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カテゴリ:AIR_2016( 41 )
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.


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.


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.



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.


by arcus4moriya | 2017-02-28 12:00 | AIR_2016
12/12 帰国
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2016年度のレジデンスプログラム、お疲れさまでした! また随時、活動報告はブログにて更新してまいります。

by arcus4moriya | 2016-12-12 18:33 | AIR_2016
11/2 ガンの撮影_カトレアの山野井洋蘭 / Gan's shooting at Yamanoi Orchid Farm
彼が守谷や周辺地域で経験した、出会ったあらゆる物事を記録し、編集し、マイクロ・ビデオ・エッセイとしてそれらをインスタグラム上に公開しています。すべて1分以内の映像で、現在37本が公開中です。(yarimoriya ぜひご覧下さい。※帰国する12/12まで増えていく予定!)
Hello this is Yumiko.
Our resident artist, Gan Siong King (from Malaysia) has been working on the project called 'yarimoriya', in which he makes document of all kinds of objects he encountered in Moriya and its surrounding area and show them as micro video essay on Instagram.
The videos are all within 1 min and there are 37 pieces so far.
(you can find the videos from yarimoriya. He's going to keep update them till 12/12 when he leaves.)
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He visited Yamanoi Orchid Farm for shooting in Joso city which is neighboring city of Moriya today.
The representative of the farm, Mr. Yoshihito Yamanoi guided us through its number of spacious greenhouses.
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We learned that cattleya is highly delicate plant and a nursery-tree of cattleya takes more than 10 years to bloom its flower.
It was impressive that how carefully the staff take care of them, for example, they know how much water the leaves and how much water the soil.
They have tried watering with a machine once, but they found with which water only can be sprinkled sparsely, so they now water them by hand.
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Gan shoots them carefully, not to touch their leaves.

We also saw how they pack and ship the flowers.
The room was full of sweet scent.
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The cattleya flowers are beautiful almost like jewelry and their thin delicate petals are needed to be carefully handled.
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I was feeling drawn into their unbelievably beautiful color gradation at close look.
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The staff pack each of such delicate flowers very carefully for shipping.
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The skill of the staff was very quick and wonderful, unfortunately I can't tell with the pictures though.
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To be ready for shipping, the flowers are packed in this small case with water in it.
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Then they are put in bed-like cardboard box and will be delivered to shops.
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Gan is shooting outside of the greenhouse.
As you probably have expected, he shoots dozens of footage as much as actually he uses.
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Ms. and Mr. Yamanoi presented the cattleya on the first day of open studios.
Such a nice present!
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Thank you so much for your cooperation!
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You can see the video Gan made out of this visit from this link
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It can be seen that Gan was interested not only in the flowers themselves, but also in how the staff handle them and their particular movement of hand.                                                                                                                                                                     

by arcus4moriya | 2016-12-09 20:58 | AIR_2016
Yen's Studio : OPEN STUDIOS
Yen Noh [South Korea]

A Makeshift Platform of the Japanese (Contemporary) Art Topography for All Dada in Japan

1.Statement by Yen Noh
“CAN WE TALK ABOUT MAVO? A Makeshift Platform of the Japanese (Contemporary) Art Topography for All Dada in Japan” attempts to rethink the mindset of Mavo, the Japanese avant-garde collective of the mid-1920s, which has been ignored and not institutionalized in Japanese art history.
I look into the performativity and temporality of the practice of Mavo in order to bring it into a contemporary social and economic context. By doing so, the practice can be reinterpreted into “contemporary” that not only “swims against main” but also claims urgent need for responsibility from us. It is an experiment with the ‘practice of doing’ in which a deliberate misunderstanding, mistranslating and mistransferring are used as a critical method. I take my investigation of Mavo to open the process of it and involve the action of the investigation in giving a platform for creating knowledge in order to practice my history consciousness.
By ‘librarying’ collected books by participation, a makeshift platform will be created to talk over Mavo and the “contemporary”. A panel discussion consisting of experts in different fields - and not necessarily relating to Mavo and art history - will take place in this platform.

