Programme Orientation Trip 2014 Korea and Japan

Orientation Trip 2014
Korea & Japan
Sunday 31 August – Sunday 14 September 2014
Participants
1.
Mrs. Pernille Albrethsen, editor of Kunstkritikk, independent critic, editor and curator
+45.2229.1874
2.
Mrs. Ane Bülow, Senior advisor Visual Arts DAC
+45.6167.7230
3.
Mrs. Birgit Donker, Director Mondriaan Fund
+31.6.25.04.55.03
4.
Mrs. Julie Enckell, Director Musée Jenisch Vevey
+41.77.433.59.63
5.
Mrs. Lieze Eneman, Assistent curator CCStrombeek
+32.484.917.200
6.
Mrs. Ksenia Galyaeva, Artist
+31.6.289.59.627
7.
Mrs. Rumiko Hagiwara, Artist
+31.6.140.485.16
8.
Mrs. Julie Horne Møller, Curator Horsens Art Museum
+45.533.82.439
9.
Mr. Rob Knijn, Artistic director Heden
+31.6.1920.6543
10. Mrs. Juliette Jongma, Director Juliette Jongma Gallery
+31.6.146.79.365
11. Mrs. Lissa Kinnaer, International Relations BAM
+32 494.207.601
12. Mr. Haco de Ridder, International Relations Mondriaan Fund
+31.6.24.76.32.61
13. Mr. Nicola Ruffo, Journalist and curator, Nicola Ruffo
+41.765.7503.80
14. Mrs. Annette Schönholzer, Director of New Initiatives Art Basel
+41.79.779.11.50
15. Mrs. Renilde Steeghs, Ambassador for Cultural Co-operation, Ministry of Foreign Affairs
+31.6.5275.1004
16. Mrs. Wilma Sütö, Curator Modern & Contemporary Art Stedelijk Museum Schiedam
+31.6.382.44.326
17. Mrs. Winnie Teschmacher, Curator De Ketelfactory
+31.6.518.11453
18. Mr. Pieter Vermeulen, Independent curator and researcher
+32.483.192.262
Map - Korea
In collaboration with
PROJECT ViA
Sunday 31 August 2014 / Amsterdam - Seoul
11:55-13:30
Depart: Zürich-Amsterdam
Flight: KL 1958
1. Ruffo, Nicola MR
14:35-16:00
Depart: Copenhagen-Amsterdam
Flight: KL 1130
1. Albrethsen, Pernille MRS
2. Møller, Julie MRS (Vegetarian / but fish)
17:00-18:35
Depart: Geneva-Amsterdam
Flight: KL 1932
1. Enckell Julliard, Julie MRS (Vegetarian / but fish)
21:35-14:40 (next day)
Depart: Amsterdam AMS - SEOUL
Flight: KL 855
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Albrethsen, Pernille MRS
de Ridder, Johannes MR.
Donker, Jacoba MRS
Enckell Julliard, Julie MRS (Vegetarian / but fish)
Eneman, Lieze MRS (Vegetarian / but fish)
Galyaeva, Ksenia MRS
Hagiwara, Rumiko MRS
Jongma, Juliètte MRS
Kinnaer, Lissa MRS (Vegetarian / but fish)
Knijn, Hubertus MR
Møller, Julie MRS (Vegetarian / but fish)
Ruffo, Nicola MR
Schönholzer Borer, Annette MRS
Steeghs, Renildis MRS (Vegetarian / but fish)
Sütö, Wilhelmina MRS
Teschmacher, Winnifred MRS (Vegetarian / but fish)
Vermeulen, Pieter MR
Monday 1 September 2014 / Korea
14:40*
Arrival: Seoul Incheon Intl Arpt
Bus to Hotel.
17:00*
Hotel Somerset*
No 85 Susong-Dong, Jongno-Gu, Seoul 110-885, South Korea (Gangbuk district)
Contact: Jimmy Lee, Asst. Director of Sales, +822 6730 8005, [email protected]
18:00*
Leave hotel by taxi.
18:30-20:00*
Media City Seoul (Seoul Media Biennial)
Seoul Museum of Art (SeMA)
61 Deoksugung-gil, Jung-gu Seoul 100-813 Korea
Korean Film Archive
400 Worldcup buk-ro, Mapo-gu, Seoul 121-904 Korea
T +82 2 2124 8979 / T +82 2 2124 8977 / [email protected]
Meet Chankyung Park (Director/Artist)
Three words—ghost, spy, and grandmother—will serve as the theme for SeMA Biennale Mediacity
Seoul 2014.
Mediacity Seoul 2014 invokes the word ghost to call upon those silenced spirits whose presence has
been erased by dominant historical narratives; we want to hear them. We examine modern and
contemporary history, with a focus on Asia, by calling these ghosts into our presence. Many of the
participating artists address in their work the ambiguous attitude they or their contemporaries have toward
the traditional practices and phenomena associated with ritual, mysticism, visions, awe, and the sublime.
They capture in their work scenes of the modern and the traditional colliding and negotiating with each
other. It is our hope that the ghosts that have been banished by science will come back to us through the
reunion of media (technology) and medium (the spirit).
We use spy as a keyword for alluding to the experience of colonialism and the Cold War in Asia. Given
that nationalism is on the rise again in East Asia, particularly in the aftermath of the Great Tōhoku
Earthquake of 2011, we seek an opportunity to rethink the very notion of modernity and its brinkmanship
course as represented by this potentially catastrophic radiation disaster. The immense amount of state
violence experienced by East Asian and Southeast Asian countries in the 20th century brought about not
only more wars but also intense mutual distrust and ideological witch-hunting; they still exert great
influence in the region. Mediacity Seoul 2014 will show how the modus operandi of a media artist, who
often has to interpret codes or deal with archiving and telecommunications, is similar to that of a spy. It will
also show how an artist can completely reverse the meaning of spy.
In our everyday vocabulary, a grandmother is someone who is perhaps least associated with political
power. In reality, grandmothers are living witnesses who have endured the ages of ghosts and spies. The
ongoing controversy over the forced recruitment of comfort women during World War II illustrates, once
again, that women bear the brunt of the harms of colonialism and war. On the other hand, in Korea
grandmother is also associated with a traditional image in which she rises to pray every day at the dawn.
In contemporary Korea, the potency of this traditional image has become diluted, as the image is
considered antiquated and irrelevant. We want to rescue the grandmother’s ardent prayer from being
buried under the easy projections of male-centered imagery and argue that the prayer of the grandmother
symbolizes people’s prayers over the span of millennia.
Under the title Ghosts, Spies, and Grandmothers, Mediacity Seoul 2014 will present a large number of
artists from East and Southeast Asia. The idea here is not to promote Asia as a lifeless or fixed entity, but
to see it as a moving target, a cognitive lens, a region that is much more complex than its stereotypes.
Toward these ends, artists from Arab and Western countries will also participate in the exhibition.
Mediacity Seoul 2014 will feature twelve new works, the largest number of new works to be presented in
the history of the biennale. Participating artists include Haegue Yang, Bae Young-whan, Yuichiro Tamura,
Otty Widasari, Nilbar Güreş, Truong Cong Tung, Sean Snyder and more. For the full list of participating
artists, please visit mediacityseoul.kr.
Hosted by Seoul Metropolitan government and the Seoul Museum of Art (SeMA), the SeMA Biennale
Mediacity Seoul was inaugurated in 2000, and has continued to produce highly acclaimed exhibitions on
contemporary art. As Mediacity Seoul reaches its eighth edition, we aim to take on the biennale one step
further and think about media beyond its formal definitions.
Artistic Director: Park Chan-kyong, artist and film director
20:00*
Taxi to Artsonje.
20:15-21:00*
Diner
21:00*
Artsonje Center
Meet Ms. Sunjung Kim (director)
(144-2, Sokeuk-dong) 87 Yulgok-ro 3-gil Jongno-gu Seoul 110-200 Korea, Tel: +82 (0)2 733 - 8945
Artist Performance by Sung Hwan Kim
The Artsonje center, founded in 1998, is a private art museum which supports current and experimental
contemporary art. Although it is rather a young organization which just has celebrated its fifth year, its
international quality exhibitions and educational programs have been receiving attention by those in the
art field and the general public alike. With an open attitude and the spirit to experiment with exhibition
methods, we show art from "here and now." For this, we actively search for the opportunity to collaborate
with those in the fields of music, literature, architecture, dance and fashion. We also have the mandate to
provide radical exhibition planning to support new projects.
As one of the ways to search out new artists, the Artsonje Center has organized parallel projects in
various forms to accompany the main exhibitions. For instance, the parking lot project has utilized the
underground parking space and at the cafe project mural paintings are made at the cafe located at the
lobby of the Artsonje. As well, various outside projects have been organized that actively reflect on the
location specificity of various areas. These projects that utilize various auxiliary facilities and the external
locations add the aliveness and challenge to Artsonje Center. Furthermore, the Artsonje adds the works
by the young artists who have been introduced at its exhibition into its own contemporary art collection as
a way to provide stimulation and realistic support for young artists.
Also, Artsonje actively participates in international exchange activities and the introduction of Korean
artists to the international art field. With the introduction of domestic artists in international galleries and
international art journals, and through network activities based on mutual trust, we give our best effort to
introduce domestic artists in the international art field. Through networking with major art museums and
artists especially in other Asian countries, the Artsonje Center is becoming an important center for Asian
cultural exchanges.
Along with the programs such as exhibitions, artist searches, and the introduction of Korean artists into the
international field, Artsonje has been carrying on its educational function of an art museum as well. We
provide education programs for children, youth and adults, and we also have school liason programs. With
these, we provide the opportunities for the general public to approach contemporary art more easily. The
programs such as the professional lecture series, international symposiums, and art film screenings have
received a good reception not only by those professionals in the fields but also by the general public.
