2017年 02月 28日 ( 2 )
2/18 もりや市民大学 知ったかアート大学予備校

こんにちは、篠倉です。
2/18(土)に守谷市民活動支援センターで行なわれた 『もりや市民大学 ”知ったかアート大学予備校”』に参加させていただきました。

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今回は若手の自称”凡人アーティスト”で”知ったかアート大学の学長”、佐藤悠さんにお越し頂きました。

数多く活動しているアーティストの中で特に”若手アーティストが何をしているのかということはすごく謎”ですよね。

そこで今回の”予備校”では若手アーティストである佐藤さんの学生時代を振り返っていくことで、若手アーティストのやっている事を垣間見ていきました。
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〜イカのように柔軟な発想で、矢のようにまっすぐな心で 鷹のように鋭い考察で ブリのように進歩する意思を持つ 「いか-にも-しっ-たか-ぶり」を本学に求める精神とします。〜



KENPOKU ART 2016 茨城県北芸術際に行った方は「佐藤悠のKENPOKU SONGS」をお聞きになった方もいらっしゃるかと思います。
さっそく佐藤さんについて”知ったか”できますね!

では大学受験の話から聞いていきましょう。


皆さんの中では、美術大学にすすむ事はなんだかアブノーマルに感じているかたも多いかと思います。

佐藤さん曰く、美術の方向に進むことは大層悩まれた末の決断かと思いきや、なんと”勘違い”だったそう!
受験生だったときに受験の道から外れ、他の道(美大)を選んだ佐藤さん。

しかし美術浪人時代、他の芸大志望の人たちと比べて絵を描く気持ちの低さに気づき、挫折感を感じた浪人時代。


そんなとき赤瀬川淳平の『宇宙の缶詰』コンセプチュアルアートと出会い、東京藝術大学先端芸術表現科に入学。





では大学に入学してからの作品制作はどうだったのでしょうか。

初期はマイナスの手法(今ある現状をよく見て”引き算”で驚かせる)で作品を作っていた佐藤さん。

この作品(ちょっと見にくいけれど)はどのように作ったと思いますか?
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長年放置され床に積もったホコリを磨く事で床に市松模様を浮かび上がらせた作品です。

しかし、次第にこの手法では「オリジナリティーが出せない」という壁に当たる事になります・・・

その後これまでとまったく逆の「プラスの手法」としてバルーンを大きくした作品を作りはじめますが、ここでも壁にあたります。


それは「展示している間は人が沢山集まるが、展示が終わると何も残らなくなってしまうこと」でした。

たしかに展示が終わってしまった作品の扱いはとても頭を悩ませるところですが・・・

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修士課程に入り、形のある作品を作る事で何度も壁に当たってきた佐藤さんは「モノではなくコト」に注目しはじめました。


2012年、在学中にARCUSでもおなじみの日比野克彦さんに”越後妻有 大地の芸術祭の里”で出展を進められたことがきっかけで、
新潟県十日町市莇平集落で始めたのが『ゴロゴロ莇平』という作品です。
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「モノからコトへ」、坂道になっている莇平集落をみて「そうだ、物を転がしたら面白いんじゃないか」とひらめいたのが、竹を編んで作った『ゴロゴロ』に佐藤さんが入って転がしている姿を集落の皆さんに見てもらうという作品でした。


出来上がった地域の人とのつながり、偶発的なアクシデント、いつのまにか生まれた暗黙のルールはずっと消えないことがこの作品の魅力なんだなと感じます。下のリンクから作品の映像を観ることができますよ。

集落のおじさんがいきなり水を撒き始めたことから、次の年は掛け水が加わったりかけ声がいつのまにか出来ていたり・・・新しいことが勝手に生まれてたなんてことたまにありますよね。





博士課程に入っていつのまにか31歳、つぎの壁に当たります。
それはゴロゴロ莇平を現地の外の人とこの作品のおもしろさを共有することが難しいということ。


映像を観てもやはり実際に作品に関わったときに感じるおもしろさを全て感じる事は難しいです。
おもしろさを共有するために必要なことはなんなのか。
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次第に作品を誰かに説明する時、”ハナシとカタリ”で伝わり方が大きく違ってくることに注目します。

現地で味わった面白さを伝えるためにはハナシとカタリで重要なのは論理的に伝えようとするのではなくインパクト(誇張)であることを感じたそうです。
佐藤さんの語り口はまるで落語を聞いているかのようにリズムがある話し方で、時間があっという間に過ぎて行くのです!!




次に行なわれたのが『いちまいばなし』。
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ひとつの話を当日集まった参加者全員でやみくもにつくっていくという『いちまいばなし』では、
参加者がやみくもに話を作っていく過程や、それぞれが持っている『よかれと思っている事』がバラバラであることが面白いこと、バラバラなよかれと思っている事が合わさり、合体事故のようなめちゃくちゃなお話ができあがることがおもしろいのです。


(実際に『いちまいばなし』をやってみたかったなぁ・・)

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しかし、こうしたアートに参加してもらうことを続けているうちに、参加者の中で美術初心者の示す

①完全な拒否反応
②全部を鵜呑みにして何も考えないでいるという反応

に出会い、それを変えなければならないと思ったそうです。

(美術ってなにか浮世離れしてて距離感を感じることがあるかも。「この絵○億円で売れたました」とか言われても想像つかないです。)
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そこでようやく『知ったかアート大学』の登場。
人にアートを考えさせるにはどうしたらいいか・・

『知ったかアート大学』ではそのためにはまず美術史を知ってもらい、「自分が美術のどこに興味があるのか」を気づいてもらいます。


しかし、自分が美術初心者の方に美術史を教えることは同時に
「人に自分の価値観を植え付けてしまうこと」や「人に話を信じ込ませてしまうこと」になってしまうかもしれないです。難しい・・



そのようなことにならないために『知ったかアート大学』では

・美術史を学ぶにあたって自分で考えること(佐藤学長のアヤしいコスチューム)
・美術は格式が高くない!(「しったか」に込められた思い)
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人に何かを教えることは誰にでも出来る事ではないと思います。

問いかけ方や、話の聞いてもらい方を変えることは伝え手にかなりのテクニックが必要で、今回の講義では佐藤さんの語り口や話の組み立て方などとても見習いたいことが沢山見つかりました。

今回は”予備校”でしたが、次はぜひ『しったかアート大学』も受講したいですね。

受講したい方はこちらに佐藤さんの『知ったかアート大学』のお知らせが載っているのでぜひ!




























[PR]
by arcus4moriya | 2017-02-28 17:56 | 地域とアート | Comments(0)
View the feedback of 2016 resident artists!

I need to point out a residency is not usually what people think it is. There are a lot of little moments creating a whole episode in the book of experiences everyone has inside. We can just read it in our minds one time and another and invent it in a different way each time.

However, this collection of little moments usually have names, surnames, places, tastes, sounds, smells, details that, in a way, becomes part of our imaginarium as artists. For good or bad there is life knowledge on it, and therefore, art knowledge.

I wont say what I remember of Japan or what I cherish on me because there were so many things. In a personal way, I was looking hardly to unfold a whole new stage on the develop of my practice, and I needed support to achieve some skills, knowledge to fill some knowledge holes, the experience of the radical otherness to understand my own context, support, faith and time for creation. I found all those elements on ARCUS, and beyond that, I found great friends and so great people.


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A month after returning home, I can’t help but feel that there were opportunities missed, and work left undone during my residency. I think this is a good, because I feel that there are more works to develop, with plenty of room for explorations, and I look forward in undertaking this task with a renewed conviction in my work and abilities. This, I think is the most important outcome from my time in Moriya.

Yokatta.

This positive experience is largely due to the generosity and cooperation from the local citizens, because my residency project revolves around telling stories from Moriya and/or Japan that overlaps with my experience in Malaysia. I am thankful that my presence and project was embraced without prejudice, but is nurtured with curiosity and a willingness to help. So to those who have played a part in my project, my deepest gratitude for your kindness, time and stories.

Dōmo arigatō.

As an extension of my residency project, I will share with you a story I heard while I was there.

