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138:) movement in Japan in the late 1950s and early 1960s, Kudо̄'s provocative art was nourished by lifelong interests in science, sport and everyday objects. His work often presents a radically transformed and grotesque vision of the human body, calling into question its desires and its limits, as well as its future and origins. Never having officially identified with any one group or movement throughout his international career, the artist's body of work evades art historical classification.
495:. During this time, he stopped calling his performances "Happenings" and instead began calling them "Ceremonies." Indeed, Kudо̄ had abandoned the eccentric, colorful outfits that he had often donned for white robes and adopted a more meditative, mystic ambiance, that included the burning of incense and joining of his hands in prayer. Elements of Kudо̄'s sculptural work remained present during these events.
425:. While this interpretation is undoubtedly pertinent, Kudо̄ sought more largely to demonstrate that the body is always in a constant state of metamorphosis. Showing the body in this state—in the words of the artist, "ugly, awful, uneasy and sometimes comical"—also served to attack the European idea of human nobility, a major driving force in Kudо̄'s work from his arrival in Paris until the end of his life.
417:
historian and curator Doryun Chung describes the die as a "potent symbol, standing as a microcosm of modern human life, into which alienated individuals could retreat and fixate on the cure or comfort of their choice At the same time, the association with games and chance effectively suggested the individual's ultimate lack of control and self-determination."
503:
Kudо̄ was hospitalized for alcoholism in Paris in the summer of 1980. Writing shortly after, the artist recounts that alcohol "saved" him from "being absorbed into Europe." The following year, he traveled with his family to Japan, staying for over a year. From 1983 until the end of his life, he would
428:
Despite his relative success in Paris, Kudо̄ was careful to maintain his status as an outsider. He spoke little
English and did not speak any French. Anne Tronche recalled that the artist often used drawings and almost mathematical diagrams to get his point across during conversations. Additionally,
240:
In addition to his painting practice, Kudо̄ began creating three-dimensional artworks, using found objects, made from materials including but not limited to wood, nails, baskets, scrub brushes and rope. The critic Tо̄no
Yoshiaki would later identify Kudо̄ as a representative of the tendency of "Junk
232:
Kudо̄'s gestural abstract paintings are piled thick with paint and occasional drippings. Nakamura Keiji has pointed out that the canvases, despite their "automatic" appearance, suggest a deliberate precision in their composition, as if "expressing the will to construct something." The paintings bear
201:
As a university student, Kudо̄ actively participated in the Tokyo avant-garde art scene. In 1957, he co-founded the group Tsuchi (meaning "earth" or "soil"), whose name later changed to Ei ("sharp"). Artists who would later be known as integral figures of
Japanese post-war art, including Shinohara
475:
is a freakish amalgam of metal poles, plants and dismembered body parts. And yet, Kudо̄ does not intend to evoke horror, but rather to propose a vision of a "New
Ecology," in which man, vegetation and technology nourish, transform, cultivate and protect each other, in an "equal relationship, like
420:
Kudо̄ also began sculpting grotesque body parts—eyes, skins, hands—isolated from the body, sometimes pulverized, sometimes kept in birdcages or aquariums, and sometimes taking on a life of their own: relaxing in beach chairs, kissing, peeking out of a baby stroller. Critics often associated these
357:
Highly provocative and far from erotic, Kudо̄ sought to destroy the "beautiful concept of sex" by demonstrating that human beings are, first and foremost, slaves to reproduction, despite our contributions to society and history: our only real purpose is to ensure the survival of the species. Art
416:
Kudo's arrival in Paris brought about major changes in his work. He abandoned painting and abstraction completely, focusing on the production of objects and theatrical
Happenings that he performed in Paris and other European cities. He began developing works in the form of boxes and dice. Art
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had done before him, the extremely physical element of Kudo's work should also be associated with the artist's continued interest in sports. Kudо̄ was an active member of the rugby team during university, and he was an avid boxer. In a text written by the artist in 1960, Kudо̄ highlights the
545:, where he was awarded a special mention. His work was regularly presented in museums and galleries throughout France and Japan, and he was increasingly recognized in the Netherlands. Kudо̄ has also featured in major exhibitions on the subject of the Japanese avant-garde, such as
276:
Kudо̄ married
Kurihara Hiroko in 1959, with whom he had lived since 1955. While Kudo sold his blood and worked part-time jobs to make ends meet, Hiroko worked as a model to support the couple and actively contributed to Kudo's artmaking throughout the entirety of his career.
