Koki Fujinaka (GAP M2 student) will be performing a theatrical piece at the Bigakko graduation presentation.
当専攻の大学院2年に在籍する藤中康輝が、美学校の修了発表にて演劇作品を上演します。
“I like the atmosphere where the air stagnates, with high humidity. It feels soft, warm, blissful, and almost like dying. The pleasant smell of a futon.
When thinking about delicate human relationships, I am always afraid of the way theater imposes various constraints on the audience and actors. Ordering to sit quietly in a chair, cutting off communication with the outside world. I used to think that was violent and feared it, but it seems that confronting each other face-to-face is not always the only correct way. We will perform a human relationship of tranquility and tension, bound in a closed space, based on the relationship between actors and the audience.”
Koki Fujinaka
The ” purchase” system was established by the Tokyo University of the Arts, which selected particularly outstanding graduation works for each department, and purchased them from the university. This exhibition will look back on the history of art education in Japan from the time of the Tokyo School of Fine Arts to the present.
Date/会期： Mar 31 (Fri), 2023 – May 7 (Sun) 10:00 – 17:00 (Entry by 16:30), 2023 2023年3月31日(金) – 2023年5月7日(日) 午前10時 – 午後5時（入館は午後4時30分まで）
Closed/休館日: Mondays, (except May 1) 月曜日（ただし5月1日は開館）
Venue/会場: Main Gallery 1, 2, 3, 4 (The University Art Museum, Tokyo University of the Arts) 東京藝術大学大学美術館 本館 展示室1、2、3、4
Admission/入場料:
Adult – 1200 yen College student – 500 yen Senior high school student or younger – Free *Free admission for disabled people (one accompanying guest for each disabled person is admitted free)
“Glitches in Love: A New Formula” will introduce 12 artists from Japan, England, China, Ireland, and Slovenia under the theme of a “New formula of Love”. We are surrounded by countless forms of love today. When these loves take on new shapes in modern society, will they be embraced or treated as a glitch? In our modern society, those loves and lovers that problematize the inflexible geometries of love can be styled glitches; bugs in the system that society attempts to quash. We welcome those previously scorned by the rigidity of defined love, and radiate love universally. We will look at “glitches” in love that have been neglected by definition, such as queer and other forms of love related to gender identity, self-love, and virtual love, and consider “new formulas” for love in all worlds, including the virtual world as well as the physical world. By focusing on topics that have been placed outside the existing framework of love, and by comprehensively examining these topics, we will explore the challenges and possibilities for the perception of a new formula of love through a global perspective.
本展「Glitches in Love: A New Formula/愛のグリッチ:新しい公式」では、「愛の新しい公式」をテーマに日本、イギリス、中国、アイルランド、そしてスロベニアから12組のアーティストを紹介します。 人類の歴史において長きにわたって語られてきた「愛」。しかし、その愛の枠組みから溢れてしまった形の愛が多くあることを、現代の私たちは徐々に認識し始めています。本展ではそのような愛を「グリッチ」とし、それらを含めた包括的な新しい「愛の公式」とは何かを探っていきます。グリッチとは、システム上の不具合やバグなど取り除かれるべき対象を表す言葉です。クィアをはじめとする性自認にまつわる愛、異種間の愛、自己愛、ヴァーチャルな愛など、これまで定義上軽視されてきた愛の形「グリッチ」に目を向け、現実世界に限らず仮想世界なども含めたあらゆる世界における愛の「新しい公式」を考えます。既存の愛の枠組みの外に置かれてきたトピックに着目し、それらを包括的に考察することで見えてくる愛に対する認識への課題や可能性をグローバルな視点から捉える事を試みます。
Outline
Date/会期： March 24th, 2023 (Friday) ~ April 9th, 2023 (Sunday) 2023年3月24日 (金) ー 4月9日 (日)
Opening Time/日時： 10:00-17:00 (Admission allowed until 16:30) Closed on Mondays （入場は16:30まで）月曜日は休館
Admission /入場料: 無料 ※ 小学生以下のお客様は保護者の同伴が必要です。 free *Elementary school students and younger must be accompanied by a parent or guardian.
