1968: Th e Eve Beyond Anti-Art I The Eve Before Mono- ha

1968~0)\h::?-7-r t:I::.--7-L-- td:.l\limcu-rG't.:o ~~

~0)5~0)~~~-r. ~~O)a~O)~c~~~~
s~~~. t:I::.--7-L--O)~~~oo~~ffim~~"T

y 3 j-IJ X.b.c G Ttll*IJc!tt.

illl~~!f.H::~Gt.:7 Jk/ 3 7'~

O)e:G-rac!tt~.~tt~. ~0)~5~ooO)~~
~~O)~O)O)~~m~e:~~~-~oe:~oe:~~~O)~
j;!:jC::tl~~ff0)~~ ~ ~~~~~0)~~~~-~$0)~~

~~~*~&a . W ~ffi~c!tt~~~~. ~0)~

ttT. tfi:~C:: G T 1~1::::' 1 ) ;;t/151Jil!l9~00~f'F0)B~te

~9~~-~mtt~ o~O)~ B*D~~~~y37" - ~~
- &Rilf'F.tit~~O)J:::~~ml9 ~C::GI5~fRC:: ~ TG'

~.~AO)/:il~-O)D~tt~. ~~--~. ~~0)8*0)

~j;!:j~O)fiM~

<~G TGit.:C::~-:J TGI G ii:J'~ G ttf.J:Gio

ii1J

J t;:: f3'tGIT/:ilg~gj:j:;,& (1919- 96) td: . /\ 1 J~F.;\t:m1Jf'F

51SDB!l.\JG. oo~t:M1!!1llHi:lz:GTGit.:o 1 0i\.I taoc~

~0)~08~<~~-l~ iii'J-~j;!:jRSO).C:: G T*~
~M~*t.: Gt.:~7'e7'/~II/IJ../Bt:m 1 Ji:J1 Se1JoG

TGI~f:J~. I~'j!Hit!'!Wt.:~~~f'F 1950 ~1tiJ'SilliJ

fi'G. ~~I:mt=~no. 196o~1-t:ft<#t:t71 r-r - f.HIJ

i'FG. '7I::?-f-7'(:M~i:J'~fS~0)71 1--7'- H'F&"otl&"o
Gt.:. 1963 ~1-)!lil. WS!j:~7 - 7 C::GTmiJ~GTGit.::=:
* ~m (1937-78) td:. ~~~~B:*~Ij:C::'J'c!t.J:Ij:O);tiHI

ttl G TG'~ [ftg. 11. :=:* td: 1958 ~m 9 IEJt.J'SllH~IEJm 15

IEJ*~~7'e7' /~1~/5<'/B t:ll G . 1964 ~ t: td: JT\:!111~f'F

(1936-) . $ilJl;Z (1935-). Ilii!lfB (1935- 90) SC::C::~t;::

<-v>7t7::.--> Bt=eno9~ 2 o ~0). ~rmw~ rrJX~j;!:jJ
:!i!:t.J'~i't.J'J i:J~r.llfllic!ttt.: 3 o IJX~j;!:jj C::GI5iS~t;:!:~(;:: 1960
~ftiii'J#. ~7'e7'/~/~ /IJ.'/B$,i)t: RSc!tttdliU'D

rP:J.

*tJ'N~$0),1':\ -z'~.&XO)m.llO\<~ td: tJVtWtt~G'f'F&"ot::tt

GTfflG,ShTGit.: 4 o :=:*~ IJX~j;j:j j O)f'F.C::fJEX.SttT

Gl t.:i:J~. 1963 ~O)jj}~JC::t.J:~t.:~-~- J:::!ffJIJW SJ:I[~W
~j;!:jDC3o"Z'li9~$JIO)f'Fo~ { 1000m

O)t.H No.2 }

tlo0oU

Turbule nce was in the air at the 1968 Venice Biennale. For this was
the site of attack by the student rebellion generated by the wave
of impact from t he May revo lution in Paris. The Biennale's award
system and participation by country were crit iqued as fo rms of
authoritarianism and nationalism. and came under attack as a
symbol of bourgeois art that had degenerated into commercial
ism. While being pressured to reevaluate t he very nat ure of an
international exhibition, every artist was forced to confront one's
own artistic and social responsibility. The st reet demonstrations
infiltrated the exhibition spaces. and police were de ployed. Given
the situation, there were countries that closed their pavilions and
artists who refused to exhibit their works. During this t ime, Japa
nese com missioner, Haryu lchiro and the exhibiting artists decided to participate after holding a debate.' In a certain sense. the
four artist line-up may have reflected the state of the Japanese art
world at t he time. Sugai Kumi (1919- 96), who had exhibited at t he
previous biennale, developed his artistic activities in Paris as his
base. and establishe d international status. Yamaguchi Kat suhiro
(1928-), who was ten years younger. had participated in the first
Yomiuri Independent exhibition, which served a s a major forum
for avant-garde art since the end of the war, but as an active participant of Jif<ken Kobo, he had also been producing experimental
works that utilized indu strial materials si nce the 1950s. In the
late 1960s, he produced light art. and exhibited a colorful light
art piece in Venice. Miki Tomio (1937-78), who began employing
the ear as a singular motif since 1963. exhibited two large ears
and accumulations of small-sized ones [fig. 1]. Miki had exhibited
his works from 1958 at the 9 '" Yomiuri Independent exhibition up
until the fi nal1 5'" Yomiuri exhibition, and also participated in the
Young Seven exhibition in 1964 with Arakawa Shusaku (1936-),
Naka nishi Natsuyuki (1935-). Ku do Tetsumi (1935- 90).2 The public
debate, '"Anti-Art,' Right or Wrong" ope ned on that occasion '
The term "Anti-Art,'' during the early 1960s in particular, referred
to a new movement that centered on the Yomiuri Independent
exhibitions and works that were unable t o be categorized under
established frameworks based o n materials or technique: Miki
was also an artist who was assoc iated with "Anti-Art," but so was
Takamatsu lira (1936-98) who created a work, 1000 m String No.
2 (1000 m no himo No. 2), comprised of a string that stretch ed
from Ueno station to t he Tokyo Metropolit an Art Museum at t he
exhibitio n's fi nal run in 1963. Takamatsu, together with Akasegawa Genpei (1937- ). who displayed a model of a 1000-yen note
at the same exhibit and Nakanishi Natsuyuki, who displayed a
