First Gutai Exhibition

The First Gutai Art Exhibition took place in Ohara Hall, Tokyo, Japan, in October 1955. This exhibition was the first manifestation of Gutai and displayed wide-ranging artworks created by a group of young artists formed around association leader Jiro Yoshihara. In the spirit of avant-garde, Gutai Artists challenged the formats, materials, and boundaries of painting with innovative projects that explored space, time, and sound. The group's interest was in direct emotion and direct connections between the spirit and the material to do something completely unexpected to create art that was unrelated to the concepts of the past.

Background
During the post-WWII era, as Gutai was emerging, originality became embedded in discourses of individualism as a resistance against the mass physiology of Japan's militarist past. Painting, as it existed, was considered by the Gutai artists no longer to be adequate to express the human condition. Artists were motivated to articulate a new form of expression that defined a new era of authenticity and creative autonomy. Jiro Yoshihara, inspired by Jackson Pollock, started to explore art that goes beyond abstract painting into a non-traditional process and the performative. In the invitation to the exhibition, Jiro Yoshihara articulated the goal of the Gutai artists:


 * Today, the genre known as ‘pure art’ really seems to have come up against a huge wall. But with this outrageous method and sincere approach, this new group of people is attempting to break right through that wall.

Artists challenged themselves to produce fresh and unconventional forms of art using everyday materials such as wood, water, plastics, newspaper, sheet metal, fabrics, sand, light, smoke, etc. They aimed to open a dialogue between the materials and the artist's spirit by attempting to transform the material into something new:


 * Gutai art does not change the material: it brings it to life. Gutai art does not falsify the material. In Gutai art, the human spirit and the material reach out their hands to each other, even though they are otherwise opposed to each other. The material is not absorbed by the spirit. The spirit does not force the material into submission. If one leaves the material as it is, presenting it just as material, then it starts to tell us something and speaks with a mighty voice.

As well as the exploration of non-art materials, they also experimented with such types of art as performance art, installation art, sound art, and multimedia art. The first show to demonstrate these new approaches was the “Experimental Outdoor Modern Art Exhibition to Challenge the Midsummer Burning Sun” in Ashiya City, held three months before the first Gutai Exhibition in Tokyo. An outdoor piece displayed a clear bag of red liquid and sharp sheets of metal hanging from the trees and wooden posts scarred with axes and penetrated with nails. Continuing this radicalism, the exhibition in Tokyo displayed a wider range of works highlighting the impact of physical action on materials. The works of Gutai artists caught the attention of artist Allan Kaprow, who saw them as prefiguring Happenings, and of French critic Michel Tapie, who embraced the Gutai artists as contributors to the version of Abstract Expressionism he called Art Informel.

Participating artists

 * Akira Kanayama
 * Toshiko Kinoshita
 * Sadamasa Motonaga
 * Saburo Murakami
 * Itoko Ono
 * Shozo Shimamoto
 * Fujiko Shiraga
 * Kazuo Shiraga
 * Yasuo Sumi
 * Atsuko Tanaka
 * Chiyu Uemae
 * Yozo Ukita
 * Tsuruku Yamazaki
 * Toshio Yoshida
 * Jiro Yoshihara
 * Michio Yoshihara

Exhibition layout
In the first room located on the first floor of the hall were six works by Yasuo Sumi, eight works by Toshio Yoshida, and three works by Saburo Murakami, including both frames from the performance Making Six Holes in One Moment. This room also displayed at least one of the twenty bells that formed Astuko Tanaka's Work (Bell). Activated by flipping a switch, the bells rang in sequence throughout the rooms of the exhibition.

The second room included Tsuruko Yamazaki's 52 empty tin cans installed on the floor, and Akira Kanayama's balloon hung from the ceiling. This room also included works by Murakami, Shozo Shimamoto, and Kazuo Shiraga's two abstract paintings created with his feet.

Fujiko Shiraga's floor path ran throughout the gallery. Beside the path, there was a stripe work by Yamazaki, a small painting by Jiro Yoshihara, and Tanaka's Work, a hanging piece of pink, fluorescent silk.

Critical reception
The innovation in using new materials was appreciated by many critics.

Some critics considered the work more negatively, offering statements such as, "From the viewpoint of the subconscious, the work is extremely simple."; "This is a new manifestation of Dada."; and "Sensation alone is meaningless."