On Learning-- STOCKTON UNIVERSITY, Metamorphosis. The Human Stories" international symposium

On Learning-- Gutai Manifesto

gutai art manifesto

YOSHIHARA JIRŌ

To today’s consciousness, the art of the past, which on the whole presents an alluring appearance, seems fraudulent.
Let’s bid farewell to the hoaxes piled up on the altars and in the palaces, the drawing rooms and the antique shops.
They are monsters made of the matter called paint, of cloth, metals, earth, and marble, which through a meaningless act of signification by humans, through the magic of material, were made to fraudulently assume appearances other than their own. These types of matter [busshitsu], all slaughtered under the pretense of production by the mind, can now say nothing.
Lock up these corpses in the graveyard.
Gutai Art does not alter matter. Gutai Art imparts life to matter. Gutai Art does not distort matter.
In Gutai Art, the human spirit and matter shake hands with each other while keeping their distance. Matter never compromises itself with the spirit; the spirit never dominates matter. When matter remains intact and exposes its characteristics, it starts telling a story and even cries out. To make the fullest use of matter is to make use of the spirit. By enhancing the spirit, matter is brought to the height of the spirit.
Art is a site where creation occurs; however, the spirit has never created matter before. The spirit has only created spirit. Throughout history, the spirit has given birth to life in art. Yet the life thus born always changes and perishes. To us today, the great lives of the Renaissance are nothing more than archaeological relics.
Today, it is only primitive art and various art movements after Impressionism that manage to convey to us a feeling of life, however inert. These movements extensively used matter—that is, paint—without distorting or killing it, even when using it for the purpose of naturalism, as in Pointillism and Fauvism. In any case, these styles no longer move us; they are things of the past.
Now, interestingly, we find a contemporary beauty in the art and architecture of the past ravaged by the passage of time or natural disasters. Although their beauty is considered decadent, it may be that the innate beauty of matter is reemerging from behind the mask of artificial embellishment. Ruins unexpectedly welcome us with warmth and friendliness; they speak to us through their beautiful cracks and rubble—which might be a revenge of matter that has regained its innate life. In this sense, we highly regard the works of [Jackson] Pollock and [Georges] Mathieu. Their work reveals the scream of matter itself, cries of the paint and enamel. These two artists confront matter in a way that aptly corresponds to their individual discoveries. Or rather, they even seem to serve matter. Astonishing effects of differentiation and integration take place.
In recent years, [critic] Tominaga Soīchi and [artist] Dōmoto Hisao introduced the activities of Art Informel by Mathieu and [Michel] Tapié. We found them quite interesting; although our knowledge is limited, we feel sympathetic to their ideas as have so far been introduced. Their art is free from conventional formalism, demanding something fresh and newborn. We were surprised to learn our aspiration for something vital resonated with theirs, although our expressions differed. We do not know how they understood their colors, lines, and forms—namely, the units of abstract art—in relation to the characteristics of matter. We do not understand the reason behind their rejection of abstraction. We have certainly lost interest in clichéd abstract art, however. Three years ago, when we established the Gutai Art Association, one of our slogans was to go beyond abstraction. We thus chose the word gutai [concreteness] for our group’s name. We especially sought a centrifugal departure in light of the centripetal origin of abstraction.
We thought at the time—and still do—that the greatest legacy of abstract art is the opening of an opportunity to depart from naturalistic and illusionistic art and create a new autonomous space, a space that truly deserves the name of art.
We have decided to pursue enthusiastically the possibilities of pure creativity. We believe that by merging human qualities and material properties, we can concretely comprehend abstract space.
When the individual’s character and the selected materiality meld together in the furnace of automatism, we are surprised to see the emergence of a space previously unknown, unseen, and unexperienced. Automatism inevitably transcends the artist’s own image. We endeavor to achieve our own method of creating space rather than relying on our own images.
For example, Kinoshita Toshiko, who teaches chemistry at a girls’ school, has created a marvelous space by mixing chemicals on filter paper. Even though the effect of chemical manipulation may be predicted to some degree, it cannot be seen until the next day. Still, the wondrous state of matter thus realized is her doing. No matter how many Pollocks have emerged after Pollock, his glory will not diminish. We must respect new discoveries.
Shiraga Kazuo placed a mass of paint on a huge sheet of paper and started violently spreading it with his feet. His method, unprecedented in the history of art, has been a subject of journalism for the past two years. However, what he presented was not a merely peculiar technique but a means he developed to synthesize the confrontation between the matter chosen by his personal quality and the dynamism of his own mind in an extremely positive way.
In contrast to Shiraga’s organic method, Shimamoto Shōzō has focused on mechanistic methods for the past several years. When he threw a glass bottle filled with lacquer, the result was flying splashes of paint on canvas. When he packed the paint into a small handmade cannon and ignited it by an acetylene torch, the result was an instant explosion of paint in a huge pictorial space. They both demonstrate a breathtaking freshness.
Among other members, Sumi Yasuo deployed a vibrating device, while Yoshida Toshio created a lump of monochrome paint. It should be noted that all these activities are informed by serious and solemn intentions.
Our exploration into the unknown and original world bore numerous fruits in the form of objets, in part inspired by the annual outdoor exhibitions held in Ashiya. Above all, Gutai’s objets differ from those of the Surrealists in that the former eschew titles and significations. Gutai’s objets included a bent and painted sheet of iron (Tanaka Atsuko) and a hanging box like a mosquito net made of red plastic (Yamazaki Tsuruko). Their appeal lies solely in the strength of their material properties, their colors and forms.
As a group, however, we impose no rules. Ours is a free site of creation wherein we have actively pursued diverse experimentations, ranging from art to be appreciated with the whole body to tactile art to Gutai music (an interesting enterprise that has occupied Shimamoto Shōzō for the past few years).
A bridge-like work by Shimamoto Shōzō, on which the viewer walks to sense its collapse. A telescope-like work by Murakami Saburō, into which the viewer must enter to see the sky. A balloon-like vinyl work by Kanayama Akira, equipped with an organic elasticity. A so-called dress by Tanaka Atsuko, made of blinking electric bulbs. Productions by Motonaga Sadamasa, who uses water and smoke. These are Gutai’s most recent works.
Gutai places an utmost premium on daring advance into the unknown world. Granted, our works have frequently been mistaken for Dadaist gestures. And we certainly acknowledge the achievements of Dada. But unlike Dadaism, Gutai Art is the product that has arisen from the pursuit of possibilities. Gutai aspires to present exhibitions filled with vibrant spirit, exhibitions in which an intense cry accompanies the discovery of the new life of matter.
Translated by Reiko Tomii. Originally published as “Gutai bijutsu sengen,” Geijutsu Shinchō 7, no. 12 (December 1956), pp. 202–04.

