ネオ・ダダイズム・オルガナイザーズ

Neo-Dada Organizers (ネオ・ダダイズム・オルガナイザーズ, Neo-Dadaizumu-Oruganaizāzu), often shortened to Neo-Dada (ネオ・ダダ), was a short-lived but influential Japanese Neo-Dadaist art collective formed by Masunobu Yoshimura in 1960. Composed of a small group of young, up-and-coming artists who met periodically at Yoshimura's White House atelier in Shinjuku, the Neo-Dada Organizers engaged in all manner of visual and performance artworks, but specialized in producing disturbing, impulsive spectacles, often involving physical destruction of objects, that the art critic Ichirō Hariu deemed savagely meaningless, and that inspired another art critic, Yoshiaki Tōno, to coin the term anti-art (han-geijutsu). Examples included filling galleries with piles of garbage, smashing furniture to the beat of jazz music, and prancing the streets of Tokyo in various states of dress and undress. Using the human body as their medium of art, their violent performances reflected both their dissatisfaction with the restrictive environment of the Japanese art world at the time, as well as contemporary social developments, most notably the massive 1960 Anpo protests against the U.S.-Japan Security Treaty. The Neo-Dada Organizers held three official exhibitions in 1960, as well as a number of bizarre actions, events, and happenings in which they sought to mock, deconstruct, and in many cases, physically destroy conventional forms of art. Many of the group's members and participants would go on to become noted artists in their own right, including Genpei Akasegawa, Shūsaku Arakawa, Sayako Kishimoto, Tetsumi Kudō, Natsuyuki Nakanishi, and Ushio Shinohara.