Descida ao cotidiano: o surgimento da arte contemporânea no Japão (Descent to the everyday: The emergence of contemporary art in Japan) charts the history of the radicalization and politicization of the concept of art and the forceful artistic practices that emerged under widespread social upheaval in postwar Japan. The book covers the radical and irreverent experiences by artistic collectives such as Gutai, Neo Dada, and Hi-Red Center, which brought art outside the frame and into everyday life, and charts their links to new critical formulations that altered the Japanese artistic landscape since the early 1950s in the work of critics such as Hariu Ichirō, Segi Shin’ichi and Miyakawa Atsushi. Pedro Erber inserts the issue of contemporary Japanese art into a transnational landscape, pointing out connections that are barely visible and assuming a perspective of criticism of the exoticism and orientalism that still informs much of the approach to Japanese culture and art.
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