Aomori Aomori
Aomori Aomori Performance, Aomori Contemporary Arts Centre 2014.
In repetition the movement assumes a sensibility of an internal landscape, reflecting the soul of Aomori, the silent repetition of snowfall. A focus of detail a Tsugaru 'hand dance', from vertical to horizontal a choreographic process of translation and understanding.
Concept & Choreography -Sioned Huws in collaboration with Dancers, Reina Kimura, Agnese Lanza, Elena Jacinta, Taz Burns, Tsugaru Teodori Dancer & Choreographer -- Yoshiya Ishikawa. Musicians: Tsugaru Shamisen -- Hasegawa Sangen-kai -- Yuji & Yuso Hasegawa, Tsugaru Minyo Singer -- Kiyoko Goto. Guest Performers, Miho Shigesato, Ayaka Nakama, Mikio Tazoe, Keiko Hinuma
Funded by: Agency for Cultural Affairs Government of Japan 2013, Rikuzentakata Artist in Residency Program 2013, Arts Council of Wales, Welsh Government, Wales Arts International, British Council and Japan Foundation PAJ Europe 2013,
Co-sponsor: ARTizan , Aomori City, Japan, Karada-Tukuru-Asoba Project, Iwaki City, Aomori Contemporary Arts Centre
In Co-operation with: Joshibi University of Art and Design, Field of Art Produce and Museum Studies, TPAM - Tokyo Performing Arts Meeting Yokohama 2014
Managed by: Natsukashii-Mirai-Souzou Co. Ltd Rikuzentakata, Iwate
Air - Rikuzentakata, Program Director -- Teiko Hinuma
Artist in Residency Co-ordinators -- Sayuri Noda and Jun Matsuyama
Filmed by Eiliri Pierce in Aomori, Tohoku, North Japan
Aomori Contemporary Arts Centre, January 2014
Supersensible Realm | Video | Aomori Contemporary Art Centre, Japan | 2011-2012
I am interested in reviving obsolescent tools and investigating rudimentary technologies to apprehend the nature of current hi-tech life and our relationship with technology. My recent works have revolved in generating narratives between technology and the environment, making emphasised usage of physical properties of materials such as density, colours, reflectivity and textures to create visceral associations to the notion of nature and a shift from the digital condition.
Towada art center, Aomori | One Minute Japan Travel Guide
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Aomori - Ken @ Aomori Museum of Art
Towada Aomori Japan Art museum(Light Up)
video uploaded from my mobile phone
A day in Aomori art museum, Japan
Breve video di un luogo incantato e meraviglioso a nord del Giappone, Aomori art museum. L'arte contemporanea di Yoshitomo Nara mi ha trascinato in un viaggio alla scoperta di emozioni che ho voluto ricreare in questo breve video
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Aomori Museum of Art
Towada Art Center
Aomori Museum of Art
Aomori Aomori Sioned Huws @OrielWrecsam #offsite
description
Tours-TV.com: Aomori Museum of Art
Japan : Aomori Prefecture : Aomori. (棟方志功記念館). See on map .
Happy Tree Dance Sessions: ShYacco Dance at the Towada Art Center
Parallel Nippon 02 / 15 - Aomori Museum of Art / Jun Aoki & Associates
- Aomori Museum of Art / Jun Aoki & Associates -
Never ending Video showed on June 2009 exhibition at Museo Nacional de Arquitectura (National Museum of Architecture) in Palacio de Bellas Artes of Mexico
Parallel Nippon Contemporary Japanese Arqchitecture 1996-2006
Video Credits:
Exhibition Organizers: The Japan Foundation (JF) / Architectural Institute Of Japan (AIJ)
Production: Stripe Factory
Sound: Yoshi Usui
Special Thanks To: Araki Takahisa: Aomori Museum Of Art, Archipro Architects: MIrasaka Ceramics Studio, Hokkaido Eizo Kiroku Co. Ltd.: Morenuma Park, Shuhei Endo Architect Institute: Rooftecture C
Behind the Painting (Trailer)
Behind the Painting
นิทรรศการแสดงผลงานเดี่ยวของ จุฬญาณนนท์ ศิริผล
คัดสรรโดย ฮิโระยุกิ ฮัตโตะริ, Aomori Contemporary Art Centre, ประเทศญี่ปุ่น
จัดโดย The Japan Foundation, Bangkok ร่วมกับ หอศิลป์มหาวิทยาลัยศิลปากร
นิทรรศการจัดระหว่างวันที่
11 กันยายน - 10 ตุลาคม 2558
ณ ชั้น1 หอศิลป์มหาวิทยาลัยศิลปากร (วังท่าพระ)
พิธีเปิดนิทรรศการ
วันศุกร์ที่ 11 กันยายน 2558 เวลา 19:00 น.
* การบรรยายโดยศิลปินและภัณฑารักษ์ โดยจุฬญาณนนท์ ศิริผลและฮิโระยุกิ ฮัตโตะริ เวลา 18:00 น.
ในปี 2557 จุฬญาณนนท์ ได้รับเชิญเข้าร่วมโครงการศิลปินในพำนัก ณ Aomori Contemporary Art Centre(ACAC) ประเทศญี่ปุ่น เป็นเวลาสองเดือนเพื่อผลิตผลงานศิลปะภายใต้นิทรรศการ MEDIA/ART KITCHEN AOMORI -Politics of Humor and Playที่ร่วมจัดโดย ACAC และเอเชียเซ็นเตอร์ ของเจแปนฟาวน์เดชั่น จุฬญาณนนท์จึงได้แรงบันดาลใจหยิบเอานวนิยายเรื่อง ข้างหลังภาพ นี้ขึ้นมาอ่านใหม่อีกครั้ง โดยจุฬญาณนนท์พยายามเชื่อมโยงนวนิยายที่อิงอยู่กับเหตุการณ์ในประวัติศาสตร์มาซ้อนทับกับสถานการณ์ร่วมสมัยเพื่อเทียบเคียงให้เห็นถึงรอยต่อของเรื่องราวที่มีความสัมพันธ์กันระหว่างอดีตกับปัจจุบันและค้นหาว่ามีอะไรอยู่ระหว่างบรรทัดในนวนิยายเรื่องนี้ที่ได้อ่านข้ามไปหรือมีอะไรซ่อนอยู่ข้างหลังของ “ข้างหลังภาพ” นี้อีกบ้างโดยผลงานจะใช้วิธีนำเสนอผ่านการผสมผสานระหว่าง งานวรรณกรรม จิตรกรรม การแสดง และภาพยนตร์ เข้าไว้ด้วยกัน
_____________________________________________________
Behind the Painting
Chulayarnnon Siriphol’s solo exhibition
Curated by Hiroyuki Hattori, Aomori Contemporary Art Centre, Japan
Organized by the Japan Foundation, Bangkok, in collaboration with Art Centre, Silpakorn University
Exhibition period:11th September – 10thOctober 2015
at 1st floor, Art Centre, Silpakorn University (Wangthapra)
Opening Reception*
Friday 11th September 2015, 7:00 p.m.
*Artist and Curator Talk by Chulayarnnon Siriphol and Hiroyuki Hattoriat 6:00 p.m.
In 2014, Chulayarnnon was invited to participate in the Artist Residence Program at the Aomori Contemporary Art Centre(ACAC) in Japanfor two months to produce art works for the exhibition of MEDIA/ART KITCHEN AOMORI -Politics of Humor and Play, co-organized by ACAC and Asia Center, the Japan Foundation.Inspired by the novel Behind the Painting and his interest to reread the novel, he attempted to overlay this historical novel with the contemporary circumstances to trace and compare each other to seek the joint of story intertwined by the past and the present. Also, Chulayarnnon sought for what was left between the lines which might have been overlooked or hidden “Behind the Painting” by presenting his work through the combination of painting, literature, performance and film.
