Bilan Saison France Corée 2015 2016

Total Page:16

File Type:pdf, Size:1020Kb

Bilan Saison France Corée 2015 2016 CET OUVRAGE A ÉTÉ RÉALISÉ AVEC LE SOUTIEN DU COMITÉ DES MÉCÈNES DE L’ANNÉE FRANCE-CORÉE 2015-2016 SOMMAIRE Édito de Jean-Marc Ayrault, ministre des Affaires étrangères et du Développement international ................................................................................................ 6 Édito d’Audrey Azoulay, ministre de la Culture et de la Communication ...................................... 7 Édito d’Henri Loyrette ...................................................................................................................... 8 Édito de Cho Yang-ho ....................................................................................................................... 9 Édito de Bruno Foucher ................................................................................................................. 11 Entretien avec Stéphane Israël ...................................................................................................... 12 Chiffres clés de l’Année France-Corée 2015-2016 ......................................................................... 14 Entretien croisé avec Agnès Benayer et Choe Junho ................................................................... 16 L’Année France-Corée 2015-2016, 130 ans d’amitié ..................................................................... 19 Le Plan d’action pour un partenariat global franco-coréen au XXIe siècle .................................. 24 Visites d’État et visites officielles 2015-2016 ................................................................................. 26 Ouverture de l’Année France-Corée 2015-2016 / Année de la Corée en France ................28 CORÉE EN FRANCE ........................................................................................................................30 Découvrir une culture millénaire ................................................................................................... 34 De la tradition à la modernité ........................................................................................................ 44 Le feu de la création contemporaine ............................................................................................. 60 Panoramas de société .................................................................................................................... 83 CORÉE-FRANCE / FRANCE-CORÉE ........................................................................................................................98 Favoriser le dialogue culturel ...................................................................................................... 102 Soutenir les échanges entre les institutions ............................................................................... 126 Culture ...................................................................................................................................... 126 Économie et innovation ........................................................................................................... 156 Éducation, Sciences et recherche ............................................................................................ 164 Coopération décentralisée ...................................................................................................... 174 FRANCE EN CORÉE ......................................................................................................................180 Ouverture de l’Année de la France en Corée ............................................................................... 184 « Révéler » la création et la créativité contemporaine ............................................................... 186 Présenter la France dans sa diversité .......................................................................................... 227 Clôture de l’Année de la France en Corée .................................................................................... 250 Clôture officielle de l’Année France-Corée 2015-2016 .................................................252 France et Corée : perspectives pour la relation bilatérale ...........................................254 CALENDRIER ..........................................................................................................256 Programmation de l’Année de la Corée en France ..................................................................... 257 Programmation de l’Année de la France en Corée ..................................................................... 