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一堂傾聽無聲之聲的課

策展人 窪田研二/ KENJI KUBOTA

  此計畫是搭起2019年的Reborn-Art Festival(以下簡稱RAF)與2021年預計展開的RAF2021間橋樑的線上計畫。 2021年是東日本震災後的第十年。 十年前因為巨大的海嘯,有無數的生命在石卷喪失了。那天過後的十年間,生還者懷抱著那天以前的記憶,以及那天以後的心情,奮力地生存了下來。那裡,有每個人各自切身真實的故事,而每個故事又都是那麼的截然不同。 那樣的故事裡,藏著無數個我們所無法親耳聽到的勇敢聲音,以及無數個我們所無法親眼見到的勇敢心情。

2019年 石卷

  在此計畫中,我們以「通信-一堂傾聽無聲之聲的課」作為標題,從詩詞的朗讀歌頌、到對談及表演等,一共會在線上發表三次各式各樣的計畫內容。以RAF的主要會場石卷為主軸,將日本與世界連結。靈體與動物、自然、甚至是他者,傾聽這些日常不曾接觸,卻在世界各地生息的各種所謂「無聲之聲」,這是透過藝術表演,與他們「通信」的一堂小小的課。

青葉市子『風室』RAF 2019

  面對全世界日漸擴大的疫情感染、環境問題及分化、歧視議題等,各種問題逐漸地顯在化。世界樣貌正在急速劇烈地轉變下的現今,去意識那些看不到、聽不到的事物,驅動我們的想像力,正是我們所急需面對的課題。 期盼您藉由觀賞此計畫,得以更加切身緊密地感受這個世界。
通信-一堂傾聽無聲之聲的課
策展人
窪田研二/ KENJI KUBOTA
在擔任上野森美術館、水戶藝術館現代美術中心的學藝員後,2006年起以獨立策展人展開活動。2012-2016年,以筑波大學藝術系准教授身份,參與了創造的復興計劃。以各式各樣的文化形式,與藝術家、大學、企業等合作,嘗試運用著在政治、經濟等所謂社會制度下,藝術能發揮的功能之可能性。「X-color graffiti in Japan」(水戶藝術館現代美術中心、2005年)、「money talk」(廣島市現代美術館、2007-2008年)、「六本木crossing 2010−藝術可能嗎?」(森美術館、2010年)、「Don’t Follow the Wind」(福島的歸還困難區域某處、2015年-)、「Asian Art Biennale」(國立臺灣美術館、2017-2018年)等,經手參與了多數國內外的展覽。現在擔任學習院女子大學的特約講師,以及川村文化藝術振興財團理事。

吉増剛造

Gozo Yoshimasu

"Gozo Yoshimasu Poet. Born in 1939 in Tokyo, Japan. Gozo Yoshimasu graduated from the Department of Literary Studies at Keio University in 1945. Owing to the poetry magazine Drumcan to which he contributed while at university, he entered the world of poetry in the 1960s as a standard-bearer for poetry, projecting an image of rushing linguistic impulses on the verge of explosion. Since the publication of his debut poetry collection Departure in 1964, he has traveled to various regions of Japan and the world over half a century, shifting to the phase of incoporating the spirits of different lands and voices of others into his poetic space while continuing to create groundbreaking work at the forefront of contemporary poetry. His published poetry collections include Anthology of Golden Age Poetry; River Written in Cursive; Osiris, God of Stone; Helix Songs, and Kemono kun (little monster). In addition, he has written numerous works of literary criticism including I Am a Flaming Mirage and A Lifetime’s Path through Dreams: Walking with Orikuchi Shinobu, and is a pioneer of poetry recital performances in Japan and abroad. In recent years, Yoshimasu has broken new ground in works that sharpen the visual, auditory and other senses, such as omote-gami (Mainichi Art Award) that combines his own poetry with multi- exposure photos, video works known as gozo-ciné that function as documents of poems, and objects that involve letter engraving onto copper plate. In 2015, he was recognized as a Person of Cultural Merit, and was awarded the Imperial Prize and Japan Art Academy Prize. Yoshimasu is a member of the Japan Art Academy. His exhibitions include “The Voice Between: The Art and Poetry of Yoshimasu Gozo” held at The National Museum of Modern Art, Tokyo in 2016 and “The Echoes from the Abyss: The Poems of Gozo Yoshimasu” held respectively at Ashikaga Museum of Art, Okinawa Prefectural Museum & Art Museum, and the Shoto Museum of Art between 2017 and 2018. "