I was told, and will now paraphrase, an anecdote about ARCUS Project. About 30 years ago, there was a gathering of city mayors. When asked the question of which city would welcome the responsibilities to fund and host an artist residency, only one hand was raised, and with that simple act an important institution is born. I hope ARCUS Project will not only continue to flourish and provide a sanctuary for artists to dream and grow, but also continue to reflect and renew itself as an art institution and remain in the forefront of artistic endeavors. We must never forget, it is with courage, imagination and a willingness to act, that a project called ARCUS Project exists.


Thank you Moriya and ARCUS Project. Long live friendship and long live art.

Otsuukaresama-deshita.



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I was looking for an opportunity to experiment with the idea that challenges my previous practice and requires a research rather than a production. Not many art/cultural institutions, I personally think, actively encourage an emerging artist to pursue such work. ARCUS Project, however, clearly stresses in their application guide that they are willing to support such art work that would need to be developed and challenged, seeking to exhibit working process. Yet it does not mean that they are reluctant to have a resident artist who wishes to focus on a production rather than a work in progress. This is actually what I find most interesting at ARCUS Artist-in Residency: they do not require any specific way of working, solely backing what the resident artists wish to do, even if they are not familiar with a way of working and a method the artist brings to the studio. And the residency begins with a discussion to get familiar with, exploring them. In this regard, it is inevitable to have a close relationship between the artists and the ARCUS team, which makes the programme very unique.

During my 110 days residence at ARCUS Project, I was able to pursue my idea and research plan with great support. It was also possible because of their financial support that is from the city of Moriya, a small town 40 mins away from Tokyo metropolitan by train. This means that the people living in Moriya are both directly and indirectly involved in ARCUS Project as well, not only the people from ARCUS Studio and a city hall but also the residents in Moriya. In the beginning, I thought about what I could rather directly contribute to the city because of the relationship between ARCUS Studio and the city, even though I was not asked for. It turned out, however, that my concern was unnecessary when I found out that the people are willing to know about what I want to bring to this specific place and time without a certain expectation. Many of them showed great interest in my research, even though they are not familiar with, and heartily supported my way of working in different ways. They were ready to be excited with what the resident artists would pursue. I now think that it was not about the thought that I, as an artist, should contribute to the community through my work of art as a sort of exchange, which is rather self-centred. Instead, they appreciated the challenge of creating a dialogue from artists, the approaches to different ways of involvement became an important matter.

My research-based work dealt with Japanese avant-garde and art history which is strongly connected with the art history of the mainstream as well as of Korea. In many aspects, it has been limited to talk over a relationship between Japan and Korea due to the history they share and most of all, a nationalistic view in politic they both have continued to have. It was my another challenge to think of in what way I approach to the complicating issue, and I wondered how people I met in Japan would react to it. Moreover, I needed to meet many people out of blue, including art professionals, for my investigation. It was my first experience as an artist that a team in a programme of Artist-in Residency is highly involved in my work by arranging meetings, being my company for the meetings and co-organizing several events of my work. The team has a job title of “coordinator” that I was not familiar with and still do not know how to define, but the ARCUS team and I were working together in many different ways and they greatly supported my research.
Supporters—anyone can volunteer to support the residents artists of ARCUS Project—often impressed me with active communication. I would say that they are not just supporters but participants of the work, which made an interesting dialogue between artists and their neighbours without intentionally organizing a community-based event. On the other hand, as ARCUS Project is one of the oldest and established Artist-in-Residency programmes in Japan, I could take advantage of their network all over in Japan, which was a great help for my research work in the end—many of art professionals/art institutions that I contacted or met have a good relationship with ARCUS Project or are in partnership with. From these experiences, I tremendously learned how to ‘work together’ and share ideas within my practice. This was a core concern of my research work that I developed at ARCUS Project as well. I feel the experiences as organic, as a practice that I will attempt to develop further. They encouraged me to come up with different approaches to dialogue between art and society. I sincerely appreciate for great support of ARCUS Studio, Moriya and participants who gave me some insight into such dialogue.













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[PR]
by arcus4moriya | 2017-02-28 12:00 | AIR | Comments(0)


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