443:
analytical with the sensorial. Art historian
Natasha Lushetich further expands on this notion, pointing out that once several vials have been opened, "their smells fuse and hang in the air, creating an undifferentiated continuum that makes it next to impossible for the players to identify the pieces, let alone decide on the position they ought to occupy on the board." For Lushetich, the effect is to temporalize the experience of chess play and enhance the material sense of the physical set as well as the action of play. In so doing, she argues that players change their game play strategies and goals, thereby shifting the nature of the social interaction realized through the game set.
163:, have focused on the way Saito uses a playful process-based approach focused on the making of objects to blend her artistic practice with the activities and chores of daily life. Despite the fact that this blended approach often results in ambiguous objects that sit between the experimental sentiments of fine art and the practical concerns of design, her works have been collected by major museums and public collections across Europe, the United States, and Japan. The majority of her exhibitions have been held in Europe, where she has traveled and lived since 1968. She currently lives in
196:, from which she graduated in 1950. She then took up a teaching post at a junior high school in 1951 where she remained until 1954. While teaching, in 1952 she became involved with the Sōzō Biiku (Sōbi), or the 'Creative Art Education' movement. Founded 1952 by Teijirō Kubo, the movement focused on encouraging free will through creative expression and experimentation. Through this movement Saito began studying various artistic media including oil painting, sculpture, printmaking, and watercolor. While attending a summer camp organized by the movement, Saito met
148:, the international collective of avant-garde artists that was active primarily in the 1960s and 1970s. Saito contributed a number of performances and artworks to the movement, which continue to be exhibited in Fluxus exhibitions to the present day. She was also deeply involved in the production of Fluxus edition works during the height of their production, and worked closely with
185:
spin threads into rolls, an activity that bears some resemblance to her later artmaking processes. After the war, the post-WWII land reforms enacted under the GHQ left her family with limited financial resources. When her father died in 1947, her mother became more rigid creating a rift between Saito and her family that would eventually lead her to live abroad.
356:
while her work is often compared to that of Marcel
Duchamp, given Duchamp's focus on the readymade as an escape from labor and his claim for the right to be lazy, Saito comes across as more self-aware of the various forms that labor and craft can take and the relations this investment creates when objects are left available for open exchange.
221:
an opportunity to learn new production techniques and practice her skills at handcrafts, contributing to her later artistic productions. Saito was also briefly involved in the communal Fluxus dinners
Maciunas hoped to hold as part of the broader communal ideal of Fluxus. As Fluxus member Mieko Shiomi recalled:
430:
George
Maciunas was fascinated by Japanese craftsmanship and owned some Japanese boxes. He associated this craftsmanship with Japanese culture, and when he began working with Saito, he was so impressed with her craftmanship, in spite of her self-taught skills, that he asked her to contribute a series
355:
Beyond the gallery setting, however, her practice now extends to the entirety of her living situation. She handmakes her clothing, furniture, and other items for daily use in her
Dusseldorf studio, embodying in her daily life a concrete recognition of the labor and craft of living. Daniels notes that
437:
in particular that he "even took credit for it on occasion." Smell Chess was one of several sets by Saito that used identical vials as chess pieces, requiring users to identify pieces by the vial's contents, identifiable by the sense of smell rather than sight. These were initially produced as part
337:
ideal of eroding the boundaries between performer and viewer, but, as art historian Dieter
Daniels argues, play with the traditional idea of the dissolution of authorship by combining obvious craftsmanship of objects with an open-ended collaboration through the use and exchange of these objects. An
220:
Through Ay-O, Saito met George
Maciunas in 1964, and intrigued by the communal activities of Fluxus, she began working with the group. During her time with Fluxus, Saito was deeply involved in the production of Fluxus editions, sometimes as Maciunas' only assistant. For self-trained Saito, this was
442:
points out that many of the
Fluxchess sets deny the zero-sum win-or-lose social dynamics of chess in which Duchamp was engaged, and thereby subvert the "masculinist cold war metaphors" of chess. In Saito's case, she argues this is accomplished by reorienting the experience of chess to combine the
350:
again includes the idea of exchange with the viewer and of collaborative artistic work. In a small shop resembling a market stall, the artist as sales woman offered an arranged selection of those small things or materials which she also used in her objects: dried onion skins, chestnuts, pieces of
237:
and I started this part-time collective life. For the first few days, the men went shopping and the girls cooked. However we found it inconvenient, because George came back rather late from his office and then often didn't buy what we wanted to cook.... It didn't last long, because we got jobs at
184:
Province in Japan to a wealthy landholding family. As the second daughter among three siblings, she had a relatively free childhood for her position. In her middle school years, during WWII, she and her classmates were put to work in a factory that produced military parachutes. Saito's job was to
211:
Determined to live independently, Saito left for
Hokkaidō in 1960 where she worked in construction for six months, but she soon realized her desire to continue making art. She moved back to Tokyo in 1961 where she explored artmaking more, but found the rigid hierarchies of the Japanese artists
332:
Since 1978, Saito has been living and working in Düsseldorf. Her move to Dūsseldorf and initial housing in the caretaker's workshop of a student hostel directed by Fluxus collector Erik
Andersch allowed her to begin working full-time as an artist. Her later pieces have maintained the
212:
associations and arts institutions difficult to deal with as a self-taught member of Sobi. Intrigued by the reports being sent back by Ay-O, Saito also traveled to New York on a working visa in 1963, ostensibly to work as a designer for a textile wholesaler.
242:
Although Saito remained a part of the Fluxus movement throughout the 1960s and '70s, for her it was only one means of exploring her artistic commitment. She further expanded her experience through classes at New York University in summer 1964, the
159:, but her larger body of work focuses on crafting a variety of objects to be used in open-ended situations that create unexpected social relations. More recent exhibitions, such as the Museum für Gegenwartskunst Siegen's 2017-18 exhibition
351:
wood. Here, the interaction with the viewer started with the joint selection, placement and fixation of the offered items on paper plates. It ended with the handing over of the object to the respective participant.
1921:
275:
in England publishing artist's books (1973–75); and with Francesco Conz and Rosanna Chiessi in Italy, creating interactive installations and other works (1975–79). From 1979 to 1983, she taught at the
204:
groups in Japan, such as Demokurāto Bijutsuka Kyōkai (Democratic Artists Association). Through Ay-O, Saito learned about the avant-garde, first in Tokyo, and then, after he moved in 1958, in
279:, and the income from this job allowed her to launch her own bookmaking venture, Noodle Editions. This came at a fortuitous time in the early 1980s when there was an increasing demand for
225:
After a while, Maciunas proposed having dinner together every evening. In his opinion, buying food for many was more economical than buying for one... He called it Flux Dinner Commune. So
1721:
286:
Thus even after leaving New York, Saito continued her Fluxus connections, producing multi-media installations and sculptural work in collaboration with other Fluxus artists such as
1771:
814:
775:
1746:
790:
2328:
2323:
2353:
784:
1671:
2343:
844:
1596:
1372:
1339:
1216:
1151:
1058:
976:
2338:
895:
1131:
802:
247:
from 1964 to 1966, and the Art Students League from 1966 to 1968, although these also served as justification for her continued visa.
2348:
1591:(in German, French, and English). Köln: Museum für Gegenwartskunst Siegen and Musée d'art Contemporain de Bordeaux. pp. 40–41.
1421:
1176:
1094:
1964:
698:, Ausstellungen: Kunstmuseum Liechtenstein, Vaduz; Akademie der Künste, Berlin; Museum für Gegenwartskunst Siegen, 2005–06
2261:
2208:
796:
1240:
193:
1416:. Detroit, MI: Gilbert and Lila Silverman Fluxus Collection in association with H.N. Abrams, New York. p. 461.
1207:
Daniels, Dieter (2018). "A Visit to Takako Saito's Workshop". In Alice Motard; Eva Schmidt; Johannes Stahl (eds.).
244:
2042:
853:
863:
2097:
438:
of a Fluxkit in 1965. While many have noted the relation between Duchamp's interest in chess, art historian
392:
255:
Saito left New York in 1968, leading an itinerant lifestyle until 1979. During this time, Saito worked with
20:
431:
of disrupted chess sets to sell in his new Flux shop on Canal Street in Soho. Maciunas was so delighted by
2318:
1992:
450:, Saito has produced numerous other chess sets that subvert usual gameplay rules including the following:
2112:
2067:
423:
from 1964 onwards, sometimes in uncredited form, and were part of a Fluxus series of game variations of
311:
2047:
935:
1896:
2313:
2276:
2201:
1957:
1696:
826:
1211:. Museum fūr Gegenwartskunst, Siegen and CAPC-Musée d'art contemporain, Bordeaux. pp. 285–89.
276:
2175:
2032:
1524:
1477:
1287:
1279:
324:(1975–77). Saito also maintained contact with Maciunas throughout the 1970s, up until his death.
1646:
1143:
1053:. Museum für Gegenwartskunst Siegen; CAPC-Musée d'art contemporain, Bordeaux. pp. 298–99.
2251:
2215:
2165:
1602:
1592:
1558:
1516:
1469:
1427:
1417:
1378:
1368:
1345:
1335:
1271:
1222:
1212:
1182:
1172:
1147:
1100:
1090:
1064:
1054:
982:
972:
885:
720:
Dissonances: Shigeko Kubota, Yayoi Kusama, Yoko Ono, Takako Saito, Mieko Shiomi, Atsuko Tanaka
1871:
2160:
1987:
1508:
1461:
1263:
1139:
368:
272:
264:
181:
83:
69:
46:
2333:
2117:
2062:
1950:
1621:
867:
808:
295:
226:
149:
299:
238:
night. George was discouraged, but bravely said, "Well, work comes first, dinner second."
2292:
2256:
2192:
2122:
2057:
2052:
2017:
879:
820:
403:
in Dortmund, Germany in 2012–13; the Museum of Modern Art in New York in 2010; and the
400:
287:
268:
260:
234:
2307:
2082:
2077:
2012:
2007:
1528:
1481:
1291:
439:
360:
291:
256:
230:
205:
164:
2107:
2092:
2037:
2022:
2002:
902:
307:
666:
De Bonnard à Baselitz – Dix ans d'enrichissement du cabinet des estampes 1978–1988
1305:
2229:
2170:
2155:
2150:
2102:
433:
404:
303:
201:
91:
2266:
1606:
1562:
1226:
1068:
189:
79:
1520:
1473:
1431:
1382:
1349:
1275:
1186:
1104:
986:
838:
2145:
2140:
2027:
87:
1117:
Quoted in Mr Fluxus, E Williams and A Noel, Thames and Hudson, 1997, p. 129
2271:
2246:
2222:
2072:
1512:
1465:
1267:
384:
316:
1283:
314:. Saito has contributed pieces to many Fluxus collaborations, including
1821:
1254:
Lushetich, Natasha (2011). ""Ludus Populi": The Practice of Nonsense".
