3e
ゼロ次元
Zero Jigen

【本文確定】

前節までは、読売アンデパンダン展の前近代的混沌から、ハイレッド・センターやポップ・アートの近代的整然へという流れの概観でした。しかしその裏側には、それを拒んだ一群がありました。ゼロ次元を筆頭に、ダダカンこと糸井貫二、クロハタの松江カク、ビタミン・アートの小山哲生、告陰の末永蒼生、新宿少年団の秋山祐徳太子、集団蜘蛛の森山安英ほか、街頭や舞台でしばしば全裸でパフォーマンスを展開した作家たちです。日本戦後前衛美術研究家の黒ダライ児［黒田雷児］は「６０年代儀式系作家群」と呼び、評論家の椹木野衣は「裸のテロリストたち」と形容しました。その特徴は、「あまりにも下品、卑俗、猥褻、不可解、不合理な外見」でした。読売アンデパンダン展廃止によりいっそう街頭にさまよい出るようになり、後年の反博芸術と顔ぶれが重なります*3e1。

ゼロ次元は岩田信市らが１９６０年頃に名古屋で結成し、あとから東京の加藤好弘らが合流しました。１９６３年以降、「毎月の定時日にまるで女性のメンスのように」東京や名古屋の人の集う街頭各所で集団による「儀式」を実践するようになりました。それは「街に氾濫している現象を強姦するため」、数十名の全裸の男女が東京銀座の街角を走ったり、防毒マスクを着用して行進したり、集団で路上に横たわったりするものでした。その回数は日本全国で数百回に及んだとのことです。反博の際には当局に徹底的にマークされ、メンバーならびに関係者全員が逮捕されました。１９６０年代を通じて週刊誌等を賑わせ続けたゼロ次元の一連の行為においては、前近代的エロティシズムと前衛主義とテロリズムが渾然一体となり、四つん這いの裸の男女の尻として、通行人に向かって突き出されました。大人数がムカデ状に連なり片足ずつ交互に挙げる奇怪な踊りは、１９７０年代に自主制作された映画「いなばの白うさぎ」にしっかり収録されています。

秋山祐徳太子はポップ・ハプニング（通俗行動）と称してグリコのスタイル（グリコのキャラメルのパッケージに使用された陸上選手の絵の格好）で走り回り、１９７５年、１９７９年には「政治のポップ・アート化をめざし」東京都知事選に立候補しました*3e2。もちろん、立候補のための立候補でした。すなわちポップ・アートやハイレッド・センター的な手法を拒むというわけではなく、しかし同時に、ゼロ次元の儀式や、ゼロ次元が組織した幾多のイベントにも数多く参加していました。人脈的には、ネオ・ダダもポップ・アートもゼロ次元もアングラ演劇も暗黒舞踏もつながっていました。

Although the general overview of the change from the chaos of the pre-modernistic Yomiuri Independent Exhibitions to High-red Center and modern orderliness seen in pop art was discussed, there were also those who rejected such changes. They were artists such as Itoi Kanji (aka Dadakan) from Zero Jigen, as well as Matsue Kaku from Kurohata (Black Flag Group),) Koyama Tetsuo of Vitamin Art, Suenaga Tamio of Kokuin, Akiyama Yutokutaishi from Shinjuku Shonendan and other artists who frequently performed stark naked in the streets and on stages. The post-war Japanese avant-garde art scholar KuroDalaiJee called them the "ritualistic artist group of the 60's" and the art critic Sawaragi Noi described them as the "naked terrorists." The nature of these artists was "of really bad taste, vulgar, obscene, incomprehensible and of irrational appearance." After the end of Yomiuri Independent Exhibitions, they have begun to wander about the streets more frequently and this overlaps with those from the anti-expo art action in its later years*3e1.

Zero Jigen (Zero Dimension) was formed by Iwata Shin'ichi and others in Nagoya in 1960, and later was joined by Kato Yoshihiro as well as others. After 1963, "like women menstruating on a periodic day of every month," they carried out their "ritual" as a group on the crowded streets of Tokyo and Nagoya. This was to "rape the phenomenon inundating the city," and numbers of all-naked men and women ran on the street corners of Ginza in Tokyo, marched with gas masks on and lied down collectively on the streets. The number of these rituals carried out across Japan was said to be in the hundreds. During the anti-expo art action, they were completely marked by the authorities, and the members as well as all those concerned with the group were arrested. The series of acts which received lots of attention in the weekly magazines as well as other media throughout the 60's harmoniously combined pre-modernist eroticism, localism, avant-gardism and terrorism, and were stuck out toward the passers-by as buttocks of naked men and women crouched on all fours. Their strange dance where a large number of members lined up to form a caterpillar formation and raising their legs alternatively was firmly recorded in the film "Inaba no Shiro-usagi (The White Hare of Inaba)," an independent film made in the 1970s.

Akiyama Yutokutaishi ran around Glico style (in the style of a track and field athlete on the packages of Glico caramel candy) calling it Pop Happening, and in 1975 and 1979, he ran as a mayoral candidate for the seat of the Mayor of Tokyo*3e2. This was indeed a candidacy for the actual candidacy. This is to say that he did not reject the style embraced by Pop Art and Hi-red Center, but at the same time, he was involved in the rituals of Zero Jigen and in many events organized by Zero Jigen. In terms of personal relationships, Neo-Dada, Pop Art, Zero Jigen, Angura (underground) theater plays and Ankoku Butoh were all linked.