The Artsonje Center is located in Sokeuk-dong that links the Kyungbok Palace area and the Insadong
area, the two main scenes for Seoul culture and art. Sokeuk-dong is a unique area located in the middle of
ancient cultural museum and the contemporary art scene, and it has kept the traditional living style and
the residence architecture of the old Seoul. The Artsonje Center is establishing itself as an important
cultural backbone, while keeping the unique local color and breathing-in intellectual vigor and the global
perspective.
Exhibition
Artsonje Center is pleased to host Sung Hwan Kim’s solo exhibition. Kim simultaneously takes on diverse
roles of director, editor, performer, composer, narrator, and poet, thus presenting an artistic form that
integrates performance, video, and installation. This experimental format relates to the stories that the
artist has borrowed from various contexts such as his personal life and episodes, rumors, history, and
legend, seeming real and at the same time creating a visual narrative as poetic as a dream.
This solo exhibition at Artsonje Center is a concise presentation of Kim’s art, one that systematically
integrates and reconstructs video, drawing, installation, and performance in a single exhibition space. Kim
was selected as the first commissioned artist for the opening exhibition of The Tanks at Tate Modern, an
exhibition space that opened in July of 2012 as the world’s very first film and performance gallery. Temper
Clay (2012), the work commissioned for that occasion, will be presented to the Korean public for the first
time. Having appropriated the title from a verse in Shakespeare’s tragedy King Lear, Temper Clay
repeatedly uses the images of paper and fire to magically convey a woman’s life. This solo exhibition also
presents other video works such as Manhatas Dance and A-DA-DA.
This exhibition will serve as an opportunity to see not only the unique intersection of Korean and personal
narratives through Kim’s art that is referred to as “visual literature”, but also the elaborate structure of an
experimental art that transcends diverse genres. It is especially noteworthy that Kim constructs the gallery
as an experimental and open space that he will also use as the actual stage for his new performance to be
shown at the museum. To accompany the exhibition, a catalogue with the artist’s drawings and texts by
six writers including Stephen Greenblatt, professor of comparative literature at Harvard University, and
Adam Szymczyk, Director of Kunsthalle Basel, will be published.
Sung Hwan Kim was born in Seoul in 1975 and is currently based in New York. Kim studied architecture
at Seoul National University and went on to Williams College where he majored in mathematics and art.
He then finished his MA program in visual studies at MIT and participated in the residency program of
Rijksakademie, Amsterdam. In 2007, he won the Hermès Korea art prize for his Summer Days in Keijo –
Records of 1937. He has held solo exhibitions at various venues including Haus der Kunst (2010),
Queens Museum (2011) and Witte de With Center (2008), and participated in the opening exhibition of
Tate Modern’s The Tanks in 2012.
Tuesday 2 September 2014 / Korea
09:30*
Walk to MMCA
10:00-11:30*
National Museum of Modern & Contemporary Art Seoul
30 Samcheong-ro, Sogyeok-dong, Jongno-gu, Seoul 110-200 TEL:+82-2-3701-9500
Meet Chooyoung Lee (Curator), [email protected]
Exhibitions: artist Kun-yong Lee.
As the only national art museum in the country accommodating both modern and contemporary art of
Korea and international art of different time periods, the National Museum of Modern and Contemporary
Art, Korea, was established in the small exhibition hall in Gyeongbokgung Palace in 1969 and moved to
Seokjojeon in Deoksugung Palace in 1973. In 1986 the museum moved to Gwacheon with an
international-sized facility and an outdoor sculpture park. The museum has been devoted to its function as
a national art institution by collecting, conserving, exhibiting and researching artworks and materials, and
improving art and cultural awareness through international exchanges, education and promotion of artistic
activities In 1998, the National Museum of Modern and Contemporary Art, Deoksugung, was established
as an annex of the National Museum of Modern and Contemporary Art, Korea, with the objective of
structuring the formation and history of Korean modern art. As an institution focusing on modern art, the
museum promotes diverse projects such as research and study of modern art, collecting and conserving
art works, permanent and temporary exhibitions, development and practice of educational programs,
academic lectures, publications and exchanges of Korean modern art works and information. The National
Museum of Modern and Contemporary Art, Korea is dedicated to invigorating the new cultural space in
downtown, in order to solve the relatively inconvenient accessibility of the museum building located
outside of Seoul, in Gwacheon. The National Museum of Modern and Contemporary Art, Korea was
established in Gyeongbokgung Palace in 1969.
The museum's first collection was Korean modern art from early to mid-20th century, including such
important artists as Ko Hui-Dong(1886–1965); Ku Bon-Ung(1906-1953); Park Soo-Keun(1916-1964); and
Kim Whan-Ki(1913-1970).
By the time when the museum moved to Seokjojeon in Deoksugung Palace in 1973, a systematic
framework of the collection was established to accommodate a wide variety of artworks. In mid to late
1970s the museum developed a collection of mainly figurative art by senior or deceased artists, and in the
early to mid-1980s a huge collection of abstract works by mid-aged to senior artists was added.
The museum began to focus on gathering a substantial internationally-recognized collection with the
completion of its new museum in Gwacheon in 1986. The Asian Games in 1986 and the 1988 Olympics
were prime opportunities for the museum to boast its growing collection, as well as to expand by
continuing to purchase artworks from an array of international artists, such as Joseph Beuys, Andy
Warhol, Georg Baselitz, Jörg Immendorff, and Marcus Lüpertz. The More the Better by Nam-June Paik
was installed in the museum also at this time.
In 1990s, the museum started to establish a more comprehensive collection by paying attention to not only
the works of well-known artists, but also to that of younger emerging artists. In addition, the museum
continued to collect pieces from internationally-celebrated artists such as Nikki de Saint-Phalle, Jonathan
Borofsky, Michelangelo Pistoletto, Cesar Baldaccini, Enzo Cucchi, Jim Dine, and Christian Boltanski.
Today, the National Museum of Modern and Contemporary Art, Korea seeks to strengthen its collection of
relatively overlooked genres like, print, craft, photography, and new media, while simultaneously
maintaining a standard of international excellence by continually researching, discovering, and collecting
both international and domestic art.
11:30-12:30*
Kukje Gallery
K1 54 Samcheong-ro, Jongno-gu Seoul, 110-200 Korea
K2 48-10 Samcheong-ro, Jongno-gu Seoul, 110-200 Korea, + 82) 2 735 8449.
Meet Ms. Hyunsook Lee (Director) and and Ms. Gyeong Hong (Assistant Director),
[email protected]
Since Kukje Gallery opened at the center of Seoul in 1982, it has been committed to presenting the work
of the most current and significant Korean and international contemporary artists. The Gallery has
established itself as a leading venue for showing works by major international artists such as Damien
Hirst, Eva Hesse, Jean-Michel Basquiat, Joan Mitchell, Cy Twombly, Ed Ruscha, Joseph Beuys, Anselm
Kiefer, Louise Bourgeois, Jenny Holzer, Candida Hofer, Bill Viola, Anish Kapoor, etc. The exhibitions
provided the foremost rare opportunity for the Korean art audiences to encounter the works of worldrenowned contemporary artists without going abroad.
Recognizing the importance of promoting Korean artists abroad, Kukje Gallery participates annually in
major art fairs such as Art Basel, Art Basel Miami Beach and The Armory Show. The Gallery first
presented the most significant artworks by Korean artists alongside more recognizable works of high
caliber by international artists. Consequently, the Korean artists as well as the Gallery have been
successfully gaining wide exposure and receiving much attention from the non-Korean collectors. The
Gallery has also been promoting Korean artists to non-commercial venues, using its solid network of
museum curators and critics worldwide. Many of Korean artists who have been presented by Kukje
Gallery have gone on to participate in international biennials and major art museum exhibitions.
Kukje Gallery has an unmatched reputation in Korea for having introduced many of the most critically
acclaimed international artists, and for supporting the most promising Korean artists. The Gallery
continues to play a key role in developing the domestic art market and promoting Korean artists; as well
as drawing the national audience’s attention to the currently international art world.
13:00-14:30*
Lunch (with Mr. Jung Jae Wal (director KAMS)
14:30
Bus to Total museum
15:00-16:00*
Total Museum
465-16 Pyeongchang-dong, Jongno-gu, Seoul, Korea (110-848)
Meeting with: Ms. Nathalie Boseul Shin: [email protected], 00.82.10.9965.4882
16:00
Bus to Pool Space.
16:30-17:30
Alternative Space Pool
91-5, Segeomjeong-ro, Jongno-gu, Seoul, Korea 110-803
(56-13 Gugi-dong Jongno-gu Seoul, Korea 110-803), tel. 82 2 396 4805, [email protected] /
Meet Ms. Heejin Kim (Art Space pool, Director)
Art Space Pool (formerly Alternative Space Pool) was one of the first experimental galleries in Korea,
alongside Sarubia and Loop, below. Established in 1999, it has since moved to a remote location in
northern Seoul, and expanded its programming to include more archival and networking missions.
Currently heading the space is Heejin Kim, the first director to come from a curatorial background. Kim’s
comprehensive vision has seen Pool become more active in the public, international, and institutional
spheres, as it maintains an independence from commercial incentives. Funded largely in part by individual
artists, Pool remains perhaps the most avant-garde of Seoul’s galleries. Its credentials can be confirmed
by the fact its website was created by the patronage of Haegue Yang.
17:30
Back to Hotel.
No Program.
Wednesday 3 September 2014 / Korea
09:00*
Departure by bus from hotel.
