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

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

8trans_2016-2017 “The Future of This Land”Every year I come to view a conclusive exhibition of AIAV’s Residence Support Program but this year I wasinvited as one of the selection committees. For this reason, I visited the opening with expectation about howthese selected artists produced their work. AIAV’s Artist-in Residence program has not set up any theme forlong time but recently the program led those participating artists from Japan and overseas to engage in thelocal land around AIAV under a theme of “The Features of This Land”. This kind of condition proposed by a hostorganization is usually considered as limitation to avant-garde artistic expression, since the proposed thememay restrict artist’s imagination and sensibility. However, looking at those conclusive exhibitions over thelast several years, such anxiety was not necessary to consider but rather thanks to the theme I felt that theseart works produced here keep away from international homogenization in the contemporary art expression.Additionally, given a theme of “The Future of This Land”, it prompted these artists to engage in not only thefeatures but also the future of this local area.Now I mention these six artists at the residence program. Three of them were selected through an open calland the selection process and the rest of three were invited from AIAV’s partner organizations in overseas.First, Lo-Kyung Yi from South Korea called a personal mining/research as “personal mine” in the flow of eternaltime and subtracted various meanings from a word “Chosei (長生)", which was derived from Chosei Coalminelocated in Ube city, Yamaguchi. “Chosei” also means “miraculous draw” in a game of Go as a decisive factor andhe applied this key word to his work. This work referred to misfortunate international affairs between Japan andSouth Korea and suggested “the miraculous draw” in our future as if it were a prayer.Works by Hyree Ro from South Korea and Yow-Ruu Chen from Taiwan were both consisted of installationand performance that evoked a story from physical movements, fragmented objects and sounds. HyreeRo created sensitive installation like Rube Goldberg machine and gave us a chance to consider a variety ofpotential functions in each object by adding her own action and voice performance to it. Work by Yow-RuuChen was a theatrical piece. Her opening act in a room with her installation work consisting of a car bumperand performance in the outdoor grass stage leading to forest was relating with locality such as nature, people,and job, and made us think about confrontation or connection/continuity between artificial and nature withinsertion of her humor.Both Ilse Leenders and Kastehelmi Korpijaakko applied anthropology, science, and philosophy, and producedinstallation work consisting of photography, films and objects as their media. In past works by Ilse Leenders, sheintentionally placed people in urban landscape and produced her photography and accentuated their presencein exquisite composition. So, I was interested in how she would develop her work in Yamaguchi prefecture andMine city without urban landscape. In this residence program, she carried out an experimental performancewith a theme of “The Bird Dance". By combining scientific view on appropriate distance between each birdon flying off and a unique sense of distance that Japanese have in Budoh, her work produced an unexpectedoutcome from such creative research. Kastehelmi Korpijaakko also got some ideas from an unexpected source.She collected singular ceramic fragments found near residence facility in AIAV and produced mysterious