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
Human, space, and time are essential components in performative art pieces, intricately interconnecting with each other. Traditionally, in the process of creating performances, the artist retains control over all these elements. However, what would happen if the “”Human”” component were not performers but spectators? If “”observing”” equates to “”creating””, How can we control the uncontrolled? “”In the realm beyond spectrum”” is an attempt to connect the audience with artwork by creating a performative space comprising six channels of video mockumentary, a white cube room, and glass wall. The video draws inspiration from the life story of Sareena’s aunt, who resides in Thailand but is depicted within Japan’s context. Viewers can observe and listen from both “”inside”” and “”outside””, and as they become part of the artwork, their role transforms from observers to contributors. The seemingly endless relationships between individuals and spaces may help spectators to revisit the connections they possess.
Sareena sattapon
本展「In the realm beyond spectrum」は、ホワイトキューブとガラスの壁、6チャンネルのモキュメンタリ―映像で構成されたパフォーマンス空間を立ち上げ、観客と作品を接続する試みを行います。映像は、タイに住むサッタポンの叔母の人生譚から着想を得ており、それを日本の文脈に置き換えて描かれています。鑑賞者は作品の「内」と「外」の双方から作品を見聞きし、作品の一部となることで、その立場は鑑賞者から作品の構成者へと変化します。個々人と空間の、一見すると終わりのない関係性は、鑑賞者自らが持つ繋がりを再訪する手がかりとなります。
Period /会期：23 March – 25 May 2024 ＊Closed on Sun-Wed and holidays Venue/ 会場：Piramide Bldg., 4F 6-6-9 Roppongi, Minato-ku Tokyo 現代芸術振興財団（東京都港区六本木6-6-9 ピラミデビル4階） Open hours：Thursday・Friday・Saturday 12:00〜19:00 Opening reception：23rd March (Sat) 17:00〜19:00 Organizer：公益財団法人 現代芸術振興財団
This exhibition “Fabulation/ (ma) tter” will present the results of a 2-week studio residence at Uenoshita Studio, which was realized by receiving the Tokyo University of the Arts Graduate School of Fine Arts Global Art Practice (GAP) Major Award.
A special workshop for TUA students will be held with Ho Tzu Nyen, who is currently visiting Japan for his solo exhibition “Ho Tzu Nyen: A for Agents” at the Museum of Contemporary Art Tokyo. Students will attend a special lecture on Monday, April 8, to gain an understanding of Ho’s artistic methodology and base approach before participating in the intensive two-day workshop.
Ho’s artworks are rooted in thorough research on the histories of Southeast Asia and East Asia. They are reconstructed in the present day by integrating various media – such as video, animation, performance, VR, and music – as needed, to access a more multi-layered history. Many of his projects involve close collaborations with researchers, translators, and other artists, sometimes over long durations. In this workshop, Ho will share and speak about the archival materials that he has gathered for his projects related to Southeast Asia, Japan, and Korea. Through conversations, exercises, and group work, we will not only experience his approach to dealing with history, but we will also collectively think about the limitations and possibilities of engaging in the histories of “others”.
*This workshop is a Social Practice Seminar class for second-year M2 students in the Global Art Practice course of the Graduate School of Fine Arts, and is open to students in other departments as well.
Dates and time: Tuesday, April 9, 2024 10:00-17:00, Wednesday, April 10, 2024 10:00-17:00
Venue: Auditorium, Museum of Contemporary Art Tokyo (4-1-1 Miyoshi, Koto-ku, Tokyo, B2F)
Capacity: 30 students from Tokyo University of the Arts
Conditions of participation: -The participant must be a student of Tokyo University of the Arts -Those who can attend the Ho Tzu-Nyen Special Lecture on April 8 (Mon.), 2024 from 18:00 to 20:00. -Those who are able to attend the entire workshop on April 9 (Tue.) – 10 (Wed.), 2024 from 10:00-17:00. -Those who have no difficulty in attending the workshop in English. *Recommended to see the exhibition at Museum of Contemporary Art Tokyo on April 6 (Sat.) or 7 (Sun.), 2024.
Application: Apply using the form below by Monday, March 25, 2024. After selection, you will be notified by e-mail whether you can participate or not by Friday, March 29, 2024.
