We will have a special lecture by visiting researcher, Ms. Gunhild Borggreen, who is currently conducting research on “The Interaction between Danish Painter Asger Jorn and Morita Shiryū.” Jorn is known for seeking the development of his abstract painting through the abstract qualities of Japanese calligraphy, deepening his exchange with Morita Shiryū. Understanding the influence of Japanese calligraphy on Western abstract painting, as well as Morita Shiryū’s international activities, will not only broaden the perspectives in art history research but also inspire art students in their own practical creative works.
日時 Date & Time： 2024年11月12日（火）18:30-20:00 12 November 2024, Tuesday 18:30-20:00 （Lecture in Englisch 日英同時通訳付き）
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
参加無料・予約不要（先着順）Admission: Free of charge, reservations not required (first-come, first-served)
主催 Credit: 東京藝術大学美術学部芸術学科 Department of Aesthetics and Art History, Tokyo University of the Arts 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
On November 23rd (Saturday) , GAP will hold an on-campus tour and department informative session in Toride Campus, Tokyo University of the Arts. For those who are interested in GAP, and have questions, please fill out the form and send it. *There is no reservation, the reception will be occur on the event day.
Matthias Bruhn is Professor of Art Studies and Media Theory at Karlsruhe University of Arts and Design. He studied Art History and Philosophy in Hamburg (Dr. phil. 1997) where he also directed the research department “Political Iconography” at the Warburg Haus (until 2001).
After several fellowships and a position as coordinator of the World Heritage Studies program at BTU Cottbus, he worked as a Permanent Research Associate at Humboldt-Universität zu Berlin and as Principal Investigator of the Cluster of Excellence “Image Knowledge Gestaltung”.
His research focuses on scientific as well as political and economic functions of images, the development of visual media and comparative methods in Art History.
テーマTheme:
Reorienting Mnemosyne – Aby Warburg’s Atlas project in a comparative perspective. ムネモシュネの再編成：アビ・ヴァールブルクによるアトラス・プロジェクトの比較考査
また、23日（水）午後と24日（木）午前には、大学会館2階でカールスルーエ造形大学の学生と芸術学科、G A Pの学生が共同で制作した新たなムネモシュネ・アトラスの展示とプレゼンテーションが行われます。ぜひご覧ください。
Dear Non-Japanese speakers! Why not listen to a talk on a new art history in English? We are holding an exciting lecture with Professor Dr. Matthias Bruhn, who is a professor of Art Studies and Media Theory at Karlsruhe University of Arts and Design. No reservations are required, and there will be simultaneous interpretation in Japanese and English.
Do you know the ‘Mnemosyne Atlas’? This is a series of 63 panels, each of which is made up of a combination of images from ancient times to the 20th century, pasted onto a black panel. By analysing the connections between the images and the panels, it created a new trend in art history. This is the magnificent work of Aby Warburg (1866-1929), a cultural scientist who worked in Hamburg, Germany, and whose research laid the foundations for the field of iconology as it is known today. He converted his private residence in Hamburg into the ‘Warburg Institute for Cultural and Scientific Research Library’, and collected a vast number of books that went beyond the field of art history alone, exploring trans-disciplinary research methods. The images pasted into the ‘Mnemosyne (Goddess of Memory) Atlas(Map Book)’ include not only works of art from ancient times to the 20th century, but also a wide range of visual materials from the same period, such as advertisements and stamps, etc. This was a systematic analysis of images that cut across disciplines. After the death of Warburg, the ‘Warburg Institute for Cultural and Scientific Research Library’ evacuated all of its books and photographic materials to London, fearing persecution by the Nazis. This was the Warburg Institute, which is affiliated with the University of London. Ernst Gombrich, who worked here as an assistant, and Erwin Panofsky, a professor at the University of Hamburg, were greatly influenced by Warburg’s way of thinking and established world-leading methodologies.
