日本中之條町雙年展單元 (Nakanojo Biennale)
本次由中之條町雙年展單位推薦還自日本的三位藝術家共五件作品呈現，涵括雕塑裝置紀錄、錄像、和行為表演等創作。如雙年展總監山重徹夫 Tetsuo Yamashige 所提，儘管文化和語言存在差異，藝術家們卻不斷地分享和建立關係，這一切都歸功於藝術的力量。並成為這些交流計畫的一部分，超越國界、文化和世代。
Things We Send from Nakanojo to the World
Tetsuo Yamashige, Nakanojo Biennale General Director
Since its inception in 2007, Nakanojo Biennale has welcomed many artists, from both Japan and all over the world. It’s a pleasure to see the circle of artists and local residents growing every year thanks to the artists residency program. Especially for international artists it’s a rare opportunity to see and experience elements of mountain culture, hot-springs, agriculture and silk farming.
The number of international participating artists grows bigger each year. In 2015, the 5th biennale, we had 32 artists from 12 countries including: South Korea, China, Taiwan, Thailand, Italy, UK, Poland, Germany and Israel. I saw and heard many different languages flying around, artists sharing and forming relationships despite the differences in culture and language. All due to the power of art.
We can’t learn each other’s culture just by inviting international artists to Nakanojo. In order to form a worldwide network for both communities we thought it necessary to make direct relationships with exhibitions and museums all over Japan, not just through Tokyo and Osaka. Since 2016 to now, a gap year from Nakanojo Biennale, selected artists from Nakanojo Biennale are sent to overseas for exchange exhibitions. There are many practical and financial issues such as air fares, accommodation and venues but thanks to sponsors from Nakanojo and embassy support we make a year of activity.
NAKANOJO BIENNALE 2021 runs every day from October 15th to November 11th 2021. However, due to COVID-19, all artists living outside Japan will participate as remote-artists. Remote artists will work from their home studio then send their art to Nakanojo, where our staff and volunteers will do the installation. We aim to build a new way of exhibiting by taking advantage of the epidemic situation. To have a successful and meaningful exhibition, the artists and the management will cooperate and be one team. We believe that you and your artwork have the potential to be a part of our new challenge.
Over the past ten years our achievements in Nakanojo will one day have to be passed on to the next generation. I hope that what they’ve seen at Biennale and what they’ve learnt will support them when they grow up and that they can re-connect with friends met through our activities. Your home being open to the world gives rich possibilities for future generations. It’s an honor to be part of this exchange project, moving beyond borders, cultures and generations. I’m hoping Nakanojo Biennale will become an international hub for art and culture, and will flourish in the world of art for all involved
作品 / 藝術家:
1. In the Board, 11', 2021
Place... Isama Studio (Nakanojo, Gunma, Japan)
Duration (performance)... 1 hour
Performance... Riko Takahashi, Shuji Kobayashi
Camera and Edit... Ryohei Tomita
Camera Assistant... Yoshihiro Hirose
2. Blue Line IV, 4' 35", 2020
Place... Tone River Green Park (Ibaraki, Japan) Performance... Riko Takahashi
Duration (performance)... 40 minutes
Camera... THANG SHIYI
Performance Assistant... Yuka Kamigaki, Tetsuya Shimoda
3. Walk on Wheels, 4' 32", 2019
Place... Bangkok Art and Culture Centre (Bangkok, Thailand) Duration (performance)... 40 minutes
Performance Riko Takahashi
Camera & Edit... Pancho Sirivejkul
1. In the Board
I cut out each hole shaped a side-silhouette of each different person from five wooden boards, got their real body including myself into the holes, and made the five boards stand up in the space. This is a work constructed as a five-dimensional object when there is nobody in the boards, and as a performance work when there are people inside.During this performance, we behaved
completely as a material and focused to keep the relationship with each board. Throughout direct intervention to object and space due to the presence and absence of human body, I represented the heterogeneity and non-physicality hidden inhuman body from the contact point between our body and the boards.
2. Blue Line IV
When we open Google Map and search something road, we find a blue line running on the road displayed on Street View Function. Then we can pass through the road temporarily by scrolling the photo road on the display of our smartphone or tablet. I got an idea of changing the temporal and virtual experience on device to the real one on site by performance. In the process of this performance, I chose a nameless road which has not been recognized yet by GoogleMap, and took a rotation motion that replaces scrolling speed on device with life size for myself. I put blue tapes on the nameless road which is not on the map, re-winded them by rolling my body, and passed through the road with the real blue line. The more the tapes overlapped on my body, the more my body got restrained and turned into an object for rewinding the tapes.
3. Walk on Wheels
I wore a roller skate shoes, stood up towards the wall, put my hands on, and started walking on the floor as it is. Sincethe wheels of the roller shoes kept me on the same position by the wheel’s specific nature, so I could not move from the position where I started walking. I continued walking on the same position with steps equivalent to a total of onekilometer. As you can see, no matter how much I tried to walk forward, I accumulated my steps in the same space, where is lost a sense of distance.
Trough out visualizing an inconsistency between accumulation of walking, and disappearance of distance, I re-considered a creativity brought about by a kind of useless action.
Riko Takahashi 髙橋 莉子
Riko Takahashi was born in 1995. She majored Oil Painting at Tama Art University, and is currently enrolling on a Master’scourse in the Intermedia art department at Tokyo University of the Arts. Takahashi has made performance art her main artistic activity since 2015. In her performance work, she primarily makes site specific works which involve actions that have a minimalimpact on the site. By reading the compositions and the arrangement of existing objects at a site, she physically draws out actions corresponding to the existing conditions of the site in order to reexamine how we fundamentally perceive space. Her approach is based on a desire to transform by surrendering herself to the materials and the space.
Masqeurade , 20' 31", 2021
The two years I spent in England made me think about labor in particular.
Probably, it was because the land where Karl Marx slept in, and where the Industrial Revolution flourished in the 18th century, or it was just at the moment of swaying to Brexit, like a turning point from Margaret Thatcher's neoliberalism milestone. Or was it just because I used to line up for a labor’s queue in a small cafeteria serving English Breakfast to grab sandwiches from a shopstaff with an Italian accent before going to the studio in Deptford?
I'm not quite sure the reason exactly; however, I had a lot of time to think about the relationship between art and labor.
And what I can do now is to listen to the micro voice while looking surrealistically in this current situation where an individual was swallowed up in a huge system.
Hiroki Ishikawa 石川洋樹
Hiroki Ishikawa’s multidisciplinary practice, comprising sculpture, performance, video, photography and installation, explores experimental and surrealistic narrative. In his recent body of work, it examines consistently a power structure of labour situations, offers a critique of contemporary society and the historical and industrial context and its underlying fears and desires that spin a reality and the weirdness of contemporary society.
Mound / Vessel, 23'34", 2021
The venue is the third floor of the Yumoto-Ke (湯本家), a sericulture room popular in this area during the Meiji era. The Yumoto-Ke, built over 200 years ago and the beautiful Kuni/Akaiwa area, still retain former remnants and have long histories. What changes and what does not change, and the time accumulated in this place. I attempted to convert this into various units of time (humans, animals, insects, nature, and weather) on the artwork.
Ayaco Mino 三野綾子
Working on mainly drawing, installation art, and films are based on fictional stories which are reinterpreted true stories. They are alternatives to real, not fake but the other real. Attempting to focus on the uncertainty of recognition, the certainty of existence, and subtleties of personal emotions. And also it is a practice to study the range of sharable senses and emotions with others through the artworks, moreover how my presence involving in the world.