Date/日付 : 29 July 2024 14:00-17:00 Place/会場：Geidai Platform of Arts and Knowledge for the Future (2-14-3 Ueno Sakuragi, Taito-ku, Tokyo)東京藝術大学 芸術未来研究場 藝大部屋（旧日展新会館）：東京都台東区上野桜木２丁目１４−３
We will be holding “sawakai (tea party)” to discuss the documentation and memory of art and projects. The main topic is about Mizuno’s ‘Eco Emotional Footprint’, a performative archival project, through an exploration of ‘colours’, that ferments her relationship with a small Finnish village where she lived for a year in 2023. She will talk about the fading colours of natural dyes with plants, the ephemeral wild herbal tea rituals, and the changing memories, from the perspectives of recording/memory/folktale-making. 「アートとプロジェクトの記録と記憶を語る茶話会 vol.3」を開催します。水野が2023年に1年間暮らしたフィンランドのある小さな村で行っていた、「色」の探求を通した土地との関係性を発酵させるパフォーマティブなアーカイブプロジェクト「Eco Emotional Footprint」について、消えゆく草木で染めた色や野草茶、変化していく日々の記憶について、記録／記憶／民話づくりなどの観点からお話しします
The new compositions for mixed chorus (a cappella) composed by Takumi Uchida, a master’s student of GAP, will be premiered at the “Chamber Choir VOX GAUDIOSA 26th Annual Concert” on September 22.
Advance Ticket: 3,000 yen Student Ticket: 1,500 yen High School Students and Younger: 1,000 yen Web Streaming Ticket: 2,000 yen Same-Day Ticket: 3,500 yen
“The border is there, acting as a barrier, yet the artistic imagination and desire for peace in the DMZ will always be as borderless as birds, wind, water, and grass. Borderless DMZ. “
GAPでは、DMZでのアートプロジェクト「DMZ Art & Peace Platform 2021」のディレクター、チョン・ヨンシム氏の来日を捉え、DMZを現場とするアートによるアプローチについて、緊急トークを開催します。
チョン・ヨンシム氏がキュレーティングしたDMZ Art & Peace Platformは、DMZとその周辺の5カ所を会場とし、ナムジュン・パイクや坂茂、オラファー・エリアソンとセバスティアン・ベーマンによるStudio Other Spaceなど、国際的に高く評価される33人のアーティストが参加しました。DMZの過去、現在、未来の物語にスポットを当て、DMZを新たな「コンタクトゾーン」、つまり国境のない平和地帯へと変貌させるプロジェクトです。参加者は、南と北の国境に住む普通の人々や彼らの日常生活、ミレニアル世代やZ世代、朝鮮戦争を経験していない戦後世代に代表される避難民や戦争イメージの「先送りされた記憶」、精神を癒すために絶滅危惧種の名前を呼び起こすこと、パンデミックや気候危機の中で環境とテクノロジーの共存について考えるなど、多様な題材を取り上げ、アートをプラットフォームとして幅広い専門家が結集しました。
In today’s world, there is not a day that goes by without being reminded of the conflicts and wars happening around the globe, and the division and tragedies they bring to people. As people studying art, how can we engage with this situation? Even though our methods may differ, each of us is likely spending our days carrying some thoughts on how to cope with this.
The most continuous conflict close to Japan is at the DMZ (Demilitarized Zone) on the Korean Peninsula. In South Korea, our neighboring country, there is a cultural and research-oriented approach using the DMZ as a platform to view the present through art, and reflect on the past and future, while considering ongoing political struggles.
In the GAP, we are seizing the opportunity of the visit by Ph.D. Chung Yeon shim, director of the DMZ art project “DMZ Art & Peace Platform 2021,” to hold an urgent talk on the approach to art at the DMZ.
The DMZ Art & Peace Platform, curated by Dr. Chung, used DMZ and its surrounding 5 locations as venues and featured 33 internationally acclaimed artists including Nam June Paik, Shigeru Ban, and the Studio Other Space by Olafur Eliasson and Sebastian Behmann. This project focused on the past, present, and future stories of the DMZ, transforming it into a new “contact zone,” a borderless peace area. Participants included a wide range of experts using art as a platform, covering diverse themes such as the everyday lives of ordinary people living on the border between North and South Korea, the “deferred memories” of refugees and post-war generations who did not experience the Korean War, invoking the names of endangered species to heal the spirit, and considering the coexistence of the environment and technology amid the pandemic and climate crisis.
Dr. Chung says, “The border is there, acting as a barrier, yet the artistic imagination and desire for peace in the DMZ will always be as borderless as birds, wind, water, and grass. Borderless DMZ. “
In this era of conflict, we invite many to participate and consider the power of art towards the future.
