Re-reading Art History as an 'Operation': The Practice of 'Kochi Avant-Garde: Genzo Takasaki and Tomiji Hamaguchi' (Kochi Prefectural Museum of Art)
This article analyzes the exhibition 'Kochi Avant-Garde: Genzo Takasaki and Tomiji Hamaguchi' through the lens of 'Operation' theory to examine how local avant-garde artists connected with the global art world.Summary
This article examines the exhibition 'Kochi Avant-Garde: Genzo Takasaki and Tomiji Hamaguchi' at the Kochi Prefectural Museum of Art, re-evaluating the 1960s Kochi avant-garde art movement using the concept of 'Operation.' The author applies the theory of 'Operation' by Fumai Reiko, which refers to the totality of all circuits—including criticism and education—through which an artist's expression is conveyed to society. By applying this framework to the episode where Tomiji Hamaguchi visited a prominent Tokyo gallery and exchanged works with the internationally renowned kinetic artist Jean Tinguely, the author highlights Hamaguchi's initiative to connect his local context with a broader one. This approach allows the local events of the 1960s to be viewed as specific cases, enabling comparisons with contemporaneous practices worldwide. Furthermore, the exhibition addresses the distortions inherent in these circuits, such as the patriarchal values and violent incidents associated with the avant-garde group 'Avant-Garde Tosa.' Rather than dismissing these issues as merely personal failings, the author argues for a direct confrontation with the era's social context. The exhibition also attempts to visualize the invisible labor and care provided by women, particularly family members, who supported the male artists, thereby presenting a more comprehensive view of the avant-garde's operations.
(Source：美術手帖)