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Spice Chess
''Spice Chess'' is an artist's multiple by the Japanese artist Takako Saito, whilst she was resident in the United States. Originally manufactured winter 1964-65, and offered for sale March 1965,〔Offered in Vacuum TrapEzoid Fluxus Newspaper #5, March 1965〕 the work is one of a famous series of disrupted chess sets referred to as ''Fluxchess'' or ''Flux Chess'', made for George Maciunas' Fluxshop at his Canal Street loft, SoHo, New York and later through his Fluxus Mail-Order Warehouse.〔(Tate Archive ) Retrieved 03-10-2008〕
"Takako Saito engaged with Duchamp's practice but also with masculinist cold war metaphors by taking up chess as a subject of () art. Saito's fluxchess works... question the primacy of vision to chess, along with notions of perception and in aesthetic experience more generally.... Her "Smell Chess," "Sound Chess" and "Weight Chess" reworked the game of chess so that players would be forced to hone non-visual perception, such as the olfactory sense, tactility, and aurality, in order to follow chess rules." Claudia Mesch〔(Reconstruction, 2006 ) Retrieved 03-10-2008〕
The set follows the normal rules of chess, but replaces the traditional pieces with identically-shaped transparent plastic vials filled with different spices for each of the different pieces. The set includes white pawns made of Cinnamon, white rooks of Nutmeg, the white knights are Ginger, black bishops, Cumin and the Black King made of Asafoetida. The white Queen is Anise, the black Cayenne pepper.〔 The board is also made of transparent plastic. To start the game, both players have to familiarise themselves with each of the 12 smells involved, instead of the more normal reliance on sight.
==Ay-O and George Maciunas==
As a 'basically untrained' 〔 artist in Tokyo, Saito's opportunities to exhibit work were severely limited.〔 After taking English lessons, Saito arrived in New York in 1963 on a work visa as an assistant textile wholesaler, 'vaguely () of engaging herself in the unknown New York avant-garde'.〔Into Performance, Yoshimoto, Rutgers University Press, 2005 p119〕 Unaware of Fluxus, she concentrated on her own work for a few months before meeting George Maciunas through a mutual friend, Ay-O. An admirer of Japanese art, Maciunas asked Saito if she could make boxes similar to the Paulownia boxes he owned, which had been made to protect expensive ceramics.〔Into Performance, Yoshimoto, Rutgers University Press, 2005/p122〕 Her skill exceeded expectations, leading him to write that 'her craftmanship springs from Japanese tradition for perfection and is unmatched among contemporary artists working in wood and paper.' 〔Maciunas, quoted in Into Performance, Yoshimoto, Rutgers University Press, 2005 p122〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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