Undergraduates — TOKYO METROPOLITAN ART MUSEUM / The University premises Graduates — The University Art Museum, Tokyo University of the Arts / The University premises
We will be holding the 73rd Graduation and Final Works Exhibition, which has been well received every year as the culmination of student life. All departments of the faculty of fine arts gather in Ueno to form a spectacular exhibition while utilizing the Tokyo Metropolitan Art Museum, The University Art Museum of the Tokyo University of the Arts, as well as the characteristic atelier and outdoor spaces of our campus. While enjoying the creative and rich research environment of our university, throughout the exhibition you can find the high achievements of our graduates and signs of further growth in the future. We hope that you can come to the exhibition, and look forward in anticipation to the graduates’ leap forward.
Graduation Works Exhibitions Steering Committee,Tokyo University of the Arts
“Unmanned Art Festival / Oigawa” has been held since 2018 in the area where people live with the Oigawa River flowing through central Shizuoka Prefecture, we will hold an exhibition of the results of the “Region x Art” project implemented in 2024. Art has accumulated in the daily life of the village along with various chemical reactions, and a new appearance of the village has come to be beyond the period of the art festival. Now, this year, we will develop an AIR project (artist in residence program) where artists meet the community from three different perspectives: “Regional agriculture and art,” “International relations and art,” and “Corporate activities and art.” The creative thoughts and actions of artists come into contact with the unique lives and activities of the community, and art extends deeper into the daily life of the village. Based on the presentation of the results of the AIR project, the “ART” trail, which was built by residents as a starting point of the art festival. By artists acting as a mediator in the daily life of the village, working hard together to create, and including artists and residents, the village is changing internally. The village can change even more. That is why we believe that now is the time for our art festival to make changes for the future of the region. We will make this year a year in which we consider the future of the festival. (Aruma Oishi and Emi Kodama, General Directors)
While the body is a physical entity with fixed form, it is also fluid and in flux, continually reshaped by complex interactions with internal and external forces. Incorporating video installation and performance, this project explores the evolving body and our concepts thereof as influenced by historical eras and social frameworks. Drawing on sources ranging from real-life experiences to the traditional art of bunraku puppet theater, it heightens awareness of bodily perception, turning the exhibition space and the building itself into media that invoke physical presence and broaden our awareness.
Since joining the faculty of the Global Art Practice Department at the Tokyo University of the Arts in 2016, Yuko Mohri has been working with students on installation practice, as well as sessions using the body in an improvisational way, and exploring interactive communication using new media tools in the wake of the coronavirus pandemic. From next year, she will be leaving her position as a full-time faculty member to concentrate on her own artistic practice, but she plans to continue to be involved as an artist active on the global stage, continuing to have an impact on the students of the university.
For her final lecture at TUA, Yuko Mohri will welcome the New York-based artist Miho Hatori and the music critic Manabu Yuasa, and hold a lecture live performance in which Hatori’s work “Salon Mondialité” will be directed by Mohri. Salon Mondialité is a video and performance piece inspired by the Caribbean thinker and poet Edouard Glissant. We will share a special time with you to consider what it means to “Walking from the B-side” in this world of deepening confusion.
Yuko Mohri In her installation and sculpture, Mohri works not to compose (or construct) but to call attention to “phenomena” that constantly shift according to various conditions such as the environment. Exhibitions include On Physis at the Artizon Museum (2024–5), Compose at the Japan Pavilion, 60th Venice Biennale, solo exhibitions at Camden Art Centre (London, 2018) and Towada Art Center (Aomori, 2018-2019), and participation in international exhibitions such as the 14th Gwangju Biennale (2023), the 23rd Biennale of Sydney (2022), and the 34th São Paulo Biennale (2021).
Miho Hatori Miho Hatori is an artist, music producer, vocalist, improviser, and DJ. She started her music career in a legendary Downtown NYC unit, Cibo Matto, in the mid-’90s, with a conceptual album about Food and Love from their background Japanese identity. Since then, she has played, produced, and collaborated with many musicians (like Gorillaz, Beastie Boys, John Zorn). Her creation style is borderless. After Cibo Matto, she started performing with a multimedia format, using music, sounds, and video installations related to identity and environmental issues. She has performed at Kitchen NYC, EMPAC, AGO museum, The Broad, Philadelphia Museum of Art, Cleveland Museum of Art, Pioneer Works, Canal 47, Newton Gallery, etc.Additionally, she does sound designs for contemporary artists, soundtracks, commercials, and company IDs. Miho is originally from Tokyo but has been working and living in NYC for too many years.
