186:(1949-1963), the annual exhibition where Hi-Red Center (and other collectives such as Kyushu-ha, Group Ongaku, Zero Dimension , Jikan-ha ) were active. Artists at the Yomiuri IndĂ©pendant Exhibition âadvocated making junk art and violent demonstrations to protest the conventional practice of artâ, degrading Art's status as rarefied objects to commonplace items. Reiko Tomii notes that Hi-Red Center treated this redefinition of the position of Art more directly, enabling Art to descend to everyday life by making everyday life and spaces the site of their work. The group had suspicions about the constraints of traditional art exhibition spacesââwhat is offered to the public, at which venue, by whom, under what circumstances, resulting in what reception?â.
297:). They saw the train systems as a "terrain of the everyday", using the individual bodies of the artists to demonstrate how these symbolic events have long-lasting effects on the citizen body, long after public political discourse and dissent wanes. Thus, this quietness or calmness is qualified on the level of public consciousness, rather than a literal silence or emptiness. The choice of staging the event on the Yamanote loop, one of the busiest commuter lines, demonstrates this prioritisation. Their choice of setting can also be attributed to the larger desire for âdirect actionâ (chokusetsu kodo), in the wake of waning public protests post-Anpo.
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and life. Their happenings were not a mere displacement of art to the streets, but inherently reshaped the relationship between objects and performance. Akasegawa in particular questioned the ways in which objects, actions, and environments gained coherence in relationship to each other and how artistic intervention acts could disrupt this. Furthermore, they wished to pronounce how their small gestures and ordinary objects were intertwined with inherent âstructuresâ (as
Nakanishi called them) or âsystemsâ (as Akasegawa called them in
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toes in various orientations, intercutting as if to trace the process of measurement integral to the piece. This assemblage of fragments from the events question the indexicality of the film document, and its status as capturing the "live" happening. It is also crucial to note that this film work was not conceptualised by Hi-Red Center as an official form of documentation, yet nonetheless provides a document to be studied. Akasegawa himself believed that a document of a performance manifests its power. However, for works such as
287:, Takamatsu had unravelled his 3.5 km long Point-string, knotted with similar domestic objects, on the station platform. Later, he stood on the side of the carriage, reading a newspaper with holes in them. Other participants, such as Murata Kiichi, applied white face paint and brought additional objects, including rope, real eggs and a chicken foot. Murai Tokuji documented the happening with photography, depicting the puzzled expressions of commuters watching Nakanishi. Akasegawa was also present as a photographer.
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1000-yen note as a passport. The name, date of birth, address, and belongings of each guest were verified, and fingerprints and body measurements were taken. Each participant was photographed from six points of viewâface, left profile, right profile, back, top and bottomâto create a custom-sized model of a shelter that could be ordered in four sizes, ranging from life-size to one-tenth of life-size. They then had to be measured for their body volume by being immersed into a bathtub filled with water.
439:, were invited into the Hi-Red Center suite to have their measurements taken, on the pretence of customising one-person nuclear bomb shelters. The process of inspecting each guest, despite them having received an invitation card and an instruction card, was intended to be alienating and objectifying, as though they had been arrested. The instructions included the following steps:
517:. Drinks were served. By subverting the functions and performativity of exhibition openings and closings, the collective wanted to position the space exterior to the gallery space as the work or panorama on display, rather than what is contained within the gallery space. No longer was the artwork form in questionâthe exhibition format needed to be challenged as well.
690:, scholars have argued that the group had staged the event with photographic documentation in mind, Daria Melnikova claiming that the event was staged for the camera itself. They go as far as to assert that " documentation as an essential part of performance production, and with an even more radical stance of valuing the image more than the live action."
