Global Art Practice Department is having a guidance for Entrance Examination Period 2 screening for academic year 2024, individuals who are interested in pursuing a degree in GAP can participate in the online guidance.
If you have any specific questions, please send them in advance using the form below. Answers will be given at the consultation session or posted on the website, and individual replies will not be made.
We have released the English version of “The Guidance for Prospective Students, Global Art Practice (MFA Program) Period 2 screening (2024 Academic Year)”.
Global Art Practice Department is having a preliminary guidance for Entrance Examination for academic year 2024, individuals who are interested in pursuing a further degree can participate in the online guidance.
This consultation session will be given only in English. We will have the another session in Japanese in September 2023.
If you have any specific questions, please send them in advance using the form below. Answers will be given at the consultation session or posted on the website, and individual replies will not be made.
We have released the English version of “The Guidance for Prospective Students, Global Art Practice for International Applicants (2024 Academic Year)”.
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
6月23日のレクチャーの録画を、8月31日までの間、限定公開します。日本語版のみで、残念ながら英語同時通訳は公開できませんが、ライブで見逃した方、もう一回見たい方、是非ご覧ください。 ＊映像のダウンロード、スクリーンショットは固くお断りいたします。 ＊この映像は、GAPのWebsiteからのみ閲覧可能です。他の方にご紹介される場合は、GAPのWebsiteの該当ページ自体をご紹介ください。 A recording of the June 23rd lecture, in Japanese version only, is available for limited viewing until August 31st. Unfortunately, the English simultaneous interpretation is not be available, but if you missed it live or would like to watch it again in Japanese, please do so. Downloading or screenshotting of the video is strictly prohibited. This video can only be viewed on the GAP website. If you wish to introduce this video to others, please introduce the relevant page on the GAP website itself.
Online Special Open Lecture “From Solo Camping to Beautiful Forestry: “I Want to Do Forestry! ” オンライン特別講演会 “ソロキャンプから美しい林業へ：「俺、林業やりたいんです！」”
Date : Thursday, June 23, 2022, 18:00-19:30 (JST) 日時：2022年6月23日（木）18:00-19:30 （日本時間） Venue : Online via Zoom. No registration is required. 会場：ZOOMによるオンライン開催（予約不要） Guest：JINNOUCHI Takeshi (Lumberjack, Representative of Kikori Builders) 講師：陣内雄（木こり、木こりビルダーズ代表、森と街のがっこう校長）
＊Please note that the lecture will be recorded for archival purposes. This archive may be open to the public. ＊アーカイヴとして録画録音を行いますのでご了承ください。このアーカイヴは後日公開される場合があります。
Language: Japanese (with simultaneous interpretations in English) 使用言語：日本語（英語の同時通訳あり）
We invite you to a special lecture by JINNOUCHI Takeshi, organized by the LEE Mina Lab of Global Art Practice (GAP), collaborates with the Department of Sculpture, Department of Craft, Department of Architecture
Lecturer: JINNOUCHI Takeshi, (Lumberjack, Representative of Kikori Builders) Moderator: LEE Mina, Associate Professor, Global Art Practice, Tokyo University of the Arts
Summary: Various issues have been pointed out surrounding Japan’s forestry industry, such as the stagnant price of domestic timber, neglect of forests, thinning and environmental conservation, and the relationship between climate change, natural disasters and the forestry industry. Globally, the trend is that it is impossible to have a forestry industry that ignores environmental conservation, and Japan is finally starting to move in a way that could be called a turning point for its forestry industry. The movement is a shift away from forestry simply for timber production and towards an act that links the environment, forestry, timber, and people’s lives: forestry that is not just about sales, forestry that considers the very nature of the mountains, how they are maintained, and how they are used. Solo-camping, another trend that seems to have been popularized by the pandemic, has triggered a rapid spike in the number of people from younger generations turning their attention to the mountains, and this trend, which also connects people to each other, appears to be accelerating even faster.
A path is being built in the forest. That alone brings the mountains closer to people. The desire is to share the view.
These are the words of JINNOUNCHI, self-proclaimed “lumberjack” who has engaged in forestry since moving to Hokkaido while also a musician, and representative of the “Mori to machi no gakko (School of the Forest and the City).” He will talk about what is happening in the forestry industry today. Two days after his lecture, on Saturday, June 25, at 3:00 p.m., he will take the ZOOM camera outdoors and broadcast from the actual forest site in Hokkaido. The same ZOOM link will be used; please join us there as well!