Venue/会場： Chinretsukan Gallery, Tokyo University of the Arts 東京藝術大学上野キャンパス 陳列館
Organizer/主催： 東京藝術大学大学院国際芸術創造研究科アートプロデュース専攻
Co-organizer/共催： 一般財団法人カルチャー・ヴィジョン・ジャパン
Sponsor/助成： Geidai Friends 藝大フレンズ
Curator/キュレーター： 杉山明理朱/ 王皞哲/ Yuheng Wu/ Ryan Finn Michael/ Lucy Fleming-Brown/ Mengke Guo/ 前田宗志/ 徐葦 Alice Sugiyama/ Haozhe Wang/ Yuheng Wu/ Ryan Finn Michael/ Lucy Fleming-Brown/ Mengke Guo/ Soshi Maeda/ Wei Xu
Supporter/サポーター : Cleo Verstrepen/ Gamze Baktir/ Ghada Hadil BenFredj/ Katrin Bjorg Gunnarsdottir/ Thomas Vauthier
Superviser/監修： 長谷川祐子［東京藝術大学教授、金沢21世紀美術館館長］ Yuko Hasegawa (Professor, Graduate School of Global Arts, Tokyo University of the Arts Director, 21st Century Museum of Contemporary Art, Kanazawa)
Date/日時： March 26 (Sun)~ March 30(Thu) 13:00 〜 20:00 *Last day is until 18:00 2023/3/26(日)- 3/30(木) 13:00 〜 20:00 *最終日のみ18:00まで
Artist /アーティスト： 鷹取詩穏（Shion Takatori）、郭瑞麟（Guo Ruilin）
主催/Organizer： 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 Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts
共催/Co-organizer： 遊工房アートスペース Youkobo ART SPACE
About GAP Unit Award Exhibition / GAPユニット賞展について
Global Art Practice (GAP) in the Tokyo University of the Arts is a graduate program, dedicated to fostering future leading artists with a global focus on social practice in contemporary art. We are proud to present a two- person exhibition at Youkobo Art Space organized by students who excelled in the inaugural year of this program.
Since 1989, Youkobo Art Space has, through the management of an Artist in Residence (AIR) program and experimental gallery for the exhibition and presentation of art, worked to offer support to other AIR programs while also developing international exchange, community activities, and human resources. To date, over 340 artists from approximately 50 countries have stayed and produced at Youkobo as participants in the AIR program, while more than 250 Tokyo-based artists have exhibited in Youkobo’s experimental gallery programs.
Venue：Sapporo Tenjinyama Art Studio / (Tenjinyama Ryokuchinai), 2-17-1-80 Hiragishi, Toyohira-ku, Sapporo City, 062-0932 / TEL 011-820-2140 会場：さっぽろ天神山アートスタジオ / 〒062-0932 札幌市豊平区平岸2条17丁目1番80号（天神山緑地内）/電話 011-820-2140
[About Artist Talk] How was the 30 days you spent working on “What I want to do at Tenjinyama” as “the residency period = performance period, filming the process of transformation of the work (water-soluble plastic sculpture) with a fixed-point camera,” “creating a sculpture using Sapporo soft stone,” and “researching Ainu people”?
Take your time and listen to what moved the artist’s eyes and heart. Chako Kato of Melbourne’s Slow Art Collective will be leading the dialogue. This event will be held on 3.11. We would like to make this a good time for the artists to pray for the future. Please join us.
Regardless of whether you have a disability or not, regardless of whether you have dance experience or not, this is a workshop where you can dance together and experience the music, rhythms, and sounds that emerge from the inside of your body.
Sometimes touching others, entrusting the whereabouts of weight and movement, While sometimes using tools, A program is prepared to guide the body to richer expressive activities.
It would be great if you could interact with various people through Butoh and make your life a little more wonderful. We look forward to your participation.
Participating artists: Megumi Mori (Composer), Yuko Tokuyasu (Butoh Dancer), Keiko Tokuyasu (Butoh Dancer), Seishiro Sasaki (Saxophone), Kai Nishimura (Saxophone), Taikimen(Percussion)
[Program]
○12/3 (Sat.) Workshop and performance of “Prayer II”-for 2 saxophonists and 2 butoh dancers- 13:30- about 1 hour 30 minutes
○12/16 (Fri) Workshop 18:00- about 1 hour 30 minutes
○12/17 (Sat) Performance 13:00-Performances of the works “Prayer II” -for 2 saxophonists and 2 butoh dancers- and “Prayer III”-for percussionist and two butoh dancers- , etc.