548:
Takako's You and me shop, music shop, newspaper stand, FLUX scoops shop
364:
419:
sets she has created over the years. These were often included in the
338:
example of such a work in a more formal exhibition setting is Saito's
1973:
857:
396:
380:
376:
372:
334:
280:
145:
102:
1796:
1846:
568:, Kleiner Raum Clasing & Galerie Etage, Münster, Germany, 2007
1089:. New Brunswick, N.J.: Rutgers University Press. pp. 119–20.
832:
690:
Una larga historia con muchos nudos Fluxus en Alemania: 1962 –1994
424:
416:
50:
1557:. New Brunswick, NJ: Rutgers University Press. pp. 124–128.
1997:
971:. New Brunswick, NJ: Rutgers University Press. pp. 116–19.
592:, Kelter-Kabinett / Staatliches Museum, Schwerin, Germany, 2016
197:
1946:
1398:
Mesch, Claudia. (Winter 2006). Cold War Games and Postwar Art.
1171:. New Brunswick, N.J.: Rutgers University Press. p. 135.
155:
Saito is best known for her special chess sets, which include
113:
914:
1726:
Musée d'art moderne et contemporain, Saint-Étienne métropole
785:
Musée d'art moderne et contemporain, Saint-Étienne Métropole
578:
Les Jeux de 1988–1994 / Les Jeux de 2004-2009 + You and Me
1942:
850:
Kunstsammlung Maria und Walter Schnepel, Bremen, Germany
728:, Passage de Retz, Paris, Curator Bernard Blistène, 2009
704:, Museo de Arte Latinoamericano de Buenos Aires, 2006–07
562:, Museo d'Arte Contemporanea di Villa Croce, Genoa, 2006
934:
Sakagami, Shinobu; Morishita, Akihiko (4 October 2015).
648:
Fluxus, etc.: The Gilbert and Lila Silverman Collection
1587:
Schmidt, Eva; Motard, Alice; Stahl, Johannes (2018).
1049:
Motard, Alice; Schmidt, Eva; Stahl, Johannes (2018).
692:, Museo Tamayo Arte Contemporáneo, Mexico City, 2004
1555:
Into Performance: Japanese Women Artists in New York
1169:
Into Performance: Japanese Women Artists in New York
1087:
Into Performance: Japanese Women Artists in New York
969:
Into Performance: Japanese Women Artists in New York
520:, Galerie M. + R. Fricke, Düsseldorf, Germany, 1984
2285:
2239:
2184:
2131:
1980:
530:
Takako Saito: Eine Japanerin in Düsseldorf, Objekte
188:In 1947, Saito's mother sent her to Tokyo to study
108:
98:
75:
65:
57:
37:
30:
873:Itami City Museum of Art, Hyogo Prefecture, Japan
610:, CAPC musée d'art contemporain de Bordeaux, 2019
586:, Galerie van Gelder / AP, Amsterdam, NL, 2015-16
524:Takako Saito – performance, books and book objects
415:She is perhaps best known for the various special
1776:Collection du Centre national des arts plastiques
1365:Re-imagining Asia: a thousand years of separation
1897:"Learning & Research: Archive: Saito Takako"
616:, boa-basedonart gallery, Dusseldorf, 2021-2022
1400:Reconstruction: Studies in Contemporary Culture
815:Musée d'art modern et contemporain – Strasbourg
809:Musée nationale d'art moderne - Centre Pompidou
387:in recent years, her work has been featured in
137:
550:, Galeria Lara Vincy, Paris, 2003, 2009, 2010
526:, Galerie Hundertmark, Cologne, Germany, 1986
131:
1958:
1330:Grothe, Nicole; Wettengl, Kurt, eds. (2013).
