Restaging IE: THE PLAY Have a House in 2015, 2016, and 2017.

In 1967, artist Keiichi Ikemizu established the avant-garde collective The PLAY in Osaka, Japan. Under the influence of Happenings, the group created ephemeral experimental performances in nature; "IE: THE PLAY Have a House" is one of their most significant works. The members designed a floatable wooden house with a red roof and white walls that they lived inside and used to travel down a river from August 5-10, 1972. The performance reached its ending due to an unexpected typhoon, and the artists destroyed the house. In 2015, IE was recreated during the Dojima River Biennale with a re-performance and a new name: "IE Picnic: THE PLAY Have a House." This recreation was later exhibited in the group's first solo museum exhibition, "The PLAY Since 1967: Beyond Unknown Currents," at the National Museum of Art, Osaka under the concept of re-historicization. Finally, in 2017, "IE Picnic" was re-performed during the Venice Biennale 2017 and displayed on the shore of the Arsenale Harbor as a representation of artistic individuality. This essay aims to observe how institutional and curatorial representations influence the recreation of the work and whether the contemporary restagings have a positive or negative effect on the group. [ABSTRACT FROM AUTHOR]