Akasegawa Genpei and company."
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Moren, Lisa. "Introduction: Signatures, Music, Computers, Paranoia, Smells, Danger & the Sky."
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2012-13, Nov 18, 2012âFeb 25, 2013. "Tokyo 1955â1970: A New Avant-Gardeâ curated by Doryun Chong,
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As part of Akasegawa's trial, the members of the group restaged a few of their works (Takamatsu's
157:
1945:"Hi Red Center's Dropping Event, at IkebonĆ Kaikan (1964) - Hirata Minoru - M+ Collections Beta"
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Nettleton, Taro. "Hi Red Centerâs Shelter Plan (1964): The Uncanny Body in the Imperial Hotel."
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The group is most known for this performance work, which took place on the bustling district of
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Paik, Nam June. âTo Catch Up or Not to Catch Up with the West: Hijikata and Hi Red Center.â In
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in Tokyo on Saturday, October 16, 1964. It was intentionally staged during the duration of the
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DalaiJee, Kuro. "Performance Art And/as Activism: Expo '70 Destruction Joint-Struggle Group."
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372:) in April 1964. This project highlights the coincidence between the TV broadcast as well as
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117:), such as newspapers, currency, commodity circulation, train lines, and public sanitation.
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Faris, Jaimey Hamilton. "Rooms in Alibi: How Akasegawa Genpei Framed Capitalist Reality."
315:. The three artists presented some of their seminal individual works; Takamatsu exhibited
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Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return
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Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970
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1130:"MoMA | Exhibiting Fluxus: Mapping Hi Red Center in Tokyo 1955â1970: A New Avant-Garde"
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Santone, Jessica. "Documentation as group activity: performing the Fluxus network."
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in January 1964. The event was titled to be reminiscent of 1950s bombing drills.
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Sentaku basal wa kakuhan koi wo shucho suru (Clothes Pegs Assert Churning Action)
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Anti-Art gained popularity in the Japanese vanguard art scene through the annual
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Akasegawa, Genpei. âA Can of the Universe. 1984â translated by Reiko Tomii, In
1421:, edited by Alexandra Munroe, 77â82. New York, New York: Harry N. Abrams, 1994.
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Bilbao Yarto, Ana Edurne. "The closed exhibition: when form needs a break."
1791:, edited by Mathieu Copeland and Balthazar Lovay, 51â53. Koenig Books, 2017.
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efforts. They also carried billboard signs with "Be Clean!" in English and "
380:. The leaflets hinted at a possible third assassination of French President
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Presenting what would become one of his most famous works, Nakanishi staged
338:). Thus, they did not have to pay any rental fees when they used the space.
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in 1960. They were united to move toward âeventsâ for an âuneventfulâ time.
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Yoshimoto, Midori. "Off Museum! Performance Art That Turned the Street."
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602:) protests in 1969-1970. The Expo '70 protests were directly informed by
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148:) in Japan (in the 1960s), which can be traced to the phenomenon called "
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1994-95. âJapanese Art After 1945: Scream Against the Skyâ curated by
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633:). It is said that Maciunas had a deep respect for the group's work.
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was documented by photographers Minoru Hirata and Hanaga Mitsutoshi.
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in light of the upcoming broadcast testing between Japan and Europe.
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Campaign to Promote Cleanliness and Order in the Metropolitan Area
1735:, 150. Harvard University Asia Center Publications Program, 2011.
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Money, trains, and guillotines: art and revolution in 1960s Japan
1497:"ABOUT HI-RED CENTER AND THE YAMANOTE LINE INCIDENT â desistfilm"
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prefigures later "intercollective networking", being adopted by
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Chong, Doryun, Michio Hayashi, Mika Yoshitake, and Miryam Sas.
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and an attempted assassination of the U.S. ambassador to Japan
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997:âChokusetsu kĆdĆ no kizashi: Hitotsu no jikkenrei ni tsuiteâ
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Their work has also been shown in the following group shows.
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Staged on 18 October 1962, Natsuyuki and Takamatsu boarded a
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The English Fluxus version of the work was mistranslated as
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Hijikata Tatsumi and Butoh: Dancing in a pool of gray grits
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Japan at the Crossroads: Conflict and Compromise after Anpo
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Japan at the Crossroads: Conflict and Compromise after Anpo
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Japan at the Crossroads: Conflict and Compromise after Anpo
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Japan at the Crossroads: Conflict and Compromise after Anpo
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in October 1964 proved to be their final artistic action.
621:) and at the 1966 Fluxfest (performed by the students of
58:
Akasegawa had previously participated in the short-lived
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Merewether, Charles, Rika Iezumi Hiro, and Reiko Tomii.
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TokuhĆ! TsĆ«shin eisei wa nanimono ni tsukawarete iru ka!
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movement (and its Japanese counterparts), art historian
1997:"Hi-Red Center's quiet actions still reverberate today"
1896:""Hi Red Center's 'Dropping Event', at IkenobĆ Kaikan""
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Although Hi-Red Center never officially disbanded, the
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Kunio, and influenced him to open the rental gallery (
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News Flash! Who is Using the Communication Satellite?
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News Flash! Who is Using the Communication Satellite?
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Into performance: Japanese women artists in New York
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Nettleton makes a connection between this event and
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744:2014, February 11thâMarch 23. Shoto Museum of Art,
34:, that organized and performed anti-establishment
1304:. University of Minnesota Press. pp. 53â54.
1184:, 2017, 47-50. London: Koening Books and Fri Art.
353:balloons for performers on the streets of Tokyo.
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1231:http://www.jstor.org/stable/10.5749/j.ctttv1dg.7
1882:Japanese Art After 1945: Scream Against the Sky
1597:Afterall: A Journal of Art, Context and Enquiry
1419:Japanese Art After 1945: Scream Against the Sky
1341:Japanese art after 1945: scream against the sky
1274:Japanese Art After 1945: Scream Against the Sky
1087:, vol. 30, no. 2, pp. 257-276. Routledge, 2018.
663:), supplementing events that daily gush forth.
345:, walking around in the square in front of the
2042:"Hirata Minoru - Makers - M+ Collections Beta"
1432:"The importance of politics to JirĆ Takamatsu"
1405:. Los Angeles: Getty Research Institute, 2007.
364:The group published a set of leaflets titled
160:of art, comparable to global developments of
2023:23 (2011): 154-73. Accessed March 28, 2021.
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723:2013, February 6âMarch 27. "Hi Red Center",
190:, in its questioning of the notions of sole
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609:Through the group's affiliation to Fluxus,
401:was an invite-only event staged at Tokyoâs
787:1995, September 14, 1994âJanuary 8, 1995.
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1276:. New York: Harry N. Abrams. p. 150.
594:(Final Art Institute) in 1973 and in the
2073:Goldberg, RoseLee, and Laurie Anderson.
1519:. Durham, NC: Duke University Press, 18.
894:
725:Centre of Contemporary Art (CCA) Glasgow
226:Other events not detailed below include
1994:
1884:(New York, NY: H.N. Abrams, 1994), 178.
132:While the group is associated with the
2153:Japanese artist groups and collectives
2140:
2085:
2083:
2021:Review of Japanese Culture and Society
1990:
1988:
1893:
1783:
1781:
1779:
1765:
1763:
1761:
1759:
1757:
1743:
1741:
1727:
1725:
1698:
1696:
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1656:
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1650:
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1646:
1632:
1630:
1628:
1626:
1385:
1383:
1381:
1379:
1377:
1375:
1373:
1371:
1369:
1288:positions: east asia cultures critique
1267:
1243:
1241:
1239:
1192:
1190:
1124:
1122:
1120:
1118:
1116:
1114:
878:
876:
107:
2089:
1812:
1810:
1594:
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1491:
1489:
1413:
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1333:
1331:
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1323:
1321:
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1263:
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1224:
1222:
1220:
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1212:
1210:
1208:
1206:
1176:
1174:
1045:
1014:
980:
978:
976:
974:
972:
944:
913:
408:56 guests, including artists such as
1995:Hammond, Jeff Michael (2014-02-26).
1079:
1077:
1075:
1073:
1001:, no. 7 (February 1963): 15â23; and
617:in New York City in 1965 (alongside
459:by Shigeko Kubota, eventually title
374:the assassination of John F. Kennedy
2080:
2077:. Harry N. Abrams Publishers, 1998.
1985:
1776:
1754:
1738:
1722:
1691:
1643:
1623:
1481:Tokyo, 1955-1970: A New Avant-garde
1366:
1236:
1187:
1111:
873:
13:
1807:
1579:
1486:
1408:
1392:
1318:
1258:
1203:
1171:
969:
800:San Francisco Museum of Modern Art
708:the principles of their practice.
598:Destruction Joint-Struggle Group (
281:1960 Anpo USâJapan Security Treaty
92:characters of their surnames: âé«,
38:. Taking the urban environment of
14:
2179:
1664:. Rowman & Littlefield, 2018.