10:00-11:30*
Leeum (Samsung Museum)
60-16 Itaewon-ro 55-gil, Yongsan-gu, Seoul, Korea 140-893, (TEL) 02-2014-6901
Meeting with Mr. Lee Jun (Deputy curator)
The Leeum, Samsung Museum of Art opened, after several years of preparation, as an international art
and cultural center for the display of both Korean art and world art. The late Hoam Lee Byung-chul, the
founder of Samsung, had displayed his beloved collections of Korean national treasures and art pieces in
the Ho-Am Art Museum, Ho-Am Gallery, and the Rodin Gallery. Inheriting the founder’s will, Mr. Lee Kunhee, the Chairman of Samsung, has been passionately collecting fine artworks of Korean and international
contemporary artists, accumulating and preserving Korean treasures with a high historical value. Now, as
a fruit of years of hard work, we are opening the Leeum, Samsung Museum or Art to share with you our
outstanding art collection.
The Leeum, Samsung Museum of Art has a Museum 1 and a Museum 2. Museum 1 houses Korean
traditional art and Museum 2 exhibits works of art by Korean and international contemporary artists.
Furthermore, these museums and the Samsung Child Education and Culture Center, which contributes to
the education of future leaders, compose the composite complex. The buildings of The Leeum, Samsung
Museum of Art were designed by the internationally renowned architects Mario Botta, Jean Nouvel,
and Rem Koolhaas to combine the past, present, and future of art and culture, and are in themselves
remarkable artistic experiences.
Located on the slopes of the Namsan where you can enjoy nature in the city, The Leeum, Samsung
Museum of Art is motivated towards developing Seoul as a city of international culture. It cultivates new
cultural geographical structures that connect Seoul’s main cultural facilities, along with the National
Museum of Korea and the National Theater. Welcoming the emerging global age, Leeum seeks to be a
center of Asian art. It is a museum of new ideas, and bridges the East and the West, with its eye on the
future. Please enjoy a new world of art and culture in Leeum, where the past and present coexist, and
where art, culture, and people share an urban architectural space in harmony with nature.
11:30*
Bus leaves / Sandwiches & Drinks in the bus.
12:30-14:30*
Anyang Public Art Project (APAP)
Anyang Pavilion
180 Yesulgongwon-ro, Manan-gu, Anyang-si, Gyeonggi-do, +82.(0)31-687-0548
Kim Chung Up Museum
4, Yesulgongwon-ro 103beon-gil, Manan-gu, Anyang-si, Gyeonggi-do, +82.(0)31-687-0909
Meet Ms. Hyuhwa Shim (director of communication) [email protected] Ms. Jin Kwon (Chief Curator),
[email protected]
As part of the effort, Anyang Art City 21 was launched in 2002, as a systematic urban planning project to
turn ours into a city of beauty and art. The first of its kind to be launched in Korea, it was designed to
encourage architecture of both artistic and utilitarian quality, so as to further refine our cityscape and
innovate our image.
To ensure the success of the project, it was deemed necessary to introduce public art into the endeavor,
to include not only architecture but landscape and art as well. In 2005, the Anyang Public Art Promotion
Committee was established, and its first project was the Anyang Park. Seemingly destined to oblivion, the
Park was reborn into a vibrant space of art through a project led by an international group of artists. Today
it attracts an endless stream of visitors, both from Korea and overseas.
Building on its success, the Anyang Public Art Promotion Committee is now starting anew as the Anyang
Public Art Foundation. Its mission is to pursue more systematic research into the relationship between
Anyang and public art.
The Foundation will strive to enhance the quality of life of our citizens and turn Anyang into a world-class
city of art, by bringing art closer for all our citizens to enjoy as part of their everyday life.
16:00-17:30*
NJP Art Center
10 Paiknamjune-ro, Sanggal-dong, Giheung-gu, yongin-si, Gyeonggi-do, 446-905, +82 (0)31 201 8500
Meet Manu Park (Director), Yujean Lee (Curator), [email protected]
From 2001, the idea of building an institution dedicated to Nam June Paik was discussed with the artist.
During these conversations Nam June Paik expressed the wish that this new institution become "the
House where the Spirit of Nam June Paik lives on."
Opened to the public in 2008, the Nam June Paik Art Center, aspires to fulfill the artist’s wish by informing
its activities through the development of creative and critical research into his thinking and practice.
Inspired by the generosity, criticality, and interdisciplinary nature characteristic of both Paik’s work and life,
the Nam June Paik Art Center is committed to developing the following:
 A permanent exhibition that contextualizes the artist’s practice, presenting pieces from the
center’s collection alongside works on loan from other collections and institutions.
 A yearly program of temporary exhibitions exploring thematic issues and contemporary artistic
and curatorial practices.
 An education program offering workshops, seminars, talks and events as platforms to discuss and
explore new perspectives on Nam June Paik, as well as notions of creativity and engagement
impacted upon by his practice.
 A collection that continues to grow and reflect the breadth of Paik’s contribution to the fields of
music, artistic practice and media arts as well as the blurring of these distinctions potentiated by
his practice.
 A publication and research program dedicated to investigating Nam June Paik’s legacy from
alternative perspectives that emphasize and question the political and social significance,
potentiality, and complexities of creativity and artistic practice.
Nam June Paik’s nomadic and embracing spirit challenged established views, even avant-garde ones,
and opened up potentialities where many believed they had been exhausted.
Museum Identity
The enigmatic mathematical symbols used for the main logo image of Nam June Paik Art Center are
derived from the numerical expression that Paik used in an article for the magazine De/collage No.3 in
1963 and re-used commemorating his 54th birthday. They represent Paik's rich imagination and unique
sense of humor. The logo image shows that when a question is reversed and transformed into a new
question, endless transformations and recurrences take place: it incorporates the identity of Nam June
Paik Art Center aiming to be an experimental space that doesn't cease to question established answers.
17:30-19:00*
Dinner with NJP Art Center
Manu Park (Director), Kyunghwa Ahn (Chief Curator), Yujean Lee (Curator)
19:00 Bus to
20:00-21:00*
DDP(Dong-dae-moon Design Plaza) by Zaha Hadid
Meet Mr. Samchul Park (Head of Exhibition Department)
Back to Hotel.
Thursday 4 September 2014 / Gwangju
07:00*
Taxi’s to the station.
7:50 – 10:58*
Train: KTX 603 Seoul (Young-san) - Gwangju City (03:08)
11:30-12:30*
Hub City of Asia Culture by Bus
ACC introduction
12:30-14:00*
Lunch
14:00 – 15:30*
Tour Hub City of Asian Culture
Meet Mr. Younchul Lee (Director of Visual Art Dep.) and some artist involving current project.
Hub City of Asian Culture Project, administered by the national government of Korea, is the single largest
cultural project in the history of the nation. The Project aims to forge cultural
ties and establish a forum of exchange with the various countries of Asia, and enhance the overall quality
of life of the Asian community by transforming Gwangju, one of the six largest cities in Korea , into a
culture city of novel concepts.
15:30-16:30*
Architectural tour by bus.
17:00-19:00*
Gwangju Local Art Scene in Local Market (Ute Migro)
Meet Mr. Gokpil Chun(Director, [email protected])
Prado Hotel
Baekundong 638-1, Nam-gu, Gwangju 503-300, +82.62-654.9999, [email protected]
20:30-22:00
Opening Gwangju Biennale 2014 . Artist.
Meet Mihee Ahn (Chief Manger, Gwangju Biennale Foundation)
Burning Down the House explores the process of burning and transformation, a cycle of obliteration and
renewal witnessed throughout history. Evident in aesthetics, historical events, and an increasingly rapid
course of redundancy and renewal in commercial culture, the Biennale reflects on this process of, often
violent, events of destruction or self-destruction―burning the home one occupies―followed by the
promise of the new and the hope for change.
In the 1930s the critic Walter Benjamin coined the term ‘Tigersprung’ (the tiger’s leap) for a new model of
history where the past is activated in and through the present within a culture industry that demands
constant renewal. What can the ‘Tigerspung’ mean for today’s ‘tiger economies’ like South Korea in a
context where economic and political powers deliver the eternally new of fashionable commodities and
industrial progress at the apparent expense of a cultural past?
Burning Down the House looks at the spiral of rejection and revitalization that this process implies. The
theme highlights the capacity of art to critique the establishment through an exploration that includes the
visual, sound, movement and dramatic performance. At the same time, it recognises the possibility and
impossibility within art to deal directly and concretely with politics. The energy, the materiality and
processes of burning ― the manner in which material is changed and destroyed by flames into the residue
of dramatic interventions or remnants of celebrations ― have long informed artistic practice. The
transformative powers of fire are central to the way in which this exhibition has been imagined.
Rather than a simple reference to a leftfield pop anthem from the early 1980s, the title reflects the double
significance of the proposed Biennale-concept. By fusing physical movement with political
engagement, it animates the concept for the decennial of the Gwangju Biennale. When the USBand Talking Heads were debating the title and chorus of ’Burning Down the House’, their most
recognised track, members of the band remembered being at a Funkadelic-concert where George Clinton
and the audience swapped calls to ‘Burn Down the House’. This hedonism by the P-Funk crowd on the
dance floor was then turned into an anthem of bourgeois anxieties by the New York-based band. This dual
th
meaning of pleasure and engagement serves as the defining spirit of the 10 Gwangju Biennale.
Burning Down the Houseexamines the potential of art as movement, by exploring the efforts made by
contemporary artists to address personal and public issues through individual and collective engagement,
as well as demonstrating how challenging these efforts and their impacts have become. Contrary to
museums, with their often hegemonic cultural policies and interest in denoting legacies and traditions, the
biennale is a mobile and flexible event, which offers a spectrum of creative expressions that are
immediate, contemporary and topical, making the proposed debate of art as movement fitting for the
space of Gwangju ― both geopolitically and as an institutional alternative.
th
Burning Down the House, the 10 Gwangju Biennale, is curated by Jessica Morgan, Artistic Director of the
Biennale and The Daskalopoulos Curator, International Art, Tate Modern. FatosUstek and Emiliano
Valdes are Associate Curators for the Biennale, EnnaBae is Associate Curator for Performance and
Teresa Kittler is Assistant Curator.
