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チェックと日本の現代美術界についての感想

実験工房

2011年10月25日


Ginrin (Silver Wheel, 16 mins, 1955), a surrealist film by Jikken Kobo and the filmmaker Toshio Matsumoto

A nice surprise in Paris last week was a visit from New York based PoNJa GenKon luminary Reiko Tomii, in town to give a talk at a small exhibition in an alternative art space Bétonsalon about the 1950s avant garde collective, Jikken Kobo (Experimental Workshop).

Active in Tokyo between 1951 and 1958, Jikken Kobo experimented with a variety of artistic expressions, including ballet, environmental art, experimental film and music, and new technology as art medium. As Tomii argued, although at the time they were much criticised and even despised by mainstream art circles, many of their ideas -- albeit in formative state -- prefigured ideas of performance, technology and installation that have become common place in global art trends in later decades. What was striking too was how much these young modernists were enthralled by French and German influences, from surrealism to musique concrète.

The exhibition, which was curated by a young French Japan researcher, Mélanie Mermod, was a model of systematic documentation and reconstruction. After Tomii's detailed talk, which also drew comparisons and differences with some of Japan's more famous avant garde movements from the 1950s and 1960s (such as Gutai and Anti-Art), the audience were treated to reminiscences from one of the members of the collective, the experiemental electronic composer Yoji Juasa. The performance artist Ei Arakawa had also joined the programme of events in the previous weeks.

More information here:
http://www.betonsalon.net/spip.php?article335

ADRIAN FAVELL
http://www.adrianfavell.com

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実験工房
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