265 PARTENARIATS .......................................................................................................274 ORGANIsatION ......................................................................................................277 ◀ Han Gamjung Memory par Lee Eun-young, Compagnie Komusin © Clotilde Amprimoz | 4 5 | ÉDITO ÉDITO JEAN-MARC AYRAULT, AUDREY AZOULAY, MINISTRE DES MINISTRE DE LA AFFAIRES CULTURE ET DE LA Jean-Marc Ayrault © Pierre Chabaud ÉTRANGÈRES ET DU COMMUNICATION Audrey Azoulay © Didier Plowy DÉVELOPPEMENT ‘Année France-Corée 2015-2016 a été l’occasion de cé- lébrer les 130 ans des relations diplomatiques entre la LFrance et la Corée et de favoriser une meilleure connais- INTERNATIONAL sance réciproque de nos cultures. Cette saison a marqué une étape importante dans nos relations et favorisé les échanges entre nos deux pays. ancée en septembre 2015 dans le cadre du 130e anni- versaire des relations diplomatiques entre la France Placée sous le signe de la créativité et de l’innovation, elle Let la République de Corée, l’Année France-Corée 2015- a mis en lumière les savoir-faire et le dynamisme français et 2016 a insufflé une dynamique nouvelle à la coopération coréens. Avec plus de 500 événements, le public a répondu : entre nos deux pays. plus de 6 millions de personnes sont venues pour admirer les créations dans les champs des arts visuels, de la littérature, L’Année France-Corée a rassemblé plus de 6 millions de du patrimoine, des musiques actuelles, des arts de la scène, Français et de Coréens venus participer aux 500 événements de la musique classique et dans bien d’autres domaines. organisés autour de nombreux artistes, de prestigieuses Cela a donné naissance à de nombreux partenariats entre institutions culturelles, du réseau des universités et des or- artistes, professionnels et structures culturelles de nos deux ganismes de recherche, des collectivités territoriales, des pays. associations et des entreprises en France et en République de Corée. Je remercie chaleureusement les commissaires Je me félicite de ce succès exemplaire et je souhaite saluer français et sud-coréen ainsi que les partenaires publics et les organisateurs ainsi que les professionnels et artistes qui privés avec lesquels nous avons travaillé étroitement pour se sont pleinement mobilisés à cette occasion. Je remercie construire cette programmation ambitieuse. les 80 villes françaises et les 40 villes coréennes qui se sont engagées pour la mise en œuvre de ces projets. Le succès de l’Année France-Corée illustre le renforcement des partenariats entre la France et la République de Corée. Elle a su instaurer les fondements de collaborations du- rables, encourager les échanges et les résidences d’artistes et favoriser le tourisme. Je souhaite que nos efforts portent leurs fruits au-delà de cette seule année et nous permettent de développer des relations d’amitié renouvelées pour, au moins, les 130 années à venir. | 6 7 | vons-nous été fidèles à nos promesses ? Avons-nous ’Année France-Corée 2015-2016, célébrant le 130e anni- tenu nos engagements ? versaire des relations diplomatiques franco-coréennes, qui avait commencé en septembre 2015, s’est officielle- A L ment achevée en décembre 2016. Lors du lancement officiel de l’Année France-Corée, devant le Président de la République, je soulignais tout ce qui, et dans Forts de l’amitié qui les lie depuis cent-trente ans, nos deux les domaines les plus divers, rapprochait nos deux pays, pays ont réussi à réaliser un événement de grande envergure l’ancienneté et la vigueur de nos rapports, nos convergences placé sous le signe de la diversité, englobant des échanges politiques, économiques, écologiques, culturelles et, plus dans de multiples domaines : culture, sciences, économie, généralement, notre amitié profonde et durable. C’est que sports, etc. nous ne partions pas de rien même si, pour notre connais- L’Année de la Corée en France, qui avait été inaugurée à l’au- sance mutuelle, beaucoup restait encore à faire. Il s’agissait tomne 2015, a constitué une précieuse occasion de mieux donc de faire fructifier cet acquis, de lui donner un nouvel faire connaître au peuple français la richesse et la singularité élan mais aussi une tonalité inédite. Avec nos partenaires de la culture de notre pays. Ainsi, l’ouverture des festivités coréens, nous avons fixé le cadre et l’esprit, la coloration de Henri Loyrette © Musée du Louvre / Didier Plowy a d’emblée marqué les esprits avec l’illumination de la Tour Chairman Cho Yang-ho © Minkim cette année croisée, « une attention première à la création et Eiffel aux couleurs de la Corée et le remarquable spectacle du à l’innovation, le souci du patrimoine et des traditions mais Jongmyo Jeryeak au Théâtre National de Chaillot. Puis a suivi éclairé au feu de la vie contemporaine ». un véritable feu d’artifice événementiel comprenant nombre Tout était dit mais tout restait à faire même si tant de concor- d’expositions d’art et d’artisanat coréen, des concerts, des ÉDITO dances et
Recommended publications
  • For South Korean Business Conglomerate(S) That Operates Multiple Corporations in Diverse Industries with Tight Ownership and Management Control by a Fam- Ily (Kang, M
