Genpei Akasegawa is a pseudonymof Japanese artist Katsuhiko Akasegawa (born 1937). During the 1950s and 1960s, he became involved within the Neo-Dada movement, when he formed the Hi-Red Center collective. In 1970s he worked with the idea of Hyper-Art, ordinary street object that happened to look like a conceptual artwork. For what was to become the “Thousand-yen bill incident”, Akasegawa sent out invitations to a solo exhibition in 1963, in a cash envelope mailed through the post. The printed invitation reproduced a 1,000-yen note with the exhibition details at the back, when the local police notice, they arrested him for producing counterfeits.
Going Nowhere (see more images here)
His irreverent humor and cunning observation of everyday life made him popular as a writer, peaking with his 1998 book Rõjinryoku, in which he put forth a hilariously positive take on the declining capabilities of the elderly. Hyperart: Thomasson, marks a crucial turning point in his metamorphosis from a subversive culture to a popular culturatus.