Manabu Yuasa Music critic. Also involved in editing, art, manga and photography. In 1982, he formed the legendary Maboroshi no meiban kaiho dome (The Phantom Vinyl Liberation Front) with Takashi Nemoto and Hideo Funabashi, and under the slogan “All records have the right to be reproduced and expressed equally on a turntable”, they worked to introduce and reprint unique songs that had been discontinued and disappeared without achieving commercial success. He also devotes his energies to music activities alongside his writing, and continues to be active with the band Yuasa Wan. His solo works include “The Counterattack of the Human Mountain Range”, “Ongaku ga orite kuru”, “Dai on kai”, “Bob Dylan”, and “Like a Rolling Cassette”. In September of this year, he published “Pon chuck art 1001”, the first book in a long time from the Phantom Classic Disc Liberation League.
日時 Date & Time： 2024年12月20日（金）18:30-20:30 20 December 2024, Thursday 18:30-20:30
会場 Venue： 東京藝術大学上野キャンパス 美術学部中央棟第一講義室（以下の地図の7番） Lecture Room 1, Central Building, Faculty of Fine Arts, Ueno Campus, Tokyo University of the Arts (No. 7 on the map below) * https://www.geidai.ac.jp/access/ueno
＊(12月17日22:00時点）申込者数が定員に達したため事前予約を締め切りました。ご予約がないお客様でも、当日定刻を過ぎて残席がある場合は先着順でご案内いたしますので、ご希望の方は直接会場においでください。 (December 17th 22:00) We have reached the maximum number of participants, so we have closed the pre-reservation system. Even if you do not have a reservation, if there are any seats left after 18:30, we will guide you on a first-come, first-served basis, so please come directly to the venue if you wish to attend.
主催 Credit: 東京藝術大学大学院美術研究科グローバルアートプラクティス専攻(GAP) Global Art Practice (GAP), Tokyo University of the Arts 問い合わせ先 Contact: 美術研究科 グローバルアートプラクティス専攻 メール：gapstaffs@ml.geidai.ac.jp Graduate School of Art, Department of Global Art Practice Email: gapstaffs@ml.geidai.ac.jp
The KUMA Foundation is pleased to announce the fourth exhibition in the series KUMA experiment 2024-25, showcasing the achievements of 45 creators from the 8th class of the foundation’s scholarship program. The exhibition, titled “When the Mouth Opens, Air Escapes,” will be held at the KUMA Foundation Gallery in Roppongi from Saturday, December 14, to Sunday, December 22, 2024.
The exhibition features five creators working at the forefront of their respective fields: • Haruto Kamijo, who generates new possibilities through the lens of engineering. • Koki Sakakihara, striving to create music that will top the charts. • Ryuji Koyasu, envisioning a world where AI robots seamlessly integrate into self-sufficient lifestyles. • Sorao Sakimura, whose unique animations blend hand-drawn techniques, 3D CG, and live-action. • Monami Yabe, sculpting memories into art from raw logs.
These emerging talents, each exploring different realms of creativity, come together to present their visions for the future.
Statement
We breathe. Did we do it well? We speak. Did we do it well? We trace our memories. Did we do it well?
Yet, When the mouth opens, air escapes.
We, the five creators, have each pursued our own unique paths: crafting irreplaceable music, capturing visions through animation and film, sculpting memories and sensations, exploring vernacular rice-farming robots, and shaping forms through geometry and mechanics.
Our paths intersect here, in this space. Through our work, we speak of what is real, of what is alive.
When the mouth opens, air escapes. It mingles with the air of this place.
With the aim of fostering young artists and revitalising cities and regions through culture, A-TOM ART AWARD 2024 held an open call for art works from student artists working in the field of contemporary art from all over the country. In this seventh edition, the theme is ‘Value’. Four winners were selected through a preliminary screening of artwork data and a final screening based on presentations. A group exhibition of the winners will be held in December 2024.
株式会社アトムは、若手アーティストの育成を図るとともに、文化を通じた都市・地域の活性化を目指し、芸術を学ぶ全国の学生から作品を募集するA-TOM ART AWARD 2024を開催いたします。 第7回目となる今回は、テーマを「価値」とし、全国の現代美術の分野で活動する学生アーティストを対象にアート作品を公募します。作品データによる一次審査、プレゼンテーションによる最終審査にて4名の受賞者を決定し、2024年12月に受賞者によるグループ展を開催いたします。
Monira Al Qadiri is a Kuwaiti artist born in Dakar, Senegal, and educated in Japan. In 2010, she earned a PhD in inter-media art from Tokyo University of the Arts. Her multifaceted practice spans sculpture, installation, film, and performance, with a primary focus on the cultural histories of the Persian Gulf region. Al Qadiri’s exploration of petroleum-cultures often manifests as speculative scenarios inspired by science fiction, autobiography, traditional practices, and pop culture, resulting in uncanny and subversive works. She currently lives and works in Berlin.