work comprising of clothespins. formed the group Hi-red Center
and staged numerous events as well as distributed pamphlets and
other printed materials. These activities were emblematic of the
art of 1960s and its aim to tear down the boundary between the
reality of everyday life and artistic expression. 1968 was also the
year Akasegawa was indicted with currency fra ud fo r his model
1000-yen note and the Tokyo District Court charged him with a
guilty verdict (the decision was upheld by the supreme court in
1970)5 Takamatsu's work in Venice developed from his Perspective
series. which he began working on since 1967. Entitled Dimension
Perspective, his t echnique from the Perspective series not only applied to individual objects such as a bench, but also incorporated
the sky. the open squa re. and the streets into a total landscape.

(fig. l ] <"JI'*-'f7'

l::::I/7 - [...-z'<7):=*1;11[<7)~jf

Uil~ : ll'l~~iil!lillli

lijBJ!TIIIItllil'l' ['7:r+77 t:I / 7 - v B:Mltll0) 40'I'J 1995'1'. 111 11)

Miki Tomio's works at the Venice Biennale
(d. Edited and published by The Japan Foundation and The Mainichi Newspapers,
The Venice Biennole: 40 Years of Japanese Participation. 1995. p.lll)

[fig. 2] ill'ifll/J.:llll (1Si!Iino:>7--/M 1967 :<f. J:RJl'(WIJHI:~VIim:!~

(ll!llf : f~Ol5Ji\ - l'i"!T l!l:ll:OOII!lll!lfilll, 200S '!'. 39 Ji:)

Takamatsu lira, Perspective Table. 1967. Museum of Contempora ry Art, Tokyo.

jcf. Mono-ho soikol Reconsidering Mono-ha. The National Museum of Art, Osaka. 2005. p.39)

t.::~fll!J-:M (1936- 98) 'tfiiltlllc-:>t.::o il!if~l;:j:fiil~ l:::*~ll!,i'fp:j

;j:l~l:fj Gt.::iil'iiiJIIJW:lJI (1937-),

)$\;;II 'itt .=::.1:::J: .@ffc c~l:fl

c'!. G t.::cpiffi1]:;ZC: C: 'ti:::J\1L..- y t.: t /51 - HiiP!GVC!il14

0>1'1'\/ ~--~~liffiG , 1~ / /L..-y 1-- ~c~PliliJ ~c(l)~fi:iMf-:>
"(l,\.@, to:>)<'ilfM, 1960 :G::ftI1;Ct::>I7.@B'iil'jo)<5(7)IJI.~
c~i!lHJl.o:>fflJ'f.ji,'R~IllUJtlx<IS-5 C: 9 .@{!!~iii~, ~ll!,lil'JI::: ~9

'to:>c't-:>t.::o

.:e-ve

1968 :G::I;:t:~ll!,l'fPltLI:::J:~Jil~~

~o:>lf!H:::ro1bttt.::iil'iiiJIIffli:lJI1i. W:JJ>:il!i~clf~~J~~'l'i:l7t.::

if.Z''til8-:>t.:: ( 1970iJ'I:Illi9i~I:Z"=IJ>IlflllE) so il!ifMi'JI::?-7

71:::1:llGt.::(l) l;:t:

1967 :G:::IJ'S~.i G t.:: fi!ilii~J (l)~tJ

:X"C', ( Dimension Perspective) C: l' -5 511 1-- )[.. (7) Tl:::l'\ /

7~~-c~<-~~m~m*-c~~~ili$~~ - ~(7)

/J$Ul11i'J G t.:f'F c il8-:> t.::o

ill'it~ l;:l:iliJ:G::(l)/ ~1)1!\':G::t::I./7 - L..- 1::: ( J.!i/I$(7)7--

J J[,) [fig.

~~l:fjGT'l'i:~. ~(7)~~'JI::?-77 t:: I./ 7-L..-~~

ll::> 4

Fll:::lffllllie!ttt.::~~~ (Tricks

Et Vi s i on~ iiii*ttt.::~)

OlUii:ilii!!B :fl:fllllliO c't~~C!ttt.::o ~(l):fJl.Jtil'J j-.1) 'Y 7 ~~

tJf'Fc'!.Ux ~J J::lft.::~'Ji~l::: l;:l:ll!lffif$7.: (1942- ) 'tl:ll G T l'

t.::1i,

~~;:t:~(l)B;JJI]j, ll!lffi i;:I:.'F:G:: I~ c~f~(7)!\1J~~Jl &; Tl'.@ o

(Iii\) f.J'Sil~G. <*11)

<=nl ~~T . GM c=IJ-::ll: (ilii) 1:::?-:>

t.::~t~l;:t: <i!ilii~> -c ::::;J;::ll:I :::Jll( ~H.Il.Jv cl'< 6 o :!!~~i!ilii~

At the Paris Youth Biennale the year before. Takamatsu exhibited

Perspective Table [fig. 2]. which received an award; and the work
was also included in the Tri cks & Vision: Stolen Eyes exhibition

(Tokyo Gallery/Muramatsu Gallery) held in April of the same year

as the Venice Biennale. This exhibition, which included works that
e ngaged optical tricks also included a p iece by Sekine Nobuo
(1942-), who in fact served as Taka matsu's assistant for about a
ha lf year. Takamatsu, who began working with the Po in t serie s
that led to t he String (=Line) series. then to two-dimensionality
(surface) in Shadow series, started investigating three-dimen sionalit y in his Perspective series The shadow and perspective
works someti mes contained an e lement of optica l trickery wit h
devices t hat would tend to be seen as h idden, b ut clearly followed Eucli dea n geometry. As h is assistant, Sekine adopted a
different geometric method. Topology, which is known as a soft
fo rm of geometry that does not conside r the idea of a 2D or 3D
dimensionality, but presents continuity as its principal concept
However, Sekine's works Phase No. 4 (/so No. 4 ) and Phase No.5 (Iso
No. S). which he displayed at the Tricks & Vision exhibitio n were
fluorescen t half-relief object s that appeared as cylindrical shapes
based on optical illusions. Despite Sekines insistence on t he idea
of to pology, the work would perhaps still be conceived under the
domain of Takamatsu's Perspective series.

o:>~Jl.ij~* Gil'l ~~-~t,~~C:'t~ . ~-ij-t,;t'tij