Jessica Morgan is The Daskalopoulos Curator, International Art, Tate Modern, where she has curated
numerous exhibitions including retrospectives of Saloua Raouda Choucair (2013), Gabriel Orozco (2011)
John Baldessari: Pure Beauty (2009), and Martin Kippenberger (2006), as well as numerous group
exhibitions such as The World as a Stage (2007), Time Zones (2004) and Common Wealth (2003).
Morgan also curated the Turbine Hall Unilever Commissions by Tino Sehgal, These associations (2012);
Dominique Gonzalez-Foerster, TH.2058, (2008/9); and Carsten Höller, Test Site (2006/7). In addition to
her work on exhibitions, Morgan works on Tate’s International Collection focusing on the development of
the Collection’s holdings of mid-century and emerging art from Europe, the Middle East, North Africa and
South Asia. Morgan has recently curated the first survey exhibition of the work of Urs Fischer for MoCA LA
(2013) and was President of the Jury of the Venice Biennale (2013).
Jessica Morgan has published and lectured extensively on contemporary art and is a regular contributor to
art journals including Parkett and Artforum. She holds an MA in Art History from the Courtauld Institute of
Art, London and a BA and MA in Art History from Cambridge University. She was a Mellon Fellow at the
Yale Centre for British Art, Yale University and a Contemporary Art Curatorial Fellow at The Fogg Art
Museum, Harvard University.
Friday 5 September 2014 / Gwangju - Seoul
Program will follow.
Suggestion: UiJae Museum
Nearby is a Buddhist temple. I wonder if it would be possible to arrange a breakfast there. You may ask
her to inquire the temple.
http://www.ujam.org/
18:15 – 21:20
Train: KTX 612 Gwangju City - Seoul (Young-san) - (03:05)
Option visit to
Nanji Residency Program
108-1, Haneulgongwon-ro, Mapo-gu, Seoul, 121-831, +82.(0)2-308.1071. Meet Jan Adriaans,
[email protected]
SeMA Nanji Residency is an international residency program for young artists. It’s an operation by the
Seoul Museum of Art. The AIR is situated inside the Worldcup Park in Nanjido.
Program Studio Visit and Meet Artist
Saturday 6 September 2014 / Korea - DMZ
08:00*
Leave hotel and walk to Artsonje.
08:30 - 09:00*
Artsonje Center Registration & Exhibition Tour (1F Lounge)
Works Seoyoung Chung, Mark Lewis
Artistic Director & Curator: Sunjung Kim | Guest Curator: Nikolaus Hirsch | Organized by: Samuso, Space
for contemporary art Co., LTD. | Cooperated by: Artsonje Center
09:00 - 11:30*
Tour Bus Seoul → Cheorwon
Works Ingo Niermann
11:30 - 13:30*
Yangji-ri Village Lunch and Exhibition Tour
Works: Florian Hecker, Joohyun Kim, Dinh Q. Lê, Adrián Villar Rojas
Performance: Okkyung Lee
14:00 - 15:00
Woljeong-ri Station Exhibition Tour
DMZ Peace & Cultural Plaza Works: Seung Woo Back, Koo Jeong A,
DMZ Peace & Cultural Hall: Mark Lewis, Jae Eun Choi
15:20 - 16:50
Peace Observatory Reception & Exhibition Tour
Works: Tomás Saraceno
Performance: Florian Hecker
17:10 - 17:30
Old Labor Party Building Exhibition Tour
Works: Albert Samreth
17:30 - 18:30
Soi Mountain Exhibition Tour
Works: Koo Jeong A
18:30
Old Labor Party Building Depart Cheorwon
21:00
Artsonje Center Arrive in Seoul
DREAL DMZ PROJECT
Border area near DMZ - Cheorwon-gun, Gangwon-do
The REAL DMZ PROJECT is a contemporary art project based on research conducted on the DMZ
(Demilitarized Zone) in South Korea and its border area. Having begun with a critical perspective on the
ironies that surround the Demilitarized Zone, the REAL DMZ PROJECT has extended its parameters by
experimenting not only with new productions and exhibitions but also via dialogue and discussions within
the humanities and social sciences fields. The long-term vision of the REAL DMZ PROJECT is to create a
platform that not only supports a variety of research methods and studies, but also ensures that this
research can be made accessible to both local and global communities.
Japan
Sunday 7 September 2014 / Korea - Japan
12:00
Leave hotel by bus
15:05-16:40
Seoul-Takamatsu
Flight: OZ 166
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17.
Albrethsen, Pernille MRS
de Ridder, Johannes MR.
Donker, Jacoba MRS
Enckell Julliard, Julie MRS (Vegetarian / but fish)
Eneman, Lieze MRS (Vegetarian / but fish)
Galyaeva, Ksenia MRS
Hagiwara, Rumiko MRS
Jongma, Juliètte MRS
Kinnaer, Lissa MRS (Vegetarian / but fish)
Knijn, Hubertus MR
Møller, Julie MRS (Vegetarian / but fish)
Ruffo, Nicola MR
Schönholzer Borer, Annette MRS
Steeghs, Renildis MRS (Vegetarian / but fish)
Sütö, Wilhelmina MRS
Teschmacher, Winnifred MRS (Vegetarian / but fish)
Vermeulen, Pieter MR
JR Hotel Clement Takamatsu
1-1 Hamanocho, Takamatsu,Kagawa 760-0011, +81-87-811-1111 / [email protected]
17:30*
Takamatsu Port Terminal Building
Meeting with mister Fram Kitagawa general director Setouchi Triennale at Secretariat Office.
th
7 floor of Takamatsu Port Terminal Building (next to hotel)
18:30
Diner with mister Fran Kitagawa at Restaurant Fuku.
18:20*
Ane Bülow
Arrival AF274 at Tokyo Haneda (HND - Terminal I)
Departing from Paris Charles de Gaulle (CDG - Terminal 2E)
19:55-21:10*
Ane Bülow: Flight JL 1415 - Tokyo Haneda to Takamatsu
Teshima Island
Setouchi Islands
The Seto Inland Sea is surrounded by the three islands of Honshu, Shikoku, and Kyushu in the Japanese
archipelago. As Japan's largest inland sea, it runs approximately 450 kilometers from east to west and
anywhere from 15 to 55 kilometers from north to south (depending on the location). Including the coastal
areas, it is also called the "Setouchi." With the lake-like tranquility of the sea's surface, myriad islands,
beautiful stretches of sandy beach dotted with green pines, terraced rice paddies and other beautiful sites,
the area's pleasant view and rich nature are alive. Such Europeans as Philipp Franz von Siebold and
Thomas Cook, who came to Japan during the time from the closing of the Edo Period on through the Meiji
Period, offered high praise of the area's beauty, as they kept its memory dear. In 1934, the location
centering on the so-called "Bisan Seto" area of the sea, which stretches between Okayama, Hiroshima,
and Kagawa Prefectures, was designated as "The Seto Inland Sea National Park," Japan. Contemporary
art has gained a prominent position in the region in recent decades thanks to various art projects by the
Benesse Corporation on the island of Naoshima and more recently on the islands of Inujima and Teshima,
all of which also serve as festival venues. The Setouchi Triennale is intended to further strengthen the
region's position as a leading site for contemporary art and to spread the art to additional islands. Like
many rural parts of Japan, the islands in the Seto Inland Sea have been suffering from massive
depopulation in recent decades, while their remaining residents have been aging at a rapid pace, causing
a wide range of problems. One of the festival's main goals is to counteract these trends and revitalize the
region in a sustainable and creative way by bringing contemporary art and tourism onto the islands.
Visit to - Naoshima / Teshima & Inujima
Monday 8 September 2014 / Japan – Teshima Island
08:00
Leave Hotel and walk.
08:30
Takamatsu Port
Meeting Point work Shinji Omaki
09:07-09:57
Depart with Teshima Ferry to Ieura Port 35 min. (Teshima Island)
10:00
Depart by Charter Bus (105 min)
Visit Big Bambu by Doug and Mike Starn
As part of the Setouchi Triennale 2013, Doug and Mike Starn have created a huge installation consisting
of thousands of bamboo poles in the Ko district of Teshima island.
A path through the bamboo forest ultimately leads to a Bambú walkway tied with climber’s cord directly to
the living stalks and winds its way up through the living forest, higher and higher, until ultimately breaking
through the surface of the canopy of bamboo leaves. Only the visitor’s upper body emerges and the
elevated pathway faces the Starns’ vision of a large fishing boat, modeled after the fishing boat normally
seen docked at Ieura port but enlarged to 20 meters long- and made entirely of Bambú – floating on the
canopy sea of bamboo leaves at over 18 meters high. The visitor will approach the boat on the Starns’
path as if swimming through the canopy, then climb aboard the boat. The view out from the boat shows
the waves of bamboo leaves flowing in the breeze with the Inland Seto Sea and the neighboring island of
Ogijima in the distance. Bamboo leaves break over the sides and bamboo flows across the deck, long
poles used in the fabrication of the boat are splashes and fishing poles.
Entering the cabin of the boat- the visitor descends below deck into the hull to see the interdependent
structure creating the being of the boat, a catwalk through the crawl space inside the hull leads the visitor
to the bow to the observation bubble which was thought up in a dream actually*.
The structure is created from several hundred living poles in the rhizomatic root system of the forest (new
poles sprout daily, encroaching the elevated pathway) and about 2,000 poles harvested from other forests
on the island of Teshima and from Kyushu.
The pathway is about 60 meters long and the canopy sits at about 18 meters off the ground, the boat is 20
meters long, but the capacity is limited to only 8 or 10 people at a time to keep the experience personal.
The artwork was constructed by 9 of the Starns’ experienced crew from the US and 4 Japanese rock
climbers working with the artists over a period of 5 weeks, with the support of many other new local friends
on the ground.
NR.8 Chiharu Shiota
Created for Setouchi Triennale 2010, this installation consists of a tunnel made of wooden fittings
gathered from various islands.
11:45
Charter bus to Karatooka (120min)
Lunch at Shima Kitchen,
12:00
NR.4 Lunch at Shima Kitchen by Atelier Ryo Abe, Tokyo
The existing house was surrounded by plots of vacant land where other buildings had been demolished
some time ago. An old warehouse, two persimmon trees, and some smaller fig trees remained. Abe’s
project treads lightly around the site, adjusting, converting and inserting.
The house is remodelled as an open kitchen, the warehouse refitted as a small art gallery, and finally, the
piece de resistance, a low canopy loops and sweeps around the trees unifying the various parts and
creating an outdoor theatre. The form of the theatre is based on a traditional Japanese Noh style
performance space, with its stage (butai), veranda (hashikake), and gallery (sajiki), but is also designed to
host a variety of events, such as live music, modern performance art, folk dance and community festivals.
Artworks by NR.5 Pipilotti List (Your first Colour), Janet Cardiff & George Bures Miller (Storm House)
14:00
Leave Karatooka by Charter bus (110min)
Works by Christian Boltanski (Les Archives du Coeur) & Mariko Mori (Tom Na H-iu)
Teshima Art Museum
607 karato, Teshima, Tonosho-cho, Shozu-gun, Kagawa 7614662 Japan, +81-(0)879-68-3555
Teshima Art Museum, the collaborative creation of architect Ryue Nishizawa and artist Rei Naito, opened
in the fall of 2010. The site lies partway up a steep hill overlooking the Seto Inland Sea and is bordered by
terraced rice fields. Although these fields had long lain idle, they were revived for this project by local
residents. This setting results in a beautiful fusion of nature, art and architecture. The museum interior is a
single work, Matrix. Water seeps out of the floor and gives birth to “springs” as it pools and flows.
Christian Boltanski (Les Archives du Coeur)
"Les Archives du Cœur", by Christian Boltanski, permanently houses recordings of the heartbeats of
people throughout the world. Christian Boltanski has been recording these heartbeats since 2008. Les
Archives du Cœur is a testament to the fact of the recordees existence. The recordings may be heard by
visitors.
"Les Archives du Cœur" is divided into 3 rooms: the Heart Room, which houses an installation; a
recording room; and, a listening room. In the recording room visitors may record their heartbeats together
with a personal message for archival as part of the work. In the listening room visitors can search for
recordings using a computer database.
Mariko Mori (Tom Na H-iu)
This contemporary monument is a symbol of life and death. The sculpture, which is connected to the
Kamioka Observatory by computer, glows each time a supernova explosion is recorded, signaling the
death of a star.
Owned by: The Fukutake Foundation; Cooperation: Institute for Cosmic Ray Research, University of
Tokyo; Super-Kamiokande (Super-Kamioka Neutrino Detection Experiment).
15:50
Charter bus to Ieura Port (70min)
Teshima Yokoo Museum, work by Tobias Rehberger (Il Vento cafe）
Teshima Yokoo Museum
Teshima Yakoo House is a museum dedicated to artist Tadanori Yokoo in a renovated old dwelling in
Ieura village. Eleven paintings, including a series of three large works entitled “The Primitive Universe”, as
well as installations in a circular tower and garden extend through the site. This is a place to ponder life
and death as a single continuum. Concept＆Artworks: Tadanori Yokoo Architecture: Yuko Nagayama
Tobias Rehberger (Il Vento cafe）
This work took a traditional house facing the port and turned it into a cafe. The ceiling, floors, walls and
tables are covered in stripes, polka dots and camouflage patterns, transforming the entire interior into a
work of art.
17:00-18:00
By Teshima Ferry to Takamatsu Port
Tuesday 9 September 2014 / Japan
08:00
Takamatsu Port
Meeting point: the work by Shinji Omaki
08:12-09:02
Leave by Shikoku Ferry from Takamatsu Port
09:02
Arrival Miyanoura Port (Naoshima)
09:20
Leave Miyaura Port by Charter bus
Chichu Art Museum
3449-1 Naoshima, Kagawa 7613110 Japan, +81-(0)87-892-3755
Chichu Art Museum was constructed in 2004 as a site rethinking the relationship between nature and
people. Artworks by Claude Monet, James Turrell, and Walter De Maria are on permanent display in a
building designed by Tadao Ando. Taking form as artists and architect bounced ideas off each other, the
building in its entirety can be called a massive site-specific art work.
To ensure that the museum does not affect the beautiful scenery of Naoshima, the majority of the building
is located underground. Despite its positioning, it receives an abundance of natural light, changing the
appearance of the artworks and the ambience of the space itself with the passage of the days and the
seasons.
Lee Ufan Museum
1390 Azakuraura, Naoshima, Kagawa 7613110 Japan, +81-(0)87-892-3754 (Fukutake Foundation)
A museum resulting from collaboration between the internationally acclaimed artist Lee Ufan, presently
based mainly in Europe, and the architect Tadao Ando.
The Ando-designed semi-underground structure houses paintings and sculptures by Lee spanning a
period from the 1970s to the present day. Lee's works resonate with Ando's building, giving visitors an
impression of both stillness and dynamism. Positioned in isolation in a valley surrounded by mountains
and sea, the museum offers a harmony between nature, architecture, and art, where visitors will be
offered an opportunity to return to their original natures and to find time for quiet reflection in a society
overflowing with material goods.
Charter bus to lunch
House Projects, Ando Museum
736-2 Naoshima, Kagawa 7613110 Japan, +81-(0)87-892-3754
A Tadao Ando-designed inner space, framed by unadorned concrete walls, infuses this about 100-yearold traditional wooden house in Honmura with new life. Here, contrasting elements of past/present,
wood/concrete, and light/shadow overlap in a microcosm of Ando's architectural style.
14:00
Arrival Miyaura Port / Leave by Shikoku Ferry for Takamatsu Port
Walk to Hotel JR and to JR to Takamatsu Station.
16:10-17:03
Train Takamatsu to Okayama Station
17:49-21:06
Shinkansen Okayama Station (nozomi no. 48) to Tokyo (Station Shinagawa)
20:46
Bus to Hotel.
Tokyo
Ana Intercontinental, 1-12-33 Asaka Minato-Ku, Tokyo, 107-0052, Japan
Classic Room, non-smoking double with full buffet breakfast – 23,714 yen = € 169,32
Wednesday 10 September 2014 / Japan (Tokyo)
09:00
Walk from Hotel to next appointment.
10:00-11:30*
Mori Art Museum
53F Roppongi Hills Mori Tower, 6-10-1 Roppongi, Minato-ku, Tokyo, Japan, +81(0)3-5777-8600
Mami Kataoka (chief curator) [email protected]
Fumio Nanjo (director) Mori Art Museum
Meeting with Ken Kondo (Curator), [email protected]
In today's increasingly interconnected world we have the opportunity to be enriched by global currents of
history and culture and to enjoy diverse lifestyles as a result of active contact with different peoples and
ideas. The role of art in this environment is decisive, providing vital sources of inspiration for creativity and
innovation.
The Mori Art Museum has developed its own distinctive approach to art activities, embracing the concepts
of "contemporary" and "international" since its establishment. The Museum is committed to presenting a
wide range of exhibitions and public programs that feature cutting-edge visual arts, architecture, and
design in a global perspective.
The Mori Art Museum is positioned also as a center of contemporary Japanese and Asian art, able to
present Asian art trends in a global context with profound expertise concerning specific cultural systems
and structures.
The intention of the Mori Art Museum's continuing "Art + Life" principle is to realize an enriched society
where art relates to all aspects of life.
11:30
Walk to next appointment.
12:00-13:00*
21/21 Design Sight
9-7-6 Akasaka, Minato-ku, Tokyo, JAPAN
Contact: Ms Noriko Kawakami: [email protected]
Ms Misaki Inuzuka
Insight and a discerning eye are essential in design. 21_21 DESIGN SIGHT was born as a venue to
redirect our eyes to everyday things and events, and create various proposals and communicate
numerous discoveries from the design point of view. As a place where visitors can be exposed to the
pleasures of design and have new experiences filled with surprises, 21_21 DESIGN SIGHT focuses on
exhibitions and runs a diversified program that includes talks and workshops. It is a launch pad that
provides the vision (sight) to search for, discover, and make things indispensable to the times and design
as culture that enlivens our daily lives.
13:30-14:30
Lunch at 88ya.
15:00-16:30!Mail
The National Art Center Tokyo
7-22-2 Roppongi Minato-ku Tokyo 106-8558 Japan
Meeting with Yayoi Motohashi (Curator), +81-3-6812-9913, [email protected]
The National Art Center, Tokyo is the national government's fifth art institution to be organized under the
umbrella of the Independent Administrative Institution National Museum of Art, after The National Museum
of Modern Art, Tokyo, The National Museum of Modern Art, Kyoto, The National Museum of Western Art,
and The National Museum of Art, Osaka.
The National Art Center, Tokyo is a unique and innovative art exhibition facility: Instead of maintaining a
permanent collection, it makes the most of a total of 14,000 square meters of exhibition space, one of the
largest in Japan, and focuses on serving as a venue for various art exhibitions. The Center also promotes
outreach activities through its educational programs, and the Art Library serves to collect and disseminate
information related to art.
Located in Tokyo, an international city that attracts people, products, and information from all over Japan
as well as the rest of the world, the Center will provide people with opportunities to experience diverse
values and contribute to bringing forth a new culture based on the idea of mutual understanding and
symbiotic relationship.
