Capturing the Evolution of Contemporary Art in Japan

Japanese artist and photographer Shigeo Anzaï’s prolific career is proof that sometimes all you need is to be in the right place at the right time. He usually is, as it turns out; after shifting his focus from painting to photography in the late 1960s, at the age of 30, the photographer began to specialise in documenting artists creating, or installing, their works – a niche as vital as it is unusual. As a result, Anzaï has created more than 3000 images, both in Japan and internationally, and has made a name for himself as the foremost recorder of recent Japanese art history. In many instances, the ephemeral works he captured survive only through his photographs.

The abundance of events he has documented over his career has led to an ever-expanding web of artistic connections for Anzaï. What’s more, his images are works of art in their own right; never simply recording the historical fact of an art event or exhibition, but expanding it through his own profound creativity. His efforts have not gone unnoticed: a new exhibition at White Rainbow Gallery in London, entitled Index I, places Anzaï – too often the wallflower – directly in the limelight.

The show will focus on Anzaï’s role as a witness to avant-garde Japanese art, the gallery explains, with a particular focus on the 10th Tokyo Biennale which took place in 1970. “Whilst working for the 10th Tokyo Biennale, Anzaï was appointed by renowned critic Yusuke Nakahara to assist Carl Andre, Daniel Buren and Richard Serra,” it continues. “Anzaï began documenting their performances, happenings and installations. Many of these works survive today only through reconstructions or in Anzaï’s photographs.” Fascinated by the historic consequence of Anzaï’s diligent record, AnOther spoke to him to recall his memories on a selection of his most poignant pieces...

On the defiance of Daniel Buren...
"Buren had an idea to place his famous strip inside the museum at the time [this photograph was taken], but he was not given permission, so he decided to go outside! He even installed his work at the headquarters of the Mainichi newspaper, the main supporting body of the 10th Tokyo Biennale. However, it was taken down within a day."

On Richard Serra's surreptitious planting of trees...
"Richard Serra was planning to plant a tree with a circular piece of metal just outside of the gallery space. For some reason or other, the permission was not granted. He was going to speak to the park authority, which was located just outside of the gallery, but he suspected that the answer would be the same. Instead, Serra decided to do it secretly. The work was done without informing anybody where the metal circle was buried in the park, nor which tree was actually donated by Serra. This photograph I took was of the initial plan which did not take place."

On Kounellis' problematic stones...
"At first, Kounellis was planning to pile up stones to close the entrance to exhibition rooms. He apparently used different types of stone in Italy; in Japan, however, they were heavier and rounder which led to difficulties in showcasing as per his original intentions."

On Christo's cloaking of Japanese VIPs...
"Christo originally wished to cover the subway of Ueno park. Unfornately, though, this was again a 'mission impossible', which shaped the ultimate outcome. In the area there was a bust sculpture of an important person, which he was told not to cover, but when the invigilators were not there, he covered the bronze sculpture, and revealed it when they were back.

There are plenty of other ideas that did not take place because we were not granted permission; Christo thought about burning a bed; Haacke wanted to water trees from sprinklers, etc..."

Shigeo Anzai: Index I runs until January 23 2016 at White Rainbow in London.