39 38 Reexin

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The Alentejo Triennial announced Lunch with 500 Grand-
mothers as a performance, but the meal organized by Tat-
sumi Orimoto for 500 elderly women in an abandoned mon-
astery outside vora evades easy categorization. His per-
formances are well-known, as are his staged photographs,
almost always featuring his mother or he with his mother,
La Trienal del Alentejo (Portugal) lo anunci como un per-
formance, Almuerzo con 500 abuelas, pero la comida que
Tatsumi Orimoto organiz para 500 ancianas en un monas-
terio deshabitado a las afueras de vora se escapa a las
etiquetas habituales. Sus performances son conocidos, as
como sus fotografas escenificadas, casi siempre de su ma-
dre o de l con ella, de 94 aos y enferma de Alzhaimer y a
quien cuida personalmente con entrega admirable. Su obra
Pie
Pie
Tatsumi Orimotos social art
(his Lunch with 500 Grandmothers in vora, Portugal)
El arte social de Tatsumi Orimoto
(su Almuerzo con 500 abuelas en vora, Portugal)
Fernando Galn
40 41 Reexin
Reections
a woman of 95 suffering from Alzheimers who he cares
for personally with admirable dedication. His work is the
logical outcome of his everyday life: the care of his inva-
lid mother. Whats more, when he has to attend one of his
openings throughout the world, he limits his stays to the
indispensable minimum in order to return quickly home.
While there, at that joyous gathering for 500 elderly wom-
en, and while the artist was receiving them at the monas-
tery entrance and leading them by the hand in small groups to
their tables, singing and dancing, I thought curiously about
what type of format the event fit into. Was it a Fluxus-style
neo-happening more than a performance? Remember that
Tatsumi was an assistant to both Joseph Beuys and Nam
June Paik. Or was it Viennese neo-activism? Or a commu-
nicative action like those of Beuys? Maybe we should just
call it an orimoto; but whatever the name the important
thing is the sincerity and authenticity of his cause and the
form it takes, as well as the social function it fulfills in our
aging world, where the life and happiness of the elderly
are among todays main issues in need of (urgent) solution.
Tatsumi organized something similar during his retrospec-
tive at the Sao Paulo Museum of Art (Brazil) in January,
2008. I wasnt able to attend, but I remember the enthu-
siastic description of Johann Nowak, his gallerist in Berlin
(DNA Gallery): Sao Paulos mayor and numerous other au-
thorities were there, with television cameras all around
and Tatsumi left them alone while he visited the show hand
es el resultado lgico de su vida cotidiana: el cuidado de su
desvalida madre. De hecho, cuando viaja por motivos pro-
fesionales a cualquier lugar del mundo restringe su estancia
al mnimo de das indispensables para regresar enseguida
a su casa.
Estando all, en aquella fiesta jubilosa para las 500 ancia-
nas, mientras l las reciba en la puerta del monasterio y
las llevaba de la mano, cantando y bailando, en grupos pe-
queos para sentarlas a las mesas, me dio por pensar en
qu tipo de formato artstico encajaba aquello. Nunca haba
presenciado nada igual. No sera un neo-happening al es-
tilo Fluxus ms que un performance? Recordemos que Tat-
sumi fue ayudante de Joseph Beuys y de Nam June Paik
O un neo-activismo viens constructivo? O una accin
comunicativa al estilo de Beuys? Quiz debamos llamarlo
una orimata (de Orimoto), pero da igual el nombre, lo que
importa es lo genuino y la autenticidad de su causa y de su
puesta en escena. Y la funcin social que cumple en nues-
tro mundo envejecido, donde la dignidad y la felicidad de
los ancianos son uno de los principales problemas pendien-
tes de (urgente) solucin.
Tatsumi ya haba hecho algo parecido con ocasin de su
retrospectiva en el MASP (So Paulo, Brasil) en enero de
2008. Yo no asist, pero recuerdo el entusiasmo con que
me lo describi su galerista de Berln, Johann Nowak (gale-
rie DNA): estaban el alcalde de So Paulo y muchas autori-
dades, con las cmaras de televisin alrededor y Tatsumi
Pie
Pie
42 43 Reexin
Reections
in hand with the old women. They were the only impor-
tant thing for him. The exhibition included a meal for 50
elderly women, and afterward he wanted them to see his
mother, subject of the photos featured in the retrospec-
tive. I did have the pleasure of attending the meal he gave
at Liverpools A Foundation (U.K.) in July, 2010, also for
50 elderly women, to whom he personally served the food.
But in vora he wanted to multiply this number by 10, so
he invited 500 women from throughout the Alentejo region,
which has the highest population of old people in Portugal,
with 23% of its inhabitants older than 65. Its a sparsely
populated region (it covers a third of the countrys total
area but comprises just 7% of the population), where old
people have few incentives at their disposal to enhance
the last days of their lives, a personal burden that each one
carries on their backs and that Orimoto was determined to
alleviate, even if only for a few women during a few hours.
