ブックタイトル秋吉台国際芸術村　Akiyoshidai International Art Village　レジデンス・サポート・プログラム　Residence Support Program

概要

秋吉台国際芸術村　Akiyoshidai International Art Village　レジデンス・サポート・プログラム　Residence Support Program

8Akiyoshidai International Art Village Residence Support Programtrans_2015-2016Akiyoshidai International Art Village (abbreviated as AIAV) has implemented the residency program as one of its majorprograms since its foundation in 1998. Since then we have supported over 150 artists in various ways. Reachingits 17th this year, the Residence Support Program “trans_2015-2016” invited 3 artists through an open call and other3 recommended by our overseas partnership organizations. During their time at AIAV all the artists have worked ontheir very own projects.We received 299 entries from 63 countries and regions through the open call. The 3 finalists from France, Hungaryand Japan were chosen by a selection committee comprised of Ikuo Saito (Vice Director, Yamaguchi PrefecturalArt Museum), Sachiko Kanno (Program Coordinator, The Japan Foundation), Takashi Kubota (Schoolmaster, KamaElementary School), and Yoshiko Yamanaka (Shuho International Exchange Association) based on the criteria of“artistic quality”, “potentiality”, “affinity with the local community” and “integrity with the theme”. The other 3 artistswere selected and nominated by our overseas partnership organizations, i.e., Gyeonggi Creation Center in SouthKorea, Taipei Artist Village in Taiwan, and the Finnish Institute in Japan.We set a theme “The Features of This Land” as the continuation from last year with an intention to focus further ona relation between the artists and local community. The 6 artists had researched into the surrounding area prior totheir arrival, and during their stay at AIAV they focused on the projects with their own perception of “The Featuresof This Land” through active interactions with the local community.By utilizing ‘light and shadows’, Tama?s Szvet induces us to rediscover good old Japanese culture, which we Japanesehave nearly forgotten. In his work of Keeping Shadows he constructed an over-lighted projection, which containedsome images of the local area that was viewable only by one nominated person. Tama?s suggests that the presenceof audiences represent their own “Features of This Land” by intervening into the light and producing his/her shadowson the images. Being inspired by a novel called In Praise of Shadows by Junichiro Tanizaki, Tama?s explains thatshadows symbolize the past and memory, tradition and culture - the strong electric light replaced with a soft naturallight of the shoji paper lamp, can even disturb us to enjoy the moonlight. His works hence attempt to tell us theimportance of shadows, before we completely loose them in our era.At an early stage of his artistic career Donald Abad discarded his indoor studio in order to challenge a variety of‘borders’ in the middle of nature. In his early work of I did not own the Roden Crater, he attempted in various waysto realize his dream of approaching an extinct volcano where entry was prohibited. There is something reminiscentin his attempts of German filmmaker Werner Herzogs’ ? in challenging the demarcation (or better to say the border)between documentary and fiction through his audacious acts towards the nature. As a matter of course the natureof Akiyoshidai has been a wonderful opportunity for him. He delved into a variety of borders, i.e., horizontal and verticalheights of the karst plateau and caves, indoors and outdoors, and encounter between the nature and himselfas a human being. He then reconfigured these notions by using an idea of augmented reality, so that the audiencecould negotiate with the virtual reality of Akiyoshidai in real time in his exhibition space.Pushing on his research into the geographical features of the karst plateau and limestone caves, Teppei Yamadastumbled upon another crucial element of this area ? the local people who have long lived in the area with waterand limestone. While the karst plateau that has recollections of the ocean over 300 million years ago, and countless