Professor Matthias Bruhn, who will give this lecture, aims to construct a methodological model for ‘global art history’, a new approach to art research that is attracting attention, through a re-examination of Warburg’s work. This is an exciting lecture that explores the potential for new methodologies that will open up the future of art history through an examination of the ‘Mnemosyne Atlas’ panel, an art history tool left behind by Warburg. Professor Brune will be speaking in English, but the simultaneous interpretation in English and Japanese will be provided. We will also accept feedback and questions in either English or Japanese. We look forward to seeing you there.
In addition, on the afternoon of the 23rd (Wed) and the morning of the 24th (Thu), there will be an exhibition and presentation of the new Mnemosyne Atlas, which was created jointly by students of the Karlsruhe University of Arts and Design, of the Geijutsu-Gakka (Department of Aesthetics and Art History, TUA) and of the GAP (Global Art Practice, TUA), on the second floor of the University Hall. Please come and take a look.
Mnemosyne Atlas
Advertisement poster
日時 Date & Time：
2024年10月22日（火）18:30-20:00 October 22, 2024(Tuesday) 18:30-20:00
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 Language：
英語 English （日英同時通訳付き） There will be simultaneous translation between English and Japanese.
参加無料・予約不要（先着順）Admission:
Free of charge, reservations not required (first-come, first-served)
主催 Credit:
東京藝術大学美術学部芸術学科 Department of Aesthetics and Art History, Tokyo University of the Arts
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
Nobuyuki Fujiwara Retirement Commemorative Exhibition~The 20-Year Trajectory of Glass Art Laboratory~
This exhibition commemorates the retirement of Nobuyuki Fujiwara, who guided students at the Glass Art Laboratory, Faculty of Fine Arts, Tokyo University of the Arts, and commemorates the 20th anniversary of the Glass Art Laboratory.
This year marks the 20th anniversary of the Glass Art Laboratory, which was established in 2005. Fujiwara, who has been involved in the laboratory since its founding and will retire this year, can be said to have spent the years as a faculty member in the history of the Glass Art Laboratory itself. Retirement exhibitions are often held in the form of solo exhibitions, but this exhibition will be a group exhibition with more than 50 exhibitors, including alumni of Fujiwara and the Glass Art Laboratory, former faculty members, current students, and current faculty members.
On the first floor of the exhibition hall, works by Fujiwara, current students and current faculty members from Glass Art Laboratory will be exhibited; On the second floor, works by alumni and former faculty members will be exhibited. Besides, on the first floor, there are also works from alumni and current students from GAP (Global Art Practice), another discipline in which Fujiwara has been involved.
Otsuka Kenjiro International Exchange Program for the Faculty of Fine Arts 2024
Presentation for Research Workshop held in Uzbekistan
Tapchan (топчан) time together?
We are pleased to welcome you to a debriefing session on the research workshop held August 16-22, 2024, touring four cities in Uzbekistan (Tashkent, Khiva, Bukhara, and Samarkand) and the surrounding areas. In this session, seven participating students will take the lead and report on their experiences and what they gained from their research in their own ways.
[Messages from participating students]
During our seven-day stay in Uzbekistan, we visited four cities and traveled approximately 1,000 km. The journey was like running around with limited time, feeling the limits of our bodies (especially our intestines and stomachs), and we were overwhelmed by the culture and architecture of Uzbekistan, which has functioned as a crossroads of various cultures from ancient times to the Middle Ages, modern times, and today. As we traveled from town to town by microbus for five to seven hours, gazing out the windows of the bus, we became aware of the earth, sky, sun, and moon… and the fact that we were living on the earth.
Through the trip, we were also able to catch a glimpse of people’s daily lives. Families spreading out their carpets on the roadside are washing their carpets. People waiting by the roadside for cars heading in the same direction. Cars moving quickly signaled by lights and horns, and just in time to move into the lane next to them.
And then there is a large piece of furniture with wooden chairs and tables on the edge of the house, which we happened to encounter throughout our trip. It is called Tapchan. At Tapchan, people eat, drink tea, talk, and nap with family and friends. The Tapchan is a place where people can gather without any purpose or goal, helping to create an everyday moment, which is typical of Uzbekistan.
