Tsujimura Kazuko and the Body Object
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Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung -
Against Forgetting: Three Generations of Artists in Japan in Dialogue About the Legacies of World War II 忘却に抗う−−第 二次世界大戦の遺物にとりくむ三世代の日本人芸術家
Volume 9 | Issue 30 | Number 1 | Article ID 3573 | Jul 20, 2011 The Asia-Pacific Journal | Japan Focus Against Forgetting: Three Generations of Artists in Japan in Dialogue about the Legacies of World War II 忘却に抗う−−第 二次世界大戦の遺物にとりくむ三世代の日本人芸術家 Laura Hein, Rebecca Jennison Against Forgetting: Threeglobally is not surprising.2 They show us how to Generations of Artists in Japan in convey the complex and sometimes messy Dialogue about the Legacies of individuality of actors. When we appreciate the ways that people are simultaneously well- World War II meaning, bigoted, intelligent, obtuse, flawed, internally contradictory, and/or troubled human Rebecca Jennison and Laura Hein beings, it is easier to recognize the individuality Although international consensus has it that of perpetrators, victims, and bystanders, while the Japanese people are unusually reluctant to still acknowledging the actions that divided face their own wartime past, this generalization them as groups. Artistic work also directs our has never been entirely true, as regular readers attention to the processes of imagination and to of The Asia Pacific Journal already know. Like affective linking, explaining why some acts of human beings everywhere, since 1945 Japanese historical imagination feel so much more have debated the lessons of war and disagreed satisfying than do others. Finally, identifying about its meaning among themselves. And, these contradictory qualities helps indicate a also like people everywhere, many Japanese standpoint that can make reconciliation regret both official policies and widespread possible. individual behaviors of the past. They not only Of course, the style in which people imagine desire reconciliation with Koreans, Chinese, the past is not the same for everyone. -
Art and Human Rights: Contemporary Asian Contexts Caroline Turner and Jen Webb
Art and Human Rights: Contemporary Asian Contexts Caroline Turner and Jen Webb Select Bibliography on Asian Art and Global Art Ades, Dawn, Benton, Tim, Elliott, David and Boyd Whyte, Ian (eds). Art and Power: Europe under the Dictators 1930-45 (London:Hayward Gallery, 1996). Antoinette, Michelle. Reworlding Art History: Encounters with Contemporary Southeast Asian Art after 1990 (Amsterdam & New York:Brill Academic Publishers, 2015). Antoinette, Michelle and Turner, Caroline (eds). Contemporary Asian Art and Exhibitions: Connectivities and World-Making (Canberra: ANU Press, 2014). Antoinette, Michelle. 'Different Visions: Contemporary Malaysian art and exhibition in the 1990s and beyond', revised and republished in Yong, Beverly & Nur Hanim Khairuddin (eds). Narratives in Malaysian Art Volume II: Reactions - New Critical Strategies, (Kuala Lumpur: RogueArt, 2013). Antoinette, Michelle. 'Intimate Pasts Resurrected and Released: Sex, death, and faith in the art of Jose Legaspi', Biography - an interdisciplinary quarterly, vol. 31, no. 1, 2008, pp. 133-160. Antoinette, Michelle. ‘The Art of Race: Rethinking Malaysian Identity Through the Art of Wong Hoy Cheong’, in Goh, Daniel P. S., Gabrielpillai, Matilda, Holden, Philip and Khoo, Gaik Cheng (eds). Race and Multiculturalism in Malaysia and Singapore (London: Routledge, 2009) pp.191-212. Asia Art Archive & Art Map Ltd. ‘All You Want To Know About International Art Biennials’, http://www.aaa.org.hk/onlineprojects/bitri/en/didyouknow.aspx#fn1 Asia-Pacific Triennial. Catalogues of the First, Second, Third, Fourth, Fifth, Sixth, Seventh and Eighth Asia-Pacific Triennial of Contemporary Art, (Brisbane: Queensland Art Gallery, 1993–2015). Asia-Pacific Triennial. http://www.apt3.net (Third APT). Asia Research Institute & National University of Singapore. -
1 Certain Latitudes Yong Soon Min Five Sites, Some 15 Flights and Major Latitudinal (And Longitudinal) Shifts. Beginning At