1640:. Rutgers University Press, 2005.
1483:. The Museum of Modern Art, 2012.
1070:
392:Imperial Hotel Body: Shelter Plan
2075:Performance: Live art since 1960
1918:
1152:
636:
2168:1964 disestablishments in Japan
2118:
2067:
2058:
2034:
2013:
1961:
1937:
1912:
1887:
1847:
1823:
1794:
1709:
1667:
1555:
1531:
1522:
1509:
1473:
1449:
1424:
1293:
1280:
1146:
804:Yerba Buena Center for the Arts
1090:
1039:
1008:
991:
938:
733:2013, November 9âDecember 23.
714:
442:General Catalogue of Males â63
173:Yomiuri Indépendant Exhibition
1:
1789:The Anti-Museum: An Anthology
866:
703:and presenting relics of the
479:The Great Panorama Exhibition
468:The Great Panorama Exhibition
295:Shukutaku ressha/Video Picnic
2163:1963 establishments in Japan
1900:The Art Institute of Chicago
1804:32, no. 3-4 (2016): 263-281.
1302:Collectivism After Modernism
1052:. Cambridge, Massachusetts:
1021:. Cambridge, Massachusetts:
951:. Cambridge, Massachusetts:
920:. Cambridge, Massachusetts:
682:
53:
7:
1818:Revista de HistĂłria Da Arte
1268:Munroe, Alexandra (1994). "
1100:22, no. 2 (2000): 127-34.
849:, United States of America.
823:, United States of America.
810:, United States of America.
795:, United States of America.
776:1994, February 5âMarch 30.
10:
2184:
1338:Alexandra, Munroe (1994).
1290:10, no. 1 (2002): 141-172.
1155:"Hi-Red Center â Art Term"
77:U.S.-Japan Security Treaty
16:Japanese artist collective
2104:10.1215/10679847-10-1-141
1005:, no. 8 (June 1963): 1â18
884:"Art Term: Hi-Red Center"
317:String Continue On and On
221:
2046:collections.mplus.org.hk
1949:collections.mplus.org.hk
1859:collections.mplus.org.hk
1835:collections.mplus.org.hk
1773:34, no. 1 (2014): 83-99.
1679:collections.mplus.org.hk
1567:collections.mplus.org.hk
1543:collections.mplus.org.hk
1054:Harvard University Press
1023:Harvard University Press
953:Harvard University Press
922:Harvard University Press
817:The Museum of Modern Art
798:1995, May 31âAugust 27.
592:Kyukyoko Hyogen Kenkyujo
558:1964 Tokyo Olympic Games
319:and Akasegawa exhibited
1894:Hirata, Minoru (1964).
988:4, no. 3 (2015): 40-64.
229:Waseda University Event
789:Guggenheim Museum SoHo
778:Yokohama Museum of Art
735:Nagoya City Art Museum
677:Yamanote Line Incident
653:Yamanote Line Incident
600:Banpaku Hakai KyÔtÔ-ha
562:shisĆteki henshitsusha
347:Shinbashi rail station
251:Yamanote Line Incident
64:Yamanote Line Incident
1751:, 70. Springer, 2012.
1719:40, no. 1 (2006): 28.
1270:Morphology of Revenge
659:) of this container (
1198:Performance paradigm
1046:Kapur, Nick (2018).
1025:. pp. 198â199.
1015:Kapur, Nick (2018).
955:. pp. 195â196.
945:Kapur, Nick (2018).
914:Kapur, Nick (2018).
548:) (October 16, 1964)
1660:Galliano, Luciana.
1636:Yoshimoto, Midori.
1515:Marotti, W., 2013.
1344:. Harry N. Abrams.
474:) (May 12â16, 1964)
237:Waseda Universityâs
233:(November 22, 1962)
166:post-minimalist art
125:' edited map sheet
108:Collective Practice
60:Neo-Dada Organizers
28:Natsuyuki Nakanishi
1880:Alexandra Munroe,
1706:10 (2008): 97-112.
1200:2 (2006): 108-122.
841:and Rachel Weiss,
627:Geoffery Hendricks
517:(October 10, 1964)
420:, Kawani Hiroshi,
259:Yamanote loop line
253:(October 18, 1962)
115:Capitalist Realism
1096:Augst, Bertrand.
382:Charles de Gaulle
329:(May 28â29, 1963)
291:Video Earth Tokyo
158:dematerialization
2175:
2158:Culture in Tokyo
2132:
2122:
2116:
2115:
2087:
2078:
2071:
2065:
2062:
2056:
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2017:
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1865:
1851:
1845:
1844:
1842:
1841:
1827:
1821:
1820:(2019): 126-143.
1814:
1805:
1802:Visual Resources
1798:
1792:
1785:
1774:
1771:Japanese Studies
1767:
1752:
1745:
1736:
1729:
1720:
1717:Visible Language
1713:
1707:
1700:
1689:
1688:
1686:
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1507:
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1471:
1470:
1468:
1467:
1461:www.facebook.com
1453:
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982:
967:
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942:
936:
935:
911:
892:
891:
880:
769:Alexandra Munroe
666:JĆnouchiâs film
631:Grand Army Plaza
416:, Kazakura ShĆ,
378:Edwin Reischauer
327:Sixth Mixer Plan
321:Wrapped Objects.
309:Fifth Mixer Plan
304:(May 7â12, 1963)
302:Fifth Mixer Plan
127:Bundle of Events
24:Genpei Akasegawa
2183:
2182:
2178:
2177:
2176:
2174:
2173:
2172:
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2137:
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2072:
2068:
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2059:
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2040:
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2035:
2018:
2014:
2005:
2003:
2001:The Japan Times
1993:
1986:
1977:
1975:
1967:
1966:
1962:
1953:
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1487:
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1455:
1454:
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1441:
1439:
1436:Apollo Magazine
1430:
1429:
1425:
1416:
1409:
1400:
1393:
1388:
1367:
1352:
1336:
1319:
1312:
1298:
1294:
1285:
1281:
1266:
1259:
1246:
1237:
1227:
1204:
1195:
1188:
1182:The Anti-Museum
1179:
1172:
1163:
1161:
1151:
1147:
1138:
1136:
1128:
1127:
1112:
1095:
1091:
1082:
1071:
1064:
1056:. p. 198.
1044:
1040:
1033:
1013:
1009:
996:
992:
983:
970:
963:
943:
939:
932:
924:. p. 199.
912:
895:
882:
881:
874:
869:
717:
685:
649:Tobidashita Äto
639:
615:George Maciunas
550:
519:
496:Takiguchi ShĆ«zĆ
476:
457:Human Box Event
396:
362:
331:
306:
255:
224:
123:George Maciunas
110:
100:(red), and âäž,
56:
17:
12:
11:
5:
2181:
2171:
2170:
2165:
2160:
2155:
2150:
2134:
2133:
2130:10.2307/777867
2117:
2098:(1): 141â172.
2079:
2066:
2057:
2033:
2012:
1984:
1960:
1936:
1911:
1886:
1870:
1846:
1822:
1806:
1793:
1775:
1753:
1747:Baird, Bruce.
1737:
1721:
1708:
1690:
1666:
1642:
1622:
1609:10.1086/704206
1603:(1): 146â161.
1578:
1554:
1530:
1521:
1508:
1485:
1472:
1448:
1423:
1407:
1391:
1365:
1350:
1317:
1311:978-0816644629
1310:
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1279:
1257:
1235:
1202:
1186:
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1145:
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990:
968:
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871:
870:
868:
865:
864:
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852:
839:Luis Camnitzer
827:
826:
813:
812:
811:
796:
785:
761:
760:
751:
750:
749:
742:
728:
716:
713:
693:Cleaning Event
689:Cleaning Event
684:
681:
638:
635:
611:Cleaning Event
604:Cleaning Event
588:Cleaning Event
549:
538:Cleaning Event
535:
531:Dropping Event
527:IkenobĆ Kaikan
523:Dropping Event
518:
515:Dropping Event
512:
475:
465:
450:Cleaning Event
418:Tadanori Yokoo
403:Imperial Hotel
395:
394:(January 1964)
389:
361:
355:
330:
324:
305:
299:
254:
248:
223:
220:
212:Marcel Duchamp
178:Art historian
119:Shigeko Kubota
109:
106:
55:
52:
48:Cleaning Event
32:JirĆ Takamatsu
15:
9:
6:
4:
3:
2:
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2047:
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2026:
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2016:
2002:
1998:
1991:
1989:
1974:
1973:www.artsy.net
1970:
1964:
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1734:
1731:Sas, Miryam.