~~~.@ij , ~ - - - iii - ::=:~:lCC:~-~~-?~~ t.: ~~

~ll'J~IJ-:7C~~~~Iv cl'.@~c.@o -'f(l)'tccll.IJ~ '!!:Jl&;

~~ffi~.A~.@~~~~A9.@~cc~-:>~~$~
9~ o {i'rff'l~~~ (topology) - ~PS:IJ' l '~~~C: GTj{]Stt,
ii~11U!i~I!~C:9.@t.::&; = ;J-::ll;
,\!!,:;!l'~'tt.::~l ' o
~:!No:>f'Fc0c

::::;J,::ll;cl'-5 J:-51J:/J-:7C

G:IJ1 L., , (Tricks Et Vision~) l::: l:lltlbctt~

({fJHil no. 4)(fil:t!l no S)) 1;:1:, :!ll:J'tf!l(l).'

v 1) -

7:/J~

jJHJl.0)9JJ!f:I:::J: -:>TfiJ~i;I;:I::: J'Vt.@~t\b c ~J, l '< Sll!ltN:IJ~

Urm~~~~~-G~C:GT't, ~~~~tlb C:GT~fll(l).
ilii~Y

t) - ~(7)~ilixl:::;m9 ~t.(l)ct.JVt SttJ: "5o

VC. ( Urtl'l- *1!!} [fig. 31 c.@ 7 o ll!lffif$:;1,:(7)~(7)ffc0cl~

c,

1968 :G::c l' -5:G::C:*1ilf-:><f'Ftl"ci;:I:~C'o ~(l)ffc'!.:IJ~t.-:>

't.::il8.@.flll(l)Jl;f4tt. T(l) {!'tl:::~:;t t.::~!!i:tJ(l)* ~C!, -'f G

't,

-~11(7)fftl"c'Cil8-:>t.:: t.:: &;I:::IJl.:ffG~l'~c't*t.::, ~ (7)

if-(::O)Il!Jb ~) ~~&;Tl'.@C ~ -:> TC 'l' t.: 0"5o 1!Jcj:l(;:p:j~

~o:>~~-~. ~ ~(7)00~~-@J:-5~.-'f(l) ~~J:: c~~
~~-~ G ~~Jl.c.@ o ~~ll!lffi~ C:-:>T.~EC:GT~

IUrtl'lJ

e: l '-s ~c ~ tt *c(l)f'F*~1H:::il~.@ tJ(l)cil8-:> t.::

~~~~~-G~-~~tt*c(7)~c~~0tt~'t(7)
)

tC. -:>t.:: o -'fttl;:t:.f,)(l)jjl'IJ!TI:::-:> T~Ji Gl \-"/j;;~~O\<tl:l-'f-5

C: G T C 't.::OO;fN:IJ~'fllvtC.~C:ct.-:>t.::t.:;:,-s o G:IJ'G. ~~

And next, t he re was Phase- Earth (iso - Daichi) [fig. 3].7 There is
perhaps no other artwork linked to the year 1968 as that of Sekine
Nobuo. One could say that the work's happening-like quality, the
degree of influen ce' t hat it exuded in its aftermath, and the fact
that it no longer exists g iven its ephemeral nature, all deepen its
association to this year. This was an outdoor piece that consisted
of digging a cylinder-shaped hole into the earth's ground. and
pili ng that dirt above t he ground to form the same cyli ndrical
shape and thereby producing a positive-negative relationality.
For Sekine, the idea fo r t he work extended from a series t hat he'd
been working o n based on "topology," but what act ually manifested was far fro m these previous works. Perhaps this also had to
do with Sekine's attempt to take a new step beyond Takamatsu's
influence. However, the actual work had moved beyond what he
had envisioned. To work wit h the mate rial of dirt and to exhibit
a large-scale work outdoors. this work turned a new page in the
re lationship between expression and materiaL Lee Ulan's theory
positioned this as a pioneering and monumental work for "Monoha," which has carried on until the present day' The nature of the
work's existence based on the idea of "not creat ing" (that this
was pro duced solely from moving dirt /presenting matter itself)
provided the opportunity fo r a surge of non-fabricated objects as
works of art. However, as Lee's essay indicated in Ju ne the following year, the group of works that would come to form the "Monoha" movement, began appearing in 1969. In 1968, the artist s who
assisted Sekine, Koshimizu Susumu (1944-) and Yoshida Katsuro
(194 3-99). wo uld come to understand the overwhelming power
of matter itself, and experience a shock that hindered the tatters'
own artistic production; still there were many who continued to
view the work th rough t he mindset of Tricks & Vision. ' 0 In order
fo r Phase-Earth to attain such a position, we would have to await
Lee's theory.

[ftg. 3) llllffi{$;:1:; ( {iLffi- :;),Jfu) 1968 :qo

ca:~ : f197o:q, - ~wc ~llt.l - lllil"'*-llll!lfl!l, 1995:q,, 49Ql
Sekine Nobuo. Phase-Earth. 1968
(cf. Marter and Perceprjon. 1970. The Museum of Fine Arts. Gifu, etc. p.49)

-z'(]) *~JU~fd: f'FJM.:? tc.<:.. C: :a: :ti-t, ~lJI.c ~;f.t(])~f~\!:::4:3 ~'

C::(])f'Fo0o!;:j:fJI l_,~ \-1'{-;/{i: fffl( <::C:C:t.;: ?fC.o ~~:lt:f!(])

!.!ll~1H~Hf\'!(])"f, 1-tJ(])iliU (])7tmil"liJ'-:J~c~~il"Jf'FJ'oC: G Tf:il:

i!f-:5 !-tSn, ~8!:::~?T~'~ 8 o lfoiJ-tJGt&:~'<=C: J (<7)1$J!J

(7)0\<L-~<:1:: 11MH:II!~ 1Act.:!7L-~<:I::) !:::J:? T JilG:ll: Gtd 'F

(il;,(])'fpJ15tJ~, 'f(])f~, ~I'- r~il"Jto: f'F (il;,iJ~;idtlll T ~' < ~m

t:::t&:?fc.C:O'J.fd:~tlT~'~o

GiJ'G, :!iHJJ (])~~X iJ~~~(]) 6

Fl-z'iJ5 ~ <::: C: tJ~~g- J: '3 !:::, <::(])f'FJ'otJ~'f(])i-f!l{:!l:{i:f~ , 1-tJ(])imJ

C:liiJ'!ttl~ltl lol!:::li to:~f'Fo0o l!'tmJI. ntlT < ~(]) !;:l: 1969 ~(])
C::(::-z'iJ5~o 1 968~(]) ~g"'('(;:j: ,
rJ,Jf7)<~ (1944- l,
:a:,~,~~~ S

aEER.il!l

f'F'j!t/liJ;!!t ffliJ{'F{i:-'JO?fC.

(1943-99) t::: EEfi!Jil"Jfd:'#IJJ((]):tJ

tt, f~ ~ 2 .i',!;:J: S(])i!iiH'F!:::Jt~:a: ~tc.9f,l(])fli

:a::t!1~tJ~

t>G-3iJ I ~*"i~ (Tricks EtVision) il"Jfd:llN~G "Z'

C::(]){'F {il;,{i::l,fE;'tf;::.~tJ~fJ\?fC.C~\'3

10

o { f:iJ:;ffi- *-f!l} fJ~'f(])

Jh{:il: {i:f~~ f;::. /1)(;:: (;:j:~(]) J.!Jl~{i:fflf;::.;fd(;ff;j: S fd:iJ'? f;::. O)"{' iJ5~ o
1968 ~(;:j:5J'7)<~-z'iJ5?fC.o 1 960~{-tili'J*(]) IJSZ ~f;f\jj C
~~-s r.~~'iJ' !-t:a:~-c , f'F~ c GT(])r-17/7'1 7' 1'\"' ~f;f\j(])

83 , 'f(])U~il"Ji'tff, ~!:::S(])~f;f\j!::: tt9MU15 ~*

~~btl,'f(])Z5C:GT,~&~~*tlT*~J:'3!:::fd:?~o

-rc:: t:::iJ5~(])!;:J:~JJI. J: ~J tJt> G-3,~,;)!5t.: ?tc.c~? -c tJJ:~'o

1J'-1 'J"7'1J 'Y?fd:~ !JI.~ ffl~'tc. ~J, ~N~J to:<*M ~~f;JHI::~tt
to:~S,B.:t-caMctJ~.:'t~~JJI.~-HGT~tt:a:R9~
1'F~tc.'5tJ~'i'fi":E9~ -15-z' ", ~!JI.(])~JfiJ~ml 1-t Stl, ~i'
r~il"Jfd: l tJ(])j!:::~Stt~~(il;,~(])-fi~E<:: ~ -:J-:J(J;)~,

;He., I :::J/t/7'-::LrJ~J to:flf;tJ~~*tl-:J-:JiJ5?tc.o I!Ui

~ !;:J:;H.:, f'Fo0o{i:~fRJi~9 ~~-z'(J;)? tc.tJ~,

f,lfd: <f'F(il;, -z'!;:J:

to:< f'F~(]) 1;)!5.:'t1JJ fJ~Ji~~(])*.ll.O'J.:ll:T(])m~t.;: ~fR$C:

fd:~~-3'3uo C1:!1:1ll - *~)~ C::(])J:'Sfd:~g"{'~*tl~~

<G T~*tlfc.f'F{il;,,

a~HttJ~~A-td'FJ'oC:~.:'t T

< ~o GiJ'tJ,

'ftl~-~~(])8ail"J~M:a:tJ-:J*~~ -7 ~(ii;,(])W8C:GT
~~2\N'til"Jf&:ll'l:J~:a: c tJfd:? Tll!JI.Gtc.<:: C: !;:l:~l\til"J -z'iJ5~o
:liH~!:::-

1968 wa s a watershed year. After t he debate ove r "Ant i- Art" in

the early 1960s had passed, artists had once more con f ronted
th ei r identiti es. ar t i stic free dom, social respon si bi l ity, their
thoughts and att itudes toward art in general . and works were born
as respo nses to these questions. One could say that what was at
issue. was not expression, but rather t hought . While there were
artists who exerted thei r individuality and practiced what could
be seen as d isord er ly express ion s by using psyched e li c techniques and expanding their materials i nto limit less categories,"
excessive expressi ons were avoided however, and there was a
shift forming toward works that consti t uted the presentation of
non-fabricated "things," as well as toward a "conceptual" practice.
Although exhibitions were still considered to be a site to display a
selected body of works, before long t he artist's "idea" rather t han
the actual artwork itself became t he prin cipal selection crite ria to
cons t ru ct exhibitions. In t his way, Phase-forth was a work bound
t o be born at this point in time, and we can begin to see how t he
period gave birth to this work." Furthermore. the su dden transmutation that accompanied this arr ival fo l lowing the fluorescentcolore d, half-reli ef object s con taining optical illusions is quite
suggestive.
To add one last point, we must not forget that t he way i n which a
majority of people viewed Phase-fo rth was through photography.
Gi ven t he work's ephemerality, there was no ot her way in which to
know t he work b esides from a photo. On t his not e, this work functions as a form of chance. St ress was p laced on t he conceptual as
well as more attention to process i n wor ks that developed since
1968. and the se hel ped to ex pand the possibilities fo r photography as a medium of expression . Documentation photographs of