Monira Al Qadiri is a Kuwaiti artist currently based in Berlin who studied in Japan from the age of 16. She received her BA from Musashino Art University, her MA from Tama Art University, and her PhD from Tokyo University of the Arts with a thesis entitled “The Aesthetics of Sadness.”
Her expression spans a diverse range of media, including large-scale sculptures and installations featuring motifs of pearls and oil, gender based video works, and performances. At the core of her work lies a critical examination of the history and society of the Arab world and the Persian Gulf region where she was raised, alongside influences from Japanese anime culture, which captivated her from childhood. Her works embody a unique blend of poetry and humor, transcending and blending boundaries between the sacred and the profane, male and female, the dead and the living, and good and evil.
In recent years, Al Qadiri has had solo exhibitions at leading museums worldwide, including Haus der Kunst (Munich, 2020) and BOZAR (Brussels, 2024). Her works have been showcased in major international exhibitions such as the Sharjah Biennale (2023) and the Sydney Biennale (2024). In Japan, her notable projects include the performance staging of “Phantom of the Beard” at the Aichi Triennale 2019, the robotic performance “Hanging Madness” (co-created with Raed Yasin) at Theater Commons ’21, and the group exhibition “Our Ecology” at the Mori Art Museum (2023).
This lecture offers a rare opportunity to hear Monira Al Qadiri discuss her creations in Japanese. What narratives underpin her diverse works in sculpture, installation, video, and performance? How do the cultural histories of the Persian Gulf region—particularly its petroleum culture—combine with science fiction, autobiography, traditional customs, and pop culture to construct the rich, multifaceted narratives of her art? The second half of the session will include a Q&A, offering students the chance to deepen their understanding of the relationship between her works and their narratives.
We hope this event inspires students at our university, providing valuable insights into connecting their own questions with their personal creative expression. We look forward to your participation.
アーティスト・バイオグラフィー Artist Biography:
主な個展に、「The Archaeology of Beasts」（BOZARブリュッセル、2024年）、「Benzene Float」（Halle Verriere、2024年）、「Haunted Water」（UCCA Dune、中国2023年）、「Mutant Passages」（Kunsthaus Bregenz、 2023年）；「Holy Quarter」（ビルバオ・グッゲンハイム美術館、2022年）；「Refined Vision」（ブラファー美術館、ヒューストン、2022年）；「Holy Quarter」（ハウス・デア・クンスト、ミュンヘン、2020年）；「Empire Dye」（ゲッティンゲン美術協会 2019年）、「The Craft」（ガスワークス、ロンドン、2017年）、「Attempts to Read the World Differently」（ストローム・デン・ハーグ、ハーグ、2017年）、「Muhawwil」（サルタン・ギャラリー、クウェート、2014年）。
主なグループ展に、「Poetics of Power」Kunsthaus Graz（グラーツ、2024年）、Desert X Al Ula（アル・ウーラ、2024年）、第24回シドニー・ビエンナーレ（シドニー、2023-24年）、第8回ボラス・ビエンナーレ（スウェーデン、2024年）、シャルジャ・ビエンナーレ15 5（シャルジャ、2023年）、「The Milk of Dreams」第59回ヴェネツィア・ビエンナーレ(ベネチア、2022年)、第15回小彫刻トリエンナーレ（フェルバッハ、2022年）、アジア・アート・ビエンナーレ（台湾、2021年）、Dubai Expo 2020（2021年）、「Our World is Burning」（パレ・ド・トーキョー、パリ、2020年）、「Theater of Operations: Gulf Wars」（MoMA PS1、ニューヨーク、2019-20年）、アジア・パシフィック・トリエンナーレ（ブリスベン、2018年）、ルレア・ビエンナーレ（スウェーデン、2018年）、アテネ・ビエンナーレ（アテネ、2018年）。
Monira’s solo exhibitions include “The Archaeology of Beasts” (BOZAR Brussels, 2024), “Benzene Float” (Halle Verriere, France, 2024), “Haunted Water” (UCCA Dune, China, 2023), “Mutant Passages” (Kunsthaus Bregenz, 2023), “Holy Quarter” (Guggenheim Museum Bilbao, 2022; Haus der Kunst, Munich, 2020), “Refined Vision” (Blaffer Art Museum, Houston, 2022), “Empire Dye” (Kunstverein Göttingen, 2019), “The Craft” (Gasworks, London, 2017), “Attempts to Read the World Differently” (Stroom Den Haag, The Hague, 2017), and “Muhawwil” (Sultan Gallery, Kuwait, 2014).