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methods of âdirect actionâ in their work with Hi-Red Center, borrowing a term from prewar socialist agitators. With âdirect action,â the artists meant to raise to consciousness the absurdities and contradictions of
Japanese society. This interest in Art as direct action has been contextualised as rooted in the atmosphere following massive
283:, transparent forms about the size and shape of an ostrich egg, with sundry or "junk" items such as wristwatches, bits of rope, sunglasses, bottle caps and human hair encased in resin. Nakanishi proceeded to lick his objects, also shining a flashlight upon onlookerâs faces to observe their reactions. Prior to boarding the carriage at
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Committeeâ. The flyer included a list of fictional and actual co-organisers and sponsors, such as the Tokyoâs
Olympics Organizing Committee, Fluxus Japanese Section and Group Ongaku, reflecting the collective conception of the work, without full attribution to the group itself. This event was also submitted to
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Tomii, Reiko. "After the âDescent to the
Everydayâ: Japanese Collectivism from Hi Red Center to The Play, 1964â1973." In Collectivism after Modernism: The Art of Social Imagination after 1945, edited by STIMSON BLAKE and SHOLETTE GREGORY, 45-75. University of Minnesota Press, 2007. Accessed March 28,
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signing a contract and lying on a bed, a still shot of
Nakanishi's clothespin performance, the name card of the Hi Red Center group and the Imperial Hotel contract/rental form, Mystery Cans and a man taking a bath. It obfuscates the human body and figure, showing segments of the torso, back, head and
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Leading up to the happening event itself, the group also prepared flyers as an additional parody of bureaucratic organisation. The flyer posed an open call for participation, detailing arbitrary heuristic information under the organisation of the fictional âMetropolitan
Environment Hygiene Execution
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Naiqua
Gallery was an alternative gallery space adjacent to institutional spaces, existing within a broader system of commercial versus rental galleries which were further distinguished by the curatorial direction and rental paid by the artist. Thus, the space is further encoded with the notion that
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ran from May 12â16 at the Naiqua
Gallery in Tokyo. A questioning of the exhibition format, the group presented an exhibition that was only ever closed and not visible to its audience. They placed an announcement on the door that the space was closed âby the hands of Hi Red Center. When you have free
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Akasegawa referred to the group's work as "secret art", with no "officially fixed form" and existing "in the form of rumours". This reflected the
Happenings event nature of their work, despite requiring prior planning by the group members. However, this quality of secrecy was influenced by the group
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Hi-Red Center is known for "breaking away from the urban centrality of the Tokyo art scene and the focus on the museum/gallery as the core location for the production and consumption of art." By staging these events in the public realm, they acted anonymously while breaching the boundary between art
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event) in court in
October 1966. Their demonstrations were intended to enlighten the court on the "happenings" nature of Akesagawa's work, yet inevitably substantiated their defense by arguing that the objects used in their performance events ought to be treated with museum-like care, contradicting
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Guests were to enter the hotel through the front door, to wear a tie and gloves, and to bring a bag. They were also asked not to leave any fingerprints in the hotel lobby. Once they were invited upstairs and entered the hotel room, the participants received an HRC stampâa red exclamation markâon a
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This event was held on May 28â29 at Gallery Naiqua, inaugurating the space. The group (and its members) had frequently worked and exhibited in Naiqua (ć
ç§; internal medicine) Gallery, and continued to do so individually after their disbanding. Nakanishi was childhood friends with the owner, Miyata
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The group started cleaning the streets in Ginza with inefficient tools, such as cotton balls with ammonia, dental tools, surgeons sponges, tooth picks, linen napkins or toothbrushes, polishing any metal pieces they could find on the pavementâparodying or emphasising the futility of such cleaning
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Nakanishi conceived of the work as interactive, allowing the passerby audience to participate by taking the clothespins off or putting them on. The audience reacted to the work in bemusement, without realising the physical pain Nakanishi had subjected himself to. The group also made suits out of
81:
art magazine held November that year, with Akasegawa as an interloctor. The symposium examined the relationship between artistic and political action, and allowed the three artists to reflect on the waning of political activity in Japan. All three artists had begun as painters but would embrace
571:, as a criticism of how the Japanese government had hastily beautified and modernised Tokyo to present the city as economically advanced post-World War II. More incisively, these cleaning efforts were specifically targeted against unwanted citizens such as the homeless and âthought perverts" (
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Scholars such as Jessica Santone have read the work as "a critique of Cold War bureaucratic state machines by mimicking their excessive documentation and surveillant control of bodies, while drawing attention to the specificities of the individuals as they differ from normative ideals." Taro
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train heading counter-clockwise on its route, disrupting the normalcy of passenger's commutes through a series of performative actions. While this event was staged prior to the official formation of the group, it demonstrates the core ethos of their subsequent works from 1963 onwards.
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A diagram of the space was produced to indicate the parameters of the exhibition space, namely the closed door. The work was structured by its "opening" and "closing events, which in fact were the inverse, with the sealing of the door at the opening and its unsealing at its closing.
617:, the collective participants being against Japan's rapid urbanisation under the auspices of presenting an illusion of "Progress and Harmony" (Expo '70's theme) at an international event. Both events were documented by photographers Hirata Minoru and Hanaga Mitsutoshi.
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there was simply nothing left to do.â In fact, around that time Akasegawa was becoming increasingly preoccupied with his own trial for alleged counterfeiting of 1,000-yen notes, and thus did not have time for further events and happenings with Hi-Red Center.
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in white. Despite this deliberate self-identification, passersby did not question their clearly heightened act of cleaningâproving the legitimacy of the group's critique of how extreme or performative prior government cleaning initiatives had been.
583:" (Cleaning now) in Japanese. The three core members and their associates were dressed in outfits used by laboratory technicians during the Olympic Games, paired with an incongruous pair of shades and a red armband with the groupâs trademark â!â
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Photographic documentation of the group's ephemeral activities was crucial for the works to be studied and historicised. Operating during the 1960s, there was rarely any form of filmic of video documentation of artistic activity in
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being consisted of anonymous members that participated in the organisation of events, without being officially credited. Even the group's name was intended to form a was a fictional character called Mr. "Hi Red Center", similar to
360:, covered with metal clothespins and carrying balloons. These common clothespins were attached en-masse to canvas, clothing and human flesh. The work had previously been staged at the March 1963 Yomiuri Indépendant Exhibition.