ゲスト：チョン・ヨンシム氏（Yeon Shim CHUNG） 弘益大学教授、DMZ Art & Peace Platform 2021ディレクター
執筆活動としては、2013年、戦後韓国美術における単色画の主要な提唱者である李逸（イ・イル）の評論集を編纂した（Mijinsa、2013年、英訳はLes Presses du réelより出版）。また、M+ Matters（香港）で単色画に関する複数の記事を執筆したほか、ナム・ジュン・パイク、パク・ヒョンギ、韓国の実験的前衛芸術家に関するモノグラフを執筆。アンソロジー『Visualizing Beauty（美の視覚化）』では本の章を執筆：また、『Installation Art in Contemporary Space』（A & C、2014年）と『Korean Installation Art』（2018年）という2冊の韓国語のモノグラフがある。1953年以降の韓国美術を執筆、共同編集：Collision, Innovation, Interaction』（Phaidon London、2020年）を執筆している。
Professor of Art History and Theory at Hongik University in Seoul, South Korea. She received her Ph.D. in art history from the Institute of Fine Arts, New York University. Dr Chung’s research interests encompass both modern and contemporary Western and East Asian art and culture. Before receiving tenure at Hongik, she was Assistant Professor at the Fashion Institute of Technology in New York City and a researcher for the exhibition The World of Nam June Paik at the Guggenheim Museum, New York in 1999. She has also co-curated several landmark exhibitions in New York and in Seoul since 2000, including Faultlines, an exhibition of “Imagined Border,” the 2018 Gwangju Biennale edition. In 2013, Chung compiled a Critical Anthology of Lee Yil, a major proponent of Dansaekhwa in post-war Korean art (Mijinsa, 2013; the English translation was published by Les Presses du réel). She also authored several articles on Dansaekhwa at M+ Matters (Hong Kong), and monographs on Nam June Paik, Park Hyun-Ki, and Korean experimental avant-garde artists. She published a book chapter in the anthology Visualizing Beauty: Gender and Ideology in Modern East Asia (Hong Kong University Press, 2012); and has two monographs in Korean, entitled Installation Art in Contemporary Space (A & C, 2014) and Korean Installation Art (2018). She authored and co-edited Korean Art from 1953: Collision, Innovation, Interaction (Phaidon London, 2020). As an artistic director she curated the 2021 DMZ Art & Peace Platform on the border of the DMZ. She was a visiting research professor at IFA, NYU in 2018-2019 as a Fulbright Fellow.
What is DMZ? The DMZ (DeMilitarized Zone) on the Korean Peninsula is the Military Demarcation Line established by the Korean War Armistice Agreement on July 27, 1953. The Korean War began on June 25, 1950, and in South Korea, it is called “육이오 (pronounced “yook-ee-oh”, or six-two-five)” based on the pronunciation of the date. Within the context of the East-West Cold War, the United States and the Soviet Union deeply engaged in the struggle for control over the Korean Peninsula, making it a prominent site of global geopolitical conflict. The distant cause of its occurrence includes Japan’s colonial rule over the Korean Peninsula, marking it as the closest site of conflict and division to Japan. The Korean War remains in a state of armistice, having lasted for more than 70 years without a formal end to the war. The process by which one ethnic group has come to division and conflict is not only the outcome of actions by the parties directly involved but also a result of global political struggles, a structure that can be similarly observed in conflicts and wars frequently reported in the news today.
Theme: Beyond Barriers: Nature, Challenges, and Art in the DMZ
Date: June 28th, 2024 (Friday) 18:00-20:00
Venue: 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 *There will be no online streaming of the lecture.
Eligibility: TUAT students, faculty, staff, and the general public (first-come, first-served; capacity of 150) *GAP Unit Program (must be taken as it is part of the required coursework) for the first year of the Master’s degree in GAP.
Language: Japanese and English with consecutive interpretation (interpreter: Kyle Hogue)
Admission free/ Reservation not required (in order of arrival)
Credit: Planned and hosted by Professor Lee Mina (GAP) Organized by Global Art Practice (GAP), Tokyo University of the Arts
The film “Hana and Koto” with music by Takumi Uchida, a master’s student of GAP, has been nominated for the SKIP CITY INTERNATIONAL D-Cinema FESTIVAL 2024. It is scheduled to screen onsite and online on the following dates.
SKIP CITY INTERNATIONAL D-Cinema FESTIVAL 2024
Established in 2004 in Kawaguchi City, Saitama Prefecture, SKIP CITY INTERNATIONAL D-Cinema FESTIVAL was one of the first international competitive film festivals to exclusively feature digital cinema, which has now become the standard format for motion pictures. We remain committed to discovering and nurturing new talent, with the aim of helping these filmmakers seize new business opportunities that have arisen in the changing landscape of the film industry. In 2024, the 21st edition of the festival will be held.