327:). A first version of the installation was presented at the Bungei Shunjū Gallery in Tokyo as part of a solo exhibition. Composed of different formal elements, including photo collages, large, cylindrical sculptures, a loudspeaker announcing stock prices, and loaves of
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In high school, Kudо̄ joined the art club and received private lessons from painter Koiso Ryо̄hei. He was also fascinated by science, finding inspiration in photos of cancer and nerve cells that classmates studying medicine shared with him, as well as images taken by
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for two happenings which utilized elements of his Tokyo installation. A memorable performance included Kudо̄ dressed as a priest, a number of phallic forms dangling from his body, convening with a large penis until finally falling on the ground while moaning.
318:
After the protests failed to stop the passage of the treaty, leading to an overwhelming sense of disappointment and failure on the part of many participants, Kudо̄ began working on a long-running series of installations and
Happenings, collectively entitled
292:), a group of artists, writers, and composers who had banded together to take part in protest activities against the treaty. Instead of giving a lengthy speech, Kudо̄ got up on stage and said only the words "Now there is nothing left but action" (
170:) movement were too young to participate in the war, they were brought up and educated in the ideals of wartime Japan. As such, their country's eventual defeat still "constituted a psychological shock as brutal as it was unexpected".
260:) throughout 1957 and 1958. These performances involved the artist painting canvases with his entire body with extreme vigor and powerful gestures, sometimes accompanied by musicians. Exploiting the "action" in "
134:(23 February 1935 – 12 November 1990) was a Japanese avant-garde artist whose multidisciplinary practice included painting, performance, installation and sculpture. Associated with the Anti-Art (
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Anti-Art," exclaiming: "What an unequivocal metaphysics manifested by the most mundane objects!" Like his paintings, Kudо̄ titled these works with names evoking scientific phenomena, notably
237:, both an indicator of Kudо̄'s fascination for the sciences and giving the impression that Kudо̄ created the paintings "while thinking about the origin of matter and the structure of space".
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in the 1960s, before it became a much-discussed topic. In 1968, he began creating greenhouse-like installations, which he further developed into the first half of the 1970s. His 1970 work,
229:, invigorated Japanese artists who had debated at length about the future of art after the end of the war, and further encouraged them to go beyond the limits of traditional art forms.
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in 1970. While in Japan, he authored a monumental land art work, unique in the artist's oeuvre. Kudо̄ chose to engrave a penis-chrysalis shape into the side of a flat, rocky cliff at
213:
Kudо̄'s first solo exhibition was in 1957 at the
Gallery Blanche in Tokyo, where he exhibited paintings doubtlessly inspired in part by the 1956 Tokyo exhibition
1122:, evening edition, March 2, 1960, cited in Reiko Tomii, "Kudо̄ Tetsumi and His Anti-Art Peers: Visionary Declarations in 1961", in Susanne Pfeffer (ed.),
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In 1969, Kudо̄ returned to Japan for the first time since his departure, where he participated in ongoing protests in the wake of the renewal of the
342:. The artist hung black, penis-shaped objects from the ceiling and the walls of the gallery, some of which were englobed in clear plastic spheres.
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Since his passing, major institutions in the
Netherlands, the United States, France, Japan and Denmark have organized retrospectives of his work.
397:
Kudо̄'s provocative performances and work led to his entry into the
Parisian art world, where he actively exhibited his work. Artist and critic
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ran counter to the methodology of the body art movement in the 60s and 70s that claimed sexuality as a means of emancipation and rebellion.
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presented Kudо̄'s sculptures for the first time in Paris in 1963, at the Galerie J. He participated in the 3rd Biennale of Paris at the
696:
Tetsumi Kudo: Philosophy of Impotence, Distribution Map of Impotence and the Appearance of Protective Domes at the Points of Saturation
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512:. Kudo's interest in Japan grew, and he began incorporating traditional arts and crafts into his own work, such as kite-painting.