Certain Latitudes Yong Soon Min Five sites, some 15 flights and major latitudinal (and longitudinal) shifts. Beginning at the Tropic of Capricorn with the Korean-dominated garment districts of Bom Retiro and Bras in São Paulo; north to the 43rd parallel Soviet- planned city of Almaty nestled beneath the picturesque snowcapped Tien Shan mountains; below the 35th parallel to the bustling Korean business-lined alleys of Osaka under the din of a train line; back on the 43rd parallel to the lively city of Yanji with ubiquitous colorful, bilingual signage; and last but not least at the 34th parallel, driving through the sprawling multi-ethnic streets of Koreatown of Los Angeles. From a bountiful prism of images, these were some of the distilled sights/sites recorded by a research team consisting of myself as curator, an anthropologist, a filmmaker and a photographer-assistant. (Refer to Soo Young Chin's essay for why these five sites were selected and their socio-historic and demographic information. Additionally, a diasporic timeline runs throughout the catalog that tracks the significant events in the histories of the five sites as well as of North and South Korea. [For simplicity, I refer to the Democratic People's Republic of Korea as North Korea and the Republic of Korea as South Korea.] The catalog also includes writings by contributors from each of these five sites.) Our whirlwind research travel was undeniably exhilarating and exhausting. The greatest challenge in such feverish border crossings is the inevitable challenges of linguistic and cultural translations. Frequently, since I have only English fluency, at each site I needed at least two sets of translators--one for Portuguese to Korean and another for Korean to English; the same would be the case with Russian to Korean to English or from Japanese to Korean to English. -
Yoshiko Shimada
Yoshiko Shimada 1959 Born in Tokyo 1982 Graduated from Scripps College, Ca. U.S.A. B.A. in Humanities 1994 Residency at Künstlerhaus Bethanien, Berlin 1995 Recipient of Berlin City Women Artist Program Award Selected Group Exhibitions 1998-99 Recipient of Asian Cultural Council grant, Residency 1995 Age of Anxiety, Powerplant, Toronto, Canada at P.S.1, New York 1996 Gender, beyond memories, Tokyo Metropolitan Museum of 2006 Recipient of Danish Arts Council grant DIVA. Residency in Photography, Tokyo Copenhagen 1997 Lord of the Rim-in herself, for herself, Hsing-chong Culture Center, 2006-07 Recipient of API Senior Fellowship grant. Residency and Taiwan research in Manila, Chiang Mai, Yogyakarta (Indonesia) Flexible Co-existence, Art Tower Mito, Mito 2008-2009 Recipient of Danish Art Council grant and Scandinavia-Japan 1999 Windows-inside, outside, Gwangju City Art Museum, Sasakawa Foundation Gwangju, Korea 2008-2010 Recipient of British Council PM2 award, residency in London 2000 Dark Mirrors from Japan, De Appel Foundation, Amsterdam and Kyoto Yume no Ato, Haus am Waldsee Berlin, Kunsthalle Baden-Baden 2001 Sex and Consumerism, Brighton University, Aberystwyth Art Centre Selected Solo Exhibitions and others. 1995 Ota Fine Arts, Tokyo (also 96,98,2002) Spirits, workshops and theater performance with Theatreworks, Kunstlerhaus Bethanien, Berlin Singapore 1996 Keio University Art Center, Tokyo 2002 There, Gwangju Biennale project 2, Gwangju, Korea East Asian 1997 Hiraya Gallery, Manila Women and Herstories, Seoul Women's Center, Seoul, Korea John Batten Gallery, Hong Kong Attitude 2002, Kumamoto City, Museum of Contemporary Art, Divide and Rule, A Space Gallery, Toronto Kumamoto 1999 Asia/Pacific Studies Institute, New York University, New York 2003 City-net Asia, Seoul City Art Museum, Seoul 2000 Kyoto Seika University Gallery, Kyoto 2004 Borderline Cases, A.R.T. -
Det Queera Japan: Genusföreställningar Och Normbrytande Konst I Det Samtida Japan
Södertörns högskola Konstvetenskap Det queera Japan: Genusföreställningar och normbrytande konst i det samtida Japan Orrit Stahlénius C - Uppsats, Mars 2007 Handledare: Magdalena Holdar Innehåll: Bakgrund 3 Syfte och frågeställning 5 Metod och teoretisk utgångspunkt 6 Judith Butler och queerteori 6 Ståndpunktsfeminism 8 Material och avgränsning 10 Forskningsläge 11 Disposition 13 1. Historik 13 2. Könsroller 15 2.1 Takarazuka 16 2.2 Att välja en alternativ livsstil 17 2.3 Kabuki 19 3. Vems Mimesis? 