works that did not contain a definitive form would also gain meaning as a medium of expression." The cylinder with a round hole in
the fo reground may be one of the most widely circulated images
within postwar art in Japan. In every meani ng, o ne could argue
t hat Phase-Earth was a symbolic wor k for the year 1968.

{ f:!l:;ffi- *lh) !;:J:'f(])~i!N ~J(])f'F& -z'iJ5?tc.tc.!1), ~

~-z'~ .:'t~ < (]).-\4 !;:J:~~:a:G T f'F& !:::ti Gfc.C: ~~'3<::: C:~

:Sn T !;:l:fd: Sto:~ 'o f'F(il;,fJ~-~11.-z'iJ5~1lN ~J, 'f(])~!;:J:~~~

iiD. G T~~l-:.l?}1J;'t;iJ~f&: ~ \o C::(]),~ !::: t:J~ \"'( tJ C::(])f'Fo o!;:j:5J'~

Notes
1.

il"Jfd:lh!i';\!::::ll:?T ~' ~o

t!\'!Z;(])il;:fJt

to keep it open; the final decision was made to keep the pavilion open.
Haryu lchiro. "Chronicle of the Venice Revott" (Venech ia sodoki). Bijutsu

1968 ~1-:.l~!:::~r;;Jg ~f;fijt:::;jS!"t ~

7Dt:A ~(]))il !;:l:~~C: ~~'3 )1. 7' 17(])0J~tt

2.

{i:<';l ~1\9 C::C:!:::fd: ?fC.o ~ I!IDfc.~~{i:~~fd:~\f'Fo'1(]) I'=\' ::l.

)1.

Hary u's idea was to close the pavilion before the opening ceremony ;
Takamatsu and Miki supported the closure; Sugai and Yamaguchi voted

techo. no. 302 (Sep te mber 1968). pp. 115-127.

Minami Gallery. Janua ry 30 - February 15, Organize r: Tono Yoshiak i.
Arakawa, who moved to New York m 1962 and has worked there since,

developed his diagrammatic paintings and partic ipated in Documenta

/7'-;/3 /C: G-cm~ G T~'fc.~~'ftlf.tfJ~, g~J;j<{i:t,

o ilil~!:::1L~'1\{i::f;tE;tf.'::(])filfpj

1968 . Nakanishi began working on oil painti ngs based on speculative

philosophy. Kudo moved to Paris in 1962. experienced the 1968 May

~!;:J:, 8/');:(])~f~f;fij(])op-z'tJ?C:tJJ1i:<im:ffi'Gtc.-1 ;1-.-;/iJ'

Revolut ion fi rst-ha nd. and stemming from his sympathy for youth, he
produced Homage to the Young Generation: The Cocoon Opens (Collection,

-:JJ:'S!:::fd:? T( ~O)t.:

13

t,Gtlfd:~'o S~~~~-c', ( 1:il:tfl-*ilh) !;:l: 1968 ~~~

g~~{ii,"{'iV)?~C~.:'t~~-35o

Museum of Contemporary Art. Tokyo).

3.

Janua ry 20, 1964; Location: Br idges tone Museum of Art, Confere nce Hall;
Moderator: Tono Yoshiak i; Panellists: Haryu lchiro. Ikeda Ta tsuo. tsozaki

Arata, lchiyanagi Toshi, Sugiura Kohei, Miki Tomio. See Miyakawa Atsushi

[fi]
1.

"Anti-Art: Its Descent to the Mundane" (Han-geijutsu sono nichijo-sei e

!!l<i1lO>JflR~I!lll:Gt::lt$-rull<lllM~lt~JI!JI~I\'lill~lllft, ;!lijll, ::::*~<~Mill

I~Jf~, 1f#, Ll.JDI<lllii!II~:El!lc~'"''*' JU!9'.il~llll!ll~iBJR~:Q. lt$-

M ['1:t:?-I7-711liiJI2J, f*lli'l't.\J , 302 ~- 196811' 9 J'l, 115-12Hi:.

2. Wiili!l!, 1!'l30B-2!'l15 B. ltiii:JI!!fl'!'llJl. :li\:JIIi~62~L~-=;J.-3?1~3 ?"Cii'it1JV0S 'J, C!'l'il:~ili~liir.ll. 1968 11'1~1~ f'? ;;< /~1~11:1.10.
<Pi!'il<l1967 ~IJ1 Sitll~I~JcQl!.\#9'.Jf<>fiiii'!:II'JfF. Iiil<l19621!'1l' S/~
'J~3J, 1968~~1<15 J'l$Htlt"C, '5~ 1 t!!fei~Fol!IIIG"C ('S ~t!!fe
"O>we-illi~<~llll<> (JI!);(I!Jl~tlli> >a:ii'JfF.
3. 196411' 1 J'l 20 B, ~~~: 7'J7"A 1-/*lli!!t;f<-Jt-, 51~ : Jl!!fJI!'IJ!, 11:1111.'
'i!'i: lt$-M, itiliBQil, liUUJi, -llll@:, ~iifilfil!', ::::*:jjt. SllliJ f&
'll:lli ~O>Blltti"-O>l'.J, f~lli'fM.J, 234~- 1964~4J'l, 48-57Jt.
4. r&'!l!lliJ c~.,lf!llt.J<, <:O>Jo.,t:lfi~Sn:Q.Jo.,t~t.t?t::llllll~<~- ll!!f