No Country at the Centre for Contemporary Art
June Yap, Guggenheim UBS MAP Curator, South and Southeast Asia, introduces the exhibition No Country: Contemporary Art for South and Southeast Asia, and participating artists Sheela Gowda, Norberto Roldan, and Navin Rawanchaikul discuss their practices and featured works. Gowda talks about her photographs of the routes taken by bodies to a cemetery in Kashmir in Loss, Roldan reveals the historical impetus for his painting F-16, and Rawanchaikul explains his interest in personal and familial identity in Places of Rebirth.
十和田市現代美術館アート広場 | MODERN ART MUSEUM IN TOWADA, JAPAN | HIRO & SARAH 2018
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対談：金氏徹平 × 木村絵理子 司会：金島隆弘｜In Conversation with Teppei Kaneuji & Eriko Kimura & Takahiro Kaneshima
KYOTOGRAPHIE 京都国際写真祭 2019 #VIBE
No.5 金氏徹平｜Teppei Kaneuji
展覧会詳細：
展示会場のツアーに続き、アーティストである金氏徹平と横浜美術館のキュレーター・ヨコハマトリエンナーレの企画統括を務める木村絵理子が、KYOTOGRAPHIEにおける金氏の展示を切り口に現代アートと写真の収斂について対談します。
金氏徹平
1978年生まれ、京都府在住。美術家・彫刻家。京都市立芸術大学大学美術学部彫刻科講師。2003年京都市芸術大学彫科卒業。身のまわりの事物を素材に部分を切り抜き繋ぎ合わせることで、既存の文脈を読み替えるコラージュ的手法を用いて作品を制作。横浜美術館（2009年）、ユーレンス現代美術センター（北京 2013年）、丸亀市猪熊弦一郎現代美術館（2016年）等で個展を開催、また、国内外の企画展・国際展で作品を発表している。2011年以降、舞台美術も複数手がけ、近年は舞台作品も制作している。平成24年度京都市芸術新人賞、平成27年度京都府文化賞奨励賞受賞。
金島隆弘
1977年東京生まれ、京都在住。慶應義塾大学大学院政策・メディア研究科修士課程修了後、ノキア社、株式会社東芝、東京画廊＋BTAP、ART iTを経て2007年にFECを設立。展覧会企画、交流事業のコーディネーション、アーティストの制作支援、東アジアの現代美術の調査研究などを手がける。2011年よりアートフェア東京エグゼクティブディレクター、2016年よりアート北京アートディレクターを経て、現在、京都市立芸術大学大学院美術研究科芸術学博士過程に在籍。京都造形芸術大学非常勤講師、京都市立芸術大学非常勤嘱託員。
木村絵理子
2000年より横浜美術館に勤務、ヨコハマトリエンナーレでは、2020年展の企画統括のほか、2014・2017年展キュレーター、2005年展アシスタント・キュレーター。その他、關渡ビエンナーレ（2008、台北）、釜山Sea Art Festival（2011）など海外のプロジェクトに従事。現代美術、彫刻、写真・映像、パフォーマンス等の実験的な作品を紹介。近年の主な展覧会企画に、「昭和の肖像：写真でたどる『昭和』の人と歴史」（アーツ前橋、2018年）、「BODY/PLAY/POLITICS」（横浜美術館、2016年）、「奈良美智：君や 僕に ちょっと似ている」展（横浜美術館、青森県立美術館、熊本市現代美術、2012年）、「高嶺格：とおくてよくみえない」展（横浜美術館、広島市現代美術館、IKON Gallery・バーミンガム、鹿児島県霧島アートの森、2011年）、「束芋：断面の世代」展（横浜美術館、国立国際美術館、2009-2010年）ほか。
Join Teppei Kaneuji and Eriko Kimura, the curator for Yokohama Museum of Art and current head curator for Yokohama Triennale as they discuss the covergance of contemporary art and photography using Kaneuji's KYOTOGRAPHIE exhibition as a starting point.