756:EHF Collection. Fluxus, Concept Art, Mail Art
740:, Museum Ostwall, Dortmund, Germany, 2012–13
644:, Exeter, England, 1973 (touring exhibition)
144:is a Japanese artist closely associated with
8:
1901:MACBA Museu d'Art Contemporani de Barcelona
1697:"Fluxus Collection: Artists: Saito, Takako"
750:Making Music Modern: Design for Ear and Eye
710:, Haus der Kulturen der Welt, Berlin, 2008
674:, Fundacion Antoni Tapies, Barcelona, 1994
654:Marcel Duchamp und die Avantgarde seit 1950
604:, Museum für Gegenwartskunst, Siegen, 2017
598:, Buchgalerie Mergemeier, Dusseldorf, 2016
1965:
1951:
1943:
1826:museum moderner kunst stiftung ludwig wien
696:Faites vos jeux! Kunst und Spiel seit Dada
650:, Contemporary Arts Museum, Houston, 1984
580:, Galerie Lara Vincy, Paris, France, 2010
574:, Galerie Lara Vincy, Paris, France, 2009
27:
1144:10.1093/gao/9781884446054.article.T028714
962:
960:
958:
956:
776:CAPC musée d'art contemporain de Bordeaux
686:, Museum für moderne Kunst, Bremen, 2002
876:The National Museum of Art Osaka, Japan
499:Galleria Multipla, Milan, 1975 and 1976
399:in 2008 and in Fluxus retrospectives at
1851:Zentrum für Kunst und Medien, Karlsruhe
1125:
1123:
926:
734:, Museum of Modern Art, New York, 2010
722:, Toyota Municipal Museum of Art, 2008
678:Dinge in der Kunst des XX. Jahrhunderts
508:Ruhr Universität, Essen, Germany, 1980
845:ZKM Center for Art and Media Karlsruhe
668:, Bibliothèque nationale, Paris, 1992
1582:
1580:
1578:
1576:
1574:
1572:
1548:
1546:
1544:
1542:
1540:
1538:
1443:
1441:
1394:
1392:
1044:
1042:
1040:
1038:
1036:
1034:
1032:
1030:
1028:
1026:
1024:
1022:
1020:
1018:
1016:
940:Oral History Archives of Japanese Art
936:"日本美術オーラル・ヒストリー・アーカイヴ/斉藤陽子オーラル・ヒストリー"
896:Museu d'Art Contemporani de Barcelona
764:, Künstlerhaus Bremen, Germany, 2016
538:, The Emily Harvey Gallery, NY, 1990
180:Saito was born in 1929 in Sabae-Shi,
7:
1676:musée d'art contemporain de Bordeaux
1202:
1200:
1198:
1196:
1080:
1078:
1014:
1012:
1010:
1008:
1006:
1004:
1002:
1000:
998:
996:
803:Centre nationale des arts plastiques
781:Fondazione Bonotto, Vincenza, Italy
758:, Emily Harvey Foundation, NY, 2017
752:, Museum of Modern Art, NY, 2014–16
662:, Biennale di Venezia, Venice, 1990
2329:21st-century Japanese women artists
2324:20th-century Japanese women artists
746:, Lehmbruck Museum, Duisburg, 2014
514:, Modern Art Galerie, Vienna, 1981
487:Chess for Rats and Squirrels (2012)
14:
744:HANS IM GLÜCK – KUNST UND KAPITAL
596:Takako Saito: der Himmel klingelt
544:, Fondazione Mudima, Milan, 1993
901:Collection of Artists' Books at
891:Emily Harvey Foundation, NY, US
532:, Stadtmuseum, Dusseldorf, 1988
200:, an artist actively engaged in
2354:Japan Women's University alumni
2194:Topographie Anécdotée du Hasard
1334:. Heidelberg, Germany: Kehrer.
856:(Gilbert B. and Lila Silverman
680:, Haus der Kunst, Munich, 2000
660:Ubi Fluxus ibi motus, 1990/1962
656:, Museum Ludwig, Cologne, 1988
359:Aside from solo exhibitions in
1922:"Artists' Books: Takako Saito"
880:Whitney Museum of American Art
512:Objetkte, Bücher, Schachspiele
496:Galery La Fenêtre, Nice, 1972
1:
2344:Japanese contemporary artists
1499:: The Practice of Nonsense".
1452:: The Practice of Nonsense".
1241:"Virtual Museum of Modernism"
702:Fluxus en Alemania, 1962–1994
684:Fluxus und Freunde, Weserburg
566:Bücher, Objekte, Schachspiele
554:Takako Saito – Viel Vergnügen
2262:Fluxus at Rutgers University
1495:Lushetich, Natasha (2011). "
1448:Lushetich, Natasha (2011). "
1306:"Experimental Women in Flux"
505:, De Appel, Amsterdam, 1978
19:For the sport wrestler, see
2339:Japanese conceptual artists
805:, Paris La Défense, France
454:Nut & Bolt Chess (1964)
138:
16:Japanese artist (born 1929)
2370:
1847:"Takako Saito: Music Book"
1589:Takako Saito: Dreams to do
1553:Midori, Yoshimoto (2005).
1209:Takako Saito: Dreams to do
1167:Yoshimoto, Midori (2005).
1085:Yoshimoto, Midori (2005).
1051:Takako Saito: Dreams to do
967:Yoshimoto, Midori (2005).
732:Experimental Women in Flux
556:, Kunsthalle Bremen, 2004
263:in France (1968–72); with
245:Brooklyn Museum Art School
18:
854:Detroit Institute of Arts
572:Les jeux de 1988–1994 + x
132:
2349:Women conceptual artists
1926:Reed Digital Collections
1751:musée d'art contemporain
1363:Merali, Shaheen (2008).
1332:Fluxus – Kunst für alle!
1310:The Museum of Modern Art
1130:Corris, Michael (2003).
915:Takako Saito – home page
864:Getty Research Institute
827:The Museum of Modern Art
791:musée d'art contemporain
672:En el espiritu de Fluxus
620:Select group exhibitions
484:Hut Schachspeil C (1999)
194:Japan Women's University
176:Early life and education
1412:Hendricks, Jon (1988).
905:, Portland, Oregon, US
393:House of World Cultures
21:Takako Saito (wrestler)
2286:Critics and historians
888:, Minneapolis, MN, US
797:Musée d'arts de Nantes
772:Archivio Conz, Berlin
738:FLUXUS Kunst für Alle!