[Place]
SPACE AVAILABL asakusabashi
B1F, Asakusabashi KS Building, 1-12-3 Asakusabashi, Taito-ku, Tokyo JR Sobu Line Asakusabashi Station West Exit
Ana Scripcariu-Ochiai Artist Born in 1992 in Saitama Prefecture, Japan. Ana Scripcariu-Ochiai is a mixed media artist who sensitively explores ways to take root in her two home countries of Japan and Romania under the theme, “connections between land and people.” She performs cultural and anthropological field work including documentation of indigenous festivals and folk religions in various parts of Japan and abroad. In recent years, she has been involved in the field of primatology as an extension of her work. She has exhibited in Japan and internationally: The Museum of Modern Art, Saitama, Japan (2020-2021); The National Museum of Contemporary Art, Romania (2020); Hoi An, Vietnam (2019); Tokyo Metropolitan Art Museum, Tokyo, Japan (2019); Chambord, Paris,France (2017).
Burying the Bone ー One’s Final Home （2019ー2021） Photo by Tatsuyuki Tayama
Where are you currently based as an artist and what are your activities? Where are you currently based as an artist and what are your activities? I am based mostly in Tokyo. The theme of “the connection between land and people” is born out of my search for ways to put down roots in my two home countries, Japan and Romania. I have conducted a series of cultural anthropological fieldwork on indigenous festivals and folk beliefs in various places in Japan and abroad. Mainly exhibiting at art museums and galleries in Tokyo, I have done residency programs and exhibited my works in other regions such as Saitama, Kanazawa, and Kyoto, as well as in Romania and Vietnam. Recently, I have also been increasingly invited to speak at symposiums and university lectures. Commencing this November, I will move to Romania, my other home country, for one year with a grant from the Pola Art Foundation.
Can you give specific examples of classes or experiences at GAP that have left a lasting impression on you? My most memorable experience is the “Global Art Joint Project 2016 Paris Unit”. Students from both Geidai and Les Beaux-Arts de Paris traveled back and forth between Japan and France, and ultimately completed a residency at the Chateau de Chambord, a World Heritage site in France, where we exhibited their work. When I gave a tour of Tokyo as a group of four, two from Beaux-Arts and two from Geidai, a Les Beaux-Arts de Paris student asked me about the difference between a temple and a shrine. At that time, the student I was with was able to answer, but I was unable to answer clearly. I was further asked, “Why don’t you know?” It was an impressive experience that made me want to learn about Japan properly. It was also interesting to see the difference in the way of education between Beaux Arts and Tokyo University of the Arts. I created a video sound installation with a Beaux Arts student named Amelie, using sound and video to interact with each other beyond language. The time I spent with her family at her house in Paris after the exhibition was heartfelt and is a very good memory for me, like a scene from a movie. It was also a very valuable experience for me to have the opportunity to tour international art exhibitions such as the Venice Biennale, Documenta, and the Munster Sculpture Project as a selected student. My vision of exhibiting at the Venice Biennale in the future became clearer. Another significant event for me was the realization of the strength of the works as visual language that lingered in my mind even when I could not read their captions amidst the various works on display. This made me want to create an expression that transcends language and time periods, and that would be able to communicate with people.
How do you feel your learning at GAP has been applied to your current activities? One of the cases for this may be that I have come to think of a phenomenon as if I were looking at the world from a bird’s-eye view, and furthermore, to dig up information from the distant past, rather than just looking at the superficial aspects of the present. In a lecture by a guest lecturer at GAP, an overseas artist, I heard that artists should find multiple reliable media around the world on their own and create opportunities to be exposed to multifaceted world news everyday. I have been practicing that on a daily basis for about five years. I think such accumulation has had an important influence on my senses and way of thinking. In addition, at the Paris Unit, through the experience of creating art while living and working together with people from various different cultural backgrounds in the same space for a medium to long period of time, I was able to learn what kind of friction occurs in such a situation, even if it is only a glimpse. I think it was a great experience for me to be able to think about how to coexist with them, not just pretentiously or pictorially.