    NOTEs 1 INTRODUCTiON: DEVELOPMENTAL SOCiAL GOVERNANCE iN TRANsiTiON 1. Chaebol is a term (in Korean) for South Korean business conglomerate(s) that operates multiple corporations in diverse industries with tight ownership and management control by a fam- ily (Kang, M. 1996). Chaebol’s indiscreet borrowings from interna- tional lenders in the 1990s were mainly held responsible for the national financial crisis of 1997–1998 (Kong, T. 2000). 2. Social policy was for the first time formalized into the organiza- tional structure of the government during the Roh Moo-Hyun presidency as Roh had been harshly criticized for neglecting social policy concerns during the early phase of his term. He set up a new post of “the chief secretary of social policy” in the presidential office in 2004. 2 DEVELOPMENTAL LiBERALisM: THE DEVELOPMENTAL STATE AND SOCiAL POLiCY 1. By then, it needs to be pointed out, the ownership of many com- petitive industries had rapidly been transferred into the hands of Western financial players to varying degrees. The survival of these Asian industries having become a shared stake to Western financial © The Author(s) 2019 169 Chang K-S, Developmental Liberalism in South Korea, International Political Economy Series, https://doi.org/10.1007/978-3-030-14576-7 170 NOTES capital, their posture suddenly turned so lenient on governmental support for business. 2. Kim Dokyun’s (2013) thesis on the “asset-based livelihood secu- rity system” touches on an interesting aspect of this entrepreneur- ial pact between the developmental state and its opportunistic citizenry. 3. In Pressian (9 November 2004), No Hoechan, a congressman from Democratic Labor Party, was quoted as saying “Ten million citizens poised to demonstrate, [do you] wish to be beaten to death?” after hearing from a minister of the Roh Moo-Hyun gov- ernment that about ten million people were in serious poverty already or immediately (http://www.pressian.com/news/article.
    [Show full text]
  • Power of the Korean Film Producer: Park Chung Hee’S Forgotten Film Cartel of the 1960S Golden Decade and Its Legacy
    Volume 10 | Issue 52 | Number 3 | Article ID 3875 | Dec 24, 2012 The Asia-Pacific Journal | Japan Focus Power of the Korean Film Producer: Park Chung Hee’s Forgotten Film Cartel of the 1960s Golden Decade and its Legacy Brian Yecies, Ae-Gyung Shim An analysis of the tactics adopted by the industry reveals the ways in which producers Key words: Korean cinema, filmnegotiated policy demands and contributed to production, film policy, Park Chung Hee, an industry “boom” – the likes of which were Shin Sang-ok not seen again until the late 1990s. After censorship was eliminated in 1996, a new Power of the Producer breed of writer-directors created a canon of internationally provocative and visuallySince the early 1990s, Korean film producers stunning genre-bending hit films, and new and have been shaping the local film industry in a established producers infused unprecedented variety of ways that diverge from those venture capital into the local industry. Today, a followed in the past. A slew of savvy producers bevy of key producers, including vertically and large production companies have aimed to integrated Korean conglomerates, maintain produce domestic hits as well as films for and dominance over the film industry whilewith Hollywood, China, and beyond, thus 2 engaging in a variety of relatively near-leading the industry to scale new heights. They transparent domestic and internationaldiffer markedly from those producers and companies that, throughout the 1970s and expansion strategies. Backing hits at home as 1980s, were primarily focused on profiting well as collaborating with filmmakers in China from the importation, distribution and and Hollywood have become priorities.
    [Show full text]
  • The History of Division in the Conception of National Literature
    1 The History of Division in the Conception of National Literature Seong-su Kim (Sungkyunkwan University) 1. The purpose of this article is to analyze the how the conception of the term Minjok Moonhak (national literature) has been perceived differently in South and North Korea. In other words, this article will examine how the modern concept of ‘Moonhak,’ Korean equivalent for ‘literature,’ which was shared by both Koreas during the colonial period, is now perceived differently due to ideological differences under the ‘socialist vs. liberal democracy’ system on the Korean Peninsula after division. The discussion of the division of the conception of national literature is conversely based on the premise that both Koreas have historically shared the same concept. Notwithstanding the system of division, which has lasted for more than 70 years, the speech community composed of spoken (Korean/Joseon- eo) or written (Hangul/Joseon-mun) language 1 is still viable; each language does not require interpretation and translation. This is fortunate, given that there is a high possibility that the Korean Peninsula will be reunited someday. When discussing the national literature of South and North Korea, academic discussion will be impossible if one side is consistently regarded as orthodox and disparages the other. If each country does not recognize the value of the writers and works of its counterpart because the two Koreas are caught up in the realms of ideology, Korean cultural heritage that encompasses both North and South Korea will be greatly reduced. From the perspective of Conceptual History [Begriffsgeschichte], which historically analyzes certain concepts and terms, ‘Korean literature and Joseon literature’ are not synonyms for ‘national literature,’ but are rather antonyms.
