Into Performance: Japanese Women Artists in New York

By Midori Yoshimoto | Go to book overview

CHAPTER FOUR
Playful Spirit:
The Interactive Art
of Takako Saito

Fluxus embraced Event, Music, Mailart, Performance,
Minimal art, Game art, Conceptual art, Non-art, The-
ater art, Anti-art, and … I think that was the positive
thing about Fluxus, and very important for me.

—Takako Saito,
“Korrektur für Artikel”

As she is, perhaps, the most elusive among the five artists of this study, Takako Saito’s art and life have been difficult for any scholar to study for a two obvious reasons. One is her nomadic lifestyle, which has naturally scattered records of her activities across different languages and places. The other is her lack of interest in writing or speaking about her work. Unlike the other artists in this volume, Saito has rarely employed language as a means of expression. She is not verbally expressive, and she intentionally keeps her ego transparent in terms of the presentation of her works. She believes that others can seek meaning in her works themselves, and that she should not impose any fixed interpretation. Her works are open-ended, and there is a plenty of room for the audience to play. These self-imposed traits may seem disadvantageous in promoting one’s art, but this attitude has served her purpose well; that is, it has kept her life quiet and allowed her to concentrate on artmaking.

Just as her artwork is open-ended, so is Saito’s life, and she has taken many chances at various turning points. She has, essentially, followed the direction

-115-

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