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in 1963, where he submitted three works to the Japanese section (one of the three, however, was refused for being "indecent").
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Mitsuda, Yuri (2012). "Trauma and Deliverance: Portraits of Avant-Garde Artists in Japan, 1955-1970". In Chong, Doryun (ed.).
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206:, took part. Kudо̄, however, left the group after its fourth exhibition. During the late 1950s, Kudо̄ was very close to the
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155:, Japan to two artist parents, both art teachers. His father, painter Kudо̄ Masayoshi, passed away when Kudō was ten.
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In 1987 Kudо̄ was diagnosed with throat cancer in Paris. After his diagnosis, he was appointed professor at the
1058:
Reiko Tomii, "Kudо̄ Tetsumi and His Anti-Art Peers: Visionary Declarations in 1961", in Susanne Pfeffer (ed.),
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166:. Art historian Nakamura Keiji has commented that while Kudо̄ and other artists associated with the Anti-Art (
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331:—a Japanese version of Western bread—Kudо̄ considered the objects to collectively form a single work.
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During his life, Kudо̄'s work was frequently exhibited internationally. He participated in the 1976
1327:
448:, Doryun Chung importantly notes that the motif of the penis, present in the artist's work since
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Kudо̄ was active in Japan, helping to organize a retrospective exhibition for his father at the
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Kudо̄ continued to avoid any and all association with other artists, art movements, or groups.
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Kudо̄ would present a second, different installation, still bearing the same title, at the 1962
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After receiving radiotherapy treatment, he died of cancer in 1990 at the age of 55 in Tokyo.
288:. In the midst of the protests, he was invited to give a speech to the Young Japan Society (
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when he first applied in 1953, he was accepted the following year. He graduated in 1958.
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Kudо̄ Tetsumi, "Reaching My Spiritual Second Life", 1981, translated and reproduced in
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exh. cat., Paris, La Maison Rouge, Fondation Antoine de Galbert, 2007, p. 33-95.
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were arranged across the gallery floor to evoke ejaculation. Influential artist
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importance of boxing in his creative process, comparing art-making to fighting.
406:
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Doryun Chung, "When the Body Changes into New Forms: Tracing Tesumi Kudo", in
394:) in Tokyo. Kudо̄ decided to use the prize money—1,500 USD—to move to Paris.
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Living in the Material World: 'Things' in Art of the 20th Century and Beyond,
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Kudo: Portrait de l'artiste dans la crise/cages - peintures à l'ordinateur
245:. From 1960 onwards, Kudо̄ produced almost exclusively sculptural works.
452:, is no longer considered a symbol of impotence, but of transformation.
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Emergence and breakthrough in the Japanese avant-garde scene (1957-1962)
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Kudо̄ Tetsumi, "Dear Mr. Beeren (Dear Europeans)", 1966, reproduced in
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Second International Young Artists Exhibition (Pan-Pacific Exhibition)
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Anne Tronche, "La Montagne que nous cherchons est dans la serre", in
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that between insects and plants, or between nerve and muscle cells."
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Tetsumi Kudo: Pollution - Cultivation - New Ecology - Your Portrait,
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included a short description of the event in his 1966 publication
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Pierre Restany, "L'art informel et les échanges Paris-Tokyo", in
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1227:, exh. cat., Osaka, National Museum of Art, Osaka, 1994, p. 121.
1075:, exh. cat., Paris, Centre Georges Pompdiou, 1987, p. 329.
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which opened in 1984 and producing works through the mid-1980s.
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After moving to Paris in 1962, Kudо̄ continued to use the title
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Tetsumi Kudo: La Montagne que nous cherchons est dans la serre,
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Kudo's work can be found in the following public collections:
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Out of Actions: Between Performance and the Object, 1949-1979,
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Tetsumi Kudo: La montagne que nous cherchons est dans la serre
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1223:, December 1972, cited in Nakamura Keiji, "Tetsumi Kudo", in
1046:, exh. cat., Osaka, National Museum of Art, 1994, p. 114-121.
