source: guggenheim

Born on February 20, 1936, in Tokyo, Takamatsu Jirō was an influential artist, theorist, and teacher in 1960s and 1970s Japan. His work combined subversive and playful aspects of Dada and Surrealism with an idiosyncratic use of Minimalism’s refined visual language. After finishing studies in oil painting at the Tokyo National University of Fine Arts and Music in 1958, Takamatsu worked in a range of mediums, including sculpture, photography, painting, drawing, and performance, and probed the material and metaphysical foundations of artistic practice.

Like Japan’s Gutai Bijutsu Kyōkai (Gutai Art Association, 1954–72), a group that sought to move away from museums, galleries, and other institutional settings, Takamatsu created public interventions, or activities outside the confines of exhibitions. With artists Genpei Akasegawa and Natsuyuki Nakanishi, Takamatsu formed the collective Hi Red Center (1963–64), which carried out actions in Tokyo to call attention to issues faced in the postwar urban climate. It also sought to collapse the boundaries between art and life (a “descent into the everyday” or nihijo-sei eno kako) through objects such as one-sided reproductions of a thousand yen note (Model 1000-Yen Note, 1963). For this, the artists were charged with counterfeiting. At the high profile trial in August 1966, Hi Red Center restaged some of its most well-known works as evidence. They were found guilty. Takamatsu was also a key member of the movement Mono-Ha (School of Things, 1967–79). Seeking to “reveal the world as it is,” Mono-Ha engaged the world through gesture, action, process, and experimentation, rather than formal studio-art methods or finished artworks.

Inspired by images of shadows in 19th-century Japanese painting and woodcuts as well as by real-life shadows cast on paper sliding-doors in domestic settings, Takamatsu’s Shadow Painting series (1964–98) investigated the formal underpinnings of painting through delicate depictions of shadows (of keys or human figures) in enamel and acrylic. The series also recalls figural imprints left on walls left after the nuclear destruction of Hiroshima. Takamatsu bridled at mid-century essentializations of material and medium, preferring instead an excess of the former and, akin to artists like Eva Hesse, created sculptures such as Slack of Net (1968–69) that sagged and bowed due to gravity. His Oneness of Concrete (1971) took the form of a large block broken into hundreds of fragments, a monument-made-ruin that challenged the supremacy of the Minimalist cube.

Takamatsu taught at Tama Art University, Tokyo (1968–72). In 1966 the Tokyo Gallery held his first solo exhibition and later presented seven more solo shows between 1969 and 1987. He represented Japan at the Venice Biennale (Carlo Cardozzo Prize, 1968) and exhibited at the Paris Biennial (1969); São Paulo Biennial (1973); and Documenta, Kassel, West Germany (1977). He was awarded the Grand Prize at the Tokyo Print Biennial (1972). Major retrospectives have occurred at the National Museum of Art, Osaka, Japan (1999); Chiba City Museum of Art, Japan (2000); Fuchu Art Museum, Tokyo (2004); and Kitakyushu Municipal Museum of Art, Japan (2004). His work has been included at group shows at the Guggenheim Museum (1971); Centre Pompidou, Paris (1986); Yokohoma Art Museum, Japan (1994); and the Guggenheim Museum SoHo (1994). Takamatsu died on June 25, 1998 in Tokyo.
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source: zhwikipediaorg

高松豐次郎（1872年－1952年），日本福島縣人，勞工運動家，藝名「吞氣樓三昧」，為臺灣電影史與新劇史上的先驅人物，著有《新大演說集》、《屁股與政治家》、《滑稽百譚》等書，另編有《大家演說集》，錄有伊澤修二、板垣退助、後藤新平等人的演講。
[编辑]生平

高松豐次郎年輕時因工作斷臂，且因為當時法律不周全而未獲賠償，故立志念法律改善勞工制度，後於明治三十年（1897年）畢業於明治法律學校（今明治大學前身），而在學期間進入「三遊亭圓遊」門下，並加入「鈴木亭」學習單口相聲與說書等。明治三十三年（1900年）日本實施治警法後，他改用電影來推廣勞工運動，方法是利用放映前點瓦斯的四十分鐘空檔來對群眾演說
而高松豐次郎之所會到臺灣，是因為曾受總理伊藤博文之邀放映電影的關係。他於明治三十四年（1901年）首次來臺放映電影，兩年後組織「臺灣同仁社」，並接受愛國婦人會臺灣分會之邀於臺灣各地放映電影，在此同時他也進行電影的拍攝。而除了電影之外，他也在臺興建戲院與籌組戲院，如「朝日座」，而他也在臺北招募流氓與失業者來演出新劇，所演劇目有《廖添丁》、《1917周成過臺灣事》、《簡大獅》等等。
大正三年（1914年）返回日本競選國會議員，落選後回臺，後於大正七年（1918年）離臺。他在臺灣其間經營八家電影館，並在離臺前有意進行保存研究電影資料的工作。大正八年（1919年）時成立活動寫真資料研究會，拍攝勞資協調電影。