Credit: Organized by: Global Art Practice Program (GAP), Graduate School of Fine Arts, Tokyo University of the Arts Co-organized by: Museum of Contemporary Art Tokyo
Contact: Graduate School of Fine Arts, Department of Global Art Practice Email: gapstaffs@ml.geidai.ac.jp
《時間のT：タイムピース》 2023年、映像スチル Image courtesy of the artist and Kiang Malingue
Ho Tzu-Nyen is an internationally renowned artist based in Singapore. Based on his extensive research, he has created numerous video works, installations, and performances that capture and reconstruct the complex multi-layered nature of Asian history in a unique way. In recent years, he has presented a series of new works in Japan, such as “Hotel Aporia” (Aichi Triennale 2019), “Voice of Void” (Yamaguchi Center for Arts and Media, YCAM, 2021), and his solo show “Night March of 100 Monsters” (Toyota Municipal Museum of Art, 2021). Through these projects, Ho continues to make a strong impression on Japanese audiences and provide a new perspective on Asian history.
In conjunction with his new solo exhibition “Ho Tzu-Nyen: A for Agents” at the Museum of Contemporary Art Tokyo, which opens on April 6, we invite him to the Tokyo University of the Arts to give a special lecture to the students and the general public. The first half of the lecture will be in the form of a lecture, in which he will talk about the ideas and practices that form the basis of his creative activities and the approach he takes in creating his works, using recent works published in Japan as examples. In particular, we will hear in detail about his unique methodology and creative process of bringing to light the multilayered nature of Asian history through his extensive use of quotations and collages from animations and films widely shared in Asia, and making the reappearance of spies, soldiers, monsters, faceless characters, etc. that have been invisible in the history of the region.
In the latter half of the session, we will take questions from students attending the workshop, which will be co-hosted by the Tokyo University of the Arts and the Museum of Contemporary Art Tokyo from the following day. We will consider what kind of artistic approach is possible in Asia, which still faces many unspoken historical and political tensions. We hope that this lecture will also provide an opportunity for international students from Asia who are studying at the university to confront history from a pluralistic perspective and connect it with their own artistic expression. We look forward to your participation.
Lecturer : Ho Tzu Nyen Ho Tzu Nyen was born in 1976 in Singapore, where he lives and works. His films, film-based installations, and performances draw from a vast range of cultural materials and discourse, which are repurposed into a visual machinery that animates the entanglement and complexity of history, subjectivity, and power. Ho’s recent solo exhibitions were held at Singapore Art Museum (2023), Hammer Museum (Los Angeles, 2022), Toyota Municipal Museum of Art (Aichi, 2021–22), Crow Museum of Asian Art of the University of Texas at Dallas (2021), Yamaguchi Center for Arts and Media (2021), Kunstverein in Hamburg (2018), and Ming Contemporary Art Museum (Shanghai, 2018). He represented Singapore at the 54th Venice Biennale in 2011. Ho’s recent group exhibitions include Thailand Biennale (2023), Aichi Triennale (2019), 12th Gwangju Biennale (2018), and 10th Shanghai Biennale (2014). His works have also been presented in numerous international theaters and film festivals, including Theater der Welt (2010, 2023), Holland Festival (2018, 2020), Berlin International Film Festival (2015), Sundance Film Festival (2012), and 41st Directors’ Fortnight at the Cannes Film Festival (2009). In 2019, Ho co-curated the 7th Asian Art Biennial with Taiwanese artist Hsu Chia-Wei at the National Taiwan Museum of Fine Arts.
Planning and moderator: Chiaki Soma (Art Producer, Associate Professor of Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts)
Date & Time: April 8, 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)
Language: Japanese and English with consecutive interpretation (interpreter: Kanoko Tamura)
Credit: Organized by Global Art Practice (GAP) and Inter Media (Sentan), Tokyo University of the Arts Co-organized by Global Support Center, Tokyo University of the Arts Special Cooperation: Museum of Contemporary Art Tokyo
Contact: Graduate School of Art, Department of Global Art Practice Email: gapstaffs@ml.geidai.ac.jp
Dates：2024.03.11~2024.03.16 12:00-19:00（last entry16:00） 日時：2024年3月11~16日 12:00-19:00（最終日16:00まで） Venue：YW GALLERY 6F Ginza 3-8-17, Chuo City, Tokyo, 104-0061 会場：ゆう画廊 6F 〒104-0061 東京都中央区銀座３-８-１７ ホウユウビル
Touching and Being Touched In a world teeming with tactile exchanges, from the warmth of a handshake to the comfort of an embrace, “Touching and Being Touched,” ventures into the less traversed terrains of human interaction. Mengke employs her art as a means to open up conversations about haphephobia—the profound discomfort or fear of touch, pushing against societal norms that often dismiss or overlook the discomfort associated with unwanted physical contact. Her artworks serve as a bridge, offering a profound, visual dialogue on the complexities of touch, consent, and personal boundaries. Each piece, whether through abstract forms, textured surfaces, or interactive installations, challenges us to confront our own perceptions of touch and the multifaceted nature of human connections and encourages us to consider the layers of meaning imbued in touch and to recognize the strength in setting and respecting boundaries. ——Harris Kayama