    [Show full text]
  • The Next Growth Strategy for Hallyu 79
    Lee & Kim / The Next Growth Strategy for Hallyu 79 THE NEXT GROWTH STRATEGY FOR HALLYU A Comparative Analysis of Global Entertainment Firms Yeon W. Lee Seoul School of Integrated Science and Technology [email protected] Kyuchan Kim Korea Culture and Tourism Institute [email protected] Abstract Previous policy approaches on Hallyu have been focused on the role of government engagement, particularly in fostering diversity and equal business opportunities for small-and-medium enterprises (SMEs). However, a more strategic approach to the cultural industries should be implemented by carefully examining the role of the private sector, particularly the role of large enterprises (LEs). his is important because LEs have an overarching and fundamentally diferentiated role in increasing the size of industry through their expansive value-creating activities and diversiied business areas. his study focuses on the complementary roles of SMEs and LEs in facilitating the growth of Hallyu by bringing in the perspective of value chain diversiication and the modiied value chain framework for the ilm industry. By conducting a comparative analysis of the global entertainment irms in the US, China, and Japan, this study reveals how LEs in the global market enter and explore new industries within culture and continue to enhance their competitiveness. By forming a business ecosystem through linking their value-creating activities as the platform of network, this study looks into the synergistic role among enterprises of diferent size and scale and suggests that Korea’s policy for Hallyu should reorient toward a new growth strategy that encourages the integrative network of irms where the value activities of LEs serve as the platform for convergence.
    [Show full text]
  • NEWSLETTER No. 32 October, 2008
    AKSE Newsletter 32 ASSOCIATION FOR KOREAN STUDIES IN EUROPE NEWSLETTER No. 32 October, 2008 Table of Contents News from the President……………………………………………….2 A Note from the Editor……………………………………………......3 Association News………………………………………………………..3 Constitution of the Association for Korean Studies in Europe…………………………………………………………………4 Honorary Members of AKSE…………………………………….......6 AKSE Representatives to Annual Meetings of the Association for Asian Studies…………………………………….6 Country Reports Austria……………………………………………………………………7 Czech Republic………………………………………………........ …13 France…………………………………………………………………..14 Germany………………………………………………………………..22 Great Britain…………………………………………………………..30 Hungary…………………………………………………………………41 The Netherlands……………………………………………………....42 Russia……………………………………………………………………44 1 AKSE Newsletter 32 N E W S F R O M T H E PRESIDENT According to the calendar it is summer, but the branches of the tree outside my window violently move up and down in a gale force wind while dark clouds from time to time unleash torrents of rain. Rain or shine, however, the preparations for AKSE activities continue. On 21 August, 2008 the Fifth Korean Studies Convention for Graduate Students in Europe will begin, this year to be held in Leiden. Originally this was not an AKSE activity, the graduate students themselves taking charge of the entire organisation together with local teachers. This will not radically change, but AKSE will every year at the end of July include a request for funding of the convention of the following year to the Korea Foundation in its request for other activities and when necessary encourage graduate students to organise a convention. This will facilitate the work of the graduate students who are organising next year’s conference and promote continuity. Preparations are also under way for the 2009 AKSE Biennial Conference in Leiden.
    [Show full text]
  • Bibliography
    SELECTED bibliOgraPhy “Komentó: Gendai bijutsu no dōkō ten” [Comment: “Sakkazō no gakai: Chikaku wa kyobō nanoka” “Kiki ni tatsu gendai bijutsu: henkaku no fūka Trends in contemporary art exhibitions]. Kyoto [The collapse of the artist portrait: Is perception a aratana nihirizumu no tōrai ga” [The crisis of Compiled by Mika Yoshitake National Museum of Art, 1969. delusion?]. Yomiuri Newspaper, Dec. 21, 1969. contemporary art: