Ay-O and Nam Jun Paik at MOT

In his catalogue of Fluxus works, John Hendricks notes that between 1961 until George Maciunus' death in 1978 some twenty three Japanese artists participated in Fluxus activities in person or by mail. One Japanese artist who worked with Fluxus in its early phase in New York is Ay-O, who moved there in 1958. Former MAD curating student Mihoko Nishikawa is currently working as an assistant curator at the Museum of Contemporary Art Tokyo (MOT). She recently curated one section of the permanent collections gallery, putting together a concise and excellent presentation of works by Ay-O and fellow Fluxus artist Nam Jun Paik. Ay-O is represented by two 'environment' sculptures from the early 1960s - he interestingly referred to his work at this time as 'atmosphere art'. Both pieces take the form of enclosed or semi-enclosed spaces which one could originally enter (unfortunately the demands of collection have closed this experience off). Both pieces incorporate light bulbs to create warm, theatrical-like spaces. Ay-O's signature Fluxus 'finger boxes' are also on display, but this time recreated to allow visitors to stick their fingers into them. Part of a rainbow painting with two wooden cut-out figures is also on show, and visitors are allowed to have themselves photographed 'within' the painting. Although surrounded by ever watchful guards and the stifling walls of galleries, it makes all the difference to be able to touch and use these works. They are brought to life and completed.

Nam Jun Paik was represented by a major TV sculpture piece, owned by MOT. The most interesting works for me though, were an excellent selection of Paik video works showing on three small flat screen monitors in the corner. 'Guadalcanal Requiem' (1977) mixes wartime history film with a visit to the Solomon islands, and interviews and recollections of the islanders, American marines and Japanese soldiers. 'Global Groove' (1973) reminded me of the films of Len Lye - images of disco dancers and African drummers immersed in the flashing matrix of television production.
Although MOT has lately not been curating many contemporary exhibitions due to dire financial difficulties, it's permament collection contains some important works. It is reported that by 2009 all of the major museums operated by the Metropolitan City of Tokyo will be put out to tender to attract business-model management and much needed funds. In this vein MOT is currently 'hosting' its second Ghibli animation exhibition, a rather weak, summer-holiday-children attracting endevour that fails to find any funk. However in the 'will to capitalise' and plan according to the logics of the market, I sincerely hope that a few wise bureaucrats will have the foresight to make adequate provision for the collections of these museums to be protected and looked after. It is important to see and experience the likes of Ay-O and Paik. They remind us that museums will always somehow be places of lack, of lag.

Comments

[Francesca Emerson]

I have a print I brought in Japan in 1979 by Ay-O of a multi-colored CAT 397/500
can you tell me something about it,