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A year earlier, the artist carried out an experiment, which was defined as “concrete music” (later acquired by the Pompidou Centre Collec- tion in Paris), in the wake of what John Cage was doing, rolling dice or tossing coins, following the teachings of the I Ching or the Book of Changes, and in close contact with the artists of the artists’ Club on East Eighth Street, New York, includ- ing J.
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In this climate, between 19, Shimamoto started to grapple once again with “holes” in his Esquisse Hole Series cycle, where the action of the paint rubs against and consumes the layers of paper matter of the painting causing lac- eration or perforation.
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Thanks to the efforts of Michel Tapié – the great French critic known for his association with the Informal season, having visited Japan in 1957 – the work of the Gutai group began to come into contact with European and Western art cir- cuits.
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In each dust mote of these worlds / are countless worlds and Buddhas It would take infinity to count / all the Buddha’s universes. Moreover, the Buddhist Sutta Nipāta Canon says, “Contemplate the world as emptiness (…), always in a state of remembrance – thus spoke the Blessed One.”Īnd the “remembrance” mentioned refers to a “co-arising” or “dependent origina- tion” of the “world as emptiness” itself, in which the events do not run along a chrono- logical line nor can they be grasped in advance by form, meaning identity/differ- ence because each potential figure, in its impermanent eternity, includes other pos- sible figures – but never definitively – as it is, in turn, includable in others: In this and in other programme documents published in the Gutai magazine, the group feels the need to underline the important differences compared with pointillisme and fauvism first of all, but also in comparison with Western masters such as Da Vinci, Poussin, Rembrandt, Van Gogh, Utrillo and Dalì, names listed according to a view of the past that certainly does not aim to be chronological, but appears topological (insofar as each name indicates the “place” of a particular killing of the life of the material through form, sign and colour). Gutai aspires to present exhibi- tions filled with vibrant spirit, exhibitions in which an intense cry accom- panies the discovery of the new life of matter. But we think differently: unlike Dadaism, Gutai Art is the product that has arisen from the pursuit of possibilities. And we certainly acknowledge the achievements of Dada. Granted, our works have frequently been mistaken for Dadaist gestures. These types of matter, all slaughtered under the pretence of production by the mind, can now say nothing. They are monsters made of the matter called paint, of cloth, metals, earth, and marble, which through a meaningless act of sig- nification by humans, through the magic of material, were made to fraud- ulently assume appearances other than their own. Let’s bid farewell to the hoaxes piled up on the altars and in the palaces, the drawing rooms and the antique shops. To today’s consciousness, the art of the past, which on the whole pres- ents an alluring appearance, seems fraudulent. The Gutai Manifesto of 1956, mimicking the style of similar manifestos of the Western historical avant- gardes of the early twentieth century announced among other things: Insistence on “holes” precedes, accompanies and follows (at least up to the Papers of 1985) the act of foundation in Osaka in 1954 of the GUTAI group, whose name “concreteness” is said to have been suggested to Jiro Yoshihara by Shimamoto himself. Shōzō Shimamoto’s first paintings, shown in 1946 at the Hole Showa 21, are called Hole, referring to an opening or breech. Artistic Experience as a Poetic Experience of Thinking – Romano Gasparotti