seojeek

Alex Vallejo, senior software engineer

Gallery · Room 09 · Japan, 1954–1972

Gutai

Postwar Japanese artists who painted with their feet, burst through paper and wore electric light.

Original study: thick black and vermilion brushstrokes and splatters on raw paper, a paper screen with a torn black opening, and a string of colored lamps on black wire.

seojeek

Study in the manner of Gutai, 2026

SVG

An original made for this gallery. The real works are linked below.

Wall text

The Gutai Art Association formed in 1954 around the painter Jirō Yoshihara, based in Ashiya near Osaka. Yoshihara told its young members to do what had never been done before. The name Gutai means concreteness, and it came from their interest in letting materials speak for themselves.

They made art with their bodies. Kazuo Shiraga painted with his feet and, in Challenging Mud (1955), wrestled in a pile of mud. Saburō Murakami burst through paper screens with his body in his Paper-Breaking series of 1956. Atsuko Tanaka's Electric Dress (1956) was a costume of light bulbs, painted yellow, green, red and blue, that were set to flash.

Over eighteen years the group grew to 59 artists, and it dissolved in 1972 after Yoshihara's death. Its actions anticipated performance and installation art by years.

Palette · Typical palette

  • Sumi ink black

    #141210

  • Thick vermilion oil

    #B5261E

  • Raw paper / unprimed ground

    #EDE6D6

  • Mud brown

    #6B4E35

  • Lightbulb yellow

    #F2C230

How to recognize it

  • Traces of the body: footprints, gestures, torn and punctured surfaces

  • Raw materials used as themselves: mud, paper, light bulbs, thrown or dripped paint

  • Performance and object treated as one work

  • Thick, physical paint

More works

  • Atsuko Tanaka

    Untitled, 1964

    Acrylic on canvas

    The Museum of Modern Art, New York · View record ↗

  • Kazuo Shiraga

    Untitled, 1964

    Oil on canvas

    The Museum of Modern Art, New York · View record ↗

  • Saburo Murakami

    Work, 1958

    Enamel, papier-mâché, and wood on canvas

    The Art Institute of Chicago · View record ↗

What to borrow

  1. 01

    Show the process. Drafts, traces and history can be the content, not just the polished result.

  2. 02

    Let the material speak: real data, real screenshots and real error states instead of idealized mockups.

  3. 03

    Surprise once, physically. A single interaction that answers the visitor's action can carry a whole page.