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The group also prepared five Mystery Cans or as Akasegawa referred to them, "Universe Cans", which were tin cans marked with the group's signature red â!â insignia and filled with unknown contents. JĆnouchi Motoharuâs film
197:â (hapuningu), âeventsâ (ivento), and âritualsâ (gishiki) in "extraexhibtion projects" required extensive collaboration inter and intra collectives. Thus, Hi-Red Center's form of Anti-Art practice can also be said to be
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being a rare exception that was documented by film. Most of the group's works was photographed by Hirata Minoru and Hanaga Mitsutoshi. Hirata described his documentation practice as capturing "Art that jumped outside "
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At the opening event, the group used hammers and nails to affix the door, with no spectators except for a cockroach trapped in a glass, who was left in sealed gallery space. The closing event was officiated by
540:). After dropping the objects they collected and packed them all into the battered suitcase, placing it in a public locker and sending the key to the locker to someone chosen at random from a phone book.
167:) movements (in the 1970s), with Anti-Art collectivism being more viscerally driven and Non-Art collectivism more cerebrally engaged. These artists' experimentations with form can be characterised as the
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as their canvas, the group sought to create interventions that blurred the lines between art and everyday life and raised questions about centralized authority and the role of the individual in society.
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1550:"Takamatsu Jiro's String Continue On and On (Takamatsu JirĆ's string objects, at Hi Red Center's 5th Mixer Plan exhibition at Shinjuku Dai-Ichi Gallery) (1963) - Hirata Minoru - M+ Collections Beta"
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time, please make sure not to visit it." The group made sure to include both Japanese and English renditions of the announcement, conscious of foreigners who might want to enter the gallery.
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William Marotti characterizes this work as an intervention into quietness (or calmness), Nakanishi and Genpei situating the work in the wake of large-scale post-war upheavals (such as the
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has been staged out of Japan, though without reference of consideration of the original event's immediate socio-political context. An American edition of the event was organised by
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2013-14, 22 November 2013â9 February 2014. "Great Crescent: Art and Agitation in the 1960sâJapan, South Korea, and Taiwan", curated by Cosmin Costinas, Lesley Ma and Doryun Chong,
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suggests it would be a mistake to interpret it through the history and confines Euro-American movements. Instead, Hi-Red Center's activities can be seen to follow the demise of
1574:"Akasegawa Genpei's Wrapped Objects, with Okamoto TarĆ, at Hi Red Center's 5th Mixer Plan exhibition at Shinjuku Dai-Ichi Gallery (1963) - Hirata Minoru - M+ Collections Beta"
1311:
Tomii, Reiko (2007). "After the 'Descent to the Everyday': Japanese Collectivism from Hi Red Center to The Play, 1964-1973". In Stimson, Blake; Sholette, Gregory (eds.).
140:(1965) represents the corpus of the group's city interventions on a notational cartographic form, implying the confluence of their activities with the urban landscape.
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Later considered to have been one of the most prominent and influential Japanese art groups of the 1960s, Hi-Red Center never officially disbanded, but their happening
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Tomii, Reiko. ""Art Outside the Box" in 1960s Japan: An Introduction and Commentary." Review of Japanese Culture and Society 17 (2005): 1-11. Accessed March 28, 2021.
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1866:"Audience (Takiguchi ShĆ«zĆ on the left) came to the closing party for Hi Red Center's Closing Event, at Naiqua Gallery (1964) - Hirata Minoru - M+ Collections Beta"
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Mark Pendleton argues that this work, and its form of intervention into the everyday, has influenced the ethos of subsequent collectives in the 1970s, such as
93:
These discussions at the symposium led the artists to work together again to present their three-person show, "Fifth Mixer Plan," at the Dai-Ichi Gallery in
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2018, 28 Septemberâ28 October. "Jiro Takumatsu é«æŸæŹĄé | Hi Red Center | Hirata Minoru ćčłç°ćź | Kim Ku Lim êčê”ŹëŠŒ" curated by Victor Wang, 111 Great Titchfield St,
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1931:
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Nakanishi positioned himself in the centre of the train carriage, his face painted white and seemingly absorbed in a book. He carried Compact Objects or
1686:"Nakanishi Natsuyuki's Clothespins Assert Churning Action, for Hi Red Center's 6th Mixer Plan event, Tokyo (1963) - Hirata Minoru - M+ Collections Beta"
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662:), which also bears the connotations of art existing outside of the institutional site of exhibitions in Japan. Similarly, Nakanishi has described
595:'s "Tone Prize exhibition" (held at Naiqua Gallery in the same month), which critiqued the jury system of salons and competitive exhibitions.
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2007:
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not even this alternative space can contain or host the kind of Art worth exhibiting, providing a deeper impetus to seek Art in the streets.
