Abstract
The popular definition of ‘alternative spaces’ connects to the US in the 1970s when urban spaces were run by or for artists to exhibit experimental works beyond institutions and commercial galleries. However, the paper suggests the term has a more fluid meaning in Japan and originated from the Meiji era (1868-1912). Because alternative spaces flourished in the post-WWII period, the paper limits the discussion in the 1950s and 60s. The paper proposes the Japanese alternative space is an alternative option beyond institutions. It consists of two aspects—conceptual and physical. The example of the former is the Yomiuri Independent Exhibition (1949-1963). It was unjuried and flexible in contrast to the strictly regulated exhibitions organised by Gadan (the canon or the institution). Because the two exhibition types shared the same venue—the Tokyo Metropolitan Art Museum (est. 1926), the independent one became an officially sanctioned ‘alternative’ for showing hyper avant-garde works. In addition to this conceptual alternative, avant-gardes took a step further to explore the physical aspect of alternative spaces. In the 1950s and 60s, many avant-gardes organised exhibitions in public spaces. The paper selects the five exhibitions produced by postwar avant-garde collectives Jikken Kōbō (1951-1958) and Gutai Art Association (1954-1972) to discuss five types of alternative spaces—theatrical stage, public park, the gallery for rent, artist-run space, and cafe. Unlike the Western definition mentioned at the beginning, the stage, park and cafe were not for artists exclusively. Hence, ‘alternative spaces’ has extra meaning in Japan, which is to connect artworks with daily life.
Presenters
Yang ChenStudent, PhD Researcher, School of Museum Studies, University of Leicester, United Kingdom
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Alternative Spaces, Institution, Avant-Garde, Museum, Exhibition, Post-WWII, Japan, Public Spaces
