Temptations to pronounce a politics of ecology and technology are incisively moderated in this essay on Tetsumi Kudo’s multimedia installation, presented in MoMA’s Gallery 420 through the fall, prompting a broader critical commentary on the negotiations of cultural typification and belonging in the artist’s oeuvre.
Tetsumi Kudo was a formative figure on the dynamic Japanese Avant-Garde scene and in the ‘anti-art’ currents in Tokyo at the end of the 1950s, until in 1962 he settled in Paris where he had his base for more than 20 years. Kudo’s interest in the ‘natural’ metamorphoses and transformations, of which we are always in the midst, is not only...
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