Please give a message to those who are considering taking the GAP exam. For those who are considering taking the exam from overseas. GAP offers a rare opportunity to learn about Japanese culture and traditional techniques in English in Japan. If you are interested in Japan, this is a very good environment for learning. GAP’s main location, the Toride campus in Ibaraki Prefecture, has fascinating workshops for woodworking, cloisonne enamel, glass, and other traditional Japanese techniques. For those who are considering taking an entrance exam from Japan. GAP has the status of a study abroad program that allows you to experience the world while learning about Japanese culture and traditional expression and techniques in a new and deeper way. Also, even if you are not confident or unsure about studying abroad, you can have an experience that is almost like studying abroad while still in Japan.
I believe that GAP provides an environment where you can deepen your inner world while opening it towards the outer world. You are sure to have stimulating encounters with students and teachers who have various senses of value.
Xiaotai Cao Born in Qinghai Province, China in 1993. In his works, he mostly uses materials from nature – woods, plants, flowers, etc. – and creates new forms of outputs through understanding and interpretation of natural elements such as mountains and water. He also emphasizes the coordination and mutual influence between human and nature. He currently lives in Japan and graduated from the Global Art Practice Masters program at Tokyo University of the Arts.
Where are you currently based as an artist and what are your activities? After I graduated this March, I attended the “2022 Toride City ‘Power of Creation and Expression’ Fostering Exchange program between artists and children” as the partner artist. For three months from May to July, I planned the “Plant Clay Painting” workshop for all the children at Toride Sanno Elementary School. The theme is connected to my hometown and my previous works. I worked together with the 60 children. We gathered natural materials such as plants, soil, stones, and shells and used them as pigments and medium to create art pieces. Finally, we hold an exhibition in the middle of Aug at Fujishiro citizen gallery. This was an amazing experience for me, and I was influenced so deeply. Recently, As a foreigner who wants to stay in Japan, I just finished the job-hunting activity and plan to start to work in a company. For sure, I will continue to make some art pieces based in Toride & Tokyo.
Can you give specific examples of classes or experiences at GAP that have left a lasting impression on you? The two classes that left the biggest impression on me were during my M1 year. One of the most memorable classes for me was the GAP Practice, which was a great experience for me to make things with my hands after taking the safety course for almost all common workshops in Toride campus. I think the experience of making things with my hands freely is very valuable. Not necessarily to make an art piece, but to touch and shape materials that interest me, and to practice techniques. It is also interesting to interact with other students, and the conversation never stops starting with “Oh, What shit are you making? ”Another interesting class was the Unit. When we had online classes, I often wondered “what am I doing now?” when I warmed up in front of the computer, or when I performed in the bathroom or kitchen for an assignment. But looking back on it now, it was still an interesting and wonderful experience.
How do you feel your learning at GAP has been applied to your current activities? It is only after joining GAP that I have come to further understand the diversity and inclusiveness of humanity and culture. This is related to art, but I am now thinking most about the impact on various other fields as well. First of all, as an artist, I am free to create whatever work I want, but when I do art, I always think about can I reconcile myself, can I understand my inner side or do I believe in myself? I don’t think I can give the answer even now, but after the past two years of study, I feel that I am getting closer to myself somehow. During the pandemic period, I also felt a connection between the outside world and others at GAP. For my graduation exhibition, I showed a piece called “I become the tube,” which was also about the connection between myself and this world. I would like to continue to create artworks, interact with others, and work with a “same/different” mindset.
Please give a message to those who are considering taking the GAP exam. GAP is a perfect place if you want to start a new period, or if you don’t know what you should do. Always try something new, always be exciting for the unknown world, always make yourself young and energetic, always keep innovating. Feel free to do anything, and feel free to be yourself. Good luck with the examination!
Naoto John Tanaka Lecturer, Graduate School of Global Arts, Tokyo University of the Arts. M.F.A. Global Art Practice, Tokyo University of the Arts, 2021. B.A. Art History (Department of Letters and Science), B.S. International Agricultural Development (Department of Agricultural and Environmental Science), University of California, Davis, 2016. Member, Phi Beta Kappa Society.