But for several days, from the moment they were told of
the impending visit, they lived a unique experience that for
many would be the most moving and memorable of their
old age: Someone who has travelled from Japan to of-
fer us this party, to give us a banquet and hes not even
a cook; when they told us he was an artist we thought
he was going to paint our portrait and it turns out he or-
ganized a meal in a monastery. Among those attending I
saw and photographed faces marked by a sadness that not
even the moments gaiety was able to erase
In 2008, Tasumi participated in the inauguration of the
Tenerife Center for the Arts (TEA, Canary Islands, Spain)
with his performance of Art Mama. TEAs press release
remarked on its uniqueness: Becketts theater of the ab-
los dej solos para recorrer la exposicin con las ancianitas
cogidas de la mano. Para l lo nico importante eran ellas.
Su exposicin incluy una comida para 50 ancianas, a las
que quiso mostrar luego a su madre, protagonista de las
fotografas que formaron la retrospectiva. A la que s tuve
el placer de asistir es a la que hizo en la A Foundation de
Liverpool (Reino Unido) en julio de 2010, tambin con 50
ancianas.
Pero ahora en vora quiso multiplicar esa cifra por 10 y se
invit a 500 de toda la comarca del Alentejo, que tiene la
tasa de envejecimiento ms alta de Portugal: el 23% supera
los 65 aos de edad. Es una zona muy poco poblada (ocupa
ms de un tercio del pas y slo cuenta con el 7% de su po-
blacin), donde los ancianos disponen de pocos alicientes
para endulzar sus ltimos aos de vida, un drama personal
que cada uno de ellos lleva sobre sus inclinados hombros
y que Orimoto se esforz en paliar aunque slo fuera por
unas horas (y slo a mujeres). Pero durante unos das, des-
de que se les dijo a lo que iban a ir, vivieron una experiencia
nica que para muchas ser la ms emotiva y especial de
su vejez: un japons que viene desde Japn a hacernos
esta fiesta, a regalarnos un banquete y ni siquiera es coci-
nero; cuando nos dijeron que era un artista pensamos que
nos iba a pintar y resulta que nos organiza una comida en
un monasterio. Entre las asistentes vi y fotografi rostros
marcados por una tristeza que ni siquiera el jolgorio mo-
mentneo logr borrar
En 2008, Tatsumi particip en la inauguracin del Tenerife
Espacio de las Artes (TEA, Islas Canarias, Espaa) con su
performance Art Mama. La nota de prensa del TEA se hizo
eco de sus originalidades: El teatro del absurdo de Bec-
Pie Pie
Pie
44 45 Reexin
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surd and the ritual character of Artauds theatrical language;
Fluxus, Beuys, Pop Art and traditional Japanese theater,
are some of the influences that converge in Tatsumi Ori-
motos performancesan active resident of the generation
that in the 60s asserted its desacralizing conception of cul-
ture and forced art to come down from its ivory tower to
lead it to the ordinary setting of the streets.
But with the event in vora, Tatsumi has gone much fur-
ther. Is it Social Art? Of course, but I believe that all artistic
activity has a social function to a greater or lesser extent
And the term means so muchthat it means very little in
particular. Nevertheless, what has lately been called So-
cial Artistry suits quite well what Orimoto does. Defined as
the attempt to address or recognize a particular social is-
sue using art and creativity, the use of the term artistry
instead of art is deliberate because it has the additional
meaning of skill or mastery which I interpret as coinciding
with the descent of art from the ivory tower. The main aim
of a social artist is to improve society as a whole and to
help others find their own means of creative expression. I
found a commentary in Wikipedia that I like: Social artists
may address issues such as youth alienation or the break-
down of communities (and) address these problems by help-
ing people to express themselves and find their voice, or by
bringing people together and using art to help them to fos-
ter an understanding of each other.
1
Why is it that in the
majority of countries, those with a degree in art end up as
teachers more than in any other occupation?
Our lexicon is limited and inadequate for naming many things
which arise not from grammar but from life itself, that un-
predictable and variable process which entails so many fac-
tors interacting with each other. Im not at all interested in
becoming involved in Byzantine arguments about whether
or not Tatsumi Orimotos activities are performances, soci-
ological interventions, happenings, actions, maneuvers, or
social, political or poetic art After participating in Lunch
with 500 Grandmothers, what I am sure of is that theyre
artistic social, political and poetic activities.
The growing increase in longevity in developed countries
2

has caused an unexpected and dramatic problem: how to
maintain elderly peoples quality of life, not only in strictly
medical or health terms but also (and above all) their dignity.
Whats the point of extending life in conditions of frustra-
tion, depression and misunderstanding? Whats the point
of living a happy and successful life in ones youth if in
old age the final result is hopelessness and even abuse?
Our society is ruled by the younger generations and adults
who exercise their power like an oligarchy, often despotic
with respect to older generations. The problem is not just
physical mistreatment but also and especially psychologi-
cal abuse, which typically does more harm than the physi-
cal kind and is more frequent than happy young people or
adults want to believe because it usually goes unnoticed,
kept to themselves by the elderly due to shame and resig-
kett y el sentido ritual del lenguaje teatral de Artaud. Fluxus,
Beuys, el Pop y el teatro tradicional japons, son algunas
de las influencias que convergen en los performances de
Tatsumi Orimoto () un activo residente de esa generacin
que en los aos 60 impuso su concepcin desacralizadora
de la cultura e hizo bajar de su elitista panten las obras
de arte para llevarlas al escenario cotidiano de la calle.
Pero con el evento de vora Tatsumi ha ido mucho ms le-
jos. Se trata de Arte Social? Por supuesto, pero es que
toda actividad artstica tiene una funcin social en mayor
o menor medida Y el trmino significa tanto que no sig-
nifica nada en concreto. Sin embargo, lo que se viene lla-
mando recientemente Social Artistry encaja bien con lo que
Orimoto hace. Definido como el intento de abordar o iden-
tificar un determinado tema social por medio del arte y la
creatividad, utiliza deliberadamente el trmino artistry en
lugar de art porque tiene el significado aadido de habi-
lidad y maestra, lo que relaciono con esa bajada del arte
de su panten sacralizado. El principal objetivo del artista
social es mejorar la sociedad y ayudar a otros a encontrar
sus propios medios de creacin artstica. He encontrado en
Wikipedia un comentario que me gusta: Los artistas so-
ciales trabajan con asuntos como la alienacin juvenil y la
decadencia de ciertos grupo de poblacin (y) abordan estos
problemas ayudando a la gente a expresarse y a encontrar
su propia voz, o uniendo a la gente y usando el arte para
ayudarles a promover su mutua comprensin
1
. Por qu
ser que, en la mayora de pases, los licenciados en arte
acaban trabajando como educadores ms que en cualquier
otra ocupacin?
Nuestro lxico resulta limitado y pobre para designar mu-
chas cosas que no surgen de la gramtica sino de la vida
misma, impredecible y cambiante devenir de tantos facto-
res que interactan entre s. No tengo ningn inters en
caer en discusiones bizantinas sobre si estas actividades
de Tatsumi Orimoto son performances, intervenciones so-
ciolgicas, happenings, acciones, manouvres, arte social,
poltico o potico Tras participar en Almuerzo con 500
abuelas lo que tengo claro es que son actividades artsticas
sociales, polticas y poticas.
El aumento de la longevidad en los pases desarrollados
2

nos ha trado un problema inesperado y dramtico: man-
tener la calidad de vida de la ancianidad no slo en trmi-
nos estrictamente mdicos de salud sino tambin (y sobre
todo) de felicidad y dignidad. De qu sirve alargar la vida en
condiciones de frustracin, depresin e incomprensin De
qu sirve haber tenido una vida exitosa y feliz en la juven-
tud y en la madurez si el balance final es de desesperanza
y hasta de malos tratos? Nuestra sociedad est regida por
las generaciones jvenes y maduras, que ejercen su poder
como una oligarqua, a menudo incomprensiva y a veces
desptica con las otras edades. El problema no son slo
los malos tratos fsicos, sino tambin, y sobre todo, los si-
colgicos, que suelen herir ms y son ms frecuentes que Pie
Fermando Galn is an art critic and independent curator. He is editor and director
of art.es.
Fernando Galn es crtico de arte y comisario de exposiciones. Editor y director
de art.es.
46 47 Reexin
Reections
nation. Its startling that in a country like China, traditional-
ly considerate and even reverential with its older people, in
July of 2013 had to pass a law in that requires its citizens
to visit their elderly at least once a year
1. en.wikipedia.org/wiki/Social artistry
2. Life expectancy in Europe is 78.4 years, while in Africa its 49.1 years. The
country with the greatest life expectancy in 2013 (source: World Health Or-
ganization) is Monaco (86.5 years),and with the least, Sierra Leon (47.5 years).
Spain is in 12th place, with 82.5 years and Portugal is 32nd, with 80 years.
lo que los alegres jvenes y maduros queremos creer por-
que suelen pasar desapercibidos, guardados avergonzada y
resignadamente por los ancianos en su intimidad. Resulta
dramtico que en un pas tan tradicionalmente reverencial
con sus mayores como es China su gobierno haya dictado
una ley en julio de 2013 que obliga a los chinos a visitar al
menos una vez al ao a sus ancianos El signo ms rele-
vante del grado de desarrollo de una sociedad es el cuidado
que tiene de sus nios y de sus ancianos. Si se da ese fac-
tor seguro que se dan todos los dems que importan.
1. en.wikipedia.org/wiki/Social_artistry
2. La esperanza de vida en Europa es de 78,4 aos mientras que en frica es de
49,1 aos. El pas con mayor esperanza de vida para 2013 (fuente: Organizacin
Mundial de la Salud) es Mnaco (86,5 aos), mientras que el de la menor es
Sierra Leona (47,5 aos). Espaa ocupa el puesto 12, con 82,5 aos y Portugal
el 32, con 80 aos.