Thoughts on the next Venice Biennale-Interview with Chiharu Shioda and Hitoshi Nakano
Chiharu SHIOTA ｜ Chiharu SHIOTA
Born in Osaka in 1972. Lives in Berlin. Facing the fundamental human problems of life and death, exploring "what is living" and "what is existence" while focusing on large-scale installations, using a variety of methods such as 3D, photography, and video Produce a work using. Received the Minister of Education, Culture, Sports, Science and Technology Rookie Award for his solo exhibition "From Silence" (2007) at the Kanagawa Prefectural Hall Gallery. Major solo exhibitions include Kochi Prefectural Museum of Art (2013), Genichiro Inokuma Marugame City Museum of Contemporary Art (2012), Casa Asia (Spain, 2012), and National Museum of Art (2008). He has participated in many international exhibitions, including the Kiev International Contemporary Art Biennale, the Setouchi International Art Festival, the Aichi Triennale, the Moscow Biennale, the Seville Biennale (Spain), the Gwangju Biennale (Korea), the Yokohama Triennale and others. Visited Australia to the Agency for Cultural Affairs (2012) by the Agency for Cultural Affairs.
Hitoshi Nakano ｜ Hitoshi NAKANO
Born in Kanagawa Prefecture in 1968. Completed the master's program at Keio University Graduate School of Aesthetics and Art History.
The main projects are Performing Arts, based on the musical poetry Ikutagawa Monogatari-Noh "Kotozuka" (Creative Contemporary Noh, 2004, Kanagawa Prefectural Conservatory), Alma Mahler and artists at the end of the century in Vienna (music and art) , 2006, same), 100 years of birth, John Cage, time and space (music and dance, 1999, Kanagawa Prefectural Hall Gallery). In the contemporary art exhibition, Chiharu Shioda "From Silence"
(2007, Kanagawa Prefectural Hall Gallery), Kento Koganezawa "Between That and This" (2008, same), "Everyday / Out of Place" Exhibition (2009, same), "Port of Design." Katsumi Asaba Exhibition (2009, 10 years, same), Izumi Taro exhibition "Koneru" (10 years, same), "everyday / there is a reason" exhibition (11 years, same), Hiraki Sawa exhibition "Whirl" (12 years, same), "Everyday / Off-the-record" exhibition (2014, KAAT Kanagawa Arts Theater) and others.
Researcher at the Institute of Arts and Resources Management. Part-time lecturer at Tokai University.
Text: Shinichi Uchida
This year, Kanagawa Prefecture is thriving at the Yokohama Triennale, but at the Japan Pavilion at the Venice Biennale, the world's longest-running international art exhibition, two artists closely related to Kanagawa were selected as artists and curators next year. The artist is Chiharu Shioda, based in Berlin. The curator is Kanno Arts Foundation Ninori Nakano. The two people who collaborated for the first time at "Children from the Silence and Chiharu Shioda Exhibition & Art Complex 2007" at the Kanagawa Prefectural Hall Gallery are the plan "Key of the Palm" (Tenohira no Kagi), which was born from the relationship of trust. Participated in the Venice Biennale International Art Exhibition. I asked for a Skype conversation between Berlin and Yokohama, and talked about my encounter 10 years ago and my thoughts for this exhibition.
An artist meets a curator 10 years ago
――What was the encounter between Mr. Nakano and Mr. Shiota?
Nakano: After working at an exhibition at a department store museum, I have been working at the Kanagawa Arts Foundation since 1999. At first I was in charge of the theater section, then the music section at the Kanagawa Prefectural Ongakudo, and this was where I met Shioda. The first stage in the concert hall was a new performance combining modern music, Noh / kyogen and calligraphy. With the consultation of composer and pianist Kei Ichiyanagi, who is also the artistic director of the Foundation, it was realized in 2004 as a musical poetry based on "Ikutagawa Monogatari Noh" Kotozuka ".
<img alt = "Music poetry based on the Ikutagawa narrative Noh" Kezuka "Kanagawa Prefectural Ongakudo 2004 Satoshi Aoyagi
Music poetry The Ikutagawa story Nobu "Kuzuzuka" based on Kanagawa Prefectural Ongakudo 2004 Satoshi Aoyagi
――Music is Ichiyanagi, script is poet Shin Ooka, and on stage where Yuichi Inoue's calligraphy appears, Kanze school Noh performer Eio Kanze (also directing), Kyogen Mansaku Nomura, Itsuhei Shigeyama It is an ambitious attempt that they appeared.