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Postwar: Art Between the Pacific and the Atlantic, 1945-1965,
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467:. Nakamura Keiji mentions that Kudо̄ expressed concern about
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Another motivation in Kudо̄'s work developed around ideas of
152:
55:
1109:, exh. cat., Minneapolis, Walker Art Center, 2008, p. 24-49.
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critic and friend of the artist Anne Tronche has noted that
1164:
Japan at the Crossroads: Conflict and Compromise after Anpo
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The 1960s: A Decade of Change in Contemporary Japanese Art,
343:
1197:, exh. cat., Paris, Centre Georges Pompidou, 1986, p. 268.
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split his time between Paris and Japan, more precisely in
1148:, exh. cat., Minneapolis, Walker Art Center, p. 199-264.
1062:, Cologne, Buchhandlung Walther König, 2021, p. 271-278.
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The Path an Artist Has Taken: The World of Tetsumi Kudo,
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Künstverein für die Rheinland und Westfalen, Düsseldorf
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wrote about Kudо̄'s significant influence on his work.
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Grafted Garden / Pollution - Cultivation - New Ecology
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said that the work was the "masterpiece of the year."
1167:. Cambridge, Massachusetts: Harvard University Press.
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The Unfinished Century: Legacies of 20th Century Art,
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Reconstructions: Avant-Garde Art in Japan, 1945-1965,
1240:, exh. cat., Minneapolis, Walker Art Center, p. 180.
1210:, exh. cat., Minneapolis, Walker Art Center, p. 104.
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Revolution: Art of the Sixties from Warhol to Beuys,
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invited Kudo to participate in the group exhibition
1126:, Cologne, Buchhandlung Walther König, 2021, p. XXX
1144:Hiroko Kudо̄, "Chronology of Selected Works", in T
1023:. The Museum of Modern Art, New York. p. 168.
1009:, exh. cat., Minneapolis, Walker Art Center, 2008.
810:International Center of Aesthetic Research, Torino
626:Musée d’Art Contemperain de Marseilles, Marseilles
824:, Musée d'art moderne de la ville de Paris, Paris
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934:Objet d'art du Japon: From the 1920s to the 70s,
871:Japanese Art after 1945: Scream Against the Sky,
559:Japanese Art After 1945: Scream Against the Sky,
233:titles related to the natural sciences, such as
210:, however he never officially joined the group.
191:Tokyo National University of Fine Arts and Music
178:. He read books on newly developing topics like
524:Tokyo National University of Fine Arts and Musi
499:Final years between Paris and Japan (1980-1990)
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479:1970 marked Kudо̄'s first career survey show,
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487:. In 1978, he received a fellowship from the
1118:Tōno Yoshiaki, “Garakuta no han-geijutsu” ,
887:Kunamoto Prefectural museum of Art, Kumamoto
780:Your Portrait: A Tetsumi Kudo Retrospective,
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382:Move to Paris and life in Europe (1962-1980)
1071:Yoshiaki Tо̄no, "Neo-Dada et Anti-Art", in
583:Public collections and selected exhibitions
310:The artist within the 1962 installation of
280:In 1960, Kudо̄ participated in the massive
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32:Tetsumi Kudо̄ at the beginning of the 1960s
969:Biennale di Venezia, 'The Milk of Dreams',
899:Japanese Culture: The Fifty Postwar Years,
789:Louisiana Museum of Modern Art, Humblebaek
710:Tesumi Kudo: Cultivation by Radioactivity,
642:Museum Moderner Kunst Stiftung Ludwig Wien
481:Tetsumi Kudo: Cultivation by Radioactivity
386:In 1962, Kudо̄ won the Grand Prize in the
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703:Tetsumi Kudo: rien n’est laissé au hasard
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423:atomic bombings of Hiroshima and Nagasaki
376:Assemblage, Environments & Happenings
1251:"The Estate of Tetsumi Kudo - Biography"
843:14th Bienale Internacional de São Paolo,
630:Musée d’Art Moderne de la Ville de Paris
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248:Kudо̄ also organized a series of three "
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908:Museum of Contemporary Art, Los Angeles
892:Hors limites: l'art et la vie 1952-1994
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955:Jardin Infini. De Giverny à l'Amazonie
773:Tetsumi Kudo: Garden of Metamorphosis,
392:Dai-nikai kokusai seinen bijutsuka-ten
1238:Tetsumi Kudo: Garden of Metamorphosis
1208:Tetsumi Kudo: Garden of Metamorphosis
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1107:Tetsumi Kudo: Garden of Metamorphosis
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1007:Tetsumi Kudo: Garden of Metamorphosis
815:Pour conjurer l'esprit de Catastrophe
759:Tetsumi Kudo - Contestation/Création,
689:Tetsumi Kudo: Demonstration of Making
623:Kurashi City Art Museum, Kurashi City
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1146:etsumi Kudo: Garden of Metamorphosis
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922:National Museum of Modern Art, Tokyo
885:Hiroshima: The Past and the Promise,
852:National Museum of Modern Art, Tokyo
822:3e Biennale de Paris (Japan Section)
803:National Museum of Modern Art, Tokyo
162:, where he spent the final years of
1298:Tokyo University of the Arts alumni
1225:Tetsumi Kudo: Contestation/Création
941:Tokyo 1955-1970: A New Avant-Garde,
808:Continuité et avant-garde au Japon,
663:Stedelijk Museum voor Actuele Kunst
314:at the Bungei Shunjū Gallery, Tokyo
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1021:Tokyo 1955-1970: A New Avant-Garde
864:Japon des avant-gardes, 1910-1970,
801:Adventure in Today's Art of Japan,
563:Tokyo 1955-1970: A New Avant-Garde
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962:Future Bodies from a Recent Past,
880:Museum of Contemporary Art, Tokyo
648:Museum of Contemporary Art, Tokyo
620:Chiba City Art Museum, Chiba City
915:, Centre Georges Pompidou, Paris
894:, Centre Georges Pompidou, Paris
817:, Galerie Raymond Cordier, Paris
636:Musée des Beaux Arts de Montréal
489:German Academic Exchange Service
421:works with the aftermath of the
405:at the Galerie Raymond Cordier.
189:While not initially admitted to
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561:as well as the 2012 exhibition
158:He was evacuated as a child to
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943:Museum of Modern Art, New York
866:Centre Georges Pompidou, Paris
782:National Museum of Art, Osaka,
775:Walker Art Center, Minneapolis
761:National Museum of Art, Osaka,
747:, Galerie du Génie/FIAC, Paris
740:Hirosaki City Museum, Hirosaki
698:, Bungei Shunjū Gallery, Tokyo
653:Museum of Modern Art, New York
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593:Louisiana Museum of Modern Art
567:Museum of Modern Art, New York
336:Yomiuri Independent Exhibition
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1303:Japanese contemporary artists
1219:Kudo Tetsumi, "Dialogue 30",
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658:National Museum of Art, Osaka
340:Tokyo Metropolitan Art Museum
1323:Japanese performance artists
859:Museum of Modern Art, Oxford
294:Ima ya akushon aru nomi desu
243:Proliferating Chain Reaction
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93:Tokyo University of the Arts
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901:Meguro Museum of Art, Tokyo
873:Guggenheim Museum, New York
787:Tetsumi Kudo - Cultivation,
754:Stedelijk Museum, Amsterdam
719:Stedelijk Museum, Amsterdam
321:The Philosophy of Impotence
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1124:Tetsumi Kudo Retrospective
1060:Tetsumi Kudo Retrospective
929:National Art Center, Tokyo
794:Selected group exhibitions
726:, Galerie Beaubourg, Paris
591:Entrance to exhibition at
434:U.S.-Japan Security Treaty
286:U.S.-Japan Security Treaty
219:Sekai konnichi bijutsu ten
151:Kudо̄ was born in 1935 in
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752:Tetsumi Kudo 1935-1990,
745:KUDO, Nouvelle écologie
731:Tetsumi Kudo 1977-1981,
615:Centre Georges Pompidou
547:Japon des avant-gardes,
450:Philosophy of Impotence
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301:Philosophy of Impotence
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950:Haus der Kunst, Munich
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533:Recognition and legacy
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223:Abstract Expressionism
215:Art of the World Today
838:Kunsthalle Bern, Bern
733:Sogetsu Museum, Tokyo
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1161:Kapur, Nick (2018).
1005:Doryun Chung (ed.),
609:Aomori Museum of Art
517:Hirosaki City Museum
176:electron microscopes
20:Tetsumi Kudо̄ (工藤哲巳)
411:Musée d'art moderne
208:Neo-Dada Organizers
204:Nakanishi Natsuyuki
1318:Japanese sculptors
1255:Hauser & Wirth
705:, Galerie J, Paris
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553:in 1986, the 1994
543:São Paulo Biennale
399:Jean-Jacques Lebel
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290:Wakai Nihon no Kai
845:São Paulo, Brazil
675:Walker Art Center
565:organized by the
555:Guggenheim Museum
510:Aomori Prefecture
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621:
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438:Mount Nokogiri
407:Pierre Restany
383:
380:
325:Impo tetsugaku
303:
298:
198:
195:
148:
145:
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110:
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99:Known for
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82:
78:
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72:
70:(aged 55)
64:
60:
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50:
39:
35:
34:
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23:
22:
19:
9:
6:
4:
3:
2:
1340:
1329:
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1314:
1313:Postwar Japan
1311:
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541:and the 1977
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282:Anpo protests
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139:
137:
128:
127:Kudо̄ Tetsumi
116:
115:Tetsumi Kudо̄
108:
104:
101:
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91:
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83:
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40:
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29:
24:
17:
1259:. Retrieved
1254:
1245:
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549:held at the
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387:
385:
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372:Allan Kaprow
366:
364:
359:
356:
347:
346:noodles and
333:
328:
324:
320:
317:
311:
300:
293:
289:
284:against the
279:
275:
258:Han-geijutsu
257:
253:
247:
242:
239:
234:
231:
227:Art Informel
218:
214:
212:
200:
188:
172:
168:Han-geijutsu
167:
164:World War II
157:
150:
136:Han-geijutsu
135:
114:
113:
74:Tokyo, Japan
68:(1990-11-12)
1288:1990 deaths
1283:1935 births
671:, Amsterdam
600:Collections
577:Mike Kelley
557:exhibition
491:to stay in
444:. Entitled
403:Catastrophe
81:Nationality
1277:Categories
976:References
638:, Montreal
485:Düsseldorf
465:technology
268:Kazuo and
202:Ushio and
44:1935-02-23
1261:28 August
644:, Vienna,
469:pollution
348:koppe-pan
329:koppe-pan
250:Happening
142:Biography
103:Sculpture
89:Education
1308:Neo-Dada
611:, Aomori
323:(インポ哲学,
254:Anti-Art
84:Japanese
665:, Ghent
632:, Paris
617:, Paris
506:Tsugaru
457:ecology
266:Shiraga
180:nuclear
107:Painter
971:Venice
967:2022:
960:2022:
953:2017:
946:2016:
939:2012:
932:2012:
925:2007:
918:2002:
911:2001:
904:1998:
897:1995:
890:1994:
883:1994:
876:1994:
869:1994:
862:1986:
855:1985:
848:1981:
841:1977:
834:1967:
827:1965:
820:1963:
813:1962:
806:1961:
799:1961:
785:2020:
778:2013:
771:2008:
764:2007:
757:1994:
750:1991:
743:1989:
736:1986:
729:1981:
722:1977:
715:1972:
708:1970:
701:1965:
694:1961:
687:1958:
595:(2020)
493:Berlin
463:, and
264:," as
1221:Mizué
508:, in
483:, in
440:, in
153:Osaka
56:Japan
1263:2022
344:Udon
225:and
182:and
121:工藤哲巳
63:Died
38:Born
526:c.
1279::
1253:.
1173:^
1153:^
1131:^
1080:^
1051:^
1029:^
984:^
569:.
459:,
378:.
186:.
124:,
105:,
54:,
1265:.
390:(
256:(
217:(
131:)
118:(
46:)
42:(
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