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Thoughts on the next Venice Biennale-Interview with Chiharu Shiota & Hitoshi Nakano

(Please note that this page was created using Google's automatic translation service and understand that because of this, its translation may not necessarily be accurate.)

Chiharu Shioda | Chiharu SHIOTA

Born in Osaka Prefecture in 1972. Lives in Berlin. Facing the fundamental human problems of life and death, exploring “what is life” and “what is existence”, focusing on large-scale installations, various methods such as 3D, photography, and video Created works using Received the New Artist Award from the Minister of Education, Culture, Sports, Science and Technology for his solo exhibition “From Silence” (2007) at Kanagawa Prefectural Hall Gallery. Major solo exhibitions include Kochi Prefectural Museum of Art (2013), Marugame Genichiro Inokuma Museum of Contemporary Art (2012), Casa Asia (Spain, 2012), National Museum of International Art (2008). Kyiv International Contemporary Art Biennale, Setouchi Triennale, Aichi Triennale, Moscow Biennale, Seville Biennale (Spain), Gwangju Biennale (Korea), Yokohama Triennale and many other international exhibitions. Appointed by the Agency for Cultural Affairs as a Cultural Exchange Envoy (12 years) and visited Australia.

Hitoshi Nakano | Hitoshi NAKANO

Born in Kanagawa Prefecture in 1968. Completed the doctoral program at Keio University Graduate School of Aesthetics and Art History.

As a major project, Performing Arts is based on the musical poetry Ikutagawa Monogatari – Noh “Kozuka” (Creative Contemporary Noh, 2004, Kanagawa Prefectural Music Hall), Alma Mahler and artists from the end of the century in Vienna (music and art) 2006, the same year), 100th birthday John Cage time and space to meet (music and dance, 11 years, Kanagawa Prefectural Hall Gallery). In the contemporary art exhibition, Chiharu Shioda “From Silence”
(2007, Kanagawa Prefectural Hall Gallery), Kento Koganezawa's “Between That and This” (2008, the same), “Everyday / Out of place” exhibition (2009, the same), “Port of Design.” Katsumi Asaba Exhibition (2009, 10), Taro Izumi exhibition “Konel” (10 years, same), “Everyday / Wake” (11 years, same), Hiraki Sawa “Whirl” (12 years, same), "Daily / Off-the-record" exhibition (14 years, KAAT Kanagawa Arts Theater) and others.

Art Resource Management Institute researcher. Part-time lecturer at Tokai University.

Text: Shinichi Uchida

photo:Masanobu Nishino

Kanagawa Prefecture is bustling with the Yokohama Triennale this year, but two artists who are closely related to Kanagawa were selected as artists and curators next year at the Japan Pavilion at the Venice Biennale, the world's longest international art exhibition. The artist is Chiharu Shioda who is based in Berlin. Curator is Jin Nakano, Kanagawa Arts Foundation. The two who collaborated for the first time in the “Silence from Chiharu Shioda Exhibition & Art Complex 2007” at Kanagawa Prefectural Hall Gallery were the plan “Takano no Kagi”, which was born from the relationship of trust. Participated in the 1st Venice Biennale International Art Exhibition. So, I asked Skype to talk to Berlin and Yokohama, and asked them to talk about the 10 years ago and the thoughts they had for this exhibition.

Artist and curator meet 10 years ago

――What was the meeting between Mr. Nakano and Mr. Shioda?

Nakano: I worked at the Kanagawa Foundation for Arts and Culture since 1999 after working for an exhibition at a department store museum. At first I was in charge of the theater department and then the music department at Kanagawa Prefectural Music Hall. The first stage of creation at the concert hall was a new performance that combined modern music, Noh / Kyogen and calligraphy. It was realized in 2004 as a musical poetry based on the “Ikutagawa Monogatari Noh“ Kozuka ”” in consultation with the composer and pianist Satoshi Ichiyanagi, who is also the artistic director of the Foundation.

<img alt = "Musical Poetry Story Ikutagawa Story Based on the Noh" Kozuka "Kanagawa Prefectural Music Hall 2004 Satoshi Aoyagi

Music poetry story Ikutagawa story based on Noh “Kozuka” Kanagawa Prefectural Music Hall 2004 Satoshi Aoyagi

――Music is Mr. Ichiyanagi, script is poet Nobu Ooka, on stage where Yuichi Inoue's book appears, Kanze Ryuo Kanze Nobuo Kanze (Director), Kyogen Nomura Mansaku, Moeyama Ippei It's an ambitious attempt by them.

Nakano: After that, Mr. Ichiyanagi proposed to do the second collaboration between Japanese traditional art and contemporary music, and this time we talked about focusing on Bunraku. Furthermore, Chiharu-san wanted to ask contemporary artists for stage art. I was impressed that the first Yokohama Triennale in 2001 was presenting powerful works that instantly captured people's hearts. I thought that her expression that conveys to us the spiritual strength of the writer who won't lose to it, the selection of materials, the precision of the installation, and the lifeline derived from the scale, is very good. .

――It ’s “Memory from the Skin” with a huge 5 mud dress.

Nakano: That's right. Just after “Ikutagawa Monogatari”, Chiharu-san had a solo exhibition “Falling Sand” in Tokyo (Kenjitaki Gallery, Tokyo) . I met him for the first time because he was returning from Berlin. The first meeting with Chiharu was to explain the outline of the performance.

<img alt = "<Memory from the Skin> Yokohama Triennale 2001 Tetsuo Tsuji

《Memory from the Skin》 Yokohama Triennale 2001 Tetsuo Tsuji

Shioda: ――What is your first impression for Mr. Shioda?

Shioda: At that time, I still had no experience in large-scale solo exhibitions at art museums, and I remember that I was very happy that I had an ambitious story about the fusion of performing arts and art. Mr. Nakano had the impression that he was a very enthusiastic person. Even after that, you often sent related books to me in Berlin. I didn't have a curator who could do anything like this, so I thought, “I have to go this seriously”. Of course, I've always been serious about the exhibition, but Mr. Nakano felt the enthusiasm for the expression from the standpoint of curator.

Nakano: At the time, I asked Mr. Yukie Hiraiwa for the script, or I used to write Umehara Takeshi's book "The Thought of Hell-A Lineage of Japanese Spirit" at a festival to think about Bunraku ... Chiharu I think this is your first time working with another field of expression, so please send such materials from Japan (bitter smile) and read them if you like. She was a flexible person, and on the contrary, she was taught various things and exchanged information and exchanges.

Chiharu Shioda and Jin Nakano

A world that has begun to spread "from silence"

Nakano: As a result, this project was not realized.

――But then Nakano Mr. Shioda will implement a large-scale solo exhibition “Silence to Chiharu Shioda & Art Complex 2007” at Kanagawa Prefectural Hall Gallery. This was a collection of Shioda's previous works, including large installations. Also, “Art Complex”, where dance and music artists performed in the exhibition space after closing, and related events such as symposiums and concerts were held in the small hall of the same building, was also a hot topic. .

Nakano: My first plan at Kanagawa Prefectural Hall Gallery was “From Silence”. A large space with a habit of this complex structure, that spans the first floor and the first basement floor, each of the five exhibition rooms has the power to transform the work into a well-accepted place where the floor color and ceiling height are different. Young artists are very limited. In addition, I thought together with Director Ichiyanagi and the members of the Prefectural Hall Business Division that he would be able to collaborate experimentally with other fields based on art works at the gallery. In either sense, it was great to have been with Chiharu first here.

"From in light" "From Silence" Chiharu Shioda Exhibition Kanagawa Prefectural Hall Gallery 2007 Yasushi Shasaimura

“From in light” “From Silence” Chiharu Shioda Kanagawa Prefectural Hall Gallery 2007 Yasuaki Nishimura "width =" 800 ">

Constanta McClass & Dorky Park “Silence” Kanagawa Prefectural Hall Gallery

“From Silence” Chiharu Shioda Exhibition & Art Complex 2007 Ⓒ Matron

Left Valery Afanassiev Piano Recital x Chiharu Shioda (Art) Kanagawa Prefectural Hall Small Hall

Right Leipzig string quartet x friends "between society and art" Kanagawa Prefectural Hall Gallery

Both “From Silence” from Chiharu Shioda Exhibition & Art Complex 2007 Ⓒ Matron

――What are the attractiveness and trustworthy of each of you?

Shioda: Mr. Nakano is strong in the field. Someone who understands the feelings of the artist. For a curator, I think that creating an exhibition involves analyzing the artist and his work while exploring the parts that can be verbalized, including papers. Of course, Mr. Nakano does that, but I also feel the power to understand the feelings at the site. If you don't have it, it may be difficult to do even if you are good at academics. However, Mr. Nakano is very easy to make something together. In “From Silence”, volunteers of more than 160 studentsThere were also events where A helped with the setup. Nakano-san properly grouped the people who gathered, and he used the power of the participants in “From in light” with many glass windows.

Chiharu Shioda

Nakano: When I first consulted with Chiharu-san, “How about performing arts?”, “Let's take a look at various things together” and watch the theater, concert, opera, etc. in Berlin. I felt that I was a very flexible writer because of the rotation. At that time, I was working around the cold city of Berlin to interact with experts from multiple genres.

-Is it sales?

Nakano: I was looking for an artist that I wanted to appear in the “Art Complex” and negotiating directly with me, or I was going to meet people concerned about seeing the exhibition in Berlin. There was a day when Mr. Chiharu contacted each place in the field and I had materials. Usually, only the exhibition needs to be done (bitter smile), but when it starts, energy begins to turn. But then, Chiharu-san always thought forward and thought together, “Is that person good?” I was very thankful for the sense and flexibility of accepting that diversity.

Shioda: I was looking forward to seeing Mr. Nakano coming to Berlin. In such a situation, things were connected one after another. As for that, Mr. Nakano is reallyHe is also a good set-up (laughs).

Nakano: The musician I worked with so far called me “Dandori Fumio” (bitter smile). Anyway, “From Silence” was very much appreciated as being an element of Chiharu's artistic award (Minister of Education, Culture, Sports, Science and Technology's New Artist Award). It was over 4 years since I met in 2004, so I was happy. Also, I think that it was good that the art complex continued in the solo exhibition of Kento Koganezawa, a video artist living in Berlin, and the exchange between art and other areas was succeeded.

Jin Nakano

――As for the relationship between Shioda and the stage, I was also impressed by the fact that he was responsible for stage art at “Tattoo” (New National Theater) directed by Toshiki Okada of chelfitsch.

Nakano: “Tattoo” was directed by Okada-kun, the work of Der Lohr, a German female playwright. It was just because Okada-kun came to the prefectural hall at the Kanagawa Culture Award Future Award Ceremony and saw the Shiota exhibition at the prefectural hall gallery after the ceremony. From there, it was a story about how to do stage art with an image like that window work.

Shioda: That's why there are so many and big things that started with "From Silence." At that time, Constanta McGrath, who danced at the exhibition hall, will continue to work again on the stage "Oidips". Also in 2011, the choreographer and director Sasha Waltz, who went to meet in the art complex planning process,We were able to join us in the opera “Matsukaze” (Toshio Hosokawa). In addition, the encounter with Fram Kitagawa, who spoke at the solo exhibition symposium, led to participation in the Echigo-Tsumari Triennale and Setouchi Triennale. There is no time to count it, and even if I look back, I think that I was an important opportunity here.

“From Silence” Chiharu Shioda Exhibition & Art Complex 2007 Symposium “How Discovering Others How Art Restores Communication”

"From Silence" Chiharu Shioda Exhibition & Art Complex 2007 Symposium "Discovering Others How Art Restores Communication" Kanagawa Prefectural Hall Small Hall Ⓒ matron

――I have the impression that they are two people who agree very well, but what was unexpected?

Nakano: I don't know if that would be the answer (bitter smile), but I was surprised when I visited Chiharu's atelier in Berlin. There are a lot of laughter DVDs from The Drifters.

-That's really surprising (laughs).

Nakano: Right? But I've always thought Drifters are amazing, and I think it has a great ability to make programs. It's hard to make people laugh, and in the sense of directing a person to some action sensuouslyA very studying being. However, in the atelier, we were just laughing when we saw it (laughs).

Shiota: That happened to be laid out by a friend who lent me (terrification).

Chiharu Shioda

Nakano: In Berlin, more than 9000 km away from Japan, I didn't think I would laugh with a cry with a writer. But the same is true for laughing points, but I feel like it's a good place to put in feelings and pull out each other.

Shioda: I think that Nakano-san is different from the setup, and there is always a more essential place, “If this is the case, this will be connected to it”. How are you? " There are many things that I learned in the form of getting on it.

What the key of the palm opens

(C) Sunhi Mang

(C) Sunhi Mang

-Here's VeniceTalk to you. The exhibition title is "Palm Key". It seems to be an installation that collects about 50,000 keys that were once used by someone and connects them to the tip of a red thread.

Nakano: At the beginning of the year , there was a consultation for participating in the planning competition, and from that point on, the plan was submitted in a short period of two months. First, the curator comes to talk, and each of them decides an artist, plans an exhibition, and submits a proposal. As soon as the story came, I decided that Chiharu was the artist who wanted to do this together. I thought I should choose an artist who can handle the special space of the Japanese Pavilion, and I thought that she was best knowing each other because it was necessary to deepen the contents of the exhibition in a short period of time. .