no kako), Bijutsu techo. no. 274 (April1964), pp. 48-57.

4.

aki wrote about Kudo Tetsumi's MvWplicative Chain Reaction {Zosholwsei

renso honno) on display at the 12u. Yomiuri Independent exhibition on

s.

BO> <lllillt1illllliill;) >a: T&MJ ci'I'Gtc <:cccnn:Q.

<:O>mlll T'ff'l:ILi*J t<tinli t196s'~<~<lli. 66'<M11i!nJ> t~as~-c!illi>lHJ!
O>i1lEiit.J<WcnQ11;'1ft.tjjiJcr.;:?-ct:>J, ~O>Il*'ll21l~<~JU!t.;:lii~<'Q.
TU'ff'l:IL.~'I'JICUJ. f~'!'W- 274 ~- 196611' 11 J'l, 137-168 J'l:.
6. ~n'f'nO>fF91JCG-c~<~ (Q) 196211' tll 141i!ll!l!J':.-7'""""lll&>, a
i~ ::>~"CI<t){<Pt:i!O:QM 15 @J!RI!lt!Of'Ft!O, (II> A) 1964 ~ 1111811!.- x!>!!ili
11:'111, W>i!m!l!lliMllll t.t~.
7. lilt! : . "<tin : iii<!! 260cm. ;?j!;!! 270cm, iU'! 220cm, (M 1 !!li~Piill
.CM!!'~JII!lte.lli~J/i} (f!Billll!l!11!t11l, J!l>FJUlrol: 10 !'l1 B -11 !'l10 B.
f'Fo!!.IIIJf'FiiUiO>~II!II~::>~"CI<t;~O>){~~~!'i!l: f~jlij0);1f;';"''Jillllllll!l 1

8.
9.

10.

11.
12.

8BTU:HB -;i;:i!!!J O>'!'i!i!!f!J, i!'i~m;l;:ll'!C;tl:~l/'ia!l, 1996 ~.

'l'lli111 rrHEcft~f/a;t"C-I!!!IIH$~1& -J, f::::~J, 1969 ~6!'l~51-53 Jl fl!!.
,J,iltJ](I<li!'i~m;l;:ll'IC~!II!lliilllliliU 1117> ~llO>J'/'T- 1- <' [1968 ~L~
Jlf. Gl<tS< 11l ~O>i'i'oiotJ<f'Fnt.;:b?t::.J I::@J;G"C~:Q 11811). i!riBR:
ell ffi!!IB -:i<:ltil.J 1~-::>~"CJ l~illlt1D-1 t ll> 1l'SO>~ I Ifl~~!'i!l<'i!:QI:!~_, :
f'f:O>t.J<~<:I~~_, G "C7:Q<: l::t.J<, fd.A-c t:.lflll~t;;. St.t~ 1 <' G1l't:.fff!l
~ QJ;c ~t.;::tJ<>il!O>;I;I~il! ?"C < :Q~O>.I!.t:.-::>:1' :Qift.tl!tiJI<I, lllO>*lJil;:
t.t~ :Q'!';t;I;O>Ill*ll'<'ill.'J, 't:O>It!l'~ili< t:.fF.!!.~t'l'nt.t< t.t? -c Gil'?
t::JUil<'?t::~~c<at:..,. GllGJITGcJJEI*ict<tt<>A-t::c 11lllllO;G -c
~ t::!!ll!\tO>illt~ 't:O>tJ<, 'f:O>itO>i!IO>!II!lJJO>tli G~ lfl!JtQct.t? t::.J
l'ICI&){I~~II!lcn"C~I:Q<P/Jlllti:fl"O>'ltlf 113-1411) ttl'!'!. <:O>t111::1t<'
t.t<- <:O><P#I&:>c~<~fJillt~t.: 1. tt:~tc Gt::. <!>#Jaz Tt.O>,.. -ll!:~tJ,
Tt.O>,..- l'i:iltJ, IIIIl:l!ll!il~lliia!l, 2005 ~- 9- 21 ]:(.
IJ!J;tt;t, lli~$QIJ 11936-), Ulii!J!Il 11932-l, IiifofBt.J:~.
~O>ItO>!lfe!l>ll'il!lO>ill!n>a:t'l'?t::ltd.l-clliJ>:t.tliUi~ <!!!lll!'tJ<~t:r.;::QI::

.,;} '""1\.~t!-<:.>li:JII. ?'-'"-~1\-v, "<J:.-. 1969 > t.J<:iE~~.,<'Qt.J<,

B*<'li, 1970 ~O)JI(J;!tCI/1"- v ((!1110IIB*IIIIIIIfllil!l' AJIIcllllll !l

);(llllifll> t:'f:O>~~JtQ<:ctJ<-rl!!:Q. :l't::. <i!!lll- 7<:!1!!> t.J<I!l.!!.<!!n
t::ii'!ii!M~1J:~O)_,~,JIRI<I!f:ii-_,~J !M c ~ ,_, <:: c 'ba5? "Cb', l!l t!Of'F~tJ< il!
~<tn-cM>Ff'Foiol<l~t~t.f<!!n-c~t:: .

13. 19681!'11 J'l ~I<I~JU!Ull~t:l~ "C.Jlt;;.~l:: f.t:Q~fiJNIIifPROVOKEJ

<7o?-?lll O>M 1 ~tt.J<II:IIilicn-c~Q. 1112 ~ 11969~3 m. !113 ~ 11111
'<81!l li'<'O>fiHt. ioJ.A.: liiiiiBIIiiJ, ili~:lt- ~*ii!i=- <1''1'_...!!! (2 ~do
'J~Ll.J;I;:il!l t:Jc Jfllff<!! nt::.

t he pages of Yomiuri newspaper.

The courtroom trial of th e so-called '"The 1000-yen note incident"' (Senen-satsu jiken) (1965 indictment, 1966 first public hearing) represents a
rare example of the debate over freedom of artistic expression, and the
trial records are an invaluable source o f data. MTrial documents of the
model1000-yen note incide nt'' (Mokei sen- en-satsu j iken kohan kiroku),

Bijutsu techo no. 274 (November 1966), pp. 137-168.

6.

J!'IJ!t.J<Il~!lill1lNt.tt~as~-cmn !!llr/7'1~/~//it:l!l.ll.cnt::Iiiflf

5.