The core programs of the festival are the International Competition and the Japanese Film Competition. The International Competition accepts submissions from all over the world. The Japanese Film Competition, which is divided into two sections, the Japanese Feature Film Competition and the Japanese Short Film Competition, accepts domestic submissions by emerging filmmakers. This year, we have received 1,201 submissions, from 102 countries and regions.
After preliminary judges select the first round of nominees, the official jury members, who are esteemed domestic and international industry professionals, will judge the films, and the awards including the Grand Prize will be given out on the last day of the festival. In addition, the SKIP CITY AWARD is given to a Japanese film which displays promising talent for feature filmmaking.
Global Art Practice, Graduate School of Fine Arts, TUA will organize an Entrance exam briefing session for International Applicants (2025 Academic Year). Individuals who are interested in pursuing a further degree can participate in the online guidance.
This Briefing Session will be given only in English. We will have the another session in Japanese in November 2024.
If you have any specific questions, please send them in advance using the Advance Inquiry Form below. Answers will be given at the Briefing session or posted on the website, and individual replies will not be made.
*Language: English Only (If you have a question, you can also ask us in Japanese)
Date・Venue： 26th June (WED) 16:00(JST) Online by ZOOM（URL: https://zoom.us/j/98304947522） Please access it when the time comes. No reservation required.
Why not join us in a playful dialogue with wild plants around us and see what words bloom from our connection with the land? Wild plants roam freely, crossing invisible borders like national and prefectural lines. Sometimes they’re shunned by humans, sometimes they heal us, but they always share a deep bond with us, transcending time and place. In this workshop, we’ll forage for wild plants, savour their aromas and flavours, and let them inspire us to craft the poetry that bridge the gap between us and the land.
We’ll kick off with Nagisa Mizuno, who will share her reflections on the boundary between her body and the land. Drawing from her year-long adventure gathering wild plants in Finland in 2023, she’ll tell the story of ‘Momo-iro no Tea (Peach-Coloured Tea),’ a short tale inspired by her experiences. Then, we’ll take a stroll through the neighborhood to gather intriguing wild plants. Back at our gathering spot, we’ll brew wild plant tea, watch its colour change, inhale its scent, and put our feelings into words. The words we create from these wildflowers will blossom into poems full of unique emotions and perspectives.
Sharing and connecting with each other is a key part of the fun. Let’s enjoy this journey of tasting wild plants and playing with words together!
You’re invited to the MFA exhibition by 20 artists from the programmes Medium- and Material Based art and Art and Public Space at Oslo National Academy for the Arts.
“If a degree show was a material, what would its qualities be? Porous or hard, opaque or transparent, steely or malleable? Could you hold it in your hands, or would you have to ask for help to lift it up? In this exhibition of artists working with medium and material-based arts and art in public space, we are met with both novel ideas and some impressively vast time scales and topics. Materials and techniques that appear either old or new, are seldom one or the other, and often both. The exhibition title ‘The World Is A Knot In Motion’ is a quote from the author Donna Haraway, who is known for using science-fiction to fabulate on future material realities and living conditions on the planet to highlight new and current perspectives on our coexistence with the species around us, whether they’re species of rocks, animals, trees, or plants. The phrase, as we are applying it, encourages a break with deterministic definitions of “nature” and “culture”, and the distinction between these. It is also a sentence whose progression seems to align with our understanding of the given format — the world is ingested, the work knots, and the exhibition format signifies a forward motion.” We look forward to welcoming you into 20 unique artistic worlds!
Date May 31 17:00–20:00 Jun 01 11:00–16:00 Jun 02 11:00–16:00 Jun 03 15:00–19:00 Jun 04 15:00–19:00 Jun 05 15:00–19:00 Jun 06 15:00–19:00 Jun 07 15:00–19:00 Jun 08 11:00–16:00 Jun 09 11:00–16:00
Venue with address Oslo National Academy of the Arts Fossveien 24, 0551 Oslo Norway
Opening reception detail [Opening] Friday 31 May 17:00-20:00 Opening ceremony 17:00-17:30, open until 20:00 [Exhibition period] 1-9 June Public programmes and performances Saturday 1+8 June
Participate from GAP 太田紗世 Sayo Ota
Participating Artists Alice Davies, Almendra Baus Rusiñol, Anastasya Kizilova, Anders Hald, Belén Santillán, Carolina Vasquéz Gonzaléz, Dariusz Stefan Wojdyga, Kaia Weiss, Linda Flø, Magnus Håland Sunde, Nanna Amstrup, Rajat Mondal, Sara Skorgan Teigen, Sayo Ota, Silje Kjørholt, Sofia Nömm, Tamara Marbl Joka, Théotime Ritzenthaler, Victor Kojo Aubyn, Zeke Isendahl
Follow @khioartandcraft og @the_world_is_a_knot_in_motion_ on Instagram for introductions to the 20 artists and programme updates leading up to the opening day. For press or other inquiries, contact programme coordinator Mariella Yakubu at mariyaku@khio.no MFA Medium and Material Based Art MFA in Art and Public Space
In this event, Nagisa, who studied in Finland as an exchange student, will share her experiences about her exchange life at Aalto University, and Finnish culture and art, together with a guest from the Finnish Institute in Japan. If you are interested in studying abroad or Finnish design and art, please feel free to join us! Coffee and tea will be provided.
登壇者 エルザ・ドルラン(Elsa Dorlin) 哲学者。ソルボンヌ大学（旧・パリ第四大学）で博士号を取得後、パンテオン・ソルボンヌ大学哲学科で准教授として哲学史および科学史を講じたのち、パリ第八大学政治学科教授を経て、2021年からトゥールーズ・ジャン・ジョレス大学哲学科教授。フランスへのブラック・フェミニズムの紹介者としても知られ、2000年中葉以降のフランスにおける新たなフェミニズムの潮流をフランス科学認識論（エピステモロジー）の立場から思想的に支える最も重要な哲学者のひとりである。 著書『人種の母胎―性と植民地問題からみるフランスにおけるナシオンの系譜（La matrice de la race; Généalogie sexuelle et coloniale de la Nation française）』の邦訳が今年6月、人文書院より刊行予定。他に『性・ジェンダー・セクシュアリティ〔Sexe, genre et sexualités〕』（2008年／第２版2021年）、フランツ・ファノン賞受賞の『自己防衛――暴力の哲学〔Sedéfendre. Une philosophie de la violence〕』（2017年）等がある（いずれも「未邦訳）。
Elsa Dorlin is the most important philosopher who ideologically supports the new feminist trend in France since the mid-2000s. As an expert on gender, racism, and feminism, she has studied the formation of gender and racial categories, and through works such as “Sex, Gender, and Sexuality” (2018) and “Self-Defense: The Philosophy of Violence” (2017) and deals with the phenomenology of violence and the concept of self-defense. In recent years, he has also been a strong inspiration for the artistic creation of Gisele Vienne, a director and choreographer known for her numerous stage productions also in Japan and a leader in the French performing arts, by providing numerous texts for her works as an ideological collaborator.
In conjunction with her visit to Japan for the publication of the Japanese translation of “The Mother of Race: Genealogy of Nation in France from the Perspective of Sexuality and Colonialism” (2006), she will give a special lecture at Tokyo National University of Arts for the first time.
In this lecture, Mr. Dolan will outline the key points to grasp the overall picture of her philosophy, and together we will learn to take a critical perspective on the structures that produce internalized violence and racism in human beings, from everyday life to historical events and ongoing wars. In addition to Professor Tomoko Shimizu of GA, we welcome artist Hikaru Fujii as a discussant, and we will also develop a discussion connecting Mr. Dolan’s thought to artistic practice. Please join us.
Elsa Dorlin Philosopher. PhD. from the Sorbonne (former University of Paris IV) in 2004, she taught History of Philosophy and History of Science as Associate Professor at the Department of Philosophy of the Panthéon-Sorbonne, then became Professor of Political Science at the University of Paris VIII, and since 2021 Professor of Philosophy at the University of Toulouse Jean-Jorez. Known for introducing black feminism to France, she is one of the most important philosophers to ideologically support the new feminist trend in France since the mid-2000s. In addition to this book, he is the author of “Sex, genre et sexualités” (2008, 2nd ed. 2021), which has not yet been translated into Japanese, and “Self-Defense: The Philosophy of Violence” (2017), which won the Prix Franz Fanon, among others.
Discassant: Tomoko Shimizu (Professor, the Arts Studies and Curatorial Practices program at the Graduate School of Global Arts, TUA) Hikaru Fujii (Artist)
Planning and moderator: Chiaki Soma (Art Producer, Associate Professor of Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts)
Date: May 23rd, 2024 (Monday) 18:00-20:00
Venue: 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 *There will be no online streaming of the lecture.
Eligibility: TUAT students, faculty, staff, and the general public (first-come, first-served; capacity of 150) *GAP Seminar (must be taken as it is part of the required coursework) for the first year of the Master’s degree in GAP.
Language: Japanese and English with consecutive interpretation (interpreter: Kanoko Tamura)
Credit: Organized by Global Art Practice (GAP), Tokyo University of the Arts Co-organized by Tomoko Shimizu Lab, the Arts Studies and Curatorial Practices program at the Graduate School of Global Arts, TUA Special Cooperation: Institut Francais du Japon
Contact: Graduate School of Art, Department of Global Art Practice Email: gapstaffs@ml.geidai.ac.jp