青葉市子

Ichiko Aoba

Musician. Born in 1990. Releasing her first solo record in 2010, Ichiko has released 6 albums up until now. Her latest release was her album qp in 2018. Aside from her solo career, she has taken part in the studio session CD called Radio which was a collaboration with Haruomi Hosono, Ryuichi Sakamoto, Shogo Oyamada and U-zhaan. She has also collaborated with beat maker Sweet William on their collaboration single Karakahi, as well as releasing under the name "NUUAMM" which is a unit she as with Mahitothepeople. In 2018, she had an Asian tour which took place in Taiwan, Thailand, Malaysia and Singapore, which became her third Asia tour in her career. She has also showed her talent in the advertisement world, doing music for Kewpie, Odakyu Line Romace Car, Tokyo Electron, and Tama Home. Not only that, she has also taken part in theater such as Hyakki Opera Rashomon, Watashi was Shingo, Reming -please take me to the edge of the world-. and cocoon. She was also chosen as the voice over for the main character Trixie in the short animation movie "Blade Rummer Blackout 2022”.

花崎 草

Kaya Hanasaki

HANASAKI Kaya born in Tokyo. She is currently based in Japan and other Asian countries. Hanasaki is a performance artist who also works on various mediums including projects, workshops, installations, video works, and more others. Hanasaki takes her own view of social, political, and cultural issues, which all have a profound influenced upon her to live in contemporary society. She reflects her thoughts to these issues in her works and activities. In 2012, She graduated from the Tokyo National University of Fine Arts with an M.F.A. In 2017, she was one of the founders of the cultural space ‘Ivy Palace’ in Taipei and managed it till 2019. The solo exhibition includes ‘My home, Our treasure’, Treasure Hill Artist Village, Taipei (2016), and her work has been included in group exhibitions such as ‘You (We) are Beautiful!’, Shinokubo UGO (2020), ‘Exposing the bushes’, TOKAS Hongo (2020).

李 俊陽

Jun-Yang Li

Li was born in Taitung in 1967. His father was a painter of movie posters. He achieves to define his artistic creation with almost zero external artistic education, and has been engaged in colored drawing of temples, painting of movie posters, calligraphy, making heads of Taiwanese glove puppets, and multi-media installations. Traditional elements widely used in his works have not limited his creations. Being a boundary-pushing artist, Li has been challenging existing systems with perceptive observation and his creative momentum is free and expressive. For him, personality and attitude define one’s painting style. Painting technique is just a form. What is more important is to create while discovering the freedom of mind.

SWOON

Caledonia Curry, whose work appears under the name Swoon, is a Brooklyn-based artist and is widely known as the first woman to gain large-scale recognition in the male-dominated world of street art. Callie took to the streets of New York while attending the Pratt Institute of Art in 1999, pasting her paper portraits to the sides of buildings with the goal of making art and the public space of the city more accessible. In a moment when contemporary art often holds a conflicted relationship to beauty, Callie’s work carries with it an earnestness, treating the beautiful as sublime even as she explores the darker sides of her subjects. Her work has become known for marrying the whimsical to the grounded, often weaving in slivers of fairy-tales, scraps of myth, and a recurring motif of the sacred feminine. Tendrils of her own family history—and a legacy of her parents’ struggles with addiction and substance abuse—recur throughout her work. While much of Callie’s art plays with the fantastical, there is also a strong element of realism. This can be seen in her myriad social endeavors, including a long-term community revitalization project in Braddock, Pennsylvania and her efforts to build earthquake-resistant homes in Haiti through Konbit Shelter. Her non-profit, the Heliotrope Foundation, was created in order to further support these ventures. Today, Callie’s work can be found on the sides of buildings worldwide and has been given both permanent and transient homes in more classical institutions, including New York’s Museum of Modern Art, the Institute of Contemporary Art in Boston, the Tate Modern, and the São Paulo Museum of Art. Most recently, she has begun using film animation to explore the boundaries of visual storytelling.