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Whirlwind," a Japanese version of gestural abstraction. Hi-Red Center prefigured collaborative collectivism, bridging Anti-Art to Non-Art (
304:. The collective also situated their work in the Tokyo train system, installing a dining table and hosting a meal on a subway carriage in
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536:(October 10, 1964), the group heaved a suitcase and its contents off the building of the IkenobĆ Flower-Arranging Schoolâs headquarters (
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The group was commenting on how the apparatus of media functions in a capitalist society, namely how news reportage preceded the event.
77:(1962) (detailed below) in October 1962, subsequently participating in the "Signs of Discourse on Direct Action" symposium sponsored by
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There have been a few solo retrospectives dedicated to the activities of Hi-Red Centre, all mainly situated within gallery spaces.
183:
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1842:"Jasper Johns opening the door at Hi Red Center's Closing Event, at Naiqua Gallery (1964) - Hirata Minoru - M+ Collections Beta"
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Pendleton, Mark. "Bringing little things to the surface: intervening into the Japanese post-Bubble impasse on the Yamanote." In
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Morgan, Robert C. "Conceptualism: Reevaluation or Revisionism?" Art Journal 58, no. 3 (1999): 109-11. Accessed March 28, 2021.
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1906:
505:, who pulled out the first nail of the sealed gallery door. This closing event had a sizeable audience, including art critic
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was the three person exhibition that led to the founding of the group, and was staged in May 1963 at the Dai-Ichi Gallery in
463:, stating that the surveillance of bodies by the government was intended to present a veneer of a physically fit populace.
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73:, a similar art collective focused on performance art and happenings. Nakanishi and Takamatsu worked together to stage
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argues that the shift from the display of objects in an exhibition format to the installation and organisation of â
87:
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to be a invocation to break out of the box, by stubbornly repeating events that did not belong to the structure (
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Ippolito, Jean M. "The Search for New Media: Early Avant-Garde Momentum for the Digital art Pioneers of Japan."
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exists as a form of documentation of the event itself, but includes images of other events. In the film, we see
2075:
Bonehill, Jessica. "Art on the Outside: The contextualising of a Fluxus work in the Urban Environment." (1966).
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33:(ăă€ăŹăăă»ă»ăłăżăŒ, Haireddo SentÄ) was a Japanese artistic collective, founded in May 1963 and consisting of artists
1980:"MITSUTOSHI HANAGA | Hi Red Center Dropping Event at Ikenobo Kaikan in Tokyo, October 10, 1964 (2020) | Artsy"
1932:"'Hi Red Center's Dropping Event at Ikenobo Hall, Tokyo, October 10, 1964', Minoru Hirata, 1964, printed 2011"
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Melnikova, Daria. "Body, Camera, Action: Understanding the Metamorphosis of Performance Art in Japan." (2018).
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Wade, Mackenzie. "The Yamanote Loop: Unifying Rail Transportation and Disaster Resilience in Tokyo." (2020).
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2013-14. âHi-Red Center: The Documents of âDirect Actionââ. Dedicated to the 50th Anniversary of the group.
168:
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Tomii, Reiko (2002). "State v. (Anti-)Art: Model 1,000-Yen Note Incident by Akasegawa Genpei and Company".
1283:: The Yomiuri Indépendant Artists and Social Protest Tendencies in the 1960s". In Munroe, Alexandra (ed.).
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Tomii, Reiko. âHi Red Center, Great Panorama Exhibitionâ . In Mathieu Copeland and Balthazar Lovau (eds.),
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Akesagawa was found guilty, and appealed the verdict to the High and Supreme Courts (in 1970) to no avail.
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1999, April 28âAugust 29. "Global Conceptualism: Points of Origin, 1950s -1980s", curatorial team led by
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The group has also been featured in the following seminal post-war Japanese art blockbuster exhibitions.
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and thus found the group Hi-Red Center in May 1963. The name "Hi-Red Center" was derived from the first
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which documented the even shows that Nakanishi had papered the walls of the suite with images from the
301:
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Tomii, Reiko (2019). "'A Test Tube' of New Art: Naiqua and the Rental Gallery System in 1960s Japan".
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happening proved to be their final artistic act. Akasegawa would later cryptically remark that âafter
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Tomii, Reiko. "State v.(anti-) art: Model 1,000-yen note incident by Akasegawa Genpei and company."
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Moren, Lisa. "Introduction: Signatures, Music, Computers, Paranoia, Smells, Danger & the Sky."
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2012-13, Nov 18, 2012âFeb 25, 2013. "Tokyo 1955â1970: A New Avant-Gardeâ curated by Doryun Chong,
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As part of Akasegawa's trial, the members of the group restaged a few of their works (Takamatsu's
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1956:"Hi Red Center's Dropping Event, at IkebonĆ Kaikan (1964) - Hirata Minoru - M+ Collections Beta"
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Nettleton, Taro. "Hi Red Centerâs Shelter Plan (1964): The Uncanny Body in the Imperial Hotel."
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The group is most known for this performance work, which took place on the bustling district of
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Paik, Nam June. âTo Catch Up or Not to Catch Up with the West: Hijikata and Hi Red Center.â In
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in Tokyo on Saturday, October 16, 1964. It was intentionally staged during the duration of the
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DalaiJee, Kuro. "Performance Art And/as Activism: Expo '70 Destruction Joint-Struggle Group."
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383:) in April 1964. This project highlights the coincidence between the TV broadcast as well as
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128:), such as newspapers, currency, commodity circulation, train lines, and public sanitation.
34:
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Faris, Jaimey Hamilton. "Rooms in Alibi: How Akasegawa Genpei Framed Capitalist Reality."
625:
326:. The three artists presented some of their seminal individual works; Takamatsu exhibited
133:
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Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return
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Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970
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1141:"MoMA | Exhibiting Fluxus: Mapping Hi Red Center in Tokyo 1955â1970: A New Avant-Garde"
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Santone, Jessica. "Documentation as group activity: performing the Fluxus network."
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in January 1964. The event was titled to be reminiscent of 1950s bombing drills.
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Sentaku basal wa kakuhan koi wo shucho suru (Clothes Pegs Assert Churning Action)
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Anti-Art gained popularity in the Japanese vanguard art scene through the annual
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Akasegawa, Genpei. âA Can of the Universe. 1984â translated by Reiko Tomii, In
1432:, edited by Alexandra Munroe, 77â82. New York, New York: Harry N. Abrams, 1994.
474:, and was characterised without the specific Japanese socio-political context.
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202:
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Bilbao Yarto, Ana Edurne. "The closed exhibition: when form needs a break."
1802:, edited by Mathieu Copeland and Balthazar Lovay, 51â53. Koenig Books, 2017.
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efforts. They also carried billboard signs with "Be Clean!" in English and "
391:. The leaflets hinted at a possible third assassination of French President
352:
Presenting what would become one of his most famous works, Nakanishi staged
349:). Thus, they did not have to pay any rental fees when they used the space.
194:
90:
in 1960. They were united to move toward âeventsâ for an âuneventfulâ time.
46:
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Yoshimoto, Midori. "Off Museum! Performance Art That Turned the Street."
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613:) protests in 1969-1970. The Expo '70 protests were directly informed by
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159:) in Japan (in the 1960s), which can be traced to the phenomenon called "
152:
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1994-95. âJapanese Art After 1945: Scream Against the Skyâ curated by
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749:
644:). It is said that Maciunas had a deep respect for the group's work.
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was documented by photographers Minoru Hirata and Hanaga Mitsutoshi.
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in light of the upcoming broadcast testing between Japan and Europe.
144:
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Campaign to Promote Cleanliness and Order in the Metropolitan Area
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1746:, 150. Harvard University Asia Center Publications Program, 2011.
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Money, trains, and guillotines: art and revolution in 1960s Japan
1508:"ABOUT HI-RED CENTER AND THE YAMANOTE LINE INCIDENT â desistfilm"
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prefigures later "intercollective networking", being adopted by
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Chong, Doryun, Michio Hayashi, Mika Yoshitake, and Miryam Sas.
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and an attempted assassination of the U.S. ambassador to Japan
1008:âChokusetsu kĆdĆ no kizashi: Hitotsu no jikkenrei ni tsuiteâ
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Their work has also been shown in the following group shows.
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Staged on 18 October 1962, Natsuyuki and Takamatsu boarded a
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The English Fluxus version of the work was mistranslated as
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Hijikata Tatsumi and Butoh: Dancing in a pool of gray grits
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Japan at the Crossroads: Conflict and Compromise after Anpo
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Japan at the Crossroads: Conflict and Compromise after Anpo
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Japan at the Crossroads: Conflict and Compromise after Anpo
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Japan at the Crossroads: Conflict and Compromise after Anpo
246:, where the group painted the urinals of a lecture hall at
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in October 1964 proved to be their final artistic action.
632:) and at the 1966 Fluxfest (performed by the students of
69:
Akasegawa had previously participated in the short-lived
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Merewether, Charles, Rika Iezumi Hiro, and Reiko Tomii.
381:
TokuhĆ! TsĆ«shin eisei wa nanimono ni tsukawarete iru ka!
147:
movement (and its Japanese counterparts), art historian
2008:"Hi-Red Center's quiet actions still reverberate today"
1907:""Hi Red Center's 'Dropping Event', at IkenobĆ Kaikan""
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Although Hi-Red Center never officially disbanded, the
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Kunio, and influenced him to open the rental gallery (
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News Flash! Who is Using the Communication Satellite?
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News Flash! Who is Using the Communication Satellite?
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Into performance: Japanese women artists in New York
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Nettleton makes a connection between this event and
755:2014, February 11thâMarch 23. Shoto Museum of Art,
45:, that organized and performed anti-establishment
1315:. University of Minnesota Press. pp. 53â54.