Where are you currently based as an artist and what are your activities? I have been researching and presenting about the history of the Toride campus of the university, which is where GAP is based, and of its surrounding land since my master’s thesis and graduation work. University history, or the history of Omonma, the name of the region where the campus is, may sound very particular and local, but once you dig deep you start to find connections with larger art history and the history of Japan and the world. I have had opportunities to present this not only academically but also artistically; in April, thanks to the people at a café/gallery in Omonma, I was able to put together an exhibit where the works of local artists and artists inspired by Omonma were shown together, alongside panels that introduced visitors to the history of the area. I am also in charge of classes on academic writing, and by that also on organizing one’s ideas and thoughts, from the high school to master’s level. This school year I also teach at GA (whose name is similar but is different from GAP). It is not a one-sided lecture when one person shouts out rules or techniques about writing, but rather a place where everyone (including myself) becomes a mentor, reading each other’s text or listening to their presentations, and giving honest feedback from their own perspectives, all for the purpose of becoming independent writers. The classes are in English (even for Japanese students) and I myself is not at all a perfect writer, so I try to keep the class one where we are all equal, and a place where we can safely challenge ourselves before presenting to a wider audience.
Can you give specific examples of classes or experiences at GAP that have left a lasting impression on you? All in all, it was fun. But to be brutally honest, the impressionable experiences all seem to be rather negative… yet in terms of what I learned, that is probably what counts. A big one that still resonates within me, is the voices of (to me, justifiable) antipathy by the overseas students, who arrived for a short-term program arrived in Japan, and learning Toride wasn’t exactly Tokyo, couldn’t figure out why they had to lodge in the former. One might come to think of GAP, a program that speaks English and has many connections outside of Japan, as drifting to remote places, but at the same time, I strongly felt this responsibility to explain things right at my feet, to people who do not share the same assumptions about all the things I take for granted. Thus, I had prepared myself so that the next time such a group of students would come, I, someone who can read Japanese text, would be able to properly introduce them as to why. Then COVID happened and I ended up finishing my master’s without ever being able to see people like them, but I still feel left in limbo with their concerns. Speaking of COVID, the many ways it kept me from doing things freely for the year I was going to be concentrating on my final project, was also very important. In my haste to get things done, for example, I just went ahead and did all these interviews with many local people, which caused trouble for the staff and the university. In the midst of all this, GAP gave me opportunities, both through its own faculty and guest lecturers, to carefully think about what I needed to do, not just from the perspective of preventing spread of this disease, but from various aspects, including the ethical, towards what I wanted to express. This has led me to create works that won’t be finished in a mere year or two, but over a much longer timeframe.
How do you feel your learning at GAP has been applied to your current activities？ So I only finished GAP less than two years ago, and this is someone who believes anything that is useful in an instant will also be useless in an instant, so it’s probably something I am yet to realize. That being said. It’s a paradoxical and abstract way to respond, but one thing that has not changed for me since I first learned of “GAP” is the intuition that, just as Mutually Assured Destruction (MAD) itself is an idea that expresses the how “mad” the world is, Global Art Practice (GAP) is a place that itself points to all kinds of “gap”s. I have continued to work with the university, and occasionally with the GAP program even after earning my master’s, and I think this is because there is a sense of security in being able to have a common understanding that there are gaps to begin with, rather than immediately trying to fill them in: gaps found in the program itself, or the art school in which such a program exists, a national university, or in the world of art, perhaps the society itself: what “overseas” stand for (not just a certain handful of countries and regions), what “global” is about (not posting everything in English), or how a university promotes international admission to quite a degree and yet has the processes for reporting harassment only written in Japanese… And typically (and perhaps for those of you reading this now), these may seem as denunciation, but it is great that there is a place where one can think together about why there are such gaps, not just pointing at them.