Teppei Kaneuji
Born in 1978, Teppei Kaneuji is an artist and sculptor who lives and works in Kyoto. He earned a graduate degree in sculpture at Kyoto City University of the Arts in 2003, where he now teaches. He uses things around him as materials for his works, altering their meaning via a collage method that involves cutting off parts and attaching them elsewhere. He has done solo exhibitions at the Yokohama Museum of Art (2009), the Ullens Center for Contemporary Art (Beijing, 2013), Marugame Genichiro-Inokuma Museum of Contemporary Art (2016), and at other venues inside and outside Japan. Since 2011, he has also worked on set design and produced theatrical works in 2012. He received Kyoto City’s Best Young Artist Award in 2012, and the Kyoto Prefecture Culture Prize Award in 2015.
Takahiro Kaneshima
Born in 1977 and lives in Kyoto. Kaneshima is art producer, and researcher. After receiving his master's degree from Graduate School of Media and Governance at Keio University, Kaneshima worked for NOKIA, TOSHIBA, TOKYO Gallery + BTAP and ART iT. He founded FEC in 2007 and curates exhibitions, coordinates cultural exchange programs, supports artists in creation and researches contemporary art in East Asia. Since 2011, Kaneshima has been the executive director of Art Fair Tokyo and was the artistic director for Art Beijing in 2016. He is now in the PhD course at Kyoto City University of Arts and teaches at Kyoto University of Art and Design.
Eriko Kimura
Eriko Kimura has been working as a curator for Yokohama Museum of Art since 2000, and currently working as a head curator for Yokohama Triennale (2020). She was also a curator for Yokohama Triennale (2014, 2017) and an assistant curator for Yokohama Triennale (2005). Having previously worked as a guest curator for Kuandu Biennale (Taipei, 2008) and also participated as a commissioner at Busan Sea Art Festival (2011). Research interest areas include contemporary art, sculpture, photography and video art, experimental art, performance and contemporary cultural theory. Recent curated exhibitions includes Showa Portraits: Tracing the People and History of the Showa Era through Photography. From Photography Collection of Yokohama Museum of Art (Arts Maebashi, 2018), BODY / PLAY / POLITICS (YMA, 2016), NARA Yoshitomo: a bit like you and me… (YMA, 2012 / toured to Aomori Museum of Art, 2013 / Contemporary Art Museum, Kumamoto, 2013), Takamine Tadasu: Too Far To See (YMA, 2011 / toured to Hiroshima City Museum of Contemporary Art, 2011 / Ikon Gallery, Birmingham, 2011 / Kirishima Open-air Museum, 2011), Tabaimo: DANMEN (YMA, 2009-2010 / National Museum of Art, Osaka, 2010).
Aomori Research Project, Japan, January / February 2008
Aomori Contemporary Arts Centre. Dancers - Sioned Huws, Reina Kimura. Choreographer- Sioned Huws.
Teodori dancers - Mrs Hasagawa and dancers. Tea Ceremony - Eko Hinuma. Sound - Yuji Hasagawa, tsugaru shamisen and minyo singer. Landscape - Aomori in winter. Video - Massimiliano Simbula, Kei Shii, Sioned Huws.
A document of research, severe winter conditions, snow fall has no sympathy, the horizontal body, body as landscape (emotive), repetitive patterns common to both contemporary and traditional dance forms, tea ceremony the body as measure, sound of shamisen and minyo singing emotional relation of body/people to landscape and environment.
Ogasawara san - every day he cleans the ACAC gallery with precise and measured steps, he spontaneously made a dance with brush in hand.
Girl with Twig - dance video workshop, choosing one action (walking), one object (twig) one location (door way to deep snow) no longer than 1 minute, she creates a short winter haiku dance.
Workshop /presentation - demonstration, Sioned Huws, Sound / video interface - Massimiliano Simbula.
Supported by Aomori Contemporary Arts Centre, Chapter, Arts Council of Wales, British Council, Tokyo, Sasakawa Foundation, London.