Functions
１. Exhibiting
The Center presents a great variety of art expressions and offers fresh angles.
Artist associations with a national membership base are given opportunities to hold their annual
exhibitions.
The Center's curatorial staff generates special exhibitions that highlight the latest trend in art both in Japan
and abroad.
The Center serves as a venue for exhibitions co-organized with mass media companies and other art
institutions.
２. Collecting and Disseminating Information
The Center lays emphasis on collecting information in the following areas and makes it accessible
to the public.
Information about art exhibitions held within Japan.
A comprehensive collection of post-WWII Japanese exhibition catalogs.
Various materials related to modern and contemporary Japanese art.
３. Education and Outreach
The Center serves as a site of participation, interaction, and creativity.
Lectures, symposia, and gallery talks related to exhibitions will be organized.
Through artists' talks and workshops, the Center provides diverse audience with opportunities to
appreciate and discuss works of art.
Internship and volunteer programs provide opportunities for hands-on activities at the Center.
Information and materials related to educational programs in art museums will be collected.
17:30-19:00*
Taka Ishii Gallery
nd
5-17-1 2 F Roppongi Minato-ku Tokyo #106-0032
JAPAN, +81 (0) 3 5575 5004, [email protected]
Contact: Ms. Elisa Uematsu [email protected]
Meeting with Yutaka
show curated by Sterling Ruby
Wako Works of Arts*
Piramide Bldg. 3F, 6-6-9 Roppongi, Minato-ku, Tokyo 106-0032, Japan
+81-(0)3-6447-1820, [email protected]
Contact: Mr Kiyoshi Wako (owner) [email protected]
Established in 1992 in the Hatsudai area of Central Tokyo. Acquired a second exhibition space in 2002. In
the same year, started a program "from/to" for young Japanese artists. Newly established as a corporation
in 2006. Relocated to Roppongi in 2011. Kiyoshi Wako, Director & President
Ota Fine Arts*
Piramide Bldg. 3F, 6-6-9 Roppongi, Minatoku, Tokyo, 1060032 Japan
+81(0)3-6447-1123, [email protected]
Contact: Mr. Hidenori Ota (owner) [email protected]
Ota Fine Arts was established in 1994 in the Ebisu area in Tokyo. For 16 years the gallery has defined
itself as being a pioneer of Japanese contemporary art. Since its inception, Ota Fine Arts has promoted
various Japanese artists, including internationally acclaimed Yayoi Kusama.
In 2003, the gallery moved to Roppongi and later it has been located in the Tokyo bay area until early
2011. In February, 2011, the gallery returned to Roppongi and opened a new space. Since the renewal
opening of the gallery.
Ota Fine Arts has had even more variety of the artists and works.
Ranging from painting to video art and crafts, the gallery represents talented and unique artists with
different media. While Ota Fine Arts continues to support its represented artists, it also strives to provide
opportunities to up and coming talents.
Over the last two years, one of the main goals of Ota Fine Arts is to bring more regional character,
originality and commonality of the Asian cultural belt into the programmes. The gallery has had exhibitions
with Korean, Chinese and Iranian artists in the past year.
Ota Fine Arts strongly hopes these programmes will convey the new aspect of contemporary art today.
19:00
Metro Roppongi – 1 stop
19:30
Network reception at the residence of the ambassador of the Kingdom of the Netherlands, Mister Radinck
van Vollenhoven, 3-6-3 Shibakoen. Minato-ku, Tokyo 105-0011. +81 3 5776 5400
Doors open.
20:00
Start
Welcome by the ambassador H.E. Mr. Radinck Jan Van Vollenhoven
20:05
Introduction to the Orientation trip by Birgit Donker
20:10
Short introduction by BAM, Pro Helvetia & Danish Agency for Culture
21:00
Toast by Renilde Steeghs
Thursday 11 September 2014 / Japan (Tokyo)
10:30-15:00
Flight: KL 862 Tokyo-Narita - Amsterdam
1. Donker, Jacoba MRS
2. Steeghs, Renildis MRS (Vegetarian / but fish)
09:00
Leave hotel. Metro to MOT
10:00-11:30*
MOT – Museum of Contemporary Art of Tokyo
4-1-1 Miyoshi, Koto-ku, Tokyo 135-0022 Japan (wijk Kiyosumi-Shirakawa)
+81-3-5245-4111(General Information)
+81-3-5405-8686 (Hello Dial)
Contact: Yuko Hasegawa, chief curator: [email protected]
Museum in The Kiyosumi, Ryogoku area
Meeting with: Lisa (assistant to Yuko Hasegawa).
The Museum of Contemporary Art Tokyo, was opened in 1995 to systematically research, collect,
preserve and display contemporary art that has been created both in Japan and overseas since 1945.
Situated in the eastern part of Tokyo, which is also home to Ginza, Akihabara, Tokyo Sky Tree® and the
Ryogoku Kokugikan Sumo Hall, the area surrounding the museum retains some of the charm of old Edo,
and standing adjacent to Kiba Park, the large entranceway offers a beautiful view of the greenery.
The museum boasts three floors (4,000㎡) of galleries devoted to temporary exhibitions and two floors
(3,000㎡) for "MOT Collection" exhibitions, making it the largest modern/contemporary art museum in the
country. The temporary exhibition galleries are used to present exhibitions on a wide range of genres
centered around contemporary art, including architecture, fashion, design, etc. The "MOT
Collection"exhibition galleries present exhibitions of work from our collection of approximately 4,500, that
have been acquired either for their historical significance or because they are by young artists
representative of the current art scene, offering systematic introductions to postwar art history both at
home and abroad or arranged according to various themes. Many of the exhibitions take advantage of the
galleries' extremely high ceilings to show large-scale works while the Atrium, which is part of the collection
exhibition space, is the venue for the 'Atrium Project' in which spectacular installations are displayed over
the course of one year.
The museum contains numerous other facilities, such as the museum shop, which offers original items,
those connected with exhibitions and numerous books, etc., a library containing approximately 100,000
books on art-related subjects, a relaxing restaurant and a café, making it ideal for an entire day's outing.
11:30-12:30*
Tokyo Wonder Site
Meeting with director Mr. Yusaku Imamura, [email protected]
Tokyo Wonder Site is an art center dedicated to the generation and promotion of new art and culture from
the heart of Tokyo. While TWS Hongo supports and nurtures young talent in all fields in programs related
to the government-hosted "Tokyo Wonder Wall" exhibition of works chosen from among entries from the
general public, TWS Shibuya is a hub in a global cultural network of affiliated cultural facilities in Japan
and abroad, and at once a platform for both new talents and internationally active creators to exchange
and showcase their works. In addition, TWS Aoyama:Creator-in-Residence opened in 2006 as a venue for
creative individuals from all genres and nationalities to pursue their respective work in a shared process.
Through various joint programs, the three venues will continue their broad array of artistic activities in
order to provide creators with a stage for creative work.
Mission
- Support, nurture and promote emerging artists from Tokyo.
- Establish a platform in Tokyo to function as a hub for art and culture in Asia and the world.
- Support diverse activities of art and culture in Tokyo as vehicles of the city's vital energy.
- Function as place for pilot programs, experimental and research projects for new strategic culture
policy of Tokyo Metropolitan Government.
- Foster human resources engaged in cultural practices.
Tokyo Wonder Site hopes to see young talents from Tokyo blossom on the international stage and has
developed a series of stepwise, continuous programs tailored to career stage and experience including
shows, exhibitions and international fellowships.
13:00-14:30*
3331 Arts Chiyoda Centre
Visit & Lunch
6-11-14 Sotokanda Chiyoda-Ku Tokyo 101-0021
Contact: Mr. Hiroyuki Kimura, [email protected], +81 3 6803 2441
Ms Mami Odai (from Sapporo International Art Festival and experienced Artist in Residence organiser).
Based in the renovated Rensei Junior High School 3331 Arts Chiyoda creates a space in which leading
artists and creatives have the freedom to present their diverse expressions. 3331 brings together cutting
edge art with the familiar everyday.
The first floor gallery presents an exciting range of exhibitions highlighting 3331’s unique vision of the art
scene. 3331 aims to break the barrier of inaccessibility often associated with art museums and instead
create an art space which everyone can enter at ease, including a wide range of spaces which visitors
can enjoy for free. While walking throughout the arts centre you can sense the creative energy which
makes up 3331 through the diverse range of artists and creative practitioners based here.
3331 is an active space hosting a wide range of events and exhibitions and transmitting a new form
expression not only as a hub for Tokyo, but also acting as a hub which links Japan’s various regions and
that of wider Asia, with the objective of forming an international base for a new kind of art.
14:30
Walk to next stop true Ueno Park.
15:00-16:00*
SCAI the Bathhouse in Ueno
Contact: Mr. Masami Shiraishi (President) [email protected] & Koichiro Osaka (curator)
Kashiwayu-Ato 6-1-23 Yanaka, Taito-ku, Tokyo, +81.(0)3-3821-1144
In its previous life, SCAI The Bathhouse was just that: a bathhouse where the Japanese came to soak,
and it stayed that way for two full centuries. The current building, constructed in 1951, is an eyecatching
combination of old and new architectural design.
Although its interior has been renovated into a sleek, white walled contemporary art gallery, one can still
sense its past in a number of subtle details. The sudden curvature of the entrance hall once served the
purpose of hiding bathers from outside view, and the wooden lockers in which patrons stored their geta
remain.