1728:
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1351:0-8109-2593-1
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1063:9780674988484
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1032:9780674988484
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962:9780674988484
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931:9780674988484
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853:
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848:
844:
843:Queens Museum
840:
836:
832:
831:
830:
825:
822:
821:New York City
818:
814:
809:
808:San Francisco
805:
801:
797:
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793:New York City
790:
786:
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637:Documentation
634:
632:
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624:
623:Roberts Watts
620:
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473:
472:Closing Event
469:
464:
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458:
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451:
445:
443:
439:
433:
429:
427:
426:Nam June Paik
423:
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247:
245:
244:(August 1963)
243:
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207:
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201:
197:
196:individualism
193:
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85:
80:
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74:
73:Anpo protests
69:
65:
61:
51:
49:
44:
41:
37:
33:
29:
25:
21:
20:Hi-Red Center
2120:
2095:
2091:
2074:
2069:
2060:
2049:. Retrieved
2045:
2036:
2020:
2015:
2004:. Retrieved
2000:
1976:. Retrieved
1972:
1963:
1952:. Retrieved
1948:
1939:
1928:. Retrieved
1924:
1914:
1903:. Retrieved
1899:
1889:
1881:
1862:. Retrieved
1858:
1849:
1838:. Retrieved
1834:
1825:
1817:
1801:
1796:
1788:
1770:
1748:
1732:
1716:
1711:
1703:
1682:. Retrieved
1678:
1669:
1662:Japan Fluxus
1661:
1637:
1600:
1596:
1570:. Retrieved
1566:
1557:
1546:. Retrieved
1542:
1533:
1524:
1516:
1511:
1500:. Retrieved
1480:
1475:
1464:. Retrieved
1460:
1451:
1440:. Retrieved
1438:. 2017-07-19
1435:
1426:
1418:
1402:
1340:
1301:
1295:
1287:
1282:
1273:
1269:
1197:
1181:
1162:. Retrieved
1158:
1148:
1137:. Retrieved
1134:www.moma.org
1133:
1097:
1092:
1084:
1048:
1041:
1017:
1010:
1002:
998:
993:
985:
947:
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916:
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828:
762:
718:
710:
705:Shelter Plan
704:
700:
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692:
688:
686:
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668:Shelter Plan
667:
665:
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652:
648:
644:Shelter Plan
643:
640:
619:Shelter Plan
618:
610:
608:
603:
599:
591:
587:
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582:Yasunao Tone
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410:Masao Adachi
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1704:Art Inquiry
1085:Japan Forum
835:Jane Farver
727:, Scotland.
715:Exhibitions
504:Sam Francis
461:Hotel Event
200:originality
180:Reiko Tomii
154:Hi-geijutsu
138:Reiko Tomii
2142:Categories
2051:2021-03-28
2006:2021-02-08
1978:2021-03-29
1954:2021-03-29
1930:2021-03-29
1905:2021-03-29
1864:2021-03-28
1840:2021-03-28
1684:2021-03-28
1572:2021-03-29
1548:2021-03-29
1502:2021-03-28
1466:2021-03-28
1457:"Facebook"
1442:2021-03-28
1164:2021-03-28
1139:2021-02-08
986:ARTMargins
867:References
757:, England.
336:kashi garo
204:modern art
192:authorship
188:postmodern
184:Happenings
162:conceptual
104:(center).
36:happenings
2112:144997715
2092:Positions
1617:169511339
1360:901644432
1098:Discourse
860:Hong Kong
856:Para Site
683:Afterlife
542:Be Clean!
313:Shinjunku
239:red, and
84:Shinjunku
54:Formation
2148:Neo-Dada
2029:42801096
1253:42801108
1106:41389576
784:, Japan.
782:Yokohama
748:, Japan.
741:, Japan.
672:Yoko Ono
596:Expo '70
570:Soji-chu
500:Yoko Ono
422:Yoko Ono
297:(1975).
284:protests
242:Ropology
150:Informel
142:Anti-Art
746:Shibuya
657:kozosei
629:at the
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1003:Keisho
999:Keisho
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847:Queens
755:London
739:Nagoya
701:String
661:utsuwa
642:Japan,
222:Events
134:Fluxus
68:KeishĆ
30:, and
2108:S2CID
2025:JSTOR
1613:S2CID
1249:JSTOR
1102:JSTOR
554:Ginza
540:(aka
470:(aka
268:objet
102:nakaâ
94:takaâ
89:kanji
40:Tokyo
1925:Tate
1356:OCLC
1346:ISBN
1306:ISBN
1159:Tate
1058:ISBN
1027:ISBN
957:ISBN
926:ISBN
888:Tate
802:and
625:and
544:aka
502:and
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