Thanks to James Tyson and Teiko Hinuma
Japanology Plus - Roadside Stations [1080p]
When people from many countries imagine a regional roadside pit stop, what comes to mind might be the bare essentials: gasoline, a few toilets, and maybe a convenience store. But Japan's regional pit stops, which are known as roadside stations, are multi-faceted centers of community life with farmers' markets, unique family-friendly activities and more. Why are Japan's roadside stations a cut above, and what do some of the country's most outstanding stations have to offer? That's the theme of this edition of Japanology Plus.
As expert guest Yasushi Shinohara explains to host Peter Barakan, roadside stations, or michi no eki in Japanese, appeared in 1993 by government initiative. Rural areas were hit hard by the collapse of Japan's so-called bubble economy, and the government wanted to encourage people to get off expressways and into local towns and regions.
As of July 2018, there are 1,145 roadside stations. The roadside station project officially kicked off on April 22, 1993 with 103 locations, but before this official launch, 12 stations were established in 1991 to test the waters. Some of these test stations later became official roadside stations, including one in Abucho, Yamaguchi Prefecture. This long-standing roadside station faces the Sea of Japan and is known for its hot spring, not to mention events like a festival celebrating Japanese pears, a Yamaguchi specialty. This is an example of how roadside stations reflect their local areas.
a roadside station in Aso, Kumamoto Prefecture.
Another example of a unique roadside station is the one in Inakadate, Aomori Prefecture, which was rated the country's best in 2015. It achieved this distinction thanks to its rice fields, in which rice of various colors is planted in specific patterns to create giant works of art. Some rice field art portrays traditional Japanese themes like samurai and Mt. Fuji. But in 2015, Inakadate gave its fields a modern twist with characters from a certain sci-fi series set in a galaxy far, far away.
Speaking of traditional Japan: the regional roadside station project may have gotten its start in 1993, but the country has a long history of roadside pit stops. Perhaps the most famous of those stops are the post stations along the Tokaido, a highway that linked Kyoto to Tokyo (then known as Edo) in the Edo period. There were 53 stations along this road for travelers (traveling on foot or horse, not by car, of course) to rest, lodge and dine. These stations are still well remembered in part thanks to a series of ukiyo-e woodblock prints by Utagawa Hiroshige. The series depicts each location with its own unique atmosphere and style. This author, at least, can't help but see a connection between these ancient stations and those of the present day.
The world has taken note of the success of Japan's roadside stations. The idea, with the aid of the Japanese government, has spread to several other countries, including Thailand, Indonesia and Vietnam. In addition, personnel from NPOs and other organizations in Central and South America have studied Japanese roadside station know-how from the Japanese government, and there have even been proposals to try the idea in places like the UK. Some of these international projects use the original Japanese phrase michi no eki (sometimes spelled michinoeki), spreading a new bit of Japanese vocabulary throughout the world.
But whatever you call them, the concept—providing travelers with not just an anonymous pit stop, but a place where they can get in touch with the unique aspects of an area—seems to resonate both in Japan and abroad. And roadside stations aren't just for travelers: in many cases, they're a place for local residents to gather too.
Towada Art Center - a gay May day 2
十和田市現代美術館のGW Our newly opened art square has been very popular - YKB introduces some of the art works - this is a iPhone camera report
そのとき | Sonotoki. Amanda Belantara. 2012.
Sonotoki takes inspiration from the work of Kon Wajiro, an architect, ethnologist and sociologist who created detailed sketches of everyday life on the streets of Tokyo in the 1920s. Shot in Aomori City, Japan in the depths of winter, Sonotoki captures individuals' recurring movements through the streets as they play out before a static camera.
Commissioned for Re-Modernologio Landscape of Traces, Aomori Contemporary Art Centre, Japan, this film has also recently screened at Berwick Film and Media Arts Festival, UK and Days of Ethnographic Cinema, Moscow.
Amanda Belantara is a researcher and artist with a background in ethnographic film. She is also founder of sound and storytelling collective Kinokophone.
Recent projects include: Kinkophonography, The British Library, London; Kinkologue, John Rylands Library, Manchester; Audible Observatories, SOMArts, San Francisco. Belantara holds an MA in Visual Anthropology from the University of Manchester.
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