602:Takako Saito: You + Me
542:0 + 0 + (-1) = my work
478:Bauhaus Chess B (1989)
353:
240:
161:Takako Saito: You + Me
82:, Artist's Multiples,
481:Spiral Schach (1989)
344:
223:
2277:Something Else Press
1876:www.artmuseums.go.jp
1801:Museum of Modern Art
1513:10.1353/tj.2011.0032
1466:10.1353/tj.2011.0032
1268:10.1353/tj.2011.0032
860:Collection), MI, US
726:Soudain l'été Fluxus
716:, Tate Modern, 2008
503:Other Books & So
457:Grinder Chess (1965)
1402:6 (1): unpaginated.
870:), Los Angeles, US
841:, Potsdam, Germany
793:, Montreal, Quebec
475:Spielkopf 12 (1987)
469:Liquor Chess (1975)
463:Weight Chess (1965)
277:University of Essen
267:, David Mayor, and
216:New York and Fluxus
2252:Art & Language
2176:Carolee Schneemann
2033:Geoffrey Hendricks
1701:Fondazione Bonotto
1622:"Play and Connect"
821:The British Museum
472:Book Chess (1980s)
466:Smell Chess (1965)
460:Sound Chess (1965)
407:, London in 2008.
2301:
2300:
2202:Poème symphonique
2166:Charlotte Moorman
1598:978-3-86442-260-7
1374:978-0-86356-653-0
1341:978-3-86828-449-2
1218:978-3-86442-260-7
1153:978-1-884446-05-4
1136:Oxford Art Online
1060:978-3-86442-260-7
978:978-0-8135-3521-0
886:Walker Art Center
768:Major collections
708:Re-Imagining Asia
560:Game Fashion Show
518:Bücherausstelling
389:Re-Imagining Asia
124:
123:
2361:
2240:Related articles
2161:Richard Maxfield
2132:Related artists
1988:Genpei Akasegawa
1967:
1960:
1953:
1944:
1937:
1936:
1934:
1932:
1918:
1912:
1911:
1909:
1907:
1893:
1887:
1886:
1884:
1882:
1868:
1862:
1861:
1859:
1857:
1843:
1837:
1836:
1834:
1832:
1818:
1812:
1811:
1809:
1807:
1793:
1787:
1786:
1784:
1782:
1768:
1762:
1761:
1759:
1757:
1743:
1737:
1736:
1734:
1732:
1718:
1712:
1711:
1709:
1707:
1693:
1687:
1686:
1684:
1682:
1668:
1662:
1661:
1659:
1657:
1643:
1637:
1636:
1634:
1632:
1617:
1611:
1610:
1584:
1567:
1566:
1550:
1533:
1532:
1492:
1486:
1485:
1445:
1436:
1435:
1409:
1403:
1396:
1387:
1386:
1367:. London: Saqi.
1360:
1354:
1353:
1327:
1321:
1320:
1318:
1316:
1302:
1296:
1295:
1251:
1245:
1244:
1237:
1231:
1230:
1204:
1191:
1190:
1164:
1158:
1157:
1127:
1118:
1115:
1109:
1108:
1082:
1073:
1072:
1046:
991:
990:
964:
951:
950:
948:
946:
931:
894:Archives of the
811:, Paris, France
632:
631:
627:
584:Play and Connect
492:Solo exhibitions
273:Beau Geste Press
265:Felipe Ehrenberg
143:
141:
135:
134:
120:
117:
115:
70:Child Psychology
28:
2369:
2368:
2364:
2363:
2362:
2360:
2359:
2358:
2304:
2303:
2302:
2297:
2281:
2235:
2180:
2133:
2127:
2118:Emmett Williams
2063:George Maciunas
1976:
1971:
1941:
1940:
1930:
1928:
1920:
1919:
1915:
1905:
1903:
1895:
1894:
1890:
1880:
1878:
1870:
1869:
1865:
1855:
1853:
1845:
1844:
1840:
1830:
1828:
1820:
1819:
1815:
1805:
1803:
1795:
1794:
1790:
1780:
1778:
1770:
1769:
1765:
1755:
1753:
1745:
1744:
1740:
1730:
1728:
1720:
1719:
1715:
1705:
1703:
1695:
1694:
1690:
1680:
1678:
1670:
1669:
1665:
1655:
1653:
1645:
1644:
1640:
1630:
1628:
1619:
1618:
1614:
1599:
1586:
1585:
1570:
1552:
1551:
1536:
1501:Theatre Journal
1494:
1493:
1489:
1454:Theatre Journal
1447:
1446:
1439:
1424:
1411:
1410:
1406:
1397:
1390:
1375:
1362:
1361:
1357:
1342:
1329:
1328:
1324:
1314:
1312:
1304:
1303:
1299:
1256:Theatre Journal
1253:
1252:
1248:
1239:
1238:
1234:
1219:
1206:
1205:
1194:
1179:
1166:
1165:
1161:
1154:
1129:
1128:
1121:
1116:
1112:
1097:
1084:
1083:
1076:
1061:
1048:
1047:
994:
979:
966:
965:
954:
944:
942:
933:
932:
928:
923:
911:
868:Emmett Williams
770:
633:
629:
625:
623:
622:
494:
413:
348:You and Me Shop
330:
320:(1964) and the
296:Dorothy Iannone
253:
218:
178:
173:
150:George Maciunas
129:
112:
53:
44:
43:
33:
24:
17:
12:
11:
5:
2367:
2365:
2357:
2356:
2351:
2346:
2341:
2336:
2331:
2326:
2321:
2316:
2306:
2305:
2299:
2298:
2296:
2295:
2293:Hannah Higgins
2289:
2287:
2283:
2282:
2280:
2279:
2274:
2269:
2264:
2259:
2257:Conceptual art
2254:
2249:
2243:
2241:
2237:
2236:
2234:
2233:
2226:
2219:
2212:
2205:
2198:
2188:
2186:
2182:
2181:
2179:
2178:
2173:
2168:
2163:
2158:
2153:
2148:
2143:
2137:
2135:
2129:
2128:
2126:
2125:
2123:La Monte Young
2120:
2115:
2110:
2105:
2100:
2095:
2090:
2085:
2080:
2075:
2070:
2065:
2060:
2058:Shigeko Kubota
2055:
2053:Alison Knowles
2050:
2045:
2040:
2035:
2030:
2025:
2020:
2018:Robert Filliou
2015:
2010:
2005:
2000:
1995:
1990:
1984:
1982:
1981:Fluxus artists
1978:
1977:
1972:
1970:
1969:
1962:
1955:
1947:
1939:
1938:
1913:
1888:
1872:"Takako Saito"
1863:
1838:
1822:"Takako Saito"
1813:
1797:"Takako Saito"
1788:
1772:"SAITO Takako"
1763:
1747:"SAITO Takako"
1738:
1722:"SAITO Takako"
1713:
1688:
1672:"SAITO Takako"
1663:
1647:"Takako Saito"
1638:
1612:
1597:
1568:
1534:
1487:
1437:
1422:
1404:
1388:
1373:
1355:
1340:
1322:
1297:
1246:
1232:
1217:
1192:
1177:
1159:
1152:
1119:
1110:
1095:
1074:
1059:
992:
977:
952:
925:
924:
922:
919:
918:
917:
910:
909:External links
907:
839:museum FLUXUS+
769:
766:
714:States of Flux
621:
618:
493:
490:
489:
488:
485:
482:
479:
476:
473:
470:
467:
464:
461:
458:
455:
412:
409:
401:Museum Ostwall
329:
326:
288:Robert Filliou
269:Martha Hellion
261:Robert Filliou
252:
249:
217:
214:
177:
174:
172:
169:
122:
121:
110:
106:
105:
100:
96:
95:
77:
76:Known for
73:
72:
67:
63:
62:
59:
55:
54:
45:
41:
39:
35:
34:
31:
15:
13:
10:
9:
6:
4:
3:
2:
2366:
2355:
2352:
2350:
2347:
2345:
2342:
2340:
2337:
2335:
2332:
2330:
2327:
2325:
2322:
2320:
2319:Living people
2317:
2315:
2312:
2311:
2309:
2294:
2291:
2290:
2288:
2284:
2278:
2275:
2273:
2270:
2268:
2265:
2263:
2260:
2258:
2255:
2253:
2250:
2248:
2245:
2244:
2242:
2238:
2232:
2231:
2227:
2225:
2224:
2220:
2218:
2217:
2213:
2211:
2210:
2206:
2204:
2203:
2199:
2197:
2196:
2195:
2190:
2189:
2187:
2183:
2177:
2174:
2172:
2169:
2167:
2164:
2162:
2159:
2157:
2154:
2152:
2149:
2147:
2144:
2142:
2139:
2138:
2136:
2134:and musicians
2130:
2124:
2121:
2119:
2116:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2083:Ben Patterson
2081:
2079:
2078:Nam June Paik
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2041:
2039:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2016:
2014:
2013:Philip Corner
2011:
2009:
2008:George Brecht
2006:
2004:
2001:
1999:
1996:
1994:
1993:Eric Andersen
1991:
1989:
1986:
1985:
1983:
1979:
1975:
1968:
1963:
1961:
1956:
1954:
1949:
1948:
1945:
1927:
1923:
1917:
1914:
1902:
1898:
1892:
1889:
1877:
1873:
1867:
1864:
1852:
1848:
1842:
1839:
1827:
1823:
1817:
1814:
1802:
1798:
1792:
1789:
1777:
1773:
1767:
1764:
1752:
1748:
1742:
1739:
1727:
1723:
1717:
1714:
1702:
1698:
1692:
1689:
1677:
1673:
1667:
1664:
1652:
1651:Archivio Conz
1648:
1642:
1639:
1627:
1623:
1616:
1613:
1608:
1604:
1600:
1594:
1590:
1583:
1581:
1579:
1577:
1575:
1573:
1569:
1564:
1560:
1556:
1549:
1547:
1545:
1543:
1541:
1539:
1535:
1530:
1526:
1522:
1518:
1514:
1510:
1506:
1502:
1498:
1491:
1488:
1483:
1479:
1475:
1471:
1467:
1463:
1459:
1455:
1451:
1444:
1442:
1438:
1433:
1429:
1425:
1423:0-8109-0920-0
1419:
1415:
1408:
1405:
1401:
1395:
1393:
1389:
1384:
1380:
1376:
1370:
1366:
1359:
1356:
1351:
1347:
1343:
1337:
1333:
1326:
1323:
1311:
1307:
1301:
1298:
1293:
1289:
1285:
1281:
1277:
1273:
1269:
1265:
1261:
1257:
1250:
1247:
1242:
1236:
1233:
1228:
1224:
1220:
1214:
1210:
1203:
1201:
1199:
1197:
1193:
1188:
1184:
1180:
1178:0-8135-4105-0
1174:
1170:
1163:
1160:
1155:
1149:
1145:
1141:
1137:
1133:
1126:
1124:
1120:
1114:
1111:
1106:
1102:
1098:
1096:0-8135-4105-0
1092:
1088:
1081:
1079:
1075:
1070:
1066:
1062:
1056:
1052:
1045:
1043:
1041:
1039:
1037:
1035:
1033:
1031:
1029:
1027:
1025:
1023:
1021:
1019:
1017:
1015:
1013:
1011:
1009:
1007:
1005:
1003:
1001:
999:
997:
993:
988:
984:
980:
974:
970:
963:
961:
959:
957:
953:
941:
937:
930:
927:
920:
916:
913:
912:
908:
906:
904:
899:
897:
892:
889:
887:
883:
881:
877:
874:
871:
869:
865:
861:
859:
855:
851:
848:
846:
842:
840:
836:
834:
830:
828:
824:
823:, London, UK
822:
818:
816:
812:
810:
806:
804:
800:
798:
794:
792:
788:
786:
782:
779:
777:
773:
767:
765:
763:
759:
757:
753:
751:
747:
745:
741:
739:
735:
733:
729:
727:
723:
721:
717:
715:
711:
709:
705:
703:
699:
697:
693:
691:
687:
685:
681:
679:
675:
673:
669:
667:
663:
661:
657:
655:
651:
649:
645:
643:
639:
637:
628:
619:
617:
615:
611:
609:
605:
603:
599:
597:
593:
591:
587:
585:
581:
579:
575:
573:
569:
567:
563:
561:
557:
555:
551:
549:
545:
543:
539:
537:
533:
531:
527:
525:
521:
519:
515:
513:
509:
506:
504:
500:
497:
491:
486:
483:
480:
477:
474:
471:
468:
465:
462:
459:
456:
453:
452:
451:
449:
444:
441:
440:Claudia Mesch
436:
435:
428:
426:
422:
418:
410:
408:
406:
402:
398:
394:
390:
386:
382:
378:
374:
370:
366:
362:
357:
352:
349:
343:
341:
340:You + Me Shop
336:
327:
325:
323:
319:
318:
313:
309:
305:
301:
297:
293:
292:George Brecht
289:
284:
282:
278:
274:
270:
266:
262:
258:
257:George Brecht
250:
248:
246:
239:
236:
232:
228:
222:
215:
213:
209:
207:
206:New York City
203:
199:
195:
191:
186:
183:
175:
170:
168:
166:
162:
158:
153:
151:
147:
140:
128:
119:
111:
107:
104:
101:
97:
93:
89:
85:
81:
78:
74:
71:
68:
64:
60:
56:
52:
48:
40:
36:
29:
26:
22:
2228:
2221:
2214:
2207:
2200:
2193:
2191:
2113:Robert Watts
2108:Wolf Vostell
2098:Mieko Shiomi
2093:Tomas Schmit
2088:Takako Saito
2087:
2068:Larry Miller
2048:Milan Knížák
2038:Dick Higgins
2023:Ken Friedman
2003:Joseph Beuys
1929:. Retrieved
1925:
1916:
1904:. Retrieved
1900:
1891:
1879:. Retrieved
1875:
1866:
1854:. Retrieved
1850:
1841:
1829:. Retrieved
1825:
1816:
1804:. Retrieved
1800:
1791:
1779:. Retrieved
1775:
1766:
1754:. Retrieved
1750:
1741:
1729:. Retrieved
1725:
1716:
1704:. Retrieved
1700:
1691:
1679:. Retrieved
1675:
1666:
1654:. Retrieved
1650:
1641:
1629:. Retrieved
1625:
1615:
1588:
1554:
1504:
1500:
1497:Ludus Populi
1496:
1490:
1460:(1): 26–28.
1457:
1453:
1450:Ludus Populi
1449:
1414:Fluxus Codex
1413:
1407:
1399:
1364:
1358:
1331:
1325:
1313:. Retrieved
1309:
1300:
1262:(1): 23–41.
1259:
1255:
1249:
1235:
1208:
1168:
1162:
1135:
1113:
1086:
1050:
968:
943:. Retrieved
939:
929:
903:Reed College
900:
893:
890:
884:
878:
875:
872:
866:(Archive of
862:
852:
849:
843:
837:
831:
825:
819:
813:
807:
801:
795:
789:
783:
780:
774:
771:
761:
760:
755:
754:
749:
748:
743:
742:
737:
736:
731:
730:
725:
724:
719:
718:
713:
712:
707:
706:
701:
700:
695:
694:
689:
688:
683:
682:
677:
676:
671:
670:
665:
664:
659:
658:
653:
652:
647:
646:
641:
640:
635:
634:
614:Takako Saito
613:
612:
608:Takako Saito
607:
606:
601:
600:
595:
594:
589:
588:
583:
582:
577:
576:
571:
570:
565:
564:
559:
558:
553:
552:
547:
546:
541:
540:
535:
534:
529:
528:
523:
522:
517:
516:
511:
510:
507:
502:
501:
498:
495:
447:
445:
432:
429:
420:
414:
388:
371:, New York,
358:
354:
347:
345:
339:
331:
322:Flux Cabinet
321:
315:
308:Dick Higgins
300:Gerhard Rühm
285:
254:
241:
224:
219:
210:
187:
179:
167:in Germany.