On Learning-- DAVID HAMMONS 1986

From An Interview with David Hammons:

1. I CAN'T STAND ART ACTUALLY. I'VE NEVER, EVER LIKED ART, EVER. I NEVER TOOK IT IN SCHOOL.

2. WHEN I WAS IN CALIFORNIA, ARTISTS WOULD WORK FOR YEARS AND NEVER HAVE A SHOW. SO SHOWING HAS NEVER BEEN THAT IMPORTANT TO ME. WE USED TO CUSS PEOPLE OUT: PEOPLE WHO BOUGHT OUR WORK, DEALERS, ETC., BECAUSE THAT PART OF BEING AN ARTIST WAS ALWAYS A JOKE TO US.

WHEN I CAME TO NEW YORK, I DIDN'T SEE ANY OF THAT. EVERYBODY WAS JUST GROVELING AND TOMMING, ANYTHING TO BE IN THE ROOM WITH SOMEBODY WITH SOME MONEY. THERE WERE NO BAD GUYS HERE; SO I SAID, "LET ME BE A BAD GUY," OR ATTEMPT TO BE A BAD GUY, OR PLAY WITH THE BAD AREAS AND SEE WHAT HAPPENS.

3. I WAS TRYING TO FIGURE OUT WHY BLACK PEOPLE WERE CALLED SPADES, AS OPPOSED TO CLUBS. BECAUSE I REMEMBER BEING CALLED A SPADE ONCE, AND I DIDN'T KNOW WHAT IT MEANT; NIGGER I KNEW BUT SPADE I STILL DON'T. SO I TOOK THE SHAPE, AND STARTED PAINTING IT.

4. I JUST LOVE THE HOUSES IN THE SOUTH, THE WAY THEY BUILT THEM. THAT NEGRITUDE ARCHITECTURE. I REALLY LOVE TO WATCH THE WAY BLACK PEOPLE MAKE THINGS, HOUSES OR MAGAZINE STANDS IN HARLEM, FOR INSTANCE. JUST THE WAY WE USE CARPENTRY. NOTHING FITS, BUT EVERYTHING WORKS. THE DOOR CLOSES, IT KEEPS THINGS FROM COMING THROUGH. BUT IT DOESN'T HAVE THAT NEATNESS ABOUT IT, THE WAY WHITE PEOPLE PUT THINGS TOGETHER; EVERYTHING IS A THIRTY-SECOND OF AN INCH OFF.