Select group exhibitions include “Poetics of Power” (Kunsthaus Graz, 2024), Desert X Al Ula (Al Ula, 2024), the 24th Biennale of Sydney (2023–24), 8th Borås Biennial (Sweden, 2024), the Sharjah Biennale 15 (2023), “The Milk of Dreams” 59th Venice Biennale (Venice, 2022), 15th Triennial of Small Sculpture (Fellbach, 2022), Asia Art Biennial (Taiwan, 2021), Dubai Expo 2020 (2021), “Our World is Burning” (Palais de Tokyo, Paris, 2020), “Theater of Operations: The Gulf Wars” (MoMA PS1, New York, 2019–20), Asia Pacific Triennial (Brisbane, 2018), Luleå Biennial (Sweden, 2018), and Athens Biennial (Athens, 2018).
日時 Date & Time： 2024年12月12日（木）18:30-20:30 12 December 2024, Thursday 18:30-20:30
会場 Venue： 東京藝術大学上野キャンパス 美術学部中央棟第一講義室（以下の地図の7番） Lecture Room 1, Central Building, Faculty of Fine Arts, Ueno Campus, Tokyo University of the Arts (No. 7 on the map below) * https://www.geidai.ac.jp/access/ueno
使用言語：日本語と英語 Language: Japanese and English
対象 Eligibility： 本学の学生・教職員、学外一般 （先着順・定員150名） ＊GAP修士１年・２年の学生でSPSソーシャル・プラクティス・セミナーを履修登録している学生は、12月16日（月）のワークショップの課題出しを兼ねた授業なので、必ず受講すること。 TUA students, faculty, staff, and the general public (first-come-first-served basis, capacity 150 people) *GAP first and second year master’s students who are registered for the SPS Social Practices Seminar are required to attend this class as it will also serve as an assignment for the workshop on December 16 (Monday).
企画・司会 Planning and moderator:： 相馬千秋（アートプロデューサー、東京藝術大学大学院美術研究科グローバルアートプラクティス専攻准教授） Chiaki Soma (Art Producer, Associate Professor of Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts)
主催 Credit: 東京藝術大学大学院美術研究科グローバルアートプラクティス専攻(GAP) Global Art Practice (GAP), Tokyo University of the Arts
In what ways can not only works of art but exhibitions as a whole break free from institutional display? Can we make the instrument of advertisement into another site of exhibition? Going even further, can we activate the entire exhibition by physically moving it around a city? In order to bring the intended mobile nature of the exhibition into reality, we must disengage from the system, directly act on the city itself, and decentralize from the traditional hierarchy applied to institutional spaces. When the protection afforded by the white cube no longer applies, the private sphere providing relatively high levels of freedom to the artist and curators, we must negotiate the rules and regulations governing the city’s public spaces.
What defines the public? In “Public Space in a Private Time,” Vito Acconci argues that the term “public space” is a warning that the rest of the city isn’ t public. He defined public space as a place within the city yet simultaneously isolated from it. Moreover, the making of a public space demands the formation of trust in an institution whose authority cannot be questioned. It is a “reality” that acts as an undebatable belief system that serves particular bodies and punishes those who disobey the system. We have decided to test the limits of this system by using a truck intended for advertisement purposes to display art works while moving freely around the Tokyo metropolitan area and its surroundings. After the curation of this project was launched, on June 30, 2024, the Tokyo Metropolitan Government’s environmental ordinance was revised and enforced, and ad trucks are no longer allowed to run in Tokyo at all while displaying LEDs. However, once outside of the metropolis, displaying images is permitted. Thus, all participants in the system were required to either resign or adapt.
In urban public spaces, artists act as subjective anthropologists, reporters, and analysts, observing and reacting to people and urban policy through their own experiences. The artist serves as a channel for understanding the experiences of others, and their work serves as a metaphor for comprehending urban spaces and their governance. In seeking to become catalysts for change, artists reposition themselves as citizen activists, building a stronger consensus on the implemented public and political agenda. Moreover, in the design of movements for the exhibition, each stop on the route has been decided by the boundaries and limitations of the city. Respecting and co-existing with the rules, we find arbitrary leeway where a deeper level of experiential engagement can be achieved. The exhibition encourages the audience to reconceptualize urban space, to become aware of the overhanging regulations, and to confront the social system or find the loopholes hidden within.
