Group Kyushu information

Group Kyūshū (九州派, Kyūshū-ha, also translated as "Kyūshū School") is an avant-garde art collective, formed in 1957 in the city of Fukuoka (Kyūshū Island) and active until the late 1960s. The group, whose composition fluctuated over time, had about 20 members that participated in several exhibitions in Fukuoka and Tokyo, produced a journal (Kyūshū-ha) relating their activity and their ambition and organized multiple performances and exhibitions in Fukuoka. Most of the members had no art education and located far from the nerve center of contemporary art that was Tokyo, therefore their local anchoring was intended to make the social institution of art more stable in Fukuoka and expand the art-practicing population.^[1] Kyūshū-ha aspired to repudiate modernism and reinterpret art. In its embrace of seikatsu-sha, or ordinary people who honestly live their everyday lives (seikatsu), it sought, as a collective, to create a dynamic movement (undō) that combined artistic and social innovation.^[2] This social ambition is representative of the social and political climate of the time and the birth of the labor union movement that was particularly vivid in the Fukuoka area (as shown by the Mitsui-Miike coalmine dispute in 1960), in which some members of the group participated.^[3] Stylistically, the artists of Kyūshū-ha experienced the shock of the gestural Art Informel in 1956–57,^[4] and toward and into the 1960s they shifted from expressionistic Informel painting to objet-based three-dimensional works that incorporated readymade everyday objects (with their trademark being tar).^[5] Their aesthetic, violent even nihilistic works,^[6] as well as their iconoclastic theoretical ambition brings them in line with the Anti-Art movement (Han-geijutsu), having notably exhibited in Yomiuri Independent, a hotbed of this trend.^[7] Despite their attempt to broaden their visibility, notably by emphasizing their regional and decentralized ambitions, the group never received the popular attention they had hoped for.^[1] Similarly, despite some critical attention, the uneven and unprofessional nature of their practices prevented them from founding a sustainable movement. Their first major experimentation with Happenings failed in 1962, and the group soon lost its collective unity, leading to the group's dissolution in the late 1960s.^[8]

^ ^a ^b Raiji, Kuroda; Tomii, Reiko (2005). "Kyūshu-ha as a Movement: Descending to the Undersides of Art". Review of Japanese Culture and Society. 17: 19. ISSN 0913-4700. JSTOR 42801109.
^ Raiji, Kuroda; Tomii, Reiko (2005). "Kyūshu-ha as a Movement: Descending to the Undersides of Art". Review of Japanese Culture and Society. 17: 14. ISSN 0913-4700. JSTOR 42801109.
^ Raiji, Kuroda; Tomii, Reiko (2005). "Kyūshu-ha as a Movement: Descending to the Undersides of Art". Review of Japanese Culture and Society. 17: 17. ISSN 0913-4700. JSTOR 42801109.
^ Jesty, Justin (2018). Art and engagement in early postwar Japan. Ithaca. p. 236. ISBN 978-1-5017-1506-8. OCLC 1031040505.{{cite book}}: CS1 maint: location missing publisher (link)
^ Raiji, Kuroda; Tomii, Reiko (2005). "Appendix: An Overview of Kyūshū-ha". Review of Japanese Culture and Society. 17: 36–50. ISSN 0913-4700. JSTOR 42801110.
^ Raiji, Kuroda; Tomii, Reiko (2005). "Kyūshu-ha as a Movement: Descending to the Undersides of Art". Review of Japanese Culture and Society. 17: 26. ISSN 0913-4700. JSTOR 42801109.
^ Jesty, Justin (2018). Art and engagement in early postwar Japan. Ithaca. p. 193. ISBN 978-1-5017-1506-8. OCLC 1031040505.{{cite book}}: CS1 maint: location missing publisher (link)
^ Raiji, Kuroda; Tomii, Reiko (2005). "Appendix: An Overview of Kyūshū-ha". Review of Japanese Culture and Society. 17: 47. ISSN 0913-4700. JSTOR 42801110.

[Raiji_2005_19-1] Raiji, Kuroda; Tomii, Reiko (2005). "Kyūshu-ha as a Movement: Descending to the Undersides of Art". Review of Japanese Culture and Society. 17: 19. ISSN 0913-4700. JSTOR 42801109.

[Raiji_2005_14-2] Raiji, Kuroda; Tomii, Reiko (2005). "Kyūshu-ha as a Movement: Descending to the Undersides of Art". Review of Japanese Culture and Society. 17: 14. ISSN 0913-4700. JSTOR 42801109.

[3] Raiji, Kuroda; Tomii, Reiko (2005). "Kyūshu-ha as a Movement: Descending to the Undersides of Art". Review of Japanese Culture and Society. 17: 17. ISSN 0913-4700. JSTOR 42801109.

[4] Jesty, Justin (2018). Art and engagement in early postwar Japan. Ithaca. p. 236. ISBN 978-1-5017-1506-8. OCLC 1031040505.{{cite book}}: CS1 maint: location missing publisher (link)

[5] Raiji, Kuroda; Tomii, Reiko (2005). "Appendix: An Overview of Kyūshū-ha". Review of Japanese Culture and Society. 17: 36–50. ISSN 0913-4700. JSTOR 42801110.

[Raiji_2005_26-6] Raiji, Kuroda; Tomii, Reiko (2005). "Kyūshu-ha as a Movement: Descending to the Undersides of Art". Review of Japanese Culture and Society. 17: 26. ISSN 0913-4700. JSTOR 42801109.

[Jesty_2018_193-7] Jesty, Justin (2018). Art and engagement in early postwar Japan. Ithaca. p. 193. ISBN 978-1-5017-1506-8. OCLC 1031040505.{{cite book}}: CS1 maint: location missing publisher (link)

[Raiji_2005_47-8] Raiji, Kuroda; Tomii, Reiko (2005). "Appendix: An Overview of Kyūshū-ha". Review of Japanese Culture and Society. 17: 47. ISSN 0913-4700. JSTOR 42801110.

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