Hikosaka Naoyoshi “Floor Event: Repetitions and Variations”

Hikosaka Naoyoshi, Floor Event No.4 combination with Ceiling Music No.1,1972, Performance at Hikosaka residence in Tokyo

Hikosaka Naoyoshi
Floor Event: Repetitions and Variations 

Saturday, July 25 – Saturday, September 12, 2020
Summer vacation:  Tuesday, August 11 – Saturday, August 15, 2020
Hours: Tuesday-Saturday 12:00-19:00 (Closed on Mon, Sun, Public holidays)

INSTALLATION VIEW

Photo by Keizo Kioku

PRESS RELEASE

Download Press release (English)
Download Press release (日本語)

<日本語は英語の後に続きます>

MISA SHIN GALLERY is pleased to present Floor Event: Repetitions and Variations,a solo exhibition of representative early performance works by Hikosaka Naoyoshi from Saturday, July 25 to Saturday, September 12, 2020.

Born in Tokyo in 1946, Hikosaka Naoyoshi began his Floor Event series, in which he poured latex over the floor as its “theme.” His act of pouring latex was sometimes combined with other elements and events, such as Delivery Event, where Hikosaka transported the tatami mats and furniture with all the fixtures from his room to exhibition sites, as well as Ceiling Music and Carpet Music. He also produced some works on paper, including invitations and instructions. These activities continued until 1975, when his participation in the Paris Biennale with Floor Event–Milk Crash ( equivalent of Floor Event No. 7 ) ended with the confiscation and incineration of his tatami mats by the Japanese customs department when they were sent back home. This marked the end of Floor Event: The First Cycle .

In 1970 and 1971, Floor Event No. 1 and No.2 were presented at Hikosaka’s room in his family residence. In February 1972, he created a variation by packing up his tatami mats and everything in this room and transporting them to galerie 16 in Kyoto as Floor Event No.3. The word REVOLUTION was prominently marked on the paper-wrapped objects in red letters and a banner attached to the side of a 4.5-ton truck, with which he moved his “room” 500km from Tokyo to Kyoto. At the gallery, he removed one wall to install his “room” there and poured latex over the floor, letting the latex dry and exhibiting the whole process to the public. To conclude the exhibition, he ripped the dried membrane of latex from the floor, restored the gallery wall to its original state, re-wrapped his “room,” and brought it back to Tokyo.

Hikosaka Naoyoshi, Delivery Event + Floor Event No.3,1972, Performance and installation at galerie 16 in Kyoto

In May 1972, Hikosaka once again chose his own room in Tokyo as the venue for his next exhibition, Ceiling Music No.1 + Floor Event No. 4. Without telling his parents, he performed a guerrilla act, climbing above the ceiling of his room and smashing the cedar ceiling panels ceiling. He then cleaned the floor by removing the scattered wood fragments, and poured latex over the tatami mats. After this act, he laid several pairs of wood planks on the floor, creating a path to walk on the drying latex Hikosaka Naoyoshi, Floor Event No.4 combination with Ceiling Music No.1,1972, Performance at Hikosaka residence in Tokyo

In June of the same year, he participated in White Anthology, a group concert at Gallery Lunami  in Ginza, Tokyo, presenting Carpet Music – Milk Crash. For this work, he brought a carpet from Tone Yasunao’s apartment in Akasaka Mitsuke and laid it on the gallery floor. During intermissions between performances by other artists in the program, with members of the audience seated on the carpet in the dark, Hikosaka forcibly pulled up the carpet and turned it over. At the end of the concert, late at night, he began to pour latex on the floor around the audience members who were still there. Confused and angry, they ran out into the streets to escape the stinging smell of ammonia.

Hikosaka Naoyoshi, Carpet Music – Milk Crash  (Equivalent of Floor Event No. 5,1972, Performance at White Anthology, a group concert at Lunami Gallery in Tokyo

Although works like these are generally categorized as “performance art,” Hikosaka used his Floor Event series as part of his experiment for creating a photo-based “information art,” using photography as an essential element to capture time. Given the technology available at that time, what he could manage to achieve was slide shows to present his acts and the transformation of the latex in time.

The current exhibition at Misa Shin Gallery examines Hikosaka’s Floor Event series from 1970 to 1975, focusing on three works ( Nos.3–5 ). It consists of vintage documentary photographs, slide shows, and original invitations, and other materials. As part of the exhibition, a chronology of Floor Event: The First Cycle will be presented, compiled by Dr. Reiko Tomii, a New York-based art historian. The exhibition poses questions about what events and photography meant to Hikosaka, how they related to such concepts as instruction, practice, information, performance, and installation, all of which have been a driving force behind global conceptualism from the 1970s onward, and the place of his Floor Event series in that development.

 

Hikosaka Naoyoshi

Born in Tokyo in 1946. Hikosaka was one of the leading artists in the movement against the institutional framework of art in the 1970s, playing a significant role in conceptual art in Japan. Entered Tama Art University, Tokyo in 1967, founded Bikyōtō (Artists Joint-Struggle Council) together with his fellow students including Kosai Hori in 1969. Major exhibitions include “Global Conceptualism: Points of Origin, 1950s-1980s” at the Queens Museum of Art (New York, 1999) and three other venues in the USA, “CENTURY CITY” at Tate Modern (London, 2001), “Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970” at the Getty Center, Research Institute Exhibition Gallery (Los Angeles, 2007), “Aichi Triennale” at Aichi Prefectural Museum of Art (Aichi, 2013), “Re:play 1972/2015 Restaging <Expression in Film ‘72> “ at the National Museum of Modern Art Tokyo (Tokyo, 2015).  

 

彦坂 尚嘉
フロア・イベント:反復と変容

会期:2020年7月25日(土)-9月12日(土)
夏期休暇:8月11日(火)-8月15日(土)
開廊時間:火—土(日月祝休)12:00 − 19:00

MISA SHIN GALLERYでは2020年7月25日(土)から9月12日(土)まで、彦坂尚嘉の初期の代表的なパフォーマンス作品の個展「フロア・イベント:反復と変容」を開催します。­

彦坂尚嘉は1946年東京生まれ、「フロア・イベント」は、ラテックスを床に撒く行為を主題として、70年に始まりました。自室の畳や家具を移送して行う「デリバリー・イベント」や、「シーリング・ミュージック」「カーペット・ミュージック」など他の要素やイベントと複合し、また案内状やインストラクションなどの紙の作品も含めて変奏を繰り返し、1975年パリ青年ビエンナーレでの展示を7番目として、帰国後日本の税関に畳を没収焼却されるまでをファーストサイクルとして続けられました。

70年と71年の「フロア・イベント(No.1, No.2)」のあと、72年2月に、彦坂は自宅から畳と家具類を梱包して京都のギャラリー16に運び「フロアイベントNo.3」を開催します。梱包された家具類と4トン半のトラックには赤字でREVOLUTIONと記し東京から京都までの500kmを移送し、展示に合わせてギャラリーの壁を撤去。ギャラリー空間を自室へと変貌させ、その場で床にラテックスを撒く行為を行い、ラテックスが乾いていく過程をそのまま展示し、最終的には皮膜となったラテックスを剥がし、ギャラリーを原状復帰し、すべての畳と家財道具を再度梱包して東京に帰るという試みでした。

Hikosaka Naoyoshi, Delivery Event + Floor Event No.3,1972, Performance and installation at galerie 16 in Kyoto

東京に戻った彦坂は、72年5月、パフォーマンスの場を再び世田谷の自宅に移し「シーリング・ミュージックNo.1」を行います。両親に黙って、天井の杉板を天井裏からゲリラ的に叩き割り、床に散乱した木片を掃除して畳にラテックスを撒きます。行為の後には、床に渡り板を渡してまだ乾かないラテックスの上を歩けるようにしました。

Hikosaka Naoyoshi, Floor Event No.4 combination with Ceiling Music No.1,1972, Performance at Hikosaka residence in Tokyo

同年6月には、東京銀座のルナミ画廊にて行われた大音楽会「ホワイト・アンソロジー」に参加し、パフォーマンス「カーペットミュージック– ミルククラッシュ」を行います。東京、赤坂見附の刀根康尚のアパートからカーペットを画廊に運び込み床に敷き、プログラムの進行に従って他の参加者の演目の幕間に、暗闇で観客の座っているカーペットを強引にめくり返します。音楽会の最後には残っている観客の周囲からラテックスを撒き、観客はすさまじいアンモニアの臭気に混乱や怒りの中、深夜の路上に逃げ出しました。

Hikosaka Naoyoshi, Carpet Music – Milk Crash  (Equivalent of Floor Event No. 5,1972, Performance at White Anthology, a group concert at Lunami Gallery in Tokyo

こうした作品群は、一般に「パフォーマンス」に分類されますが、当時の彦坂は写真を使った「情報アート」の試みの一環として「フロア・イベント」を繰り返し、写真撮影を作品の不可欠な要素として探求してきました。また、当時の技術的限界の中で、時間の中に生起する作家の行為やラテックスの変化を表現しようと、スライド・ショーを制作していました。

本展では彦坂の1970年から75年に行われた「フロア・イベント」シリーズから、3つの作品(No.3-5)のビンテージ記録写真、スライドショー、およびオリジナルの案内状などを展示し、ニューヨーク在住の美術史家、富井玲子氏の編纂による「フロア・イベント: ファーストサイクル」のクロニクルも発表いたします。彦坂にとってイベントや写真とは何であったか、インストラクション、プラクティス、情報、パフォーマンス、インスタレーションといった70年代以降のグローバルなコンセプチュアリズムを牽引する事象について、またその中における「フロア・イベント」の位置づけなど、さまざまな問いを提起します。ぜひご高覧ください。

 

彦坂尚嘉

1946年、東京生まれ。美術表現の制度そのものを根元から問い直し70年代以降の日本のコンセプチュアル・アートを主導したアーティストの一人。1967年多摩美術大学油彩科に入学、1969年に堀浩哉らとともに「美術家共闘会議」を結成。1999年「Global Conceptualism: Points of Origin, 1950s-1980s」クイーンズ美術館(ニューヨーク)他アメリカ国内3カ所巡回、2001年「CENTURY CITY」テートモダン(ロンドン)、2007年「Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970」Getty Center, Research Institute (ロサンジェルス)、2013年「あいちトリエンナーレ」愛知県立美術館、2015年「Re:play 1972/2015―『映像表現’72』」東京国立近代美術館など国内外の展覧会に参加。

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