Nakano: After that, Mr. Ichiyanagi proposed a second collaboration between Japanese traditional art and contemporary music, and this time we talked about focusing on Bunraku. In addition, Chiharu-san wanted to commission a contemporary artist for the stage art, and he wanted to do so. At the first Yokohama Triennale in 2001, it was impressive to have presented a work that instantly captured the hearts of people. I thought she was very good at expressing the spiritual strength of the writer who can compete with the large space, the material selection, the precision of installation, and the vitality derived from the scale, to us. .
――It's a “memory from the skin” with five huge dresses with mud.
Nakano: That's right. Just after "Ikutagawa Monogatari", Chiharu was opening a solo exhibition "Falling Sand" in Tokyo (Kenji Taki Gallery, Tokyo) . I heard for the first time that he was returning from his base in Berlin. So, the first meeting with Chiharu-san explained the outline of the performance.
<img alt = "《Memory from the skin》 Yokohama Triennale 2001 Tetsuo Yiido
"Memory from the Skin" Yokohama Triennale 2001 Tetsuo Yido
Shiota: ――What was your first impression of Mr. Nakano on Shiota?
Shiota: At that time, I had no experience in large solo exhibitions at art museums, and I was very happy to hear such an ambitious talk about the fusion of performing arts and art. Mr. Nakano had the impression that he was a very enthusiastic person. After that, you sent me related books and books to me in Berlin. There was no curator to do this, so I thought, "I must do this seriously." Of course, I always came to the exhibition seriously, but I felt very passionate about expression from a curator's perspective.
Nakano: At that time, I would like to ask the writer Yukie Hiraiwa to write a script, and at a festival to think about Bunraku, I was referring to Takeshi Umehara's book, "The Thought of Hell: A Genealogy of Japanese Spirit" ... Chiharu I think that you are the first to work on another field of expression, so please send such material from Japan (bitter smile) and read it if you like. She was a flexible person. On the contrary, she was taught various things, and information exchange and exchange continued.
A world that begins to spread from silence
Nakano: As a result, this project was not realized.
--But then Nakano He will implement a large solo exhibition by Mr. Shioda, "Chiharu Shioda Exhibition & Art Complex 2007" at the Kanagawa Prefectural Hall Gallery, which she will be in charge of. This was a collection of Shiota's previous works, including a large installation. Also, artists and artists of dance and music performed performances in the exhibition space after the museum closed, and the `` Art Complex '' where related events such as symposiums and concerts were held in the small hall of the museum was also talked about. .
Nakano: My first project at the Kanagawa Prefectural Hall Gallery was "From Silence." This complex structure has a large space with a habit, that is, it spans two layers, the first floor and the first basement floor.Each of the five exhibition rooms has the power to transform places with different floor colors and ceiling heights. There are very few young writers. Also, this time together with Director Ichiyanagi and a member of the Prefectural Hall Business Division, we thought that we could collaborate experimentally with other fields based on art works in a gallery. In either sense, what I did with Chiharu-san first was great.
"From in light" Chiharu Shioda, Kanagawa Prefectural Hall Gallery 2007 2007 Yasushi Nishimura
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Constanta McCluse & Dorky Park "Silence" Kanagawa Prefectural Hall Gallery
Left Valery Afanasiev Piano Recital x Chiharu Shioda (art) Kanagawa Prefectural Hall Small Hall
Right Leipzig String Quartet and Friends “Between Society and Art” Kanagawa Prefectural Hall Gallery
"From Silence" Chiharu Shioda Exhibition & Art Complex 2007 Ⓒ Matron
――What are the appeal and reliability of each of you?
Shioda: Mr. Nakano is strong in the field. A person who really understands the writer's feelings. For a curator, creating an exhibition involves analyzing the author and his work, while examining the parts that can be verbalized, including thesis. Naturally, Mr. Nakano does this, but I also feel the power to understand the feelings at the work site. If you don't have it, it can be difficult to do even if you are good at academics. But it is very easy for Nakano to make something together. "From Silence" features volunteers of over 160 students.There were also events where A helped set up. Mr. Nakano appropriately grouped the people who gathered, and he also made use of the participants' powers, such as “From in light”, which used many glass windows.
Nakano: For the first time, when I consulted with Chiharu, "How about performing arts?", Without hesitation, "Let's see various things together" and we went to Berlin to see theatrical performances, concerts, operas, etc. I felt that he was a very flexible writer because he turned around. At that time, you sometimes went around the cold city of Berlin to interact with multi-genre specialists.
-Is it sales?
Nakano: I went directly to negotiations to search for artists who would like to be performing at the "Art Complex", or to meet stakeholders to see if I could see the exhibition in Berlin. There were days when Chiharu contacted various places in the field and I brought materials. Normally, you only have to do an exhibition (laughs), but when you start, energy starts to turn. But there, Chiharu always thought positively and thought, "Isn't that person good?" I was very grateful for the sense of flexibility and flexibility.
Shioda: I was looking forward to seeing Mr. Nakano come to Berlin someday. In such a situation, things were connected more and more. In that regard, Mr. Nakano is veryHe is a good setup (laughs).
Nakano: The musicians I've worked with until now have called me "Dandori Fumio" (bitter smile). Anyway, "From Silence" was highly appreciated, as it became an element of Chiharu's art award (Minister of Education, Culture, Sports, Science and Technology New Face Award). It was about four years since my encounter in 2004, so I was happy. Also, after that, the art complex continued with a solo exhibition by filmmaker Kento Koganezawa living in Berlin, and I think it was good that the exchange between art and other areas was taken over.
――Speaking of the relationship between Shioda and the stage, I was also impressed that he later performed stage art in “Tattoo” (New National Theater) directed by Toshiki Okada of Chelfitsch.
Nakano: “Tattoo” was directed by Okada-kun, a work by German female playwright Der Lower. Just because Okada-kun came to the prefectural hall at the award ceremony of the Kanagawa Cultural Award Future Prize, and after the ceremony was over, he saw the Shioda exhibition at the prefectural hall gallery. From that point on, you started talking about doing stage art with the image of that window.
Shioda: That's why there are so many and big things that started with “From Silence”. At that time, with Constanta McCluss, who danced at the exhibition hall, I decided to work again on the stage "Oedipus". After all, with the choreographer and director Sasha Waltz I met in the planning process of the art complex, I heard you in 2011,We came together with the opera "Matsukaze" (by Toshio Hosokawa) In addition, the encounter with Fram Kitagawa, who spoke at the symposium of that solo exhibition, led to participation in the Echigo-Tsumari Triennale and the Setouchi International Art Festival. There was no point in counting, and looking back, I think it was an important opportunity here.
"From Silence" Chiharu Shioda Exhibition & Art Complex 2007 Symposium "Discovering Others How Art Can Restore Communication" Kanagawa Prefectural Hall Small Hall Ⓒ matron
――I have the impression that you are two people who are very happy.
Nakano: I don't know the answer (bitter smile), but when I visited Chiharu's atelier in Berlin, I was surprised. There are lots of The Drifters comedy DVDs.
――It is very surprising (laughs).
Nakano: Right? But I've always thought Drifters are amazing, and I think that's a great deal of power in creating programs. It's hard to make people laugh, and in the sense of turning a certain person into a certain behaviorA very studied person. However, in the atelier, we just saw it and laughed a lot (laughs).
Shioda: That friend happened to have lent me a friend (Terushi).
Nakano: I didn't think I would laugh with a stomach with a writer in Berlin, more than 9,000 km from Japan. But, like the key points of laughter, I feel that each other also fits in and out.
Shioda: In my opinion, in Nakano-san, there is always a difference between setup and the more essential one, "If this happens, this will be connected to that." Is also a good person. I have learned a lot in the form of riding it.
What the "key of the palm" opens
(C) Sunhi Mang
-Here in Venice this timeLet's talk. The exhibition title is "Keys of the palm". It seems that it will be an installation that collects about 50,000 keys used by someone once and connects them with the tip of the red thread.
Nakano: At the beginning of the year, I was asked to participate in a planning competition, from which I submitted a plan in a short period of two months. First, the curator talks, each artist decides an artist, plans an exhibition, and submits a proposal. As soon as the story came, I decided that Chiharu was the writer who wanted to do this together. I thought that I should choose a writer with the power to cope with the special space of the Japanese Pavilion, and because she needed to deepen the contents of the exhibition in a short period of time, I thought that her best to know each other was the best. .
――We saw commentary and image drawings of the exhibition. Although he had a different image from the keywords that were previously described in his work, such as "absence" and "wall", he also said that he had a difficult personal experience at the starting point.
Shioda: I was really happy to be invited by Mr. Nakano. On the other hand, last year, last year and two years ago, I had the experience of losing important people. My father died, and then aborted a second pregnant child. It was a time when I felt strongly how hard it was to lose an important being. This exhibition plan is probably based on this experience, and I wanted to make something by collecting things that people value, such as keys.
