제작에서 실천으로: 1970년대 미공투 REVOLUTION 위원회의 영상 작업

Abstract

Bikyōtō REVOLUTION Committee was organized in 1970 by artists Hori Kōsai (1947-) and Hikosaka Naoyoshi (1946-), who were students at Tama Art University in Tokyo. They recognized that artistic expression itself was fundamentally linked to the institutionality of art and sought to critique the structural problem of “art as institution.” They criticized that the Japanese conceptualists and Mono-ha, faced with the crisis of modernist art in the late '60s, avoided “making” by taking a contemplative approach to art. Instead, they sought to transform “production,” which was considered an individualistic and autonomous activity, to “practice,” a collective form of social labor that unfolds in the space of everyday life. Art historical scholarship on Bikyōtō REVOLUTION Committee has focused on the artists’ paintings in the latter half of the 1970s, while relegating their moving image works in the first half of the decade as a transitional period of “pre-expression, pre-art.” Contrary to this evaluation, this paper focuses on the group's moving image works in the first half of the decade and argues that they had already appeared as concrete forms of artistic expression that unfolded in the specific time and space of daily life. Furthermore, this paper demonstrates how moving image media provided a theoretical and praxis-oriented foundation to the work of Bikyōtō REVOLUTION Committee, which sought to position art firmly on the grounds of the “here and now.”