石倉敏明

Toshiaki Ishikura

The anthropologist Toshiaki Ishikura is an associate professor at the Department of Fine Arts, Akita University of Art, and a research fellow at Meiji University’s Institut pour la Science Sauvage. He has conducted research on saints and mountain worship in India, Nepal, and the Tohoku region of Japan, developing research on comparative mythology in the Pacific Rim. In parallel to this, Ishikura travels and conducts fieldwork in collaboration with various artists, exploring the possibilities for art in human activities ongoing for tens of thousands of years. His co-authored books include Cosmo-Eggs: Uchu no tamago—Korekutibu igo no ato (Cosmo-Eggs: Post-Collective Art) (torch press, 2020), Lexcion—Gendai jinruigaku (Lexicon—Contemporary Anthropology) (Ibunsha, 2018), and Yasei meguri—Retto shinwa o meguru juni no tabi (A Tour of the Wild: Twelve Journeys Around Myths of the Archipelago) (Tankosha, 2015). Ishikura’s exhibition credits include “Cosmos-Eggs” at the Japan Pavilion at the 58th Venice Biennale (2019), “The Ecology of Expression: Remaking Our Relations with the World” (Arts Maebashi, 2019), and “Spirit of ‘North’ vol.10” (Rovaniemi Art Museum, 2019).

志賀理江子

Lieko Shiga

Born in 1980 in Aichi Prefecture. Graduated from Chelsea College of Art and Design, London in 2004. Has lived in Miyagi Prefecture since 2008. Major exhibitions include “Rasen Kaigan” (solo show, Sendai Mediatheque, 2012), “In the Wake” (Museum of Fine Arts, Boston, 2015), “New Photography 2015” (The Museum of Modern Art, New York, 2015), “Blind Date” (solo show, Marugame Genichiro-Inokuma Museum of Contemporary Art, 2017) and “Human Spring” (solo show, Tokyo Photographic Art Museum, 2019).

山川冬樹

Fuyuki Yamakawa

Born in London in 1973, Fuyuki Yamakawa is based in Yokohama. His work transcends the boundaries of music, contemporary art, and performing arts with forms of expression that appeal to our senses of sight and hearing as well as cutaneous sensation. Yamakawa is known as a master of khoomei, a traditional type of Tuvan throat singing. He has staged performances in sixteen countries, presenting such work as one that transforms his heartbeat into light and music through an electronic stethoscope, and another that amplifies the vibration inside his skull through a bone conduction microphone. In the field of contemporary art, Yamakawa’s work includes The Voice-over, which deals with memories of voice in relation to mass media and the individual, and “Pa”nishi-ment (2011–), which will reach completion when the ownership of the sound of the syllable “pa” as pronounced by the artist is sold to an art collector for ¥1 million. Yamakawa also engages in long-term projects at Oshima Seisho-en Sanatorium for leprosy patients and, as a member of Grand Guignol Mirai, the “difficult-to-return zone” in Fukushima.

OUTLINE

活動概要

Reborn-Art Festival 2021-22
— 利他與流動性 —

【 展期 】

夏季:2021年8月11日(三)- 2021年9月26日(日)
春季:2022年4月23日(六)至 - 2022年6月5日(日)
*在展覽期間,將設置一個維護日(假日)。

【 展場 】

ー 夏 ー
2021年
地點:石卷市區・牡鹿半島

ー 春 ー
2022年
石卷地區

【 主辦單位 】

Reborn-Art Festival 實行委員會
一般社團法人 AP BANK

【 協力 】

文化廳 國際文化藝術發信據點形成事業

【 翻譯 】
陳 兪方

【 Web Direction 】
加藤 淳也
(PARK GALLERY)