Panel discussion

Focusing on the keywords of the text-mapping in the ‘Library’—Historicizing the avant-garde, Japanese avant-garde and localisation, “Contemporary” and Art activism—, a panel discussion took place in the end of ‘Librarying’ (26.11.2016). This event was part of the work organized by the artist in order to explore a discussion platform in a participatory work. A form of a conference organized by a cultural institution has a certain agenda and set of speaking, and a way of moderation and its seriousness often hinder imagination beyond them. The discussion was intended to challenge such platform of speaking. Panelists consisted of Yoshio Shirakawa (artist, art critic), Sen Uesaki (art study/archive theorist) and Toyama Koichi (Kyushu Fascist Party, revolutionary) and the discussion was moderated by Andrew Maerkle (Deputy Editor, ART iT). The discussion was lmed by Artists’ Guild, Japanese artist collective, and Camilo Henriquez.

Yoshio Shirakawa  白川昌生

Artist / Art critic  美術家 / 美術評論家

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Shirakawa Yoshio studied philosophy and art in France and Germany during the 1970s and returned to Japan in 1983. Since then, based in Gunma Prefecture, he has undertaken to embrace regional, peripheral and minor characteristics of the area actively by realizing projects such as “Location: Gunma” that is strongly connected with the regional history, culture, and economy apart from dominant contemporary art trends and discourses and a central logic of the mainstream of the art world. Moreover, Shirakawa has taken a forward-looking approach to a current art trend, emphasizing multiculturalism and social participation. Having carried out an extensive researched and written on modern and contemporary art history, he continuously criticizes and re-examines art-historical perspectives and standards that have prevailed in the mainstream of the contemporary visual arts. His works often employ everyday materials with shape and color reconfigured with a light touch and arrayed precisely. Shirakawa conveys the magic and potential of sculpture while continuing to explore its theory and practice.

1970年代にフランスおよびドイツで哲学と美術を学び、1983年に帰国。以来、群馬を拠点に、地方性、周縁性、マイナー性をあえて徹底的に引き受けながら、支配的な現代美術の動向や言説、中央の論理とは別の、地域の歴史・文化・経済と直結する活動、例えば「場所・群馬」を実践。今日の多文化主義的な、社会的参与を重視する芸術動向を先取する。また現代美術史に関する研究・著作も多く、優勢な歴史観や規範に対する批判・再検討を絶えず展開している。一方、個別の作品は、日常的な素材を多く用いつつも、かたちと色の構成配置において軽やかかつ精確。彫刻の魅力や可能性を開き、問い続ける優れた実作者である。

Sen Uesaki  上崎千

art study/archive theory  芸術学/アーカイブ理論

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Uesaki is interested in  “the end of art,” dragging up the obsolete anxiety of the museum. He examines non-curatorial, non-displaying, and hence archival state of art in the postmodernist period: without fructification as individual pieces the art remained as a vague middle-layer between language and material corpus.

1974年、神奈川県生まれ。「芸術の終焉」という、すでに陳腐化した(と看做されている)不安の蒸し返しに関心がある。ポストモダニズム期に標榜された芸術の非ミュージアム的な在り方、アーカイヴ的な在り方(表現が「作品」として結実することなく、言語と資料体との間の曖昧な層に留まること)について考察している。

Koichi Toyama  外山恒

Kyushu Fascist Party, a revolutionary  「九州ファシスト党〈我々団〉」総統。革命家。

http://www.warewaredan.com/

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Born in 1970. Lives in Fukuoka, Japan. Koichi Toyama self-proclaimed as a “good fascist”, attempting to subvert democracy = mobocracy. In 2007, Toyama ran for Tokyo gubernatorial election as a candidate and attracted considerable attention for his speech in which he completely disapproved an electoral system. Since then, he has followed after election campaign cars by pro-nuclear groups with his propaganda truck that speaks “Let’s destroy such a country by nuclear power” with Chopin’s funeral march in every big elections in Japan among other political actions of him. Along with it, he has carried out a Fake Election Campaign that appeals for a zero vote. Through such actions, he attempts to take serious issues in a non-serious manner and vice versa. Although he persistently insists that “What I do is political activities, by no means sophomoric art”, he once claimed that “in order for art to have power, it must not declare itself art”.

*Additional note: although his action is rather regarded as anarchistic. However, he insists to call himself a “good fascist”. He argues that “a-narchy” can be no longer understood and discussed as it is under a democratic system (it usually presents a state of “disorder” due to absence of authority). Consisting of four party members, Kyushu Facist Party often plays with common notions of politics and questions how they are already too established. Its social and political action is regarded as not “political” in the sense that it does not benefit from a political categorization.

1970年生まれ。福岡市在住。民主主義=衆愚政治の打倒を目指す自称「良いファシスト」。07年の東京都知事選に出馬して政見放送で選挙全否定の大演説をぶち一躍注目を浴びる。以後も大きな選挙のたびに、原発推進派候補の選挙カーをショパンの「葬送行進曲」を大音量で浴びせながら街宣車で追い回したり、逆に「こんな国もう滅ぼそう原発で」と称して勝手にネチネチ応援したり、あるいは“ニセ選挙カー”を仕立てて“ニセ選挙運動”を展開したり、真面目なことを不真面目に、あるいは不真面目なことを真面目に続けている。「私がやってるのは政治運動であって断じて芸術ごときではない」とあくまで主張するが、「芸術が力を持つためには芸術を自称してはならない」と発言していた過去もある。

Andrew Maerkle  アンドリュー・マークル

Deputy Editor, ART iT | International Edition  ART iTインターナショナル版副編集長

http://www.art-it.asia/top/

Andrew Maerkle is a writer, editor and researcher based in Tokyo. He is currently the Deputy Editor of the bilingual online art publication ART iT | International Edition, and a contributor to international journals including Art & Australia, Artforum and Frieze. From 2006-08 he was the Deputy Editor of ArtAsiaPacific magazine in New York.

1981年生まれ。2003年ニューヨークコロンビア大学比較文学社会科を卒業。元Art Asia Pacific誌副編集長。現在はART iTインターナショナル版副編集長を務めるほか、海外のアートマガジン「Artforum」や「frieze」などにも寄稿している。日本を中心とした国内外の現代アートについての評論を主に書いている。

 

1_s-arc1618532_s-arc1621113_s-arc1618944_s-arc1618775_s-arc1619196_s-arc1621597_s-arc161926photo by Hajime Kato