5. THAT'S WHY I LIKE DOING STUFF BETTER ON THE STREET, BECAUSE THE ART BECOMES JUST ONE OF THE OBJECTS THAT'S IN THE PATH OF YOUR EVERYDAY EXISTENCE. IT'S WHAT YOU MOVE THROUGH, AND IT DOESN'T HAVE ANY SENIORITY OVER ANYTHING ELSE.

THOSE PIECES WERE ALL ABOUT MAKING SURE THAT THE BLACK VIEWER HAD A REFLECTION OF HIMSELF IN THE WORK. WHITE VIEWERS HAVE TO LOOK AT SOMEONE ELSE'S CULTURE IN THOSE PIECES AND SEE VERY LITTLE OF THEMSELVES IN IT.

6. ANYONE WHO DECIDES TO BE AN ARTIST SHOULD REALIZE THAT IT'S A POVERTY TRIP. TO GO INTO THIS PROFESSION IS LIKE GOING INTO THE MONASTERY OR SOMETHING; IT'S A VOW OF POVERTY I ALWAYS THOUGHT. TO BE AN ARTIST AND NOT EVEN TO DEAL WITH THAT POVERTY THING, THAT'S A WASTE OF TIME; OR TO BE AROUND PEOPLE COMPLAINING ABOUT THAT. 

MY KEY IS TO TAKE AS MUCH MONEY HOME AS POSSIBLE. ABANDON ANY ART FORM THAT COSTS TOO MUCH. INSIST THAT IT'S AS CHEAP AS POSSIBLE IS NUMBER ONE AND ALSO THAT IT'S AESTHETICALLY CORRECT. AFTER THAT ANYTHING GOES. AND THAT KEEPS EVERYTHING INTERESTING FOR ME.

7. I DON'T KNOW WHAT MY WORK IS. I HAVE TO WAIT TO HEAR THAT FROM SOMEONE.

I WOULD LIKE TO BURN THE PIECE. I THINK THAT WOULD BE NICE VISUALLY. VIDEOTAPE THE BURNING OF IT. AND SHOOT SOME SLIDES. THE SLIDES WOULD THEN BE A PIECE IN ITSELF. I'M GETTING INTO THAT NOW: THE SLIDES ARE THE ART PIECES AND THE ART PIECES DON'T EXIST.

8. IF YOU KNOW WHO YOU ARE THEN IT'S EASY TO MAKE ART. MOST PEOPLE ARE REALLY CONCERNED ABOUT THEIR IMAGE. ARTISTS HAVE ALLOWED THEMSELVES TO BE BOXED IN BY SAYING "YES" ALL THE TIME BECAUSE THEY WANT TO BE SEEN, AND THEY SHOULD BE SAYING "NO." I DO MY STREET ART MAINLY TO KEEP ROOTED IN THAT "WHO I AM." BECAUSE THE ONLY THING THAT'S REALLY GOING ON IS IN THE STREET; THAT'S WHERE SOMETHING IS REALLY HAPPENING. IT ISN'T HAPPENING IN THESE GALLERIES.

9. DOING THINGS IN THE STREET IS MORE POWERFUL THAN ART I THINK. BECAUSE ART HAS GOTTEN SO....I DON'T KNOW WHAT THE FUCK ART IS ABOUT NOW. IT DOESN'T DO ANYTHING. LIKE MALCOLM X SAID, IT'S LIKE NOVOCAINE. IT USED TO WAKE YOU UP BUT NOW IT PUTS YOU TO SLEEP. I THINK THAT ART NOW IS PUTTING PEOPLE TO SLEEP. THERE'S SO MUCH OF IT AROUND IN THIS TOWN THAT IT DOESN'T MEAN ANYTHING. THAT'S WHY THE ARTIST HAS TO BE VERY CAREFUL WHAT HE SHOWS AND WHEN HE SHOWS NOW. BECAUSE THE PEOPLE AREN'T REALLY LOOKING AT ART, THEY'RE LOOKING AT EACH OTHER AND EACH OTHER'S CLOTHES AND EACH OTHER'S HAIRCUTS.

10. THE ART AUDIENCE IS THE WORST AUDIENCE IN THE WORLD. IT'S OVERLY EDUCATED, IT'S CONSERVATIVE, IT'S OUT TO CRITICIZE NOT TO UNDERSTAND, AND IT NEVER HAS ANY FUN. WHY SHOULD I SPEND MY TIME PLAYING TO THAT AUDIENCE?



DAVID HAMMONS 1986

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