After graduating high school in Antakya, a small town in Turkey, Lilith Bardakçı had the opportunity to study at Bogazici University’s Foreign Language Education Department. Bogazici University, renowned for its egalitarian culture, fostered their academic growth and played a pivotal role in their self-discovery. As a trans non-binary individual, they actively engaged with the LGBTI+ Studies Club at the university, assuming leadership roles as vice president and president. Recently, Lilith Bardakçı, an M.A. student at Boğaziçi University’s Linguistics Department, examines language’s connection to gender, sexuality and identities. As an LGBTI+ activist, Lilith explores Lubunca, a language phenomenon shedding light on identity, societal and cultural constructions. As Lilith continues expanding the boundaries of linguistic inquiry, they remain committed to promoting diversity, inclusivity and equity within academic discourse.
Lubunca: A Queer Anti-Language discusses the multifaceted world of Lubunca. Having been defined in multiple ways—as a slang spoken by some gay men and trans women, a jargon used by sex workers, a gay slang, a queer slang variety, and an LGBTQ slang variety — Lubunca embodies the vibrant identity and resistance within Turkey’s queer community. Lilith Bardakçı terms it an anti-language spoken by Lubunyas, as it reveals a resilient reality distinct from the hegemonic societal norms. The term ‘Lubunya’ extends beyond categories like gay, lesbian, or trans, representing queer individuals who live beyond conventional Turkish societal structures and embrace non-normative lifestyles.
Bardakçı will unveil the etymological roots and historical context of Lubunca, as well as discussing its sociolinguistic functions and its role as a tool for secrecy and solidarity. Key insights reveal Lubunca’s critical role in facilitating discreet communication among queer individuals about sensitive issues, thus protecting the community from societal and legal repercussions. As noted by Nicholas Kontovas, Beyoğlu (Istanbul, Turkey), the birthplace of Lubunca, was a hub for many gay and transgender sex workers, along with non- Muslim minorities like the Romani. Lubunca allowed these groups to unite in resistance against Turkish law enforcement. Today, it continues to exclude non- members while discussing sexual and criminal matters. Lubunca also serves as a dynamic instrument for gender performance, empowering LGBTI+ activists and YouTubers to enhance their visibility and assert their identities in public and media spaces. Delving deeper, the talk will examine how Lubunca constructs an alternative reality for its speakers. As Bardakçı suggests, in line with Halliday’s concept of anti-languages, Lubunca relexicalizes Turkish to create and sustain an anti-society where conventional ideas of sex, gender, sexuality, crime, and social hierarchy are redefined. Ülker Street Culture exemplifies this resilient reality, similar to the ‘second-life’ described by Adam Podgorecki.
In this session, Bardakçı will offer an in-depth definition of Lubunca, framing it as an anti-language that not only ensures secrecy but also facilitates the expression and preservation of a distinct queer identity and reality. It peels back the layers of Lubunca and discovers its profound impact on Turkey’s queer community. Additionally, a workshop will be held, providing an interactive and playful way to explore and co-learn how perceptions of gender and sexuality among Lubunyas have evolved over time and how this evolution has influenced the development of Lubunca.
Often time in the art world, the end results overpowered the desire for knowledge exchange and curiosity towards the creation of a field of practice. Through the collaborative learning process, (O)Kamemochi tries to find ways to avoid compartmentalisation. Embracing each other means embracing the different interests of each member to develop a deeper understanding of our commons. The co-learning program was born out of our casual discussion and self-organised into multiple co-learning sessions on various topics surrounding our overarching curiosity towards practising care through communication. We hope our dedication to inclusive co-learning sessions can multiply and enrich artistic, fragile, and experimental practice through dialoguing with others around new imagination generated, and set directions towards the worlds we want to inhabit.
Art management｜アートマネジメント：Alissa Osada-Phornsiri (長田ポンシリ・アリサ)
Coordination｜コーディネート：Gamze Baktir, Jini
Text Translation｜テキスト翻訳：Osman Serhat Orta, Jini
サポーティング亀たち / Supporting Turtles
主催 / Organised by：(O)Kamemochi
共催 / Co-organised by： 東京藝術大学大学院美術研究科グローバルアートプラクティス専攻李美那研究室 Mina Lee Lab. Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts
