The 20th “Domani: The Art of Tomorrow” Exhibition, Memories of “passagers”

Client
Art Venture Office SHOU  
Category
Catalogue  
Type
J → E

第20回Domani明日展 カタログテキスト

20th Domani Exhibition Catalogue Text

2017年は国内外でビエンナーレ、芸術祭がたいへん多く重なった年だった。欧州では10年に一度、ヴェネチア・ビエンナーレ、ドクメンタ、ミュンスター彫刻プロジェクトの開催が重なり、多くの美術関係者や作家たちが現地を訪れた。現在、海外にいる現役の「文化庁新進芸術家海外研修制度(略称:在研)」の作家たちもこの機を生かしており、なかにはこの年に合わせて、本制度に申請した者もいたようだ。こうした国際舞台に日本人作家が複数含まれたことは誇るべきで、そこに本研修経験者のプレゼンスがはっきり見えていることをアピールしておきたい。昨年のヴェニス・ビエンナーレ日本館代表の岩崎貴宏もこの研修出身で、実は過去二回の塩田千春、田中功起もそうであった。田中は今回のヴェネチアではアルセナーレの企画展に参加し、さらにミュンスターにも出展。同じくミュンスター参加の荒川医も研修参加者である。もちろん、国内外の民間財団の支援や美術系大学の指導の積み重ねも今日の状況を支えている。だが、1967年度に「芸術家在外研修」 として始まり、昨年50周年を迎えた本研修制度が、国際的なアートシーンでの活躍を志向する日本人作家たちの登龍門となっていることは間違いないだろう。

 

ある作家が、「在外研修に出て旅行ではなく定住すると、そこを基点に世界を見られるようになった」と言っていたのが印象的だった。太平洋が真ん中にあって、日本がその左手にあるという世界地図は決してユニヴァーサルなものではない。たとえばヨーロッパに暮らせば、距離的にも心理的にもアフリカや中東は近い。地中海を挟んでアフリカに向かい合っていることに加え、植民地の歴史もあって移民が多く、近年の難民急増もあり、いやが応でも日常的に意識する存在である。今回の出品作家にも、個人的な寄留者体験だけでなく、人種や世代を超えた普遍的な「寄留者の記憶」に広がる表現が見られる。では、視点を変えて、アフリカや南半球からヨーロッパ、そして極東日本はどう見えるのか。新進芸術家海外研修百年に向けて、個人的には今後、南半球への志望者が増えることも期待している。

 (カタログからテキスト一部抜粋)
テキスト:林洋子

In 2017, many art biennales and festivals were held both in Japan and abroad. In Europe, the Venice Biennale, documenta, and Skulptur Projekte Münster coincided, which happens only once every 10 years, bringing together many art professionals including artists at the locations of these events. The current participants of the Program of Overseas Study for Upcoming Artists, organized by the Agency for Cultural Affairs, utilized this opportunity as well, and some of them apparently applied to the program especially for this year for that reason. We should be proud that several Japanese artists were featured on this international stage, and I would like to call attention to the clear presence of the program in this context. Takahiro Iwasaki, who represented his country at the Japanese Pavilion at last year’s Venice Biennale, is an alumnus of the program, as are Chiharu Shiota and Koki Tanaka, who also previously exhibited at the national pavilion. Tanaka’s work was included in the Arsenale exhibition at the Venice Biennale as well as in Skulptur Projekte Münster, where fellow alumnus Ei Arakawa also exhibited. While the support of international and Japanese private foundations as well as long-standing art education at Japanese art colleges have certainly contributed to the current Japanese art scene, the Program of Overseas Study for Upcoming Artists, which started in 1967 under its former name of the Overseas Study Program for Artists by the Ministry of Education and celebrated its half-century anniversary in 2017, has undoubtedly served as a gateway for upcoming artists who aspire to work in the international art scene.

 

An artist once memorably said to me, “Residing in a place as part of the overseas study program as opposed to just visiting it as a traveler enabled me to see the world from the perspective of that place.” The world map where the Pacific Ocean is situated in the center and Japan is placed on the left-hand side is not universally used. For example, for people living in Europe, Africa and the Middle East feel physically and psychologically close. As Europe faces Africa over the Mediterranean Sea and a lot of immigrants now live there due to Europe’s colonial past in addition to the recent surge in refugees, one has to be aware of the presence of those other regions on an everyday basis, whether willingly so or not. In the work of the participating artists, personal experiences as passagers seem to expand into universal “memories of passagers” that transcend race and generation. How, then, are Europe and the East Asia or Japan seen from Africa and the Southern Hemisphere? As we now head toward the program’s centenary, I personally hope that more participants will choose the Sothern Hemisphere as their destinations.

(Extract from catalogue text)

Text: Yoko Hayashi