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[Blake_Stimson,_Gregory_Sholette]_Collectivism_aft(z-lib
After the “Descent to the Everyday” 63was canceled. 52 Yet, Bikyoto ultimately lost in their political battle, as thegovernment authorities deployed their massive power to crush the studentmovement before the expected extension of Anpo in June 1970.After 1970, under the leadership of Hikosaka, Bikyoto reorganizeditself into a constellation of subgroups to perform both discursive andartistic operations. Among them, Bikyoto Revolution Committee was responsiblefor giving concrete forms to Bikyoto’s critique of “internal institutions”that would appear in an individual artist’s mind whenever he makes andexhibits his work. In 1971 (see Figure 2.4), it organized a series of members’solo exhibitions outside the institutional sites; and in 1973 it proposed a pactof “not making or exhibiting” during the year 1974.Collaborative collectivism was central to some members’ practice.Hori incorporated other members’ writings to create his installation for hissolo exhibition held under the auspice of the revolution committee in 1971;his performance work Act in 1973 was an ingenious experiment to deconstructconsciousness, by integrating multiple readings of fragmented texts via livefeedvideo. 53 As his individual project, Hikosaka formed a “duet team” withShibata Masako, while he led Group of Five’s Photo-Book Editorial Committee(Gonin-gumi Shashinshu Henshu Iinkai), active 1971–73, and Shihyo(“History and Criticism”) Group, which contributed a slide anthology,Art Movements That Explore Collectivism, to the 1973 Paris Biennale. Invitedto the 1973 Kyoto Biennale, the Group of Five, together with an additionalWve associates, examined the tension between individuality and collectivityby altering each other’s work without completely destroying the originals. 54Mail-Art CollectivismMail art was a great catalyst in conceptualism to go beyond the exhibitionand, more signiWcantly, transcend geographical restrictions. In the context ofcollectivism, Genshoku (Tactile Hallucination), founded in 1966 by SuzukiYoshinori and others in Sizuoka Prefecture, mailed their object-based worksto each other and nonmembers around 1968.A collective that existed exclusively through mail art was thePsychophysiology Research Institute (Sisehin Seirigaku Kenkyujo), initiatedas a student-led seminar by Ina Ken’ichiro and Takeda Kiyoshi, thenstudents at Tokyo Zokei University. 55 DissatisWed with the conventional curriculum,Ina and Takeda searched for a communication-based strategy, takingtheir cue from HRC, On Kawara, and Matsuzawa Yutaka, Japan’s mail-artpioneer who had disseminated his language works via postal mail since 1964. 56The premise of their monthly mailing scheme was as follows: “An invisiblemuseum, in which local institutes participate through actions or nonactionsthat take place simultaneously at a speciWed time and space in their own
64 Reiko Tomiilocales.” 57 There were six mailings, from December 1969 through May 1970,plus one “after May 10, 1970, 12:00.” Altogether sixteen “institutes” contributed,seven of them being identiWed with their locations and the rest with theirfamily name. For example, Morocco Research Institute was Wada Hideo’stag; and Matsuzawa contributed twice as Matsuzawa Research Institute fromNagano Prefecture. The participants mailed to the “bureau” (maintained byIna and Takeda) their works, which the bureau duplicated by high-qualityXeroxing, and these copies were sent to all the participants, naturally viapostal mail. Thus, the institute successfully achieved its goal of “gatheringand dispersing the documents of actions or nonactions by individuals whorefused to have direct contact.” 58The total of sixty-eight submissions reveals a gamut of conceptualpractices. Participating in all seven mailings, the mail artist HorikawaMichio contributed methodologically tautological entries as the NiigataResearch Institute: he sent the documents of his mail-art works. Two of themwere his signature “political stones,” sent to the American president RichardNixon (December 1969) and Japan’s prime minister Sato Eisaku (May 1970),to appeal for world peace in the midst of the Vietnam War (see Figure 2.5). 