2. Comment by Hiroyuki Hattori [ Guest Curator 2016 / Independent curator ]
Yen has been making speech performances using interpretation and translation of things as a subject matter, and in this residency she shifted the gear towards participatory projects which require partaking of others. Having a strong interest in the postcolonialism she starts her journey from the Korean Dadaist poet Yi Sang (1910-1937), extending her insight into the situation in Japan where a deep influence on the modernisation of Korea can be traced. Reflecting upon it she attempts to create a platform for thinking and dialogue, focusing on the Japanese art history after Dada and its turning point in the last centennial. Based on her artist statement / open proposal she calls widely for publications on the history of MAVO, Dada and the modern and contemporary Japanese Art. Collecting the nominated books by the specialists and general public she sets up a library where various events occur as a performance. Dispersed, seemingly incoherent actions recall the activity of Dada, forming a performative and process-based work as a whole.

Special Thanks:
Yukiko Asano, Ameko, Shihoko Iida, Satoshi Ikeda, Risa Iwasaki, Sen Uesaki, Camilo Henriquez, Naoto Oizumi, Koichiro Osaka, Emma Ota, Yoichiro Oda, Toshiharu Omuka, OLTA, Motoki Kawai, Gan Siong King, Noi Sawaragi, Yukiko Shikata, Yoshio Shirakawa, Seong mee Jang, Jo Schmeiser, Yoshinori Takakura, Kaname Takahashi, Kyongfa Che, Ricarda Denzer, Koichi Toyama, Yosuke Nakazato, Shoko Nakajima, Yuji Nawata, Shelia C.Severn Newton, Aya Nomoto, Ernesto Bautista, Ken Hagiwara, Hiroshi Hara, Hikaru Fujii, Florian Pumhösl, Jesse Hogan, Andrew Maerkle, Yukari Miyajima, Rin Miyajima, Teruaki Yamanoi, Hiroki Yamamoto

ARTISTS’ GUILD, Wajiro Kon collection / Kogakuin University Library, The National Museum of Art, Osaka, Tokyo University of the Arts, University Library

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Photo by Hajime Kato


by arcus4moriya | 2016-11-29 02:00 | AIR_2016
Gan's studio:OPEN STUDIOS
Gan Siong King [Malaysia]


1.Statement by Gan Siong King
The most important thing in my work is, to play.

My work is a reckless pursuit of laughter and joy, in an otherwise, arbitrary and meaningless universe.

For me, art at its most basic, is an attempt to make sense of our reality through the act of meaning making. What’s meaningful to me in my work, is to locate the present, to be in the present, through imagining possible futures while being informed by the past.

While part of my practice is the search for possible answers, what’s more important to me, is the imagining of meaningful questions.

2. Comment by Hiroyuki Hattori [ Guest Curator 2016 / Independent curator ]
Gan produces paintings with clear concept and structure which he develops over a long course of time. As an artist who has a solid exhibition record he ventured upon the artist-in-residence for the first time in his forties, and is working on a production unique to this type of project. In his new series of micro video-essays yarimoriya he employs completely different thinking and methodology to painting, and creates a series of micro video-essays by impromptu behaviour and repetitive movement. Here he pays attention to people he meets and captures their everyday lives. The videos are only around a minute, but they are shot by professional equipment and edited carefully. However, they are posted on instagram and viewed online rather than played and watched in the cinema, giving a unique gap between the seriousness of the production and the casualness of the release and viewing. On the other hand, his steady daily exercise in shooting somewhat reminds us of the production of painting, making his unique practice stood out from typical residency-type projects.

Special Thanks:
Satoshi Ikeda, Risa Iwasaki, Kunio Ebihara, Kaori Endo, Misa Endo, Camilo Henriquez, Motoki Kawai, Ronnie Khoo, Ong Chia Koon, Sigit Pius Kuncoro + Maria Carmelia S, Tetsuya Suzuki & His family, Ayaka Shinokura, Yoshinori Takakura, Haruna Takakura, Kaname Takahashi, Suiko Takahara, Sui Zhen, Da Huang Pictures, Shingo Toride, Tsutomu Naoi & His family, Cheah Soon Nan, Nik Syazwan & family & staff of ceriatone, Yen Noh, Ernesto Bautista, PARADISE AIR, Yuki Higashi, Bunkaku = Bun Imai + Manami Kakudo, Lizq Ho, Takeshi Hosaka, Yuki Matsumoto, Sara Yasunaga, Teruaki Yamanoi & His family, Jeff Lim, Joshua Lim, Snow Ng

Band member of OJIN BAND, Yamanoi Odchid Farm, Nao Zushi
<Moriya Soba – Uchi Club>
Koichi Terada, Yoshinori Kasagawa, Satoshi Iijima, Takashi Nakayama, Hideki Iinuma, Tomohiro Gokan, Harumi Iijima

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Photo by Hajime Kato


by arcus4moriya | 2016-11-29 01:00 | AIR_2016
Ernesto's studio:OPEN STUDIOS
Ernesto Bautista [El Salvador]

The infinite memory

1.Statement by Ernesto Bautista
The infinite memory is a documentary film project based on a storytelling dynamic relating memory, dreams, death and transcendence.

I’m achieving to register the personal signs to create new meanings of the present.
Explore the way creation of memory can exist as an infinite display through the constant try of rebuilding past through the logic of dreams. And through this, highlight the act of remain as an act of pure creation.

Every time to have the possibility of create a real new memory upon the existing one. The title comes from the human desire to be remembered by the people we meet and we loved, the only way we can be eternal until we are forgotten, and then, for the people they could share the memory of ourselves and so on. Until forever.

Shintoism says the second death is when we are forgotten. I’m mapping connections that define our identities.

We got the illusion of a memory but yet there is never a real memory, we storage memory on the same way we remember a dream, we fill the empty spaces of information with questionable visions of what our subconscious thinks remember.
Important details keeps storage clear on our head, but what is not, is just not relevant, and can be replaced by many similar information. In that way, our heads build memories like we build the memory of a dream.

2. Comment by Hiroyuki Hattori [ Guest Curator 2016 / Independent curator ]
Death is something close to Bautista who lives and works in El Salvador, and the sympathy towards death is reflected on his oeuvre. In recent years he has been working on a long-term multi-layered project called Museum of Infinite, an imaginary institution he sets up which comprises interdisciplinary research areas such as art, mathematics, philosophy and architecture. As a part of this project, he works on producing a work The infinite memory in this residency program. He spent a few days shooting a film in the forest, a tourist spot with beautiful landscape where at the same time is a destination for people who wander and walk towards death. He also interviewed and filmed people he met during his residency in Japan, asking them about their dreams and memories. Bautista, who is also a poet, will add his own texts and drawings to exhibit as a part of project.

Special Thanks:
Satoshi Ikeda, Risa Iwasaki, Sayaka Enoki, Carlos Henriquez Consalvi, Camilo Henriquez, Masato Ohki, Keiko Ogura, Risa Kawanabe, Gan Sion King, Robert Jacobs, Junichi Shimomura (Unten-Ji Temple), Yoshihiro Shimomura (Yasaka Shrine), Tetsuya Suzuki, Hiroshi Suzuki, Ambassador Marta Lidia Zelayandia, Kaname Takahashi, Yen Noh, Teruaki Yamanoi, Naoko Yoshida, Federico Lowy, Kahori Wada

Embassy of El Salvador in Japan, Hiroshima Peace Memorial Museum, Museo de la Imagen y la Palabra

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Photo by Hajime Kato


by arcus4moriya | 2016-11-29 00:01 | AIR_2016
11/27 ARCUS+AIT アーティストミニ・トーク/ARCUS+AIT Artist Mini Talk
It's the final day of the open studio today.

Arcus Project and Arts Initiative Tokyo [AIT] based in Tokyo have a talk event of resident artists together every year, in order to encourage exchanges among residencies.
We have hold previous 8 events at AIT so far, and this year Arcus Studio invited AIT resident artists to Moriya.

It's our 9th talk event, titled 'Peeled, Peel, Peeling' with artists from four different countries, that are our three resident artists, and Jenny Yurshansky who was invited to AIT through its exchange program with IASPIS in Sweden.
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After brief introduction from Ryota, Mr. Tokairin from AIT introduced AIT's program.
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AIT has a number of diverse program.

The talk started with Jenny Yurshansky from AIT.
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Jenny has been researching on invasive/aliens plant in Japan since September during her stay.
As it has been seen all over the world, there are a number of invasive plants in Japan which initially didn't exist before but by being brought either deliberately or accidentally, they migrated from original habitat to Japan.
By observing movement of the plants, Jenny has been investigating how forced migration can affect the world.
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Three artists' presentation from Arcus followed Jenny's talk.
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Gan introduced his a series of micro video essay called 'yarimoriya', which he has been working during the residency, especially three films with themes of 'work', 'home', and 'play'.
He also talked about how he engages with production.
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Then, Yen gave an overall view of her project.
She started with research on Dada and avant-garde movements in 1920-30 Japan, and how they are disconnected from current practice of art in history of art.
With her open proposal on the website, she introduced the participatory project she worked on this time.
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At the end, Ernesto talked on the interviews he has been working on for this project and how he will develop them.
He has made a mind map drawing the relationship between people and stories that he heard from the interview.
Staring the project with the investigation into views of life and death, he explored Japan with keywords, such as reason for living, dream and memory, comparing to his own experience in El Salvador.