The gallery’s layout as a smaller antechamber opening up into the larger exhibition room allows for both
intimate pieces and larger installations to find comfortable footing. It’s not uncommon to find that the
dimensions of the space have been rearranged to accommodate installations of varying complexity. Since
its opening in 1993, this space has seen exhibitions by internationally renowned artists such as Genpei
Akasegawa, Louise Bourgeois, Anish Kapoor, Tatsuo Miyajima, Kohei Nawa, Julian Opie and Tadanori
Yokoo. The skylights in SCAI’s eight-meter-high ceiling lend this space a refreshing sense of airiness that
other galleries rarely have: where they once filtered afternoon light onto Yanaka residents enjoying an
afternoon soak, they now free this gallery’s exhibitions from total dependence on artificial lighting.
SCAI THE BATHHOUSE is a contemporary art gallery known for introducing Japan's avant-garde artists
to the world as well as for helping exceptional artists from abroad to establish a presence in Japan. SCAI
has a strong track-record of large-scale exhibitions presenting artists such as Lee Ufan and Tadanori
Yokoo who led the genesis of Japanese contemporary art, and Toshikatsu Endo, Tatsuo Miyajima, and
Mariko Mori who brought Japanese contemporary art to the world's attention in the latter half of the '80s
and the '90s by showing their works in international exhibitions. Through their association with SCAI,
international artists such as Anish Kapoor and Julian Opie have produced new series of works inspired by
Japanese traditional culture and crafts.
SCAI also works to discover and promote young artists. Recent successes include stars of international
biennales and of well-acclaimed exhibitions at major art museums, such as Kohei Nawa, Nobuko
Tsuchiya, Toru Kamiya, Katsuhiro Saiki, Jeppe Hein, Dzine, and Brian Alfred.
In addition to gallery exhibitions, SCAI has also been responsible for numerous site-specific projects,
including public art by Tatsuo Miyajima and Louise Bourgeois at Roppongi Hills, and Julian Opie's
commissioned work at Omotesando Hills.
SCAI THE BATHHOUSE opened in 1993 with the completion of the renovation of Kashiwayu, a venerable
public bath with a 200-year history. The outside of the bathhouse possesses an elegant atmosphere, with
its tiled roof and towering chimney. Take one step inside and you find yourself in a very unique exhibition
area, a neutral space with white walls, a concrete floor and natural light descending from the high ceiling.
Located in the traditional shitamachi (downtown) Yanaka district, SCAI THE BATHHOUSE lies in middle
of an art zone, conveniently close to Ueno where many museums and art universities can be found. The
gallery is a six-minute walk from the South Exit of JR Yamanote Nippori Station, and a seven-minute walk
from Nezu Station on the Chiyoda Line.
16:30
Walk to next stop (15 min.).
17:00-18:00*
HAGISO
Contact: Pinpin Co, [email protected]
3 Chome – 10-15 Yanaka, Taito-ku, +81. 0 3 - 5 8 3 2 - 9 8 0 8
(multifunctioneel gebouw met galerie, atelier, cafe, etc)
5 min. from North Exit of Nippori Sta. (JR Line) or No.2 Exit of Sendagi Sta. (Tokyo Metro Chiyoda Line.)
Exhibition: Akira Fujimoto
18:00*
Diner at HAGISO
MAPS (Yokohama)
INFO YOKOHAMA TRIENNALE 2014
Artistic Director: MORIMURA Yasumasa
Biography
Born 1951 in Osaka, where he continues to live and work.
Completed undergraduate and graduate degrees at Kyoto City University of Arts.
He made his debut in 1985 with self-portrait works based on his personal interpretation of Vincent Van
Gogh. He has since produced a number of self-portraits in diligently staged photography and video works,
identifying with art-historical images, famous film actresses, and iconic figures from the 20th century.
In 1988, Morimura was invited to take part in the Aperto section of the 43rd Venice Biennale, and over the
years, he has participated in countless important exhibitions.
Selected solo exhibitions in Japan include, “The Sickness unto Beauty: Self-portrait as Actress”
(Yokohama Museum of Art, 1996), “Self-Portrait as Art History” (Museum of Contemporary Art, Tokyo, and
two other venues, 1998), Morimura Self-Portraits: An Inner Dialogue with Frida Kahlo (Hara Museum of
Contemporary Art, Tokyo, 2001), “Bi [bi:]-Class, Be Quiet” (Contemporary Art Museum, Kumamoto, and
Yokohama Museum of Art, 2007), and “A Requiem: Art on Top of the Battlefield” (Tokyo Metropolitan
Museum of Photography, and three other venues, 2010 and 2011). His most recent solo exhibitions
overseas is “Requiem for the XX Century: Twilight of the Turbulent Gods” (La Galleria di Piazza San
Marco, Venice, and two other venues, 2007 and 2008), but has previously held shows in major museums
in the United States, France, Spain, Australia, Thailand, and India.
His works are part of major national and public collections in Japan and also overseas, including Museo
Nacional Centro de Arte Reina Sofia, Madrid, Museum of Contemporary Art, Chicago, Museum of Fine
Art, Boston, and Queensland Art Gallery, Brisbane. He is a prolific writer, and author of many Japanese
titled books. He has received a number of awards for his achievements, including Kyoto Prefecture
Culture Prize, Merits Prize (2006), Minister of Education, Culture, Sports, Science and Technology’s Art
Encouragement Prize of Fine Arts (2007), Photographic Society of Japan Awards, Lifetime Achievement
Award (2011), and also one of the most prestigious awards in the field of art and science, Order of Purple
Ribbon, Shiju Hosho (2011). He was also recently commended for a Person of Cultural Merit, Bunka
Korosha, by Kyoto City (2013).
Voyage through the sea of oblivion
The title of the exhibition in 2014, “ART Fahrenheit 451,” is needless to say derived from Ray Bradbury’s
science fiction novel, Fahrenheit 451. It is a story about burning books and is set in a near-future society
where people are forbidden to possess and read books.
With its successful futurist rendering of our contemporary society, it is hard to believe that this literary
classic was written in 1953. But what is even more striking is that the novel evokes the significance of
“forgetting.” In the story’s latter half, a group of men appear to claim themselves as “being books”. Each of
them have picked up a book and have memorized its entire text. In a resistance against book burning,
these people attempt to transform books from material into immaterial memory and secretly preserve only
the essence of the books in their mind.
The “people who are books” are exiles from a society that bans books and can also be thought of as
“absent people” because their existence and actions of turning books into invisible memories are absent
from the visible working of society. In other words, they have become “forgotten people” whose presence
has been erased. Bradbury ironically makes a point in Fahrenheit 451 that it is none other than
the“forgotten people” that preserve the immense memories of books.
“Forgetting” is memory in the form of a black hole absorbing memories that could not be held on to.
Human beings have discarded (=forgotten) an unimaginable quantity of information (and things) up until
this moment. A far greater quantity of information (and things) must have been discarded before even
being held in memory. Both the deceased and the yet-to-be-born or “memory in the future” may perhaps
also be considered to be “the forgotten” as memories that are not memorized, in addition to memories that
have probably been erased and banned by censorship and authorities. Things that do not speak, things
we must not speak about, and things we are not able to speak about. Things we do not want to see, things
we must not see, and things we can barely see. Trivial or useless things. Let us think about such
innumerable things that fell out of the category of being worthy of being memorized, and let us take this to
heart.
The world (universe) is mostly filled with the black hole (or the vast and deep sea ) of the forgotten. Compared
with this, the world of memory is only a small island in the vast “sea of oblivion.”
Let us shift our position from focusing on “memory” to focusing on the “forgotten” in order to see the world.
Then, society, as well as every aspect of our lives, may appear to be utterly different from what we had
seen before, and urge us to render this experience, this revelation, and/or this irresistible impulse into a
form of expression. Certainly, this attitude toward art is possible, and it could be shared with many people.
The word “oblivion” in the exhibition title of Yokohama Triennale 2014 is meant to observe such an
attitude. As such, it will have nothing to do with unearthing forgotten history (art history) or sympathizing
with nostalgic sentiments.
Summary of Exhibition
Embarking on a Voyage into the Sea of Oblivion
Haven’ t we left behind something that is fundamentally important? Have we moved on without realizing it,
or simply, left it behind, while knowing it all along? There are artists and artistic expressions that respond
acutely to this realm of oblivion. Yokohama Triennale 2014 will be a “voyage into the sea of oblivion.” It will
make us recall things that have been inadvertently lost from our lives, things that have been perpetually
forgotten by human beings, and particular things that have been lost in the contemporary age.
A Voyage of Silence and Whispers
Things that are quiet fail to be recorded, and are therefore, forgotten. Whispers remain unheard unless we
pay close attention. This is a voyage to explore the richness of the vast world of untold information.
A Voyage of Fahrenheit 451
Thought control, a process in which things are forcibly obliterated, is a tragedy that has recurred
throughout human history. This is a voyage to reflect on this phenomenon and to put it into perspective.
A Voyage into the Useless
Things that are not useful are discarded and forgotten. But there is a splendid means of saving them: art.
This is a voyage that takes us to the essence of art.
A Voyage to Meet the Enfants Terribles
People discard childhood memories in order to become adults. But some are so enthralled by their
memories that they do not grow up. Artists are the epitome of this type. They are children who have failed
to grow up. This is a voyage that takes us back to when we were first born, to a place that we left behind
when we became adults.
Drifting into a Sea of Oblivion
The voyagers (viewers) will come to a vast sea of oblivion at the end of their journey. The world that
extends beyond the sea is so vast that memories and information cannot match its scale. The voyagers
will finally drift into this sea of oblivion. And each of them will search for a destination and set out on a
different voyage of their own.
Things that do not speak, things we must not speak about, and things we are unable to speak about.
Things we do not see and things we must not see. Trivial matters and useless actions.
This is a voyage that focuses our attentions on the innumerable things that have been deemed worthless
in the realm of memory. It is a voyage to cultivate our gazes.
Yokohama Triennale 2014 aims to present a story of such a voyage through the mind.
Friday 12 September 2014 / Japan (Yokohama)
08:30-10:00*
Leave hotel. By train to Yokohama.
10:00*
Arrival Yokohama Museum of Art
3-4-1,MINATOMIRAI,NISHI-KU,YOKOHAMA 220-0012 JAPAN
Contact Ms. Hoashi Aki (Managing director Yokohama Triennale) [email protected]
+81.(0)45.663.7232
Ms. Hoashi Aki (Managing director Yokohama Triennale) [email protected] +81.(0)45.663.7232
Mr. Taro Amano (curator in Chief Yokohama Museum of Art) [email protected] +81.(0)45.221.0368
Mr. Tomoh Kashiwagi (curator in Chief) [email protected] +81.(0)45.221.0369
10:00-10:15*
Arrival and welcome at Yokohama Museum of Art by Eriko Osaka, Director of Yokohama Museum of Art /
Chairperson, Organizing Committee for Yokohama Triennale
10:15-10:30*
Brief introduction and orientation by Taro Amano, Head of Curatorial Team Yokohama Triennale 2014.
10:30-12:00*
View works at Yokohama Museum of Art
12:00-13:30*
Shinko Pier Exhibition Hall (by foot 20 min.)
2-5 Shinko, Naka-ku, Yokohama
13:30-13:45*
Brief intro of the exhibit at Shinko Pier by Sumi Hayashi, Curator
13:45-15:00*
View works at Shinko Pier
15:00-15:15*
Walk to BankART NYK by foot
3-9 Kaigan-dori, Naka-ku, Yokohama, 231-0002, +82.45-663.2812
Opened in January 2005. Managed by NPO BankART1929.
BankART Studio is a big open storage space that is used as an alternative space with a hall,
galleries, studios, café and other functions to support the creation and support of cutting edge arts
and culture. Programs include large-scale solo exhibitions of contemporary artists and artist-inresidency programs among others. The organization also has regular programs to exchange ar tists
between Taiwan and Japan, as well as Korea and Japan.
15:15-16:00*
View works at BankART NYK
16:00-16:30*
Move to Koganecho Bazaar
16:30-18:00*
Koganecho Bazaar
18:00-18:30*
Move to Yokohama Creativecity Center (YCC)
Established in May 2009. Managed by Yokohama Arts Foundation.
The Yokohama Creativecity Center converted the former Yokohama Branch building of Dai -Ichi
Bank, a historical architectural building, into an art and community center that promotes the Creative
City Policy of Yokohama, working on projects to attract artists and creators to Yokohama, working
with them in building communities and matching their ideas with local business. Grant programs and
other support programs are made available to promote these projects.
18:30-19:30*
View YCC
19:30*
Finish (closest station ‘Bashamichi station’)
20:30
Option visit Blum & Poe Gallery.
Saturday 13 September 2014 / Japan (Tokyo)
10:30-15:00
Flight: 855 : Tokyo Narita-Amsterdam
1. Enckell Julliard, Julie MRS (Vegetarian / but fish)
20:55-22:20
Flight: KL 1139: Amsterdam - Geneva
1. Enckell Julliard, Julie MRS (Vegetarian / but fish)
09:30
Leave hotel by bus
10:00-11:30*
Tokyo Metropolitan Museum of Photography
Yebisu Garden Place, 1-13-3 Mita Meguro-ku Tokyo, Tel.03-3280-0099
Meeting with Ms. Harumi Niwa, [email protected] (chief of curatorial section)
Contact Ms. Michiko Kasahara (Chief curator), [email protected]
There will be three exhibitions on that time in the museum, "Fiona Tan", "Okamura Akihiko" and "Canon's
New Cosmos" exhibitions.
11:30*
Leave by bus for Maebashi.
13:30*
Lunch at the River Side Fish Place
15:00*
Hara Museum ARC
2855-1 Kanai, Shibukawa, Gumma Prefecture 77-0027, Japan, +81.279.24.6585, [email protected]
A museum of contemporary art designed by the architect Arata Isozaki, nestled amid an expanse of
verdure. Hara Museum ARC is an art museum that holds exhibitions with a focus on excellent
contemporary art dating from the 1950s onwards. Established in 1988 as an offshoot of the Hara Museum
of Contemporary Art in the Shinagawa area of Tokyo, this museum is located at the Ikaho Green Bokujo
farm, at the foot of Mt. Haruna-san. Perched atop a small hill, from which one can see a range of
mountains carpeted in green, this single-storied wooden building was designed by the architect Arata
Isozaki. In an innovative piece of design, the 13 m high atrium and skylights that let in natural light create
a spacious atmosphere. The permanent exhibits are focused on the approximately 850 items of
contemporary art from both within Japan and overseas held in the museum's collection, including
paintings, woodblock prints, photographs, and sculptures. In addition, it holds workshops and temporary
exhibitions in its endeavors to pursue the potential of a variety of forms of artistic expression.
There are also outdoor exhibits that shouldn't be missed, including Kokoro, a huge heart made from red
glass, and a pavilion by Olafur Eliasson that enables you to see the phenomenon of rainbows reflected in
the sunlight. The onsite café serves pasta, sandwiches, and home-made cakes made with milk from the
farm, so you can enjoy a leisurely meal after your cultural pursuits. The museum shop offers a diverse
range of exclusive goods and souvenirs.
17:00*
Arts Maebashi
Meeting with Fumihiko Sumitomo (Director)
5-1-16 Chiyodamachi, Maebashi-shi, Gunma-ken 371-0022, (+81)27-230-1144,
[email protected]
A facility that supports and promotes art and cultural activity, we believe that the act of expression and the
act of understanding each other is important to all people. Together, we will think about what art and
culture will give birth to in this region, and work toward making Arts Maebashi an essential place for
everyone. To accomplish this, we have established three activity concepts.
To be creative
The expression of ideas by individuals is becoming increasingly necessary in a contemporary society in
which people with different ideas must coexist. We believe that creatively expressing a unique perception
and way of thinking different from others is not an acknowledgement of only one value but will lead to the
acknowledgement of a diversity of values.
To share
Art and culture concerns everyone. Gradually over time, when many people are involved, the appeal of art
and culture is transformed into something irreplaceable. From young to old, both art lovers and those who
are intimidated by it, everyone can participate in building our cultural future.
To facilitate dialogues
We hope this facility will become a place where people will encounter each other embracing their
individuality to create a dialogue. Many new ideas will be born from the dialogues that will surely give them
strength to take positive steps forward.
Art and culture is not something created by an artist or a small group of insiders, but rather, something
created by many people as they enjoy it, talk about it, and share it. As such, we hope for your sincerest
support and cooperation as we carry out our activities.
Arts Maebashi is based in the heart of Maebashi City, Gunma Prefecture, a region surrounded by Mount
Akagi with its magnificent foothills and the flow of the rich Tonegawa River. The birthplace of Hagiwara
Sakutaro, a giant in contemporary colloquial poetry, even now the area remains a peaceful, green
landscape though not far from Tokyo. At a distance from a society that prioritizes efficiency and reason, it
is an ideal location for creative endeavors.
Several institutions are located near us including The Museum of Modern Art, Gunma; the Takasaki
Museum of Art; its sister museum, the Takasaki Tower Museum of Art, and the Hara Museum ARC. As we
collaborate with these institutions, we hope to become a different kind of creative focal point.
Art and culture fulfills its role as it accumulates and is transmitted over a long period of time. The process
helps us learn how we are living in the present. That is why, in this institution, I wanted share with
everyone what both people past and present felt and attempted to express. And, I also intend to create a
place where those who hope to know this can interact with each other. I believe this will make Arts
Maebashi an important place for many people, and hope this will become a place that everyone supports.
Furthermore, we, as a society, also fulfill important roles as supporters of artists with amazing abilities to
manifest and express the workings of those sensations we cannot see. Although we cannot all be artists, I
hope to increase as much as possible opportunities for everyone, from children to adults, to come into
contact with this creative power. To achieve this, it is not enough to simply hold exhibitions; we need to
convey the appeal of art through various programs.
I believe that as Arts Maebashi shines light on cultural resources, it will ultimately lead to regional vitality.
From the dialogue that occurs in this place, surely new ideas will be born. They will step beyond the
framework of art and culture, and, like small, expanding ripples, I believe they will create our future.
We hope to make this kind of effort in order to remain a creative base for the region in the decades and
centuries to come. We thank you deeply for your support and advice going forward.
SUMITOMO Fumihiko (Director).
2.
Misako & Rosen Gallery
Kita-otsuka, 3-27-6, Toshima-ku, Tokyo, 170-0004, Japan, +81.3-6276-1452
Jeffrey Rosen: [email protected]
Sunday 14 September 2014 / Japan - NL
11:40*
Ane Bülow
Depart Flight SK 984 at Tokyo Narita (NRT - Terminal 1)
13:50-18:30
Flight: KL 864: Tokyo Narita-Amsterdam
1.
2.
3.
4.
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7.
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13.
Albrethsen, Pernille MRS
de Ridder, Johannes MR.
Eneman, Lieze MRS (Vegetarian / but fish)
Galyaeva, Ksenia MRS
Jongma, Juliètte MRS
Kinnaer, Lissa MRS (Vegetarian / but fish)
Knijn, Hubertus MR
Møller, Julie MRS (Vegetarian / but fish)
Ruffo, Nicola MR
Schönholzer Borer, Annette MRS (business class)
Sütö, Wilhelmina MRS
Teschmacher, Winnifred MRS (Vegetarian / but fish)
Vermeulen, Pieter MR
17:55-19:15
Depart: Amsterdam - Zürich
Flight: KL 1963
1. Ruffo, Nicola MR
20:55-22:20
Depart: Amsterdam - Copenhagen
Flight: KL 1139
1. Albrethsen, Pernille MRS
2. Møller, Julie MRS (Vegetarian / but fish)