160:
156:
154:
142:, born 1929)
139:Saitō Takako
127:Takako Saito
126:
125:
116:.takakosaito
84:Installation
42:Takako Saito
32:Takako Saito
25:
2314:1929 births
2230:Spice Chess
2171:Dieter Roth
2156:Ray Johnson
2151:Henry Flynt
2103:Ben Vautier
1931:20 December
1906:20 December
1881:20 December
1856:20 December
1831:20 December
1806:20 December
1781:20 December
1756:20 December
1731:20 December
1706:20 December
1681:20 December
1656:20 December
1631:31 December
1315:31 December
945:31 December
638:, NY, 1965
448:Spice Chess
446:Aside from
434:Spice Chess
405:Tate Modern
304:Ben Vautier
202:avant-garde
157:Spice Chess
92:Performance
58:Nationality
2308:Categories
2267:Intermedia
2216:Grapefruit
2185:Flux-works
1620:ArtFacts.
1607:1047775231
1563:1261925043
1227:1079908042
1069:1079908042
921:References
847:, Germany
835:, Austria
833:MUMOK Wien
421:Flux Boxes
411:Chess sets
361:Düsseldorf
328:Dusseldorf
283:products.
233:, Takako,
190:psychology
165:Düsseldorf
80:Visual Art
2209:Water Yam
2146:John Cale
2141:John Cage
2043:Joe Jones
2028:Al Hansen
1529:144652357
1521:1086-332X
1507:(1): 27.
1482:144652357
1474:1086-332X
1432:898831422
1383:551854375
1350:931124122
1292:144652357
1276:0192-2882
1187:133159483
1105:133159483
987:833290748
882:, NY, US
817:, France
799:, France
787:, France
778:, France
312:Bob Watts
171:Biography
88:Sculpture
66:Education
2272:Neo-Dada
2247:Anti-art
2223:Fluxus 1
2073:Yoko Ono
1626:ArtFacts
1284:41307503
1132:"Fluxus"
898:, Spain
762:Das Loch
642:FLUXshoe
636:Box Show
590:You + Me
385:Schwerin
346:Saito's
317:Fluxus 1
99:Movement
61:Japanese
391:at the
365:Cologne
251:Travels
235:Shigeko
192:at the
109:Website
2334:Fluxus
1974:Fluxus
1605:
1595:
1561:
1527:
1519:
1480:
1472:
1430:
1420:
1381:
1371:
1348:
1338:
1290:
1282:
1274:
1225:
1215:
1185:
1175:
1150:
1103:
1093:
1067:
1057:
985:
975:
858:Fluxus
624:": -->
397:Berlin
381:Kaunas
377:Bremen
373:Kansas
335:Fluxus
281:Fluxus
227:George
146:Fluxus
103:Fluxus
1525:S2CID
1478:S2CID
1288:S2CID
1280:JSTOR
829:, NY
536:Games
425:Chess
417:chess
369:Fukui
182:Fukui
133:斉藤 陽子
51:Japan
47:Fukui
1998:Ay-O
1933:2022
1908:2022
1883:2022
1858:2022
1833:2022
1808:2022
1783:2022
1758:2022
1733:2022
1708:2022
1683:2022
1658:2022
1633:2021
1603:OCLC
1593:ISBN
1559:OCLC
1517:ISSN
1470:ISSN
1428:OCLC
1418:ISBN
1379:OCLC
1369:ISBN
1346:OCLC
1336:ISBN
1317:2021
1272:ISSN
1223:OCLC
1213:ISBN
1183:OCLC
1173:ISBN
1148:ISBN
1101:OCLC
1091:ISBN
1065:OCLC
1055:ISBN
983:OCLC
973:ISBN
947:2021
626:edit
383:and
310:and
259:and
231:Paik
198:Ay-O
118:.com
38:Born
1509:doi
1462:doi
1264:doi
1140:doi
395:in
271:at
114:www
2310::
1924:.
1899:.
1874:.
1849:.
1824:.
1799:.
1774:.
1749:.
1724:.
1699:.
1674:.
1649:.
1624:.
1601:.
1571:^
1537:^
1523:.
1515:.
1505:63
1503:.
1476:.
1468:.
1458:63
1456:.
1440:^
1426:.
1391:^
1377:.
1344:.
1308:.
1286:.
1278:.
1270:.
1260:63
1258:.
1221:.
1195:^
1181:.
1146:.
1138:.
1134:.
1122:^
1099:.
1077:^
1063:.
995:^
981:.
955:^
938:.
427:.
379:,
375:,
367:,
363:,
306:,
302:,
298:,
294:,
290:,
229:,
208:.
152:.
136:,
90:,
86:,
49:,
1966:e
1959:t
1952:v
1935:.
1910:.
1885:.
1860:.
1835:.
1810:.
1785:.
1760:.
1735:.
1710:.
1685:.
1660:.
1635:.
1609:.
1565:.
1531:.
1511::
1484:.
1464::
1434:.
1385:.
1352:.
1319:.
1294:.
1266::
1243:.
1229:.
1189:.
1156:.
1142::
1107:.
1071:.
989:.
949:.
630:]
342::
130:(
94:,
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.