JINNOUCHI Takashi Born 1966. After graduating from the Department of Architecture of the Tokyo University of the Arts, and joining HARA HISAHI ARCHITECT, he moved to Hokkaido where he worked for the Shimokawa Town Forest Cooperative, before founding the Hokkaido Forest Governance Research Group, and later becoming a freelance forester. In 2019 he founded Kikori Builders to connect the mountain and architecture. As of 2021 he has called to establish the “Mori to machi no gakko (School of the Forest and the City),” and promote environmentally friendly forestry as the principle.
Principal of “Mori to machi no gakko (School of the Forest and the City),” Representative of Kikori Builders Director, General Incorporated Foundation, Sapporo Minami High School Forest (Rikka Forest) Part-time lecturer at Department of of Outdoor Life, Iwamizawa College, Hokkaido University of Education Director, NPO Morinet Hokkaido
Organized by: Global Art Practice, Graduate School of Fine Arts at the Tokyo University of the Arts, the Department of Sculpture, the Department of Craft, and the Department of Architecture
Date：Wednesday, 23 March – Wednesday, 30 March, 2022 13:00-18:00 (JST) 日時：2022年03月23日(水) – 2022年03月30日(水) 13:00-18:00 Venue：Building -1(1号館), Youkobo Art Space Zempukuji 3-2-10, Suginami-ku, Tokyo, 167-0041 Japan 会場：Building -1(1号館), 遊工房アートスペース 〒167-0041 東京都杉並区善福寺3-2-10
“Time?- Returning, Sampling, Memorizing” will start from 23rd to 30th of March in Youkobo Art Space. Three participants, Kika Suzuki(Japan), Liu Xindan(China) and Clinton Pang(Hong Kong) are all from Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts (GAP).
This exhibition will demonstrate various practices from drawings, installations, moving images and mediums like charcoal, daily objects and earth, presenting three different interpretations of the experience of time.
The Art History of Koreans in Japan 1945-1962 : Focusing on records of artists’ activities and interviews 「在日朝鮮人美術史 1945-1962 ： 美術家たちの表現活動の記録とインタビューを中心に」 「제일조선인 미술사 1945-1962 : 미술가들의 표현활동의 기록과 인터뷰를 중심으로」
Date : Friday, 4 March, 2022, 18:00-19:30 (JST) 日時：2022年3月4日（金）18:00-19:30 （日本時間） Venue : Online via Zoom. No registration is required. 会場：ZOOMによるオンライン開催（予約不要）
＊Only available live. Please note that the lecture will be recorded for archival purposes, but recordings will not be available to be viewed at a later date. ＊LIVEのみ。アーカイヴとして録画録音を行いますのでご了承ください。後日の録画配信は行わない予定です ＊LIVE 한정. 기록을 목적으로 녹화 및 녹음을 진행할 예정이니 양해 부탁드립니다. 이후 녹화의 공개는 없을 예정입니다.
Language: Japanese (with simultaneous interpretations in English and Korean) 使用言語：日本語（英語、韓国語の同時通訳あり） 사용 언어：일본어（영어, 한국어 동시통역）
We invite you to a special lecture by Dr. Pek Rum, organized by the Lee Mina Lab of Global Art Practice (GAP), Graduate School of Fine Arts, with the Department of Aesthetics and Art History and in cooperation with the Graduate School of Global Arts.
특별강연회에 대한 안내를 드립니다. 東京藝術大学大学院美術研究科 Global Art Practice 専攻（GAP）李美那研究室에서는 美術学部芸術学科공동주최, 大学院国際芸術創造研究科의 협력으로 白凛（백름） 씨를 초청한 특별강연회를 개최합니다.
Lecturer: PEK Rum, Ph.D, JSPS Postdoctoral Research Fellow at Doshisha University Commentator: KIM Hyunsook, Ph.D, Director at LEEUNGNO Research Center Moderator: LEE Mina, Associate Professor, Tokyo University of the Arts
The registrational category “Chosen (Japanese pronunciation of 朝鮮)”, which is not a nationality, and one that exists only in Japan, was born in postwar Japan after the historical events of Japan’s colonization of the Korean Peninsula. The “Zainichi-chosen people” (Koreans born and have lived in japan), do not correspond to “Republic of Korea” nor “Democratic People’s Republic of Korea,” and is an entity that exists only in current Japan. They are composed of complex elements that make them difficult to understand, and as art history is organized and based on the idea of the nation state and modern national consciousness, the history of their art was even more obscure. Dr. PEK has attempted to unravel the art activities since the establishment of the “Chosen” category, which had been concealed due to its obscurity, by interviewing artists and their family, and uncovering materials on their practice. This lecture will be built upon the contents of her book, “Zainichi Korean Art History 1945-1962: A Record of Artists’ Expressive Activities” which is based on her doctoral dissertation and allows us to get a closer look at their actual situations.