――I saw the explanation and image of the exhibition. Mr. Shioda's work had a different image from the keywords such as “absence” and “wall” that have been spoken so far, but on the other hand, I also heard that my personal severe experience was the starting point.

Shioda: I was really happy to receive an invitation from Mr. Nakano. On the other hand, last year, last year, I had the experience of losing an important person. My father died, and then I miscarried my second child who was pregnant. It was a time when I felt how strong it was to lose important things. This exhibition plan was probably based on this experience, and I wanted to make a work by collecting things that people value, such as keys.

-From that, it evolved into that kind of content.

Shioda: At the same time, in terms of the Venice Biennale, the theme related to this event continued in the Japan Pavilion after the Great East Japan Earthquake. The previous architecture exhibition was commissioned by Toyo Ito, who asked, “Where is architecture possible?” BeforeAt this exhibition, Isao Tanaka is talking about abstraction-sharing uncertain things and collective act, and feels like he is exploring how he can experience the experiences of others. It was. With that understanding in mind, not only in the past but also in our present time, I felt that the key – the ones here who had the chance – were here. Of course, what I lost was big, but I wanted to show that I could go in various directions depending on how I used the key.

Nippon Pavilion exterior / 55th International Art Exhibition

Left: Appearance of the Japan Pavilion Right: The 55th International Art Exhibition Exhibition Photo: The Japan Foundation

Nakano: For example, the window work I mentioned earlier is a collection of windows that Mr. Chiharu actually used in the former East Berlin. The window protects the danger from the front, and at the same time it is released to the outside and takes in outside air when viewed from the inside. In the work, this is piled up to become a “wall”, but at first I thought that for Chiharu, the wall was herself to overcome. As I left Japan and worked in Berlin, I wonder if I felt myself going beyond anything. If there was a feeling of “Over” against the “wall” in this way, the “key” may have a feeling of “With”.

――In other words, do you mean to connect together?

Nakano: Yes. When unlocked and out of the houseIt may be the same scene as usual, but beyond that, there can be new experiences and experiences every day. If you go home and close the key, you have a guaranteed and protected world. The key is also to connect the worlds of both. Moreover, because the key is important, it may be entrusted from person to person. It may be passed from the owner of the room to the borrower and from the parent to the child. There is also an act of “connecting” here. Under such circumstances, the key can also be seen as an accumulation of memory and warmth. However, this time, two people talked about not treating it as a symbol of something after the earthquake, but rather as treating it as something more important to connect the memories of a more universal person.

Jin Nakano

――The key is collected mainly through public offering, and it is a plan to be displayed with red thread on the second floor of the Japan Pavilion. At the same time, I hear that video works will be exhibited in the piloti part of the first floor.

Shioda: I have created works based on the theme of memory. This key is also used to collect the memories and memories used by someone. I am also collecting old keys in Berlin. On the other hand, the video shown in the piloti below is "How did you come to this world?" This is a work. This is a picture of the children asking and answering questions according to the title. That is, the first memory when you were in your mother's stomach or soon after you were born. There is a story that this is forgotten when the language can be spoken. The Japan Pavilion in Venice is a very strange space, and the exhibition hall is supported by four pillars. I wanted to show this video with the piloti underneath it was the child who was carrying the futureThere is a feeling that.

Nakano: There are tens of thousands of keys in the exhibition room, and memory is involved. In the basement, there is their “world” as children talk. I would also like to display a picture with a key on the palm that symbolizes the exhibition title. There is an actual human figure there, and at the same time, there is a feeling that many children will support many memories and will lead to the next generation. On the second floor, two boats are displayed under myriad keys, which are actually connected to both palms. Receiving memory, moving forward while picking up. I think “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

Venice Biennale Model Photo (C) Sunhi Mang

Complement, collide and engage

-You mentioned earlier the exhibition by Isao Tanaka and curator Mika Kuraya at the same Japan Biennale last time. The content at this time was a kind of calm distance and participatedI wonder if it was also about the possibility of starting from sharing and the possibility of impossibility. This time, it seems that I can think about participation and sharing in different ways.

Shioda: In other words, do you mean collecting keys from various people and performing installations?

-Including that, isn't it? For example, when you express a feeling that involves a personal experience as you talked about today, how do you think that it will be shaped through the possession of "others"?

Shioda: For me, the act of collecting is because there is something missing in me. I have a desire to fill it. However, at the time when I look at the actual exhibition space and then proceed with the creation of the work, I cut off my own emotions and create a flow of space while thinking as others. It can be said that the eyes become cold once, but there is an idea that when someone other than me sees, something like sympathy is born in each form. I usually use black thread for my work, but this time I wanted to connect it with a red thread because it was called “key”.

