Art / photography

"56th Venice Biennale International Art Exhibition" Report 1st

「第56回ヴェネチア・ビエンナーレ国際美術展」レポート 第1弾

"Japan Pavilion Chiharu Shiota" Key in the Hand "-The Key in the Hand-Opening! Chiharu Shiota & Hitoshi Nakano Interview"

The memory of the key, the one with the red thread connected

56th Venice Biennale International Art Exhibition Japan Pavilion Exhibition Scene (Exhibition Room)
56th Venice Biennale International Art Exhibition Japan Pavilion Exhibition Scene (Exhibition Room)
56th Venice Biennale International Art Exhibition Japan Pavilion Exhibition Scene (Exhibition Room)
56th Venice Biennale International Art Exhibition Japan Pavilion Exhibition Scene (Exhibition Room)

――First of all, looking back from the day you decided to participate in the Venice Biennale to today's pre-opening, please tell us about the most memorable exchanges and events in the collaboration between the two.

Shioda : "Collaboration between the two" (laughs)?

Nakano : That's … the last week, right? But this may be a very deep story (laughs).

Shioda : … I can't say anything (laughs).

――I would appreciate it if you could answer on the premise that some people will read it at noon (laughs).

Shioda : Not that, not that (laughs)! Both are married and have children …

Nakano : (Laughs) … I had a lot of contact with Skype in a short period of time before the decision, but after the decision, I started by collecting keys.

――The key was initially targeted at 50,000 pieces, but did you get together soon?

Shioda : You didn't get together right away.

Nakano Shioda : When a locksmith makes a new key, the customer leaves the old key. I asked him to save the key instead of throwing it away. Also, the International Foundation for Japan, Germany and Italy, the Kochi Prefectural Museum of Art, the Marugame Genichiro Inokuma Museum of Contemporary Art in Kagawa, the 21st Century Museum of Contemporary Art, Kanazawa, the Kyoto Arts Center, Kyoto Seika University, the National Museum of Art, Nagoya and Tokyo. We also asked the Kenji Taki Gallery, which has an art gallery, and people from museums in the United States and Europe to cooperate. Many of the collected keys were sent with letters with anecdotes about the keys, and all the letters are kept in the atelier.

――What was written in the letter?

Shioda : If you have a mother with dementia, you will lose the key many times, so the key you made each time, the key that your son who died while traveling to Hokkaido had at that time, and moving repeatedly Keys that have accumulated while you are there. There were various kinds of keys and anecdotes.

――In the last interview , I heard that Mr. Shioda himself died at the starting point of this exhibition. Also, in the exhibition's plan, Mr. Nakano states that this work faces the fate of us human beings, "life" and "death." In "Infinity" (new at the Espace Louis Vuitton Paris "Red Thread" exhibition) produced in France just before Venice, the light flashes like a heartbeat in the tunnel of black thread, and it goes to the land of Yomi. Even if the soul that is heading and its reality disappears, it is still in our eyesI thought of the reflected stars in the universe.

Chiharu Shiota << Infinity >> 2015

Chiharu Shiota << Infinity >> 2015 Photo courtesy = Espace Louis Vuitton Paris © Adagp, Paris 2015 Photograph = Pauline Guyon

-You mentioned earlier that the keys that the deceased had were also included, but in the exhibition room, those keys seemed to be unleashed toward the future while being tied to a red thread. .. While actually touching the 180,000 old keys that were finally collected, please tell us your thoughts on the act of connecting them with the red thread.

Shioda : This exhibition made me think about the various meanings of keys. Holding the key is synonymous with getting a chance. Once you have the key, you can open the door that connects you to a world different from the one in front of you. It's an opportunity to open up the future with your own hands. On the contrary, losing a key can also lead to the loss of a part of one's life. The key is closely related to each person's life, and at the same time, the shape itself is made up of a large head and a small body, and it looks like each person. I thought it was a red thread to connect it. The red thread is the key, that is, it connects people, The memory of the key, that is, the memory of the person.

――The theme of "future" resonates with the overall theme "Future of the whole world" – All the World's Futurs – which was set by Okwui Enwezor, the general director of this Venice Biennale.

Nakano : In recent years, Japan has suffered a major earthquake in Tohoku and an accident at a nuclear power plant, but looking back on the history of humankind, we human beings have wisdom not only about natural disasters such as ancient natural disasters and pesto, but also about such plagues. I got over it with (Eichi). That is why, with Chiharu-san, based on the universal themes of "life" and "death" of humankind, I wanted to take on the challenge of looking at the "future" entrusted to children with the expression of art. Downstairs in the piloti, in front of the box-shaped temporary wall, there is a picture of the child's palm receiving the key. Behind the scenes, a video work that tells what children remember before they were born, that is, when they were in their mother's stomach. 》 Is shown on four monitors, which not only shows that they are the ones who are entrusted with the keys by their predecessors and open the future, but they are also social to the future. The content makes you think that you are also responsible.

Shioda : But it happened that this concept and the theme of Enviso were connected.

Nakano : It just so happens, I'm sorry (laughs) His theme was announced last fall.

A "demon" that lives in Venice? "Olympic Games of Art" and its scene


56th Venice Biennale International Art Exhibition Japan Pavilion Exhibition Scenery (Piloti)

――After the representative was decided, the two of you visited the "14th Venice Biennale International Architecture Exhibition" last year early in the opening, and you often observed the architectural structure of the Japan Pavilion.

Nakano : As was the case with the exhibitions I made with Chiharu-san, I decided on the composition of the exhibition while considering the ideal form of the building and space without changing the characteristics of the exhibition room. Also, I think it is important for contemporary writers and curators to be able to show what kind of story there, or to project contemporary problems, rather than just showing it.

――How many times did you visit the venue before trying to install the work?

Shioda : I came almost every month. It takes less than 2 hours to fly from Berlin one way, so you can come on a day trip. Besides the meeting, I also came at my own expense. Since I use space, I have to get used to it, and many times I know where and how to put it so that when a person enters the space, what I want to convey is instantly conveyed. I tried it. Making a model is different from making a work locally.

Nakano : I had three technical meetings at the opening of the architectural exhibition and in January of this year, and the installation of works in April. At the time of this installation, I made final adjustments with the artist, how I felt, the flow line, and the viewpoint. Including this opening, 4 times in total.

Shioda : For the last week, I closed the venue so that only me, one assistant, and Mr. Nakano could enter. The assistant is also a person who has been working together for 16 years, so a person who can work with Aun's breathing. I don't want anyone except her to join. Otherwise I couldn't concentrate on the production. Unlike museums and art galleries, there are so many people coming and going.

Nakano : I also work mainly outside, and sometimes when I come back to the venue, I feel like I'm talking about "it's not like that". Since the artist has been working in the exhibition room for a long time, there are some things that can be seen and some that cannot be seen. At that time, from the standpoint of a curator, it feels like throwing a different perspective from the artist.

–Have you ever had a conflict of opinions in a closed space?

olor: # ee82ee "> Shioda : No, it wasn't.

Nakano : "Mr. Chiharu, the width here is a little wider for this key to be related to this interval, isn't it?" And asks calmly. It's the real thrill of collaborative work between writers and curators.

――I think it was during the period when the work was set up, but Mr. Nakano told us on Facebook that the writers and curators who had experienced the exhibition at the Japan Pavilion said, "There are monsters in Venice." But was there a "demon"?

Shioda : There was (laughs)

Nakano : The Venice Biennale is the so-called "Olympic Games of Art," in which pavilions from various countries compete for prizes. On the other hand, while asking what decides the victory or defeat against art, what is successful and what is 100 points, it does not matter, it does not matter, but unconsciously from the tension standing on the stage It is said that he will step on the accelerator more than usual. It was such a "monster", when I think about it now …

Shioda : It's not the stage where the winning player always wins, but there are some writers who get overwhelmed and crush themselves.

Nakano : The important thing is not the amount, but how to reduce it to the appropriate amount, but if the engine is fully open, it will be overkill and you can see it.It will disappear.

Shioda : Mr. Uematsu (Mr. Yuka Uematsu, curator of the 54th Art Exhibition Japan Pavilion "Tabaimo: Teleko Soup") also said that "Venice is important not to add but to subtract". Think about what you want to show the most and cut it off.

Nakano : I wrote in the catalog of the exhibition "From Silence" before, but she said, "Chiharu Shiota does not add black thread to a certain empty space, but draws black from the pitch black darkness." I reviewed the work of. I also recognized that this idea of "pulling" is very Japanese and is linked to the Zen idea of Kamakura Buddhism, which is to form a meditation and throw away something.

From Kanagawa to Venice-Future prospects, to those who will open the door of the Japan Pavilion

――Please tell us about your next new work or exhibition after going through Venice.

Shioda : The key is a very deep material, so I would like to continue making works using the key.

Nakano : I would like to do something, such as holding an exhibition in Kanagawa with Chiharu Shiota, who has grown a lot since then, attracting attention from the exhibition at Kanagawa Kenmin Hall Gallery.

――I can't wait for the readers and editorial staff of MAGCUL.NET. </ strong>

Nakano : I have no plans yet, but I hope that both artists can realize it. For MAGCUL.NET readers, those who saw the "1st Yokohama Triennale" in which Chiharu participated in 2001 and the largest solo exhibition "From Silence" (2007) held at Kanagawa Kenmin Hall Gallery. I think there are also. Starting from Kanagawa, and after various efforts by the artist, there is Venice today. First of all, during the exhibition period until November, I would like you to come to Venice to see our mature exhibition that was raised in Kanagawa.

――I think that some of the readers are young Japanese writers and curators who will be the representatives of the Japan Pavilion at the Venice Biennale in the future. Can you give us a final word as the "key" to give them?

Shioda : It was a great honor to have the opportunity to exhibit at the Japan Pavilion in Venice, and I'm glad I came here when it was decided. Instead of doing something special at the Japan Pavilion, I was able to make it while thinking that it would be fine as before. So, it's not as much as advice, but I think it's important to continue making works. After that, maybe I met a curator? I don't think it's possible to suddenly challenge a stage like Venice with someone who has never worked before, so I think it's important to see and get to know a lot of curators. I was able to say selfishly because I kept in contact with Mr. Nakano between the exhibitions (laughs).

Nakano : Young writers and curators are always looking at themselves, knowing where they stand, and then becoming interested in fields that are completely opposite to their own interests or in a different world.I want you to look back at yourself. It can be physics or religious studies. By gaining a broad perspective with another strength other than art, I think we can create and discover works that will be launched into society. Also, I want young artists to grow up together while creating exhibitions with young curators.


Chiharu Shiota

Born in Osaka in 1972. Lives in Berlin.

Faced with the fundamental problems of human beings, life and death, while exploring "what is life" and "what is existence", focusing on large-scale installations, various methods such as 3D, photography, and video Produced a work using.

Received the Newcomer Award from the Minister of Education, Culture, Sports, Science and Technology for the solo exhibition "From Silence" (2007) at Kanagawa Kenmin Hall Gallery.

Major solo exhibitions include Smithsonian Museum Arthur M. Suckler Gallery (Washington DC / 2014), Mattress Factory (Pittsburgh / 2013), Kochi Prefectural Museum of Art (2013), Marugame Genichiro Inokuma Museum of Contemporary Art (Kagawa / 2012), Casa Asia (Barcelona / 2012), National Museum of Art, Osaka (Osaka / 2008), etc. He has also participated in many international exhibitions such as the Kyiv International Contemporary Art Biennale, the Setouchi Triennale, the Aichi Triennale, the Moscow Biennale, the Seville Biennale, the Gwangju Biennale, and the Yokohama Triennale. http://www.chiharu-shiota.com/

Hitoshi Nakano

Curator of the Kanagawa Arts and Culture Foundation. Born in Kanagawa Prefecture in 1968.

Keio University Graduate School of Aesthetics and Art History First semesterCompleted doctoral course.

In the main project, Performing Arts is based on the music poetry Ikutagawa Monogatari-Noh "Katsuzuka" (Creative Contemporary Noh, 2004, Kanagawa Prefectural Music Hall), Alma Mahler and artists at the end of the Vienna century (music and art). , 2006, same), 100th anniversary of birth John Cage Time and space (music and dance, 11th year, Kanagawa Prefectural Hall Gallery). Chiharu Shiota's exhibition "From Silence" (2007, Kanagawa Kenmin Hall Gallery), Kento Oganazawa's exhibition "Between that and this" (2008, same), "Daily / Out of Place" exhibition (09) Year, same), "Port of Design." Katsumi Asaba exhibition (2009, 10 years, same), Izumitaro exhibition "Kneading" (10 years, same), "Daily life / with reasons" exhibition (11 years, same) , Sawa Hiraki Exhibition "Whirl" (2012, same), "Daily / Off Reco" Exhibition (2014, KAAT Kanagawa Arts Theater), Ryota Yagi Exhibition "Science / Fiction" (2015, Kanagawa Kenmin Hall Gallery), etc. Planning and production of collaboration between the work and performing arts. Researcher at the Institute of Arts and Resources Management. Part-time lecturer at Tokai University and Joshibi University of Art and Design.

▷ Japan Foundation Venezia Biennale Japan Pavilion website

Report responsibility: Makoto Iida (art historian)

Official site

<This event has ended. >

56th Venice Biennale International Art Exhibition

May 9th (Sat) -November 22nd (Sun), 2015

Comprehensive Curator: Okwui Enwezor


Japan Pavilion Official Website


(Organizer: Japan Foundation)

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A dialogue between Mr. Hitoshi Nakano and Mr. Koh Kitayama is posted in Creative City Yokohama .

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"What is a creative city learned from Venice?"

okaiwai.jp/town/11016.html "target="_blank"> http://yokohama-sozokaiwai.jp/town/11016.html

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