Redefining Japan and Contemporary Art: Towards the Art Scene of the 2020s

Client
Art Venture Office SHOU  
Category
Catalogue  
Type
J → E

第19回Domani明日展 カタログテキスト

19th Domani Exhibition Catalogue Text

本制度が「芸術家在外研修(在研)」という名称で始まったのは1967年。文化庁が1968年に創設される前年、まだ文部省時代のことである。これまでの約半世紀で、美術分野で約1300人を送り出し、滞在先は多い順にアメリカ、フランス、イギリス、ドイツ、ほか総計58カ国に及ぶ(詳しくは本書126-127頁を参照のこと)。明治以降、美術家の海外留学が始まって以来、長らくそのターゲットの中心はパリだったが、戦後、ニューヨークへと移る。1950年代末に草間彌生や河原温がこの都市へ向かったのが象徴的だが、在研の滞在先でアメリカが第一位という事実は、制度開始が1960年代だった歴史を濃厚に反映している。

 

あらためて、今回、この30~40歳代からなる作家陣のキャリアを見直すと、気づくことがある。彼らはバブル経済崩壊後、阪神淡路大震災後の90年代後半以降に学生時代を送り、2010年前後に海外に出て、日本の現代文化が国際的に再認識、再定義される状況に直面したはずである。結果、そこには、東日本大震災の日を国内外のどこで、どのように迎えたかも影をさす。「VOCA展」「札幌国際芸術祭」「あいちトリエンナーレ」「トーキョーワンダーサイト」など、2000年代以降の日本のアートシーンを牽引する場を多くが通過し、「新進=Emerging」という言葉がふさわしい作家たち。その作品群は、今後、再定義される「日本」の現代美術の可能性――「欧米」と「アジア・パシフィック」、「美術」と「メディア芸術」の越境・往来を経た、新次元への起爆力を秘めている。
(カタログからテキスト一部抜粋)
テキスト:林洋子

The program was started as the Overseas Study Program for Artists in 1967 by the Ministry of Education, Science and Culture, one year prior to the establishment of the Agency for Cultural Affairs. The study program has placed approximately 1,300 participants (including artists, curators and critics) abroad in the last half-century. Out of a total of 58 countries, the most popular sites for research include, in descending order, the USA, France, the UK, and Germany (see pp.126–127). After the Meiji period, when Japanese artists first started going abroad to study, Paris remained the top destination for a long time, though New York became the most attractive place after World War II. It is representative of this shift that Yayoi Kusama and On Kawara moved to New York at the end of the 1950s. The fact that America has been the most popular site for participants reflects the history of the program and its roots in the 1960s.

 

Looking at the careers of the participating artists, who are all aged in their thirties and forties, there are certain noticeable aspects. They were at university from the late 1990s after the collapse of Japan’s bubble economy and the Great Hanshin Earthquake, and they went abroad around the year 2010, where they surely confronted the situation where Japanese contemporary culture was being internationally reconsidered and redefined. As a result, where and how they experienced the Great East Japan Earthquake and tsunami in 2011, whether in Japan or abroad, also had a large impact on their work. The label “emerging” remains appropriate for them as many of the participating artists passed though the platforms that have been leading the Japanese art scene since the 2000s, such as the VOCA exhibition, Sapporo International Art Festival, Aichi Triennale, and Tokyo Wonder Site. Latent in their artworks is the fuse to ignite the explosion of creativity taking us to a new dimension that has transcended and traversed the divisions between Europe and North America and the Asia-Pacific regions, and between visual art and media arts, taking us toward new possibilities for Japanese contemporary art as it is redefined in the future. (Extract from catalogue text)

Text: Yoko Hayashi