The Illusiveness of the Entirely Useless
May 7, 2010 5:15 PM Subscribe
So, there's a Japanese artistic concept called a
Thomasson.
In short, they are "
defunct
and
useless
objects,
attached
to someone's property and aesthetically
maintained."
But a more
nuanced
explanation involves artist
Akasegawa
Genpei, baseball player
Gary Thomasson,
and a whole generation of Japanese kids who wandered around Tokyo,
looking for architectural abnormalities.
Now that the book has found its way to
English, American readers are submitting
some pretty fascinating discoveries of their own .
An extremely influential writer and visual artist, Akasegawa Gempei started as a founding member of the neo-dada group Hi Red Center in the 60s, staging a lot of public performances. When Tokyo launched a series of "Let's Clean Up Our City" campaigns for the upcoming Olympics, Akasegawa and company
took it a step further by dressing in lab coats and cleaning single cobblestones with rubbing alcohol and toothbrushes.
As a sculptor, Akasegawa became interested in
making things with money. This eventually earned him a counterfeiting charge, and he appeared in court to defend his work as "art"--the formal opposite of currency. Lacking a stringent legal definition of art, Akasegawa called on his friends from Hi Red Center to provide "expert testimony." This involved Nakanishi Natsuyuki appearing with his body covered in closepins and other such performances, and quickly turned the trial into a performance piece. Akasegawa demanded that all of his friends' "testimonies" be treated as proper evidence, and the court had no choice but to carefully photograph and document each of these performances. The result is retroactively known as "The 1000-Yen Trial Incident," and is one of the 20th century's most seminal works of Japanese art.
posted by zonkers (46 comments total)
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posted by Joey Michaels at 5:17 PM on May 7, 2010 [2 favorites]