1195:, 2017, 47-50. London: Koening Books and Fri Art.
364:balloons for performers on the streets of Tokyo.
1242:http://www.jstor.org/stable/10.5749/j.ctttv1dg.7
1893:Japanese Art After 1945: Scream Against the Sky
1608:Afterall: A Journal of Art, Context and Enquiry
1430:Japanese Art After 1945: Scream Against the Sky
1352:Japanese art after 1945: scream against the sky
1285:Japanese Art After 1945: Scream Against the Sky
1098:, vol. 30, no. 2, pp. 257-276. Routledge, 2018.
674:), supplementing events that daily gush forth.
356:, walking around in the square in front of the
2053:"Hirata Minoru - Makers - M+ Collections Beta"
1443:"The importance of politics to JirĆ Takamatsu"
1416:. Los Angeles: Getty Research Institute, 2007.
375:The group published a set of leaflets titled
171:of art, comparable to global developments of
8:
2034:23 (2011): 154-73. Accessed March 28, 2021.
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734:2013, February 6âMarch 27. "Hi Red Center",
201:, in its questioning of the notions of sole
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620:Through the group's affiliation to Fluxus,
412:was an invite-only event staged at Tokyoâs
798:1995, September 14, 1994âJanuary 8, 1995.
1287:. New York: Harry N. Abrams. p. 150.
605:(Final Art Institute) in 1973 and in the
2084:Goldberg, RoseLee, and Laurie Anderson.
1530:. Durham, NC: Duke University Press, 18.
736:Centre of Contemporary Art (CCA) Glasgow
237:Other events not detailed below include
1895:(New York, NY: H.N. Abrams, 1994), 178.
883:
143:While the group is associated with the
2164:Japanese artist groups and collectives
2096:
2094:
2032:Review of Japanese Culture and Society
2001:
1999:
1794:
1792:
1790:
1776:
1774:
1772:
1770:
1768:
1754:
1752:
1738:
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1709:
1707:
1705:
1667:
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1657:
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1639:
1637:
1396:
1394:
1392:
1390:
1388:
1386:
1384:
1382:
1380:
1299:positions: east asia cultures critique
1254:
1252:
1250:
1203:
1201:
1135:
1133:
1131:
1129:
1127:
1125:
889:
887:
1823:
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1344:
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1274:
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1235:
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1225:
1223:
1221:
1219:
1217:
1187:
1185:
991:
989:
987:
985:
983:
419:56 guests, including artists such as
7:
2006:Hammond, Jeff Michael (2014-02-26).
1090:
1088:
1086:
1084:
1012:, no. 7 (February 1963): 15â23; and
628:in New York City in 1965 (alongside
470:by Shigeko Kubota, eventually title
385:the assassination of John F. Kennedy
2088:. Harry N. Abrams Publishers, 1998.
1492:Tokyo, 1955-1970: A New Avant-garde
811:San Francisco Museum of Modern Art
719:the principles of their practice.
609:Destruction Joint-Struggle Group (
292:1960 Anpo USâJapan Security Treaty
103:characters of their surnames: âé«,
49:. Taking the urban environment of
25:
1675:. Rowman & Littlefield, 2018.
1651:. Rutgers University Press, 2005.
1494:. The Museum of Modern Art, 2012.
403:Imperial Hotel Body: Shelter Plan
2086:Performance: Live art since 1960
2179:1964 disestablishments in Japan
815:Yerba Buena Center for the Arts
744:2013, November 9âDecember 23.
453:General Catalogue of Males â63
184:Yomiuri Indépendant Exhibition
1:
1800:The Anti-Museum: An Anthology
714:and presenting relics of the
490:The Great Panorama Exhibition
479:The Great Panorama Exhibition
306:Shukutaku ressha/Video Picnic
2174:1963 establishments in Japan
1911:The Art Institute of Chicago
1815:32, no. 3-4 (2016): 263-281.
1313:Collectivism After Modernism
1063:. Cambridge, Massachusetts:
1032:. Cambridge, Massachusetts:
962:. Cambridge, Massachusetts:
931:. Cambridge, Massachusetts:
1829:Revista de HistĂłria Da Arte
1279:Munroe, Alexandra (1994). "
1111:22, no. 2 (2000): 127-34.
860:, United States of America.
834:, United States of America.
821:, United States of America.
806:, United States of America.
787:1994, February 5âMarch 30.
2195:
1349:Alexandra, Munroe (1994).
1301:10, no. 1 (2002): 141-172.
1166:"Hi-Red Center â Art Term"
88:U.S.-Japan Security Treaty
27:Japanese artist collective
2115:10.1215/10679847-10-1-141
1016:, no. 8 (June 1963): 1â18
895:"Art Term: Hi-Red Center"
328:String Continue On and On
2057:collections.mplus.org.hk
1960:collections.mplus.org.hk
1870:collections.mplus.org.hk
1846:collections.mplus.org.hk
1784:34, no. 1 (2014): 83-99.