――So that's how it evolved into that kind of content.
Shioda: At the same time, when it came to the Venice Biennale, the Japanese pavilion after the Great East Japan Earthquake continued with themes related to this event. The last architectural exhibition was commissioned by Toyo Ito, who asked, "Is architecture possible here?" Again beforeAt the second art exhibition, Koki Tanaka-kun, under the title "Talking Abstractly-Sharing Uncertain Things and Collective Acts", feels as if he is exploring how he can experience the experience of others. Was. With that understanding in mind, and not just in the past, but in our present, we felt that the key-the opportunity here was ourselves. Of course, what I lost was big, but I wanted to show that I could go in many directions depending on how I used that key.
Left: Exterior of the Japan Pavilion Right: An exhibition at the 55th International Art Exhibition Photo courtesy: The Japan Foundation
Nakano: For example, the window work I mentioned earlier is a collection of windows used by Chiharu in former East Berlin. A window protects the danger from the front and, when viewed from the inside, is open to the outside and takes in the outside air. In the work, these are piled up into a "wall", but at first I thought that the wall was Chiharu's self to overcome. As I left Japan and worked in Berlin, I wonder if I felt like I was going beyond something. If there is a feeling of "Over" with respect to the "wall", I suppose that the "key" this time has the feeling of "With".
――In other words, do you mean to connect together?
Nakano: Yes. When unlocking and coming out of homeAlthough it may be the same scene as usual, there may be new experiences and experiences every day. When you go home and lock your keys, you have your own protected, guaranteed world. The key is to connect the two worlds. In addition, since the key is important, it is sometimes entrusted from person to person. It may be passed on from the owner of the room to the borrower and from parent to child. Here is also the act of “connecting”. In such a situation, the key can be regarded as an accumulation of memories and warmth. However, this time, we talked about not wanting to treat it as a symbol of something after the earthquake, but rather as something important to connect more universal memories.
――The keys are collected mainly through open call for participants, and are displayed on the second floor of the Japanese Pavilion along with red thread. At the same time, I heard that video works will be exhibited at the piloti section on the first floor.
Shioda: I've always been working on the theme of memory. This key also collects the memories and memories used by someone. Now I am collecting old keys in Berlin. On the other hand, the image shown on the piloti below is "How did you come to this world? >> This is a picture of the children asking questions according to the title and answering them. That is, the first memory when you are in the mother's stomach or right after birth. Some say this will be forgotten when they can speak, and I'm listening to a small child a few years old. The Japanese Pavilion in Venice is a very unusual space with four pillars supporting the exhibition hall. The one who wanted to show this video under the pilotis underneath was the child who is still carrying the futureI feel like we are.
Nakano: There are tens of thousands of keys in the exhibition room, and memories are involved. In the basement, there is their "world" that children talk about. I would also like to display photos with a key on the palm that symbolize the title of the exhibition. At the same time, there is a real human figure, and at the same time, there is a feeling that many children will support the future memories and lead to the next generation. On the second floor, two boats are displayed under myriad keys, and this is actually connected to both palms. We take memory and go forward while picking up. I think that "going forward" is very important, and "connecting" also leads to this.
<img alt = "<How did you come to this world?> 2012 Ⓒ Sunhi Mang
"How did you come to this world? 》 2012 Ⓒ Sunhi Mang
Venice Biennale Model Photo (C) Sunhi Mang
Complement, collide and engage
――You mentioned earlier about the exhibition by Koki Tanaka and curator Mika Kuraya at the previous Biennial Japan Pavilion. The content at this time was to participate with a certain sense of cool distanceI wonder if it was possible to start with sharing and the possibility of the possibility. This time, it seems that they will think about participation and sharing in different ways.
Shioda: Does that mean collecting keys from various people and performing installations?
――Including that. For example, when expressing a personal experience that you talked about today, how do you think that it can take shape through what others have, so to speak?
Shiota: For me, the act of collecting is because there is something missing in me. There is a desire to fill it. However, after that, when I look at the actual exhibition space and proceed with the work creation, I will cut off my own emotions at once and create a flow of space while thinking as others. It can be said that it will be a cold eye, but I think that it is hoped that it will create an empathy in each form even when someone other than me sees it. I usually use black thread for my work, but this time it was a key, so I wanted to connect it with red thread.