The t erm...Anti-Art," first came into use in this manner when Tono Yoshi-

7.

For examples of each series, Point. 1962 {displayed at the 14u. Yomiuri
Independent exhibition); for more on String see the 15m Yomiuri Independent exhibition stated in the text Shadow A, 1964 (Sm Shell Award,
lwaki City Museum Collection).
Material: Dirt; Dimensions: Height 260 em, Depth 270 em, Diame ter 220
em; 1" Kobe Sumo Rikyu Outdoor Contemporary Sculpture Festival. (Asahi
newspaper award); Duration of exhibit: 10/1- 11110. For details on the
work's production process. se e the followi ng: Notes on the Archaeol-

ogy of Art. exhibition no.

1, The Archaeology of ~Phase-Earth" (Bijutsu

no

kokogalw-ten zuraku doi 1-bu '"lso-Oaichi'" no kokogaku). Otani Memorial

Art Museum. Nishinomiya City, 1996.

Lee Ufan, "Beyond Being and Nothingness: On Sekine Nobuo" (Sonzai to
mu wo koete-Sekine Nobuo-ron), Sonsai(June 1969). pp. 51-53. among
othe rs.
9. In a questionnaire in exhibition catalogue of Otani Memorial Art Museum reference (fn 7). Koshimizu responded, After 1968, for a period I
was unable produce my own work.N(p. 18). An e><ample of a quote from
Yoshida Kat suro's "On ' Phase- Earth "' ('lso-Daichi' nl tsuite) (ibid pp. 1011), "Words cannot describe the presence of the dirt that lay there just
as it were; because of this, I could hardly breathe from the overwhelming
power pressing towards me that wa s caused b y this deep impact. which
forced me to reassess the very foundation of my own ideas about art.
and which was probabty the source for my inability to work for a half
year. However, in response to my own quest to discem what new art was,
the dirt provided a new departure point for my work.N
10. Nakahara Yusuke's comment cited in the following essay (p. 248). In the
preparation of thi s text. not only did I refer to this comment, but also
used Nakai's essay as a sou rce of reference. Nakai Yasuyuki, "Reconsidering Mono-haN. Reconsidering Mono-hal Mono-ho soiko. The National

s.

Museum of Art, Osaka, 2005, pp. 244-256.

11. For eample, Yokoo Tadanori (1936-). Shinohara Ushio (1932-j, Kudo
Tetsumi, among others.
1 2. What followed was an extremely important e><hibition, When Attitudes
Become Form (Cur a ted by Harald Szeeman, Kunsthalle, Bern. 1969).
which initiated a trend of contemporary art exhibitions; however. one
can see this come to shape in Japan in the 1970 Tokyo Biennale (Tokyo
Biennole '70: Between Man and Matter. Tokyo Metropolitan Art Museum,
etc.). in addition, considering that the Suma Rikyu Park sculpture exhibition where Phose-Earth was displayed was an outdoor sculpture e><hibition. the organizers selected artists (based on their working i deas) rather
than artworks, and thus the artists were to determine what works they
wou ld eventua lly realize f or the exhibitions.
13. In November 1968, an Important moment for phot ographic e><pression
was the publication of the first issue of the quarterly magazine, Provoke

(Provoke-sha). No. 2 (March 1969), No.3 (August, same year). Published

by the arti st coterie: Okada Takahiko, Ta ka nashi Yutaka. Taki Koji, and
Nakahlra Takuma (Oaido Moriyama from No.2).

[Watanabe Yohko, Associate Professor I Curator, RCAAA, Keio]

Translated by Yoshitake Mika