Jikken Kōbō - Knowledge

91:. Prior to the official formation of the group, many members had befriended each other and had been meeting to listen to music and to discuss art. Kitadai explained that "out of this spontaneously grew the desire: we want an occasion to work in collaboration!" The group adopted the name "Jikken Kōbō" ("Experimental Workshop") at the recommendation of Takiguchi. 115:– they did write a provisional group agreement. They wrote that their aim was "to combine the various art forms, reaching an organic combination that could not be realized within the combinations of a gallery exhibition, and to create a new style of art with social relevance closely related to everyday life." The agreement explained that the group would create 297:

collective as two examples of avant-garde art groups who created cross-genre or interdisciplinary projects, exhibitions, and performances in early postwar Japan. However, in contrast to Gutai, which has been the subject of several major English-language books and exhibitions, historically Jikken Kōbō

264:(1953) is cited as an important early postwar art project for its experimentation with new technologies. Works in the presentation were presented using either the automatic slide projector or the tape recorder, both technologies which had recently been developed by Tokyo Tsūshin Kōgyō (precursor to 306:

Jikken Kōbō members worked both collaboratively and independently. Their collaborative projects were often performances or concerts. Their more traditional gallery exhibitions still folded in musical components and can also be considered collaborative projects. The division between exhibition and

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Jikken Kōbō worked on their artistic efforts in a collaborative manner that has been characterized as a comparatively loose and diffuse collective, where individual members had few obvious similarities other than a desire to experiment. Kitadai notably argued that even if their group experiments

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in 1951 by a group of artists working in various media. Until its disbandment in 1957, a total of fourteen members participated in the group. Members were typically in their twenties and hailed from different backgrounds – the group included not just visual artists and musicians, but also a

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credited Jikken Kōbō with being the catalyst for new experiments and collaborations, recalling that it was "a crucible, a magnetic field of youthful, fresh spirit and individuality," and that "it was a valuable source of encouragement and stimulating interaction." In 2013, Dale Eisinger of

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directions. By centripetal I mean an inward movement away from the outer directed teamwork of the group, a return to the individual work. By centrifugal I mean the attempt to combine work in the various fields of art, music, and literature logically necessary ideas."

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failed, they would not be disappointed as they still "succeeded in collaborating." Group member Yamaguchi characterized the collaboration of Jikken Kōbō as a dynamic tension between individual works and group projects: "The energy of always radiated in both

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Jikken Kōbō organized its own exhibitions of group members' works, which were influenced by Western avant-garde art and showed a strong interest in new technology. However, they are best known for their collaborative "presentations"

268:).The presentation featured several "auto-slide" works projected on to screens in the theatre, accompanied by pre-recorded audio tracks. These works ultimately focused on creating a unique experience for the audience. 183: 127:, single pieces and combined works. Rather than presenting works separately, their exhibitions should be spaces where "the works are organically interrelated. They are not presented as single entities." 275:

The group disbanded in late 1957, but many of its members continued to work independently and helped influence the trajectory of Japanese avant-garde art in the 1960s and after. Group member

186:, an American organization that provided technical assistance to avant-garde artists working with new technologies. Both Jikken Kōbō and E.A.T. were collaborative and multidisciplinary. 236:, who himself was inspired by Zen and Japanese music. For this reason, Jikken Kōbō's group works have been characterized by their embrace of both experimentation and tradition. The 213:

Kitadai and Yamaguchi assisted with the direction, and Suzuki and Takemitsu produced the music. The film is often considered the first special effects color film in Japan.

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collective artwork was not clear. The works listed below are performances, concerts, exhibitions, and other projects on which the majority of group members collaborated.

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in postwar England – both groups referenced science fiction and technology relevant to the rapidly modernizing postwar era. Jikken Kōbō also shares similarities with

174:. Their mentor Takiguchi was a key figure in prewar Japanese Surrealism and offered a direct connection to these prewar avant-gardes. Inspired by Bauhaus master 87:, and the engineer Hideo Yamazaki. Fukushima, Yamaguchi, and Kitadai had attended the Modern Art Summer Lectures in 1948 and were mentees of the art critic 178:, Jikken Kōbō was interested in incorporating new media and technology into their experiments. For this reason, Jikken Kōbō has also been compared to the 840:

Hirano, Akihiko (2013). "Intāmedia toshite no undōtai – 1960 nendai ni okeru Jikken Kōbō ni tsuite". In Kanagawa Prefectural Museum of Modern Art (ed.).

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Satō, Reiko (2013). "Jiken Kōbō no katachi – Kitadai Shōzō o chūshin toshite". In Kanagawa Prefectural Museum of Modern Art (ed.).

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is also considered an early "intermedia" endeavor that set the stage for later experiments with technology and new media in Japan.

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Tezuka, Miwako (2011). "Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji".

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Tezuka, Miwako (2011). "Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji".

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In this spirit, artists from the Jikken Kōbō collaborated on a series of photographs of mixed media collages for the publication

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is an important example of their avant-garde interests combining with Japanese tradition. It was performed at the presentation

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The 4th Experimental Workshop Presentation in Commemoration of Takahiro Sonoda's Visit to Europe "Contemporary Works Concert,"

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List of members compiled in Tezuka, "Jikken Kōbō and Takiguchi Shūzō: The New Deal Collectivism of 1950s Japan," 352.

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Jikken Kōbō was formed by a group of young artists and creators. Original members included visual artists

43:発表会): theatrical or musical performances where each member contributed their individual works to create a 393:

Summer Exhibition for the Enjoyment of a New Vision and Space by the Members of Experimental Workshop,

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Jikken kōbō to Takiguchi Shūzō / Experimental Workshop: the 11th exhibition homage to Shūzō Takiguchi

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Jikken kōbō to Takiguchi Shūzō / Experimental Workshop: The 11th Exhibition Homage to Shūzō Takiguchi

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Jikken kōbō to Takiguchi Shūzō / Experimental Workshop: the 11th exhibition homage to Shūzō Takiguchi

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