59An odd man out in the group of mainly cerebral practitioners was Itoi Kanji,a resident of Sendai known as “Dada Kan.” An individual counterpart toZero Dimension, his Ritualist work consisted of streaking in public places.As Itoi Research Institute, he contributed to the sixth mailing a photo collagerelated to his successful run at Expo ’70 in Osaka on April 27, 1970.The Play: Voyages into LandscapeMr. Technology walks on the moon. What will Mr. Play et al. do?Mr. Student Radical causes a bloodshed again. What will Mr. Play et al. do?Mr. Painting Wlls a white space. What will Mr. Play et al. do?. . .Mr. Expo stumbles. What will Mr. Play et al. do?Mr. Zero does a body ritual. What will Mr. Play et al. do?. . .Mr. Image cans the sky. What will Mr. Play et al. do?Mr. Play et al. prove the being. What will Mr. Play et al. do?Mr. Play et al. make a voyage. What will Mr. Play et al. do? 60In the mid- to late 1960s, two realities coexisted in Japan: a political uproarthat wrought chaos nationwide and an economic success that bred everydaycomplacency. To stir content quotidian consciousness, some collectives variouslyexplored the ideas of going beyond the urban streets. Sightseeing wasone such direction. Sightseeing Art Research Institute (Kanko Geijutsu Kenkyujo),active 1964–66, was founded by the painters Tateishi Koichi andNakamura Hiroshi to make art more accessible to society. 61 In 1966, Fluxus
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64 Reiko Tomii
locales.” 57 There were six mailings, from December 1969 through May 1970,
plus one “after May 10, 1970, 12:00.” Altogether sixteen “institutes” contributed,
seven of them being identiWed with their locations and the rest with their
family name. For example, Morocco Research Institute was Wada Hideo’s
tag; and Matsuzawa contributed twice as Matsuzawa Research Institute from
Nagano Prefecture. The participants mailed to the “bureau” (maintained by
Ina and Takeda) their works, which the bureau duplicated by high-quality
Xeroxing, and these copies were sent to all the participants, naturally via
postal mail. Thus, the institute successfully achieved its goal of “gathering
and dispersing the documents of actions or nonactions by individuals who
refused to have direct contact.” 58
The total of sixty-eight submissions reveals a gamut of conceptual
practices. Participating in all seven mailings, the mail artist Horikawa
Michio contributed methodologically tautological entries as the Niigata
Research Institute: he sent the documents of his mail-art works. Two of them
were his signature “political stones,” sent to the American president Richard
Nixon (December 1969) and Japan’s prime minister Sato Eisaku (May 1970),
to appeal for world peace in the midst of the Vietnam War (see Figure 2.5). 59
An odd man out in the group of mainly cerebral practitioners was Itoi Kanji,
a resident of Sendai known as “Dada Kan.” An individual counterpart to
Zero Dimension, his Ritualist work consisted of streaking in public places.
As Itoi Research Institute, he contributed to the sixth mailing a photo collage
related to his successful run at Expo ’70 in Osaka on April 27, 1970.
The Play: Voyages into Landscape
Mr. Technology walks on the moon. What will Mr. Play et al. do?
Mr. Student Radical causes a bloodshed again. What will Mr. Play et al. do?
Mr. Painting Wlls a white space. What will Mr. Play et al. do?
. . .
Mr. Expo stumbles. What will Mr. Play et al. do?
Mr. Zero does a body ritual. What will Mr. Play et al. do?
. . .
Mr. Image cans the sky. What will Mr. Play et al. do?
Mr. Play et al. prove the being. What will Mr. Play et al. do?
Mr. Play et al. make a voyage. What will Mr. Play et al. do? 60
In the mid- to late 1960s, two realities coexisted in Japan: a political uproar
that wrought chaos nationwide and an economic success that bred everyday
complacency. To stir content quotidian consciousness, some collectives variously
explored the ideas of going beyond the urban streets. Sightseeing was
one such direction. Sightseeing Art Research Institute (Kanko Geijutsu Kenkyujo),
active 1964–66, was founded by the painters Tateishi Koichi and
Nakamura Hiroshi to make art more accessible to society. 61 In 1966, Fluxus
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