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The First Gutai Art Exhibition took place in Ohara hall, Tokyo, Japan, in October 1955. This exhibition was the first manifestation of Gutai and displayed wide-ranging types of works created by a group of young artists formed around association leader Jiro Yoshihara. In the spirit of avant-guard, Gutai Artists challenged the formats, materials, and boundaries of painting with innovative projects that explore space, time, and sound.〔Tiampo, M. (2011). Gutai: Decentering modernism. Chicago: The University of Chicago Press.〕 The group’s interest is in direct emotion and direct connections between the spirit and the material, and their goal is to do something completely unexpected and create art that is unrelated to the concept of past.〔Altshuler, B., & Phaidon Press. (2008). Exhibitions that made art history. London: Phaidon.〕 == Background == During the post war year, as Gutai was emerging, originality became embedded in discourses of individualism as a resistance against the mass physiology of Japan’s militarist past. Paintings as it existed was no longer adequate to human condition. Artists are motivated to articulate a new form of expression that defined a new era of authenticity and creative autonomy.〔Franciolli, M., Namioka, F., Della, C. B., & Museo cantonale d'arte (Lugano, Switzerland). (2010). Gutai: Dipingere con il tempo e lo spazio = painting with time and space : Akira Kanayama (others ). Cinisello Balsamo, Milano: Silvana.〕 Jiro Yoshihara at this time, inspired by Jackson Pollock, started to explore the art that can go beyond abstract painting into nontraditional process and the performative. In the invitation of the exhibition, Jiro Yoshihara articulates the important goal of the Gutai artists: :''“Today, the genre known as ‘pure art’ really seems to have come up against a huge wall. But with this outrageous methods and sincere approach, this new group of people is attempting to break right through that wall.” 〔Yoshihara, J., & Ohara, H. (1955). Invitation to “The First Gutai Exhibition”.〕'' Artists challenged themselves to produce fresh and unconventional forms of art using various materials based on daily life such as wood, water, plastics, newspaper, sheet metal, fabrics, sand, light, smoke etc. Their aim is to open a dialog between the materials and the artist’s spirit while attempting to transform the material into something new: :''“Gutai art does not change the material: it brings it to life. Gutai art does not falsify the material. In Gutai art the human spirit and the material reach out their hands to each other, even though they are otherwise opposed to each other. The material is not absorbed by the spirit. The spirit does not force the material into submission. If one leaves the material as it is, presenting it just as material, then it starts to tell us something and speaks with a mighty voice.” 〔Yoshihara, J. (1956). The Gutai Manifesto.〕'' Besides the exploration of non-art materials, they also experimented with new forms that we now call performance art, installation art, sound art, and multimedia art. Three months before the first Gutai Exhibition in Tokyo, the Gutai artists hold the “Experimental Outdoor Modern Art Exhibition to challenge the Midsummer Burning Sun” in Ashiya City, which is actually their first groundbreaking show. The outdoor piece displayed a clear bag of red liquid and sharp sheets of metal hanging from the trees, and wooden posts scarred with axes and penetrated with nails. Continue on its radicalism, the exhibition in Tokyo later displays a wider range of works highlighting the impact of physical action on materials. The works of Gutai artists caught the attention of artist Allan Kaprow, who saw them as prefiguring Happenings, and of French critic Michel Tapie, who embraced the Gutai artists as contributors to the version of Abstract Expressionism he called Art Informel.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「First Gutai Exhibition」の詳細全文を読む スポンサード リンク
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