Shown at Gutai exhibitions
Jiro Yoshihara, ‘On a Solo Exhibition by Sadaharu Horio’, in: 'Sadaharu Horio, Gutai Pinacoteca', 1968.
Toru Takahashi, untitled essay, in: 'Sadaharu Horio: 1976', self-published, 1976.
Toru Takahashi, untitled essay, in: 'Sadaharu Horio: 1977', self-published, 1977.
Toru Takahashi, untitled essay, in: 'Sadaharu Horio: 1978', self-published, 1978.
Hideaki Ichi, ‘Sadaharu Horio in 1980’, in: 'Sadaharu Horio: Now (Succession/ Connection)', self-published, 1980.
Takuro Susano, ‘Higashimon Gallery’, in: 'Higashimon Gallery', self-published, 1986.
Toru Takahashi, ‘An Artist Who is Activity itself’, in: 'Today’s Artists Series No. 20: Sadaharu Horio', Osaka, 1987.
Akihiko Inoue, ‘The Principle of Hope’, in: 'Documents on works by Sadaharu Horio in 1980’s', Korinsha Press Co., 1998.
Atsuo Yamamoto and Katsuhiko Yamashita, 'Ordinary Things: Sadaharu Horio 1990-99', Ashiya-shi, 2002.
Atsuo Yamamoto and Axel Vervoordt, 'Sadaharu Horio', Brussels, 2011.
About Sadaharu Horio
Considered one of Japan’s most experimental artists of the 20th century, Sadaharu Horio is a founding member of the Gutai Art Group and pioneer in modern performance art in Kobe. One of his best-known bodies of work is his paintings of found objects such as household detritus, string, bits of wood, branches, roots, planks, crates, boxes, stones, and leather. Regardless of circumstances, Horio paints every single day in a ritual that completely integrates his art into his life. Eschewing the idea that the subject is in total control of the finished product, he follows the sequence of colors in the paint box—obeying a set formula in order to void the colors of any symbolism or implicit meaning. Horio is concerned with perpetuating the message that art-making is a day-to-day practice that anyone can engage in.
Japanese, b. 1939, Kobe, Japan, based in Kobe, Japan