Because of our admiration for this way of spending time at Tapchan, we would like to extend the exchange that is created in Tapchan to this debriefing session. Although we could not bring a Tapchan from Uzbekistan, we’d like to invite you to the circle of conversation in each participant’s own style of Tapchan, and spend time leisurely sharing memories and research. Looking forward to spending time with you!
[Date]
October 21, Monday. 6pm to 8pm (O.K. to enter and exit anytime during the event)
[Venue]
Community Salon, 3rd floor of Taki Plaza. (Ueno Campus of Tokyo University of the Arts)
本授業では、彼女が現在構想中の長編映画および演劇プロジェクトの製作過程で生まれたレクチャーパフォーマンス『Homesick for another world』を特別に上演して頂きます。中国でのハード・ロックダウンの経験を出発点に、抑圧された記憶や消された歴史に、私的かつ詩的なアプローチでの接近を試みます。
Mei Liu is a filmmaker and artist from Shanghai, China, currently based in the Netherlands. She is gaining attention as a young artist who develops performances and video installations with a unique warmth and eye as an extension of the film medium.
In this class, she will give a special performance of her lecture performance “Homesick for Another World,” which was created in the process of making a feature-length docu-fiction film and theater project she is currently conceptualizing. Taking her experience of a hard lockdown in China as a starting point, the performance will attempt to approach repressed memories and erased histories with a personal and poetic approach.
This will be followed by a feedback session in dialogue with Mei Liu’s mentor, artist Lieko Shiga, and a discussion with the students.
Mei Liu is an artist and filmmaker from Shanghai who now lives in Amsterdam. She received her BFA in Film Production from NYU Tisch School of the Arts (New York, USA) and MA in Artistic Research in and through Cinema at the Netherlands Film Academy (Amsterdam, NL). She also participated in the Apichatpong Weerasethakul film lab in the Amazon jungle.
Her video installation works have been exhibited in Jogja-Netpac Asian Film Festival (Indonesia); 前台OneStepForward (China); Keep an Eye Festival (Amsterdam). Her lecture performance was shown at the EYE Filmmuseum (Amsterdam) and Forecast Forum (Berlin). Her short films have been shown at Clermont-Ferrand International Short Film Festival (France), among others.
Mei strives to create new filmmaking spaces that disrupt existing hierarchies and interactions in society. She is developing a ‘film yoga’ practice to gain spiritual insights through mindful filmmaking. She co-founded Cenote (originally Cenote Workshop) — a collaborative art research and practice project centered around Mysticism and Spiritual Activism.
Born in Aichi in 1980, based in Miyagi, Japan. Graduated with an MA from Chelsea College of Art and Design, London Institute in 2004.
“As someone who grew up in a clean and safe environment that favored convenience, my affinity with camera equipment was an extremely violent one,” says Shiga, for whom the space-time of photography was a salvation and excitement greater than “death.” In 2008, Shiga moved to Miyagi Prefecture, where she became involved in the local community and continued producing works related to memories that span generations, thinking about life from imaginations of death, and the relationship between nature and human society. Her experiences in the wake of the Great East Japan Earthquake, which saw the breaking down of social functions along the coast and the unforgiving disposition of the laws of nature, link back to “recovery” efforts seen in postwar Japan, inciting an overwhelming sense of déjà vu. Shiga, through her creative process and production, seeks the roots of the human spirit. Her works are intent on visualizing, through the medium of photography, what she calls “the eternal present,” a moment that is neither past nor future suspended in space-time. They are photographic spaces in which the viewer can see their own body and consciousness reflected back as if looking in a mirror.
Lecture Room 1, Central Building, Faculty of Fine Arts, Ueno Campus, Tokyo University of the Arts (No. 7 on the map below) *There will be no online streaming of this lecture.
https://www.geidai.ac.jp/access/ueno
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年の学生は必修授業（GAPセミナー）の一環なので必ず履修すること。
TUA students, faculty, staff, public (first-come, first-served; capacity of 150)
使用言語 Language：
英語 English
参加無料・要予約（先着順）Admission and Booking:
Free of charge, reservations required (first-come, first-served)：
“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
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.
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
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