1690:collections.mplus.org.hk
1578:collections.mplus.org.hk
1554:collections.mplus.org.hk
1065:Harvard University Press
1034:Harvard University Press
964:Harvard University Press
933:Harvard University Press
828:The Museum of Modern Art
809:1995, May 31âAugust 27.
603:Kyukyoko Hyogen Kenkyujo
569:1964 Tokyo Olympic Games
330:and Akasegawa exhibited
1905:Hirata, Minoru (1964).
999:4, no. 3 (2015): 40-64.
240:Waseda University Event
800:Guggenheim Museum SoHo
789:Yokohama Museum of Art
746:Nagoya City Art Museum
688:Yamanote Line Incident
664:Yamanote Line Incident
611:Banpaku Hakai KyÔtÔ-ha
573:shisĆteki henshitsusha
358:Shinbashi rail station
262:Yamanote Line Incident
75:Yamanote Line Incident
18:Yamanote Line incident
1762:, 70. Springer, 2012.
1730:40, no. 1 (2006): 28.
1281:Morphology of Revenge
670:) of this container (
1209:Performance paradigm
1057:Kapur, Nick (2018).
1036:. pp. 198â199.
1026:Kapur, Nick (2018).
966:. pp. 195â196.
956:Kapur, Nick (2018).
925:Kapur, Nick (2018).
559:) (October 16, 1964)
1671:Galliano, Luciana.
1647:Yoshimoto, Midori.
1526:Marotti, W., 2013.
1355:. Harry N. Abrams.
485:) (May 12â16, 1964)
248:Waseda Universityâs
244:(November 22, 1962)
177:post-minimalist art
136:' edited map sheet
119:Collective Practice
71:Neo-Dada Organizers
39:Natsuyuki Nakanishi
1891:Alexandra Munroe,
1717:10 (2008): 97-112.
1211:2 (2006): 108-122.
852:and Rachel Weiss,
638:Geoffery Hendricks
528:(October 10, 1964)
431:, Kawani Hiroshi,
270:Yamanote loop line
264:(October 18, 1962)
126:Capitalist Realism
1107:Augst, Bertrand.
393:Charles de Gaulle
340:(May 28â29, 1963)
302:Video Earth Tokyo
169:dematerialization
16:(Redirected from
2186:
2169:Culture in Tokyo
2143:
2133:
2127:
2126:
2098:
2089:
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1838:
1832:
1831:(2019): 126-143.
1825:
1816:
1813:Visual Resources
1809:
1803:
1796:
1785:
1782:Japanese Studies
1778:
1763:
1756:
1747:
1740:
1731:
1728:Visible Language
1724:
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1478:
1472:www.facebook.com
1464:
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978:
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953:
947:
946:
922:
903:
902:
891:
780:Alexandra Munroe
677:JĆnouchiâs film
642:Grand Army Plaza
427:, Kazakura ShĆ,
389:Edwin Reischauer
338:Sixth Mixer Plan
332:Wrapped Objects.
320:Fifth Mixer Plan
315:(May 7â12, 1963)
313:Fifth Mixer Plan
138:Bundle of Events
35:Genpei Akasegawa
21:
2194:
2193:
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2025:
2016:
2014:
2012:The Japan Times
2005:
2004:
1997:
1988:
1986:
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1964:
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1447:Apollo Magazine
1441:
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1399:
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1199:
1193:The Anti-Museum
1190:
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1158:
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1147:
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1123:
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1075:
1067:. p. 198.
1056:
1055:
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1044:
1025:
1024:
1020:
1007:
1003:
994:
981:
974:
955:
954:
950:
943:
935:. p. 199.
924:
923:
906:
893:
892:
885:
880:
728:
696:
660:Tobidashita Äto
650:
626:George Maciunas
561:
530:
507:Takiguchi ShĆ«zĆ
487:
468:Human Box Event
407:
373:
342:
317:
266:
235:
134:George Maciunas
121:
111:(red), and âäž,
67:
28:
23:
22:
15:
12:
11:
5:
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2171:
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2151:
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2145:
2144:
2141:10.2307/777867
2128:
2109:(1): 141â172.
2090:
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2044:
2023:
1995:
1971:
1947:
1922:
1897:
1881:
1857:
1833:
1817:
1804:
1786:
1764:
1758:Baird, Bruce.
1748:
1732:
1719:
1701:
1677:
1653:
1633:
1620:10.1086/704206
1614:(1): 146â161.
