A research-oriented durational work, CAN WE TALK ABOUT MAVO? A Makeshift Platform Of the Japanese (Contemporary) Art Topography For All Dada In Japan (2016-), attempts to rethink MAVO, a Japanese avant-garde collective of the mid-1920s, that has been ignored and not institutionalized in Japanese art history. Calling for participation publicly based upon an Open Proposal, a makeshift ‘Library’ was created as a participatory space in which shared activities of thinking and dialogue took place. Concerned with a complication and a gap that occurred in translation of the Dada movement from West Europe into Japan and its subsequent retranslation into Korea in the course of Japanese colonization, research on MAVO looks at a possibility to bring radical yet historically raw-processed/not market-valued works of MAVO into a current point in order to discuss collective action, art activism, cultural hegemony and neo-internationalism in Contemporary Art. Rethinking mis/translation as a space for a cultural intervention, I am interested in re-examining existing relationships between original and translation in art history and culture against the velocity of historicization and institutionalization in dominant cultural trends.

Yen Noh has been making speech performances using interpretation and translation of things as a subject matter, and in this residency she shifted the gear towards a participatory project which requires partaking of others. Having a strong interest in the postcolonialism, she starts her journey from the Korean Dadaist poet Yi Sang (1910-1937), extending her insight into the situation in Japan where a deep influence on the modernisation of Korea can be traced. Reflecting upon it, she attempts to create a platform for thinking and dialogue, focusing on the Japanese art history after Dada and its turning point in the last centennial. Based on her artist statement ⁄ open proposal, she calls widely for publications on the history of MAVO, Dada and the modern and contemporary Japanese art. Collecting the nominated books by the specialists and general public, she sets up a library where various events occur as a performance. Dispersed, seemingly incoherent actions recall the activity of Dada, forming a performative and process-based work as a whole.

– Hiroyuki Hattori [ARCUS Project Guest Curator 2016], Independent Curator


物事の解釈や翻訳を主題に、自身の身体を用いたスピーチ・パフォーマンスなどを実践してきたイェンだが、本滞在制作では多数の他者の関与によって成立する参加型プロジェクトへと新たな舵を切った。ポストコロニアルへの強い関心のもと、韓国人のダダの詩人イ・サン / 李箱(1910~1937)をきっかけに、韓国の近代化とも深い影響関係にある日本の状況に着目し、ダダ以降約100年の日本のアートの歴史とその転換点に焦点をあてた、思考と対話のためのプラットフォームの創造を試みる。イェンが作成したステイトメント兼募集要項に基づき、MAVOやダダの歴史に言及する書籍と、日本の近現代アート史に関する書籍を、専門家から一般まで広く募集し、それらを収集して図書館を立ち上げる。そして図書館機能を活用した様々なイベントがパフォーマンスとして繰り広げられる。ばらばらで一見脈絡のない各アクションは、ダダの活動を想起させつつ、パフォーマティブでプロセス志向の作品の総体を形成する。

服部 浩之 2016年度アーカスプロジェクト ゲストキュレーター