Please give a message to those who are considering taking the GAP exam. So it is something I can only say now, and it is that I wasn’t sure I could make it at GAP, and yet everyone at GAP treated me with kindness that is not just outright appraisal. Originally, I worked an office job that had nothing to do with art, and during my undergraduate I was in the agriculture and letters-and-science departments, so I had no experience as an artist. Once in GAP I found around me, both as teachers and as students, many contemporary artists who had created remarkable works of art, and people who gave precise insights into the subtleties of such artists. I tried to conceal my lack of confidence with bluff and haste, while trying all the tricks in the book, which at times gained sharp criticism, but eventually I began to receive comments from some of them to the effect of “Oh, I don’t know if what you are doing is art, but it sure is interesting.” And these are the people who I would be the one to be tempted to ask, “Is what you are doing art?”, people I would look up to with respect for having groundbreaking ideas, and to have them say that about me gave me confidence and, while this may be a bit presumptuous to say, made me wonder if I had expanded the realm of what art can do. I think the root of this kindness is what makes GAP unique, a program without, say, siloed laboratories of different sensei’s.
Special Lecture “Dancing the Land” 特別講義 「ダンシング・ザ・ランド」
Date : Tuesday, Oct 11, 2022, 18:00-19:30 (JST) 日時：2022年10月11日（火）18:00 – 19:30（日本時間） Venue : Lecture Room No.2, 1st Fl. of the Central Buiding, Ueno Campus, Tokyo University of the Arts 会場：東京藝術大学上野校地美術学部 中央棟1F 第2講義室 Guest： Khvay Samnang, Chum Chanveasna 登壇：クゥワイ・サムナン、チュム・チャンヴェスナ Language: English Only 言語：英語のみ
The Department of Global Art Practice (GAP), Graduate School of Fine Arts, Tokyo University of the Arts is pleased to announce a public lecture by internationally acclaimed Cambodian artist Khvay Samnang and curator Chum Chanveasna. Khvay Samnang is a founding member of the Sa Sa Art Project, an artist collective based in Phnom Penh, Cambodia, and the Sa Sa Art Project was invited to participate in Documenta 15 this year. Khvay Samnang will be in Japan for the solo exhibition and will be teaching the Social Practice Seminar and GAP Seminar classes for the GAP on October 9, 10, and 11. The theme of the class will be “Where is my land?” and will explore the relationship between humans and the land, and our relationship to lost or dispossessed land. Khvay Samnang has created many works on the theme of the relationship between people and land, and in 2011 he created a work on the Great East Japan Earthquake. At Documenta 14, he presented a work in response to one of Asia’s largest tropical rainforests in Cambodia, where the construction of a dam has resulted in the loss of land and environmental destruction, threatening the livelihood and culture of the people who live there. A related class was given by Vietnamese artist Tuan Mami on October 4. Tuan Mami participated in Documenta 15 as a member of the Hanoi-based artist collective “Nha San Collective,” where he worked with Vietnamese immigrants to create “Vietnamese Immigrating Garden” (2022), a garden of Vietnamese plants. Documenta 15 featured many works that questioned the relationship between land and people over colonialism and dispossession. In the second semester of 2022, GAP (Imamura’s class) will continue to consider many of the issues presented at Documenta 15 as one of the “After 100 days” proposed by Documenta 15. This time, we will continue to consider the relationship between humans and nature and the environment. The lecture is open to the public and anyone is welcome to attend. Please come and join us.
この度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（GAP)専攻では、国際的に活躍するカンボジアのアーティスト、クゥワイ・サムナンとキュレーターのチュム・チャンヴェスナを招いた特別講義を開講します。 クゥワイ・サムナンはカンボジア・プノンペンを拠点に活動するアーティスト・コレクティブ「ササ・アート・プロジェクツ（Sa Sa Art Projects）」の創設メンバーであり、ササ・アート・プロジェクツは今年開催されたドクメンタ15にも招待されています。また、彼は前回のドクメンタ14にも招待されています。今回は個展開催のために来日し、10月9、10、11日にGAP専攻のソーシャル・プラクティス・セミナーおよびGAPセミナーの授業を行う予定です。 授業では「Where is my land?」をテーマに人間と大地の関係、失われた土地、あるいは収奪された土地と私たちとの関係を探ります。クゥワイ・サムナンは人と土地の関係をテーマに多くの作品を制作しており、2011年には東日本大震災に関する作品を制作しています。 ドクメンタ14では、カンボジアのアジア最大の熱帯雨林のひとつがダム建設によって、土地が奪われ、環境が破壊され、そこに住む人々の生活と文化が脅かされていることに呼応した作品が提示されていました。 関連した授業として10月4日（火）にはベトナムのアーティスト、トゥアン・マミによる授業を行いました。トゥアン・マミはハノイを拠点に活動するアーティスト・コレクティブ「ナーサン・コレクティブ(Nha San Collectivce)」のメンバーとしてドクメンタ15に参加し、ベトナム移民たちと共にベトナムの植物の庭、「Vietnamese Immigrating Garden」(2022)が制作されています。 ドクメンタ15では植民地や土地の収奪を巡る土地と人の関係を問う作品が多く紹介されていました。GAP（今村担当授業、今村ゼミ）では、2022年後期の授業において、ドクメンタ15が提案する「After 100 days」のひとつとして、ドクメンタ15で提示された多くの課題を考えつづけていきます。今回は人間と自然、環境との関係を考えたいと思います。 公開講義ですので、どなたでも聴講できます。みなさんお誘い合わせの上、ぜひご参加ください。
Khvay Samnang Khvay Samnang (b.1982, Svay Rieng province) lives and works in Phnom Penh. He graduated from the Painting Department at the Royal University of Fine Art. Samnang’s multidisciplinary practice offers new views on historical and current events and traditional cultural rituals using humorous, symbolic gestures. His work focuses on the humanitarian and ecological impacts of colonialism and globalization.
Chum Chanveasna Chum Chanveasna (b.1982, Phnom Penh) graduated in the Financial and Banking of Phnom Penh’s National University of Management in 2004 and she worked as an accountant in the high-end handicrafts industry prior to joining arts. She is a project manager to artist, Khvay Samnang who is one of Cambodia’s leading visual artists from 2016 to now. From 2018 until now, she is a manager at non-profit artist-runspace dedicated for experimental art practices called Sa Sa Art Projects.
チュム・チャンヴェスナ 2004年にプノンペン国立経営大学の金融・銀行学科を卒業し、高級手工芸品業界で会計士として働いた後、アートの世界に入る。2016年から現在までカンボジアを代表するビジュアルアーティストであるKhvay Samnangのプロジェクトマネージャーを務める。2018年から現在まで、Sa Sa Art Projectsという実験的なアートの実践に特化した非営利のアーティスト・ランスペースのマネージャーを務める。
主催： 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
Organized by: Global Art Practice, Graduate School of Fine Arts at the Tokyo University of the Arts,
Global Art Practice Department is having an Entrance Examination Guidance for academic year 2024, individuals who interest in pursuing a further degree can participate the Entrance Examination Guidance on campus, visit the studio and join the campus tour.
Date・Venue： 26th November (Sat) 15:30-16:30/ Tokyo University of The Arts Toride Campus, GAP Office / Online 日時・会場：2022/11/26 (土)15:30 – 16:30/東京藝術大学取手校舎・GAPオフィス / オンライン参加も可能
Date： Oct 1st (Sat)~ Oct 7th(Fri) 11:00 〜 19:00 日時：2022/10/1(土)-10/7(金) 11:00 〜 19:00
Reservations: Please register at least one day in advance at the following URL https://forms.gle/EGvtf4rXTR2gtRCn7 For last minute inquiries, please email s1221519@fa.geidai.ac.jp or call 080-4528-5290 (Sae) 予約：前日までに、以下URLから申し込みください https://forms.gle/EGvtf4rXTR2gtRCn7 直前での問い合わせはメール s1221519@fa.geidai.ac.jp か電話 080-4528-5290 (守下)までご連絡ください
Venue： International House 2F lounge/workshop space, 7 – 376, Shin-Matsudo, Matsudo, Chiba 会場：千葉県松戸市新松戸７丁目３７６ 東京芸術大学 国際交流会館 2階 ラウンジ / ワークショップスペース（旧：多目的室）
We are pleased to present a solo exhibition by Sae Morishita, an artist working on the theme of “people/body. The exhibition will feature installations of paintings and sculptures.
Artist’s Message ” When the sunset on the ocean looks like a big stone, I wonder if I would like to gaze at it for such a long time if I would definitely see it again someday. “