1589:
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1541:
1532:
1519:
1496:
1483:
1459:
1434:
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1376:
1361:
1328:
1322:978-0816644629
1321:
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850:Luis Camnitzer
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739:
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704:Cleaning Event
700:Cleaning Event
695:
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649:
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622:Cleaning Event
615:Cleaning Event
599:Cleaning Event
560:
549:Cleaning Event
546:
542:Dropping Event
538:IkenobĆ Kaikan
534:Dropping Event
529:
526:Dropping Event
523:
486:
476:
461:Cleaning Event
429:Tadanori Yokoo
414:Imperial Hotel
406:
405:(January 1964)
400:
372:
366:
341:
335:
316:
310:
265:
259:
234:
231:
223:Marcel Duchamp
189:Art historian
130:Shigeko Kubota
120:
117:
66:
63:
59:Cleaning Event
43:JirĆ Takamatsu
26:
24:
14:
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2033:
2027:
2024:
2013:
2009:
2002:
2000:
1996:
1985:
1984:www.artsy.net
1981:
1975:
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1742:Sas, Miryam.
1739:
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854:Queens Museum
851:
847:
843:
842:
841:
836:
833:
832:New York City
829:
825:
820:
819:San Francisco
816:
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808:
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804:New York City
801:
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648:Documentation
647:
645:
643:
639:
635:
634:Roberts Watts
631:
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483:Closing Event
480:
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450:
444:
440:
438:
437:Nam June Paik
434:
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255:(August 1963)
254:
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207:individualism
204:
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84:Anpo protests
80:
76:
72:
64:
62:
60:
55:
52:
48:
44:
40:
36:
32:
31:Hi-Red Center
19:
2131:
2106:
2102:
2085:
2080:
2071:
2060:. Retrieved
2056:
2047:
2031:
2026:
2015:. Retrieved
2011:
1987:. Retrieved
1983:
1974:
1963:. Retrieved
1959:
1950:
1939:. Retrieved
1935:
1925:
1914:. Retrieved
1910:
1900:
1892:
1873:. Retrieved
1869:
1860:
1849:. Retrieved
1845:
1836:
1828:
1812:
1807:
1799:
1781:
1759:
1743:
1727:
1722:
1714:
1693:. Retrieved
1689:
1680:
1673:Japan Fluxus
1672:
1648:
1611:
1607:
1581:. Retrieved
1577:
1568:
1557:. Retrieved
1553:
1544:
1535:
1527:
1522:
1511:. Retrieved
1491:
1486:
1475:. Retrieved
1471:
1462:
1451:. Retrieved
1449:. 2017-07-19
1446:
1437:
1429:
1413:
1351:
1312:
1306:
1298:
1293:
1284:
1280:
1208:
1192:
1173:. Retrieved
1169:
1159:
1148:. Retrieved
1145:www.moma.org
1144:
1108:
1103:
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1021:
1013:
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721:
716:Shelter Plan
715:
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699:
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687:
679:Shelter Plan
678:
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671:
667:
663:
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655:Shelter Plan
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503:Jasper Johns
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421:Masao Adachi
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1715:Art Inquiry
1096:Japan Forum
846:Jane Farver
738:, Scotland.
726:Exhibitions
515:Sam Francis
472:Hotel Event
211:originality
191:Reiko Tomii
165:Hi-geijutsu
149:Reiko Tomii
2153:Categories
2062:2021-03-28
2017:2021-02-08
1989:2021-03-29
1965:2021-03-29
1941:2021-03-29
1916:2021-03-29
1875:2021-03-28
1851:2021-03-28
1695:2021-03-28
1583:2021-03-29
1559:2021-03-29
1513:2021-03-28
1477:2021-03-28
1468:"Facebook"
1453:2021-03-28
1175:2021-03-28
1150:2021-02-08
997:ARTMargins
878:References
768:, England.
347:kashi garo
215:modern art
203:authorship
199:postmodern
195:Happenings
173:conceptual
115:(center).
47:happenings
2123:144997715
2103:Positions
1628:169511339
1371:901644432
1109:Discourse
871:Hong Kong
867:Para Site
694:Afterlife
553:Be Clean!
324:Shinjunku
250:red, and
95:Shinjunku
65:Formation
2159:Neo-Dada
2040:42801096
1264:42801108
1117:41389576
795:, Japan.
793:Yokohama
759:, Japan.
752:, Japan.
683:Yoko Ono
607:Expo '70
581:Soji-chu
511:Yoko Ono
433:Yoko Ono
308:(1975).
295:protests
253:Ropology
161:Informel
153:Anti-Art
757:Shibuya
668:kozosei
640:at the
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1014:Keisho
1010:Keisho
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858:Queens
766:London
750:Nagoya
712:String
672:utsuwa
653:Japan,
233:Events
145:Fluxus
79:KeishĆ
41:, and
2119:S2CID
2036:JSTOR
1624:S2CID
1260:JSTOR
1113:JSTOR
565:Ginza
551:(aka
481:(aka
279:objet
113:nakaâ
105:takaâ
100:kanji
51:Tokyo
1936:Tate
1367:OCLC
1357:ISBN
1317:ISBN
1170:Tate
1069:ISBN
1038:ISBN
968:ISBN
937:ISBN
899:Tate
813:and
636:and
555:aka
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