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He also showed a trailer from the project.
He intends to develop this project into long documentary film.

We had many questions from the audience, yet unfortunately run out of time.
At the closing party, the artists and audience enjoyed their endless discussion.

We had very nice time here at Arcus!
Thank you for your cooperation, AIT and Jenny!

Photo: Hajime Kato


by arcus4moriya | 2016-11-27 16:30 | AIR_2016
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/'CAN WE TALK ABOUT MAVO?' by Yen
Hello, this is Yumiko.


「CAN WE TALK ABOUT MAVO ? -マヴォについて話さない?」
11/26日(土)16:00 - 17:30

本日モデレーターを務めるアンドリュー・マークル氏 [ART iTインターナショナル版副編集長]との打ち合わせの様子。
The artist, Yen and today's moderator Andrew Maerkle [ART iT international deputy editor] are having a meeting.
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パネルディスカッションはプロジェクトの一部。本格的なドキュメントが必要ということで、撮影はARTISTS' GUILDにお願いしました。
This panel discussion was organized a part of her project.
ARTISTS' GUILD helped us with professional documentation.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_16101110.jpg
We soon start.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_169198.jpg
パネリストの3名です。写真左から、上崎千 氏 [芸術学/アーカイブ理論]、白川昌生 氏 [美術家/美術評論家]、アンドリューさんをはさんで、外山恒一 氏 [「九州ファシスト党〈我々団〉」総統。革命家。]
These are today's panelist, (from the left to the right) Sen Uesaki [Art theory/Archive theory], Yoshio Shirakawa [Artist/Art critic], Andrew, and Koichi Toyama [Leader of Kyushu-Facsist party〈Warewaredan〉, Revolutionary].
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_16161581.jpg

First, Andrew read aloud the concept of the discussion written by Yen in English, and the translator Mr. Ikeda translated it into Japanese.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_16173040.jpg
(excerpt from English statement)
Today’s discussion is an action of the reaction to the avant-garde, Japanese avant-garde in particular.
Historicization of Japanese avant-garde has gone through a different process from its process in Western Europe and the U.S. Since modernization, Japanese art has strived to follow the mainstream of art history, that is the major achievements and exhibitions in Western Europe and the U.S., yet its own gap between art and social movements has been overlooked and hardly examined. This led to a disconnection between movements and thus lacks of dynamic in its own art history in the end.
This discussion is neither organized by a cultural institution nor as a symposium or a conference. This means we could be able to deal with the topic in a non-institutional manner.
Including myself, panels are invited without a fee but only transportation and a small Korean buffet—we all accepted her proposals with this condition.

Then, Yumiko from Arcus translated the statement written in English by Yen and read aloud as Yen. (below)
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_16355253.jpg




This is my very first attempt to think of means of exchange, including labour, knowledge and money in arts, specifically art works.
I gave this platform in order to address not only a question of a collective action, but also a question of what can be other ways of exchanging and sharing knowledge out of any institutional form and how to make a seemingly antiquated question of art and capital rise to a new surface?
As an artist, these questions are directly related to art and business: it is because “exchange” is a very pragmatic sense of word, I want to deepen the questions in terms of arts in which those questions are often tabooed and covered by a glorious exterior.

What do I exchange by means of my art work?
Yen herself was sitting at the audience seat, and observing the situation through English translation as 'an audience'.

11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_16225730.jpg
マークルさんから、タイトルの“CAN WE TALK ABOUT MAVO?”は、いくつかの異なる解釈が出来る表現だという話がありました。日本語にすると、今回の訳「マヴォについて話さない?」というものと、捉えようによっては、「マヴォについて話すことができますか?」という実践的な意味。そして、「私たちはマヴォについて話す資格がありますか?」というニュアンスのもの。これら何層かの情報がこの英語の一文ではフラットに並べられてしまうという事実があります。
Andrew mentioned the English title 'CAN WE TALK ABOUT MAVO?' can be interpreted in multiple ways.
Translated into Japanese, it can mean inviting participation like the title today, and also 'are you able to talk about Mavo?', and moreover, 'are we entitled to talk about Mavo?'
These various layered information is flattened in one English sentence.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_1625555.jpg
Mr. Yoshio Shirakawa introduced the outline of Mavo and character of its activity, and talked that artists in Japan hasn't yet attained freedom of expression, and the fact that Mavo hasn't been evaluated in Japanese art history.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_16265579.jpg
Mr. Sen Uesaki is reading Mavo's manifest. There are three statements and they are actually long.
(I thought Yen asked Mr. Uesaki to read it, but she didn't. It is uncertain to what extent the artist planned the discussion.)

The archivist Mr. Uesaki was interested in how it is possible to see art movements from non-historicism perspective.
The revolutionary Mr. Toyama was interested in to see significance of Mavo from political perspective.
(Mr. Toyama was basically critical towards the artists who call themselves artists which, he thinks, let their movement tamed.)
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_16251890.jpg
It's already getting dark outside.
Starting from that face Mavo has been underestimated...
Mr. Uesaki: Historicization of pre-war and post-war period is disconnected in Japan.
Mr. Shirakawa talked about the exhibition of Dada in Japan that he curated in Düsseldorf and recalled that he felt it difficult to convey the disconnected history of Japan at that time. He also talked that he suggested to a curator that performance such as Mavo and Gutai as original representation generated in Japan, while painting and sculpture were dependent on the method brought from the West.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_16274855.jpg
Mr. Toyama: the disconnection appeared during the WWII, yet there had been exchange with the West, so it might be possible to write consistent history from that viewpoint. Within the Cold War structure after the World Wars, the momentum which strived to beyond the dualism between 'conservative versus liberal' emerged in political movement in Japan. In parallel with that, the history of theater developed.
He questioned if Genpei Akasegawa's style which one can say that to art as well
Mr. Uesaki: That idea consolidates 'art historical perspective' that only define the facts by looking back the past. Also, avant-garde artists in the 60s organized authorship of the artworks before they would die.
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Mr. Toyama mentioned the possibility of wiring art history in connection with other disciplines at that time.
Mr. Uesaki talked about 1000 yen note incident of Akasegawa and the defense witness Jyunzo Ishiko said that winning case would mean legalization of the work so he should not win as an artist.
Mr. Shirakawa: Theatrical movement of Mavo. Tomoyoshi Murayama is known in China for his theater activity. Murayama said that he set fire to his previous paintings and sculptures as action of self-criticism, but he actually stored them secretly (ultimately they were burned because of airstrike though.) Moreover, despite that he was making constructivism paintings in pre-war period, he made a number of portrait (figurative) paintings of businessmen. It is doubtful if he was pure Dadaist...
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_18383887.jpg
Mr. Uesaki: Having said that Mavo undertakes lecture, designing poster, or display window in the manifest, Murayama had in fact flexible attitude towards commercial acitvity.
(This is totally different approach from the artists after the war who believed in non-commercialism.)
The word, lecture also sounds that Mavo was not meant to be anti-establishment movement hoping solely negation.
Mr. Shirakawa: Mavo was aware of utilization of media. (They elaborated the image of Mavo through the lectures and bulletin.)
Mr. Maerkle: Mavo was also aware of importance of being contemporary to their comrade avant-garde art abroad.
They appeared in an avant-garde art magazine in Poland at that time.

11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_18391411.jpg
Mr. Uesaki: Futurist (Italy, in the beginning of 20st century) was supposed to be avant-garde, yet turned out to be infamous for praise of war and discrimination against women.
(Mr. Toyama: The half of original fascist member were Futurist artists.)
Mr. Uesaki: Art History regards Futurist as avant-garde group who were influenced by Cubism. Japan does not follow that thought and flexible/impure nature of Mavo made it difficult to be written in art history. This very idea that Mavo was overlooked in the history itself is reflection of historicism influenced by Western perspective.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_18385950.jpg
Mr. Toyama suggested writing art history by combining articles from all kinds of medium.
Mr. Shirakawa: There's already similar idea (clipping), yet then it would be problematic on which point should be based.
Mr. Toyama criticized writing history with the presumption it would only be 'false history'. It is important to have discussion on each one's authentic history.
Mr. Uesaki mentioned that the possibility of writing history as a database generated by AI technology and difficulty of reading it.
Mr. Toyama criticized decision making through democratic way. He felt sympathy towards the side who got tired from relativization of value.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_18412719.jpg
Having listening to Mr. Toyama, Mr. Shirakawa said 'this might sound insolent, but what Mr. Toyama is saying is actually art. I thought it is art that tries to do what he is saying. Precisely because of that, art won't be politics...'
Mr. Uesaki also said that in that vein, Murayama would have been more political.
We had already running out of time at this point, then started Q & A session.

Yen asked the question in Japanese, 'Do you think being radical is outdated?'
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_1840404.jpg
Mr. Toyama: 'I can't say it is...'
Mr. Maerkle: 'I'm not sure if I'm qualified to say I'm radical, but I feel sympathy towards radicalism.'
Mr. Toyama: 'I can't accept the fact that those who had been radically producing work became to be liberal after 3.11 or 9.11. Was radicalism just your hobby, not blood or muscle?'

11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_18414953.jpg
Mr. Shirakawa: 'I'm bit radical I think...'
Mr. Uesaki: In the history, radicalness is belong to the past. I guess that it is difficult for artists to be radical today. No matter how hard they seek to be alternative, it is art. They need to apply for fund, or get along with curators, and then they become parody of curators before they know it. Actually it is curators who became a parody of artists in postmodern, and artists had already became to be curators at that time. Than is, everyone becomes curators. In situation like this, being radical or liberal seems to me farce.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_1855512.jpg
Mr. Toyama said that he himself wanna be thought as disobedient.
Mr. Uesaki talked art is institutionalized to the extent one should avoid art scene.
Mr. Toyama: 'The major problem nowadays is not only in art, but also in other disciplines radicalism has disappeared. I've been trying to revitalize radicalism however...'
Mr. Uesaki: 'I quit job at the university as the first step. However, independent archivist cannot exist. I realize how deeply I was involved in the institution.'
Mr. Toyama: 'if you think theatre, Daisuke Kishii might be radical, he doesn't settle one place.'

The discussion went on and on.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_183934100.jpg
There were questions and objections from the audience.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_18395473.jpg
Though I wrote 'Yen asked the question in Japanese' earlier, she doesn't speak Japanese.
A few days ago, Yen was writing the question in German which she is fluent. Yen came to me asking 'I found it difficult to translate the sentence into English.' (She is also fluent in English.)
We decided to translate original German sentence directly into Japanese.
Then we visited Prof. Yuji Nawata at Chuo University who is majored in German literature and had invited Yen to a lecture as a guest.
We discussed how to translate in Japanese and German.

As a result, it became a simple English sentense.
However, the process made me think of the situation of modernization of South Korea and Japan which developed with misinterpretation generated within multilingual communication and translation.

The reason why Mr. Maerkle was chosen as the moderator is probably because his first language is English.
The role I played that reading aloud Yes's statement in Japanese as her is also related to this issue.
11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_18401690.jpg
Writing this article, I am reminded again how complexly her project was structured.
It was also very interesting to see that these multilayered structure involved collaboration and discussion with inter-disciplinary professionals.
It was discovery to me to experience the time that is created by unauthoritative discussion organized by artists, not by institution.

Yen's ambitious project is ongoing.
You can follow her project on the website she made.

11/26 イェン パネルディスカッション「CAN WE TALK ABOUT MAVO ?  -マヴォについて話さない?」/\'CAN WE TALK ABOUT MAVO?\' by Yen_a0216706_18421022.jpg
Photograph: Hajime Kato                                                                                                                                                                                                                    

by arcus4moriya | 2016-11-26 16:00 | AIR_2016
11/22 もりや市民大学 校外授業@オープンスタジオ




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by arcus4moriya | 2016-11-22 12:00 | AIR_2016
11/19 キッズツアー(守谷中学校美術部のみなさん)@OPEN STUDIOS

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床にはCAN WE TALK about MAVO?の文字があります。
11/19 キッズツアー(守谷中学校美術部のみなさん)@OPEN STUDIOS_a0216706_17520499.jpg

集められた本はダダやその時代に関するものでした。本のほとんどはイェンさんの物ではなく貸してくれた人たちがいます。貸してくれた人たちはなぜその本がダダっぽい!と思って貸してくれたのでしょうか。CAN WE TALK about MAVO?は本を貸してくれた人がその本を選んでイェンさんに貸そうと考えたことがイェンさんとのダダ対談として成立していることを指すのではないか?という問いなのではと思いました。

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by arcus4moriya | 2016-11-19 15:59 | AIR_2016

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