<img alt = "《Across the Continents》 The National Museum of Art, Osaka 2008 Ⓒ Sunhi Mang
"Across the Continent" The National Museum of Art, Osaka 2008 2008 Sunhi Mang
――In the past, there has been an installation “Beyond the Continent” where you have collected countless shoes belonging to someone and connected them with red wool. Is there a clear difference between using red and black threads?
Shioda: In the case of that work, shoes are still there, of course. Naturally, I chose a red thread instead of black, including what the title suggests.
Nakano: If you think about it, it's a bit scary for a key and a black thread.
――I can feel the harshness of Shiota's works using black thread as if he visualized the state of the subject being tied to something, such as clothing or furniture. However, speaking of scary, I think that the scary element can be associated with the existence of the key as well as the act of "closing" in various ways.
Nakano: I see. But the act of "closing" has a positive side in terms of protecting important things. And the most important thing is how to move forward from there.
<< From silence >> Kanagawa Prefectural Hall Gallery 2007 康 Yasushi Nishimura
――Venice Biennale is special in many ways. Unlike a solo exhibition held at an art museum, it is also different from the one that Shiota experienced at the Setouchi Triennale, knowing about people living there and thinking about remaining there. It's always easy to talk about "representing Japan", but how do you feel there?Do you?
Shiota: Since dozens of countries exhibit at national pavilions, everyone involved naturally puts emphasis on it, and it would be a lie if I weren't aware of it. However, if you try to say "because it's a Japanese pavilion" or "because you're a Japanese," you'll fail. I think that being chosen this time has acknowledged my past to some extent, and rather than forcing me to carry something, I want to come to life as myself. I'm going to give priority to how much I can use my power there.
Nakano: People who create works like Chiharu are particularly required to face the exhibition space wherever they go. Although there are various meanings attached to the three letters of "Japan Pavilion" this time, it is also important to understand the Japanese Pavilion as a space and place at the same time, and we are talking with emphasis on that. I think that the writer and the curator complement each other's visible / invisible, what they can and cannot do. This complementary relationship is important here because art does not have the role of director.
――It seems to be both exciting and difficult to compensate for parts that are not mutually exclusive.
Nakano: Certainly, there is a need to collide there. That's not to argue (laughs), but we're working together to create an exhibition. Writers make works, and curators create exhibitions with them. The technical staff will also be involved there. The attempt from Silence further involved spatial and temporal arts. Speaking of which, looking at the plans of other curators in the competition of the Japan Pavilion in Venice, I was very interested in collaborating with such performers and performers. That's why I think about engagement as well as the keyword of connection.
Nakano: That's right. I think the result of the selection is an evaluation that our proposal was suitable for exhibiting at the Japanese Pavilion this time. Nevertheless, we talked about Skype every night and talked about that earlier, but for a time, there was something like pressure or evil in front of the big stage ... ). That's why I'm glad I was chosen, and I just work hard for the production.
Shioda: Actually, I had another curator name in the last competition, but I wasn't selected. Looking back now, it was my first experience at that time, and I think that I didn't really know what to do. I was arbitrarily thinking that I wouldn't hear anymore if that happened. So, this time, I thought that this was the first and last time that we could hear from Nakano and make a proposal on this stage together. After all these things, I am really happy to be able to exhibit in Venice this time. Mr. Nakano called me early in the morning (laughs).
――Do you think this plan will move forward until the opening of the exhibition next year?
Nakano: That's right. Maybe there is a change. Of course, we take care of the core, but after all, There are many things you don't understand. This is certainly the case this time, no matter how much the model is made and simulated, it can change in the process of realization. I talked a lot today, but I think there are things that can only be understood by seeing the actual exhibition. That's why I'd be glad if everyone could see it on the spot.
--Thank you for your time today.
Nakano: Then, Chiharu-san, I will contact you soon.
Shioda: Yes (laughs). Thank you.
<Recruiting keys> We will use your keys for Biennale work. Chiharu Shioda
For the 56th Venice Biennale International Art Exhibition, we are looking for a key to use for our new work "Key of the Palm".
Click here for details
Chiharu Shioda "Maket"
<This event has ended. 〉
August 30 (Sat)-October 2 (Thu) 2014
Kenji Taki Gallery (Nagoya)
This exhibition presents a plank of past installations, as well as new works, focusing on models that will be exhibited at the 56th Venice Biennale.
lank "> http://www.kenjitaki.com/
Opening hours: 11: 00-13: 00/14: 00-18: 00
Rest corridor day: Sunday, month, holidayRelated URL：http://2015.veneziabiennale-japanpavilion.jp/ja/
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