<img alt = "" Beyond the Continent "National Museum of Art, Osaka 2008 Ⓒ Sunhi Mang

"Beyond the Continent" National Museum of Art, Osaka 2008 Ⓒ Sunhi Mang

――In the past, there are installations such as “Beyond the Continent” that gathered innumerable shoes belonging to someone and connected them with red yarn. Is there a clear difference when using red and black threads?

Shioda: In the case of that work, shoes are still legs. Including what the title shows, we decided to choose red thread instead of natural black.

Nakano: To be sure, it's a bit scary if it's a key and a black thread.

--Shioda's works using black thread also feel the rigor of visualizing the state that objects are bound to something, such as clothes and furniture. However, speaking of fear, if you think about the act of “closing” the existence of a key, you will be able to associate a scary element.

Nakano: I see. However, the act of “closing” also has a positive aspect in terms of protecting important things. And the most important thing is how to proceed from there.

<< From Silence >> Kanagawa Prefectural Hall Gallery 2007

<< From Silence >> Kanagawa Prefectural Hall Gallery 2007

--The venue of the Venice Biennale is special in many ways. It is different from solo exhibitions held at art museums, etc., and it is also different from what you make while knowing the people living in the area and thinking about remaining there, as Mr. Shioda experienced at the Setouchi International Art Festival. There is a tendency to say “participate on behalf of Japan”, but how do you feel there?Is it?

Shioda: Since it is a place where dozens of countries exhibit at country-specific pavilions, naturally everyone involved will put effort and I will lie if I don't care about it. However, if you face “Because of the Japanese Pavilion” or “Because of the Japanese”, you will fail. I think that the fact that I was selected this time was something that allowed me to do so, and I would like to see myself as a life size rather than forcibly carrying something. I intend to give priority to how much I can use my power.

Nakano: People who make works like Chiharu are particularly required to face the exhibition space everywhere they go. This time, there are various meanings attached to the three letters “Nihonkan”, but it is also important how we treat the Nihonkan as a space and place. I think that the artist and curator complement each other what they can see / can't see, what they can / can't do. Since art does not have the function of a director, this complementary relationship is important there.

-Complementing parts that are not in each other seems to be both stimulating and difficult.

Nakano: Certainly, there is a need to collide there. However, it is not a fight (laughs), but we will create an exhibition while being related. The writer creates a work, and the curator creates an exhibition with them. Technical staff will also be involved there. Attempts in “From Silence” further involved spatial art and temporal art. Speaking of this, when I looked at the plans of other curators at this Venice Japan Pavilion competition, I was very interested in collaborating with such performers and performers. Therefore, I think about the relationship 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 Japan Pavilion. Nonetheless, I talked to Skype every night and talked about that a while ago, but for a while I also had pressure and annoyance in front of the big stage ... (bitter smile) ). That ’s why I was happy to be chosen, and after that, I ’ll just do my best to get it done.

Shioda: Actually, I was named by another curator in the previous competition, but I wasn't selected. In retrospect, it was my first experience at that time, and I don't know what I should do. I was thinking that I wouldn't speak anymore when that happens. So this time, I thought that this was the first and last time that Mr. Nakano spoke to me and made a proposal for this stage together. I am really delighted to be able to exhibit in Venice this time through various things. Mr. Nakano called me early in the morning because it was decided (laughs).

Chiharu Shioda

――Do you feel that this plan will move forward until the opening of the exhibition next year?

Nakano: That's right. Maybe there is a change. Of course, I will take care of the core part, but in the end I have to do it There are many things I don't understand. This is certainly the case, no matter how much the model is created and simulated, it may 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 is why I would be happy if you could see it in the field.

--Thank you for your time today.

Nakano: Well then, Chiharu-san, I will contact you soon.

Shioda: Yes (laughs). Thank you.

<Recruitment of key> We will use your key for the Biennale. Chiharu Shioda

We are looking for keys to be used for the new Palm Key for the 56th Venice Biennale International Art Exhibition.

Click here for details

《Related Events》

Chiharu Shioda "Maquet"

<This event has ended. >

August 30 (Sat)-October 2 (Thu) 2014

Kenji Taki Gallery (Nagoya)

Centering on the models of the works that will be exhibited at the 56th Venice Biennale, we will exhibit past installations as well as plane works including new works.

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Opening hours: 11: 00-13: 00/14: 00-18: 00

Closed day: Sunday, Monday, Holiday

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