국적이 아닌 일본에만 존재하는 ‘朝鮮 조선’적이라는 카테고리는, 일본에 의한 조선반도의 식민지화라는 역사적 사실을 거쳐 전후 일본에서 만들어진 카테고리다. 국가로서의 ‘한국’과도 ‘조선민주주의 인민공화국’과도 일치하지 않는, 현재의 일본에만 있는 존재인 ‘조선인’은 복잡한 구성요소를 가지며 그 자체가 알기 힘든 존재이다. 게다가 근대적 국가 의식을 바탕으로 나라 별로 정리, 연구되어 있는 미술사에서는 그들의 미술의 역사는 한층 더 찾아보기 힘들었다. 白凛씨는 ‘조선’적이 생긴 시대부터의 보이지 않기 때문에 가려져 온 미술활동을 미술가들의 인터뷰나 활동 자료의 발굴을 통해 풀어내려 하고 있다. 박사논문을 바탕으로 한 『在日朝鮮人美術史1945-1962 美術家들의 表現活動의 記録』은 그 실태에 다가갈 수 있는 서적이며 이번 강연은 이 책의 내용을 바탕으로 이루어진다.
Dr. PEK Rum is an art history scholar who earned her Ph.D at the University of Tokyo in 2020, after graduating from the Department of Fine Arts at the Tokyo University of the Arts. Currently a Research Fellow of the Japan Society for the Promotion of Science (JSPS) at Doshisha University, she founded the Zainichi Korean Artistic Preservation Association in 2016 and acts as its representative. As a 3rd-generation of Koreans born and raised in Japan herself, her research focuses on the artistic activities by Koreans in Japan, which tend to be overlooked by both Japan and from the Korean peninsula. In 2021, she published “Zainichi Korean Art History 1945- 1962: A Record of Artists’ Expressive Activities (在日朝鮮人美術史 1945-1962 美術家たちの表現活動の記録）” (Akashi Shoten, 2021). A Korean translation of the book is currently in preparation.
白凛（백름） 東京藝術大学美術学部芸術学科졸업 후, 2020년 東京大学에서 박사학위를 취득. 미술사연구자. 현재 同志社大学소속 独立行政法人日本学術振興会特別研究員 PD. 2016년 一般社団法人在日코리안 美術作品保存協会를 설립하여 대표로 활동. 자신의 在日朝鮮人三世라는 입장에서 일본에서도 조선반도에서도 찾아보기 힘든 일본의 조선반도 출신자의 미술활동을 연구하고 있다. 2021년 박사논문을 바탕으로『在日朝鮮人美術史1945-1962 美術家たちの表現活動の記録(재일조선인 미술사 1945-1962 미술가들의 표현활동의 기록)』（明石書店, 2021년）을 출판. 현재 한국어 번역판을 준비하고 있다.
Organized by: Global Art Practice, Graduate School of Fine Arts at the Tokyo University of the Arts Department of Aesthetics and Art History at the Tokyo University of the Arts Cooperation by: Graduate School of Global Arts at the Tokyo University of the Arts
Korean interpretation provided with support from: 独立行政法人日本学術振興会 科学研究費助成事業 特別研究員奨励費「1945年から60年代の在日コリアン美術―東アジアを越境したディアスポラ・アート」（課題番号20J00963）
Dates : Jan 28 (Fri) – Feb 2 (Wed), 2022 9:30 – 17:30 (Last Entry 17:00) Venue : The University Art Museum, The University premises, Ueno park 12-8, Taito-ku, Tokyo Organised by Tokyo University of the Arts
All visitors must make a reservation before visiting this exhibition. *Tokyo University of the Arts students and faculty staff are always allowed to enter the museum by showing their ID card without making a reservation. Entry Reservations→ https://e-tix.jp/geidai_sotsuten22/en/