22 3.1 Yasumasa Morimura 22 3.2 Myself as a Stage 24 3.3 The Power to Dream 25 3.4 En inre dialog 27 4. Identitet 30 4.1 Made in Occupied Japan 30 Avslutande diskussion 36 Sammanfattning 39 Litteratur 41 Internetkällor 42 Muntliga källor 43 Bildlista 43 2 Bakgrund Identitetsberättelsens drivkraft är behovet att skapa sammanhang och samstämmighet mellan den individuella identiteten och omvärlden. Individen ”förhandlar” om utrymme i den sociala gemenskapen.1 Japan har ofta kallats för en misslyckad modernisering i det avseendet att det framstår som en ofärdig blandning mellan det för-moderna och det hypermoderna.2 Vi skulle kunna kalla Japan för en hybrid. Flera århundraden av isolering mot omvärlden följt av en stark vilja att anpassa sig till den europeiska upplysningstiden har gjort Japan till en av de starkaste världsekonomierna i dagsläget. Denna snabba omställning från ett strängt patriarkalt och hierarkiskt styrt land till ett mer demokratiskt och jämlikt samhälle har varit en tid av kompromisser och motgångar, och än idag präglas landet av tydliga könsroller. Ett exempel hittar vi i språkbruket; av kvinnor krävs ett mer formellt och artigt sätt att uttrycka sig än av män, trots att det kan handla om samma situationer.3 För den som är medveten om dessa mönster och som upplever dem som repressiva, söker man nya former för att uttrycka och förstå sin identitet. -
Printmaking As an Expanding Field in Contemporary Art Practice
Printmaking as an Expanding Field in Contemporary Art Practice: A Case Study of Japan, Australia and Thailand Marjorie Anne Kirker Dip.F.A. (Hons), University of Auckland; M.A. Art History, Courtauld Institute of Art, London Doctor of Philosophy Submission for Final Examination Creative Industries Faculty Department of Visual Arts Queensland University of Technology 2009 1 Statement of original authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person, except where due reference is made. Marjorie Anne Kirker Signature: Date: 2 TABLE OF CONTENTS Acknowledgments .......................................................................................................... 6 Abstract ........................................................................................................................... 7 Chapter 1 THE PROBLEM AND ITS CONTEXT .............................................................. 10 1.1 The Research Problem and Its Significance ............................................................. 10 1.2 Key Research Questions to Be Addressed ................................................................ 15 1.3 Objectives of the Research ...................................................................................... 16 Chapter 2 LITERATURE INFORMING RESEARCH PROBLEM .................................... -
N.Paradoxa Online Issue 13, Sept 2000
n.paradoxa online, issue 13 September 2000 Editor: Katy Deepwell n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 13, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue13.pdf September 2000, republished in this form:January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 2 List of Contents Defining Experiences: Feminist Exhibitions in the 1990s 4 In September 2000, n.paradoxa asked a number of artists, critics and curators for a short quote or statement in response to the questions below: What is your most memorable experience of a feminist/ women's art exhibition in the past 10 years and why? Did it challenge or change your understanding of feminism? Responses from Yoshiko Shimada, Irina Aktuganova, Lynn Hershman, -
Feminist Exhibitions in the 1990. in September 2000 N
n.paradoxa online, issue 13 September 2000 Editor: Katy Deepwell n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 13, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue13.pdf September 2000, republished in this form:January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 2 List of Contents Defining Experiences: Feminist Exhibitions in the 1990s 4 In September 2000, n.paradoxa asked a number of artists, critics and curators for a short quote or statement in response to the questions below: What is your most memorable experience of a feminist/ women's art exhibition in the past 10 years and why? Did it challenge or change your understanding of feminism? Responses from Yoshiko Shimada, Irina Aktuganova, Lynn Hershman, -
ISBN: 978-4-9909155-0-6 Performance Studies International
ISBN: 978-4-9909155-0-6 Performance Studies international Fluid States 2015 Tohoku, Japan Beyond Contamination: Corporeality, Spirituality, and Pilgrimage in Northern Japan Select conference proceedings Beyond Contamination: Corporeality, Spirituality, and Pilgrimage in Northern Japan 28 August 2015 (Pre-event, trip to Mt Osore), 29 August -1 September, 2015, Aomori, Japan. Host organizations: Keio University Art Centre Aomori Museum of Art 1 Editor: Peter Eckersall Editorial Board: Hayato Kosuge/ Takashi Morishita / Yu Homma / Katherine Mezur / Peter Eckersall / Kim Kyueun/ Rina Otani Copyright © 2016 by the Keio University Art Center(KUAC). Permission to make digital or hard copies of portions of this work for personal or classroom use is granted without fee provided that the copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than KUAC must be honored. Abstracting with credit is permitted. Published by 慶應義塾⼤学アート・センター 108-8345 東京都港区三⽥ 2-15-45 電話 03-5427-1621 Fax 03-5427-1620 Keio University Art Center 2-15-45, Mita, Minato-ku, Tokyo, 108-8345, Japan Tel. +81-(0)3-5427-1621 Fax. +81-(0)3-5427-1620 Published on 25 July 2016 ISBN 978-4-9909155-0-6 2 Preface PSi Fluid States 2015 Tohoku, Japan was held in Aomori from 28 August to 1 September 2015. The title of the conference was: ’Beyond Contamination: Corporeality, Spirituality, and Pilgrimage in Northern Japan’. Excerpts from the Call for Papers (following) elaborate on the conferendce themes. -
List of Activities 1996-2004
ALFP List of Activities 1996-2004 1996 Development and Culture October 3, 1996-November 29, 1996 Ignas Kleden (Indonesia) Wan A. Manan (Malaysia) Arnold M. Azurin (Philippines) Kwok Kian-Woon (Singapore) Kasian Tejapira (Thailand) Public Symposium: Intellectual Concerns and Critiques in Southeast Asia Workshops: Presentations by the Fellows: "Cultural Confluence: The Case of the Philippines" by Arnold M. Azurin "Representing Globalized Thainess: Semi-Colonial, Hi-Tech, and Wanthong" by Kasian Tejapira "Quality of Life" by Wan A. Manan "Humanization of Modernity" by Kwok Kian-Woon "The Concept of Culture of the New Order Regime in Indonesia" by Ignas Kleden Resource Seminars: "Development from the Collapse of a Culture: The Case of Georgia" by Leonard Joy (United Nations Development Programme) "Cultural Nationalism and Nihonjinron” by Kosaku Yoshino (University of Tokyo) "The History of Japanese Intellectuals” by Takeshi Ishida (University of Tokyo) “Restructuring the Social Sciences” and “An Analysis of Globalization” by Kinhide Mushakoji (Meiji Gakuin University) “A New Value Orientation: An Alternative Evaluation of Developmentalism” by Surichai Wun’Gaeo (Chulalongkorn University) “Postwar Japan: The Culture of a Society ‘In-Between’” by Tamotsu Aoki (University of Tokyo) “U.S. Strategic Policy toward Southeast Asia and Japan’s Position in Asia” by Takashi Shiraishi (Kyoto University) Retreat (in Shimoda): Issues Discussed: · Development and culture at the expense of human rights? · The unity of ethnicity and nationhood · Victims of -
Yutaka Matsuzawa Co-Curated by Alan Longino and Reiko Tomii Originated by Yale Union, Portland, Oregon
720 N. Highland Ave., Los Angeles, CA 90038 | Tel. 323 450 9409 | [email protected] Yutaka Matsuzawa Co-curated by Alan Longino and Reiko Tomii Originated by Yale Union, Portland, Oregon Yutaka Matsuzawa through the lens of Mitsutoshi Hanaga September 7 – October 5, 2019 Opening reception: Saturday, September 7, 5:00 – 8:00pm Nonaka-Hill is pleased to host an exhibition by Yutaka Matsuzawa (b. 1922; d. 2006, Shimo Suwa, Japan). Known as one of the leading Conceptual artists in Japan, Matsuzawa has been included in some of the most significant exhibitions in recent decades, such as Global Conceptualism in 1999 at Queens Museum of Art in New York and Century City in 2001 at Tate Modern, London. But it is only recently, in the past few years, that Matsuzawa’s work has been given its due focus, beginning in 2016 with Reiko Tomii’s publication Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan (MIT Press)—which was turned into an exhibition earlier this year in New York at Japan Society. In this summer, the first solo exhibition of Matsuzawa was co-curated by Alan Longino and Reiko Tomii, at Yale Union in Portland, Oregon, which travels to Nonaka-Hill. Focusing on seminal, rarely seen works from the artist’s career— including works from both the 1976 Venice Biennale and the 1977 Sao Paulo Biennial—the exhibition looks at the historical significance of Matsuzawa as a Conceptual artist while also translating the spiritual sense of his practice into an experience for the visitor. In conjunction, Nonaka-Hill have organized Yutaka Matsuzawa through the lens of Mitsutoshi Hanaga, a small presentation of the photographer who documented the avant-garde in 1960s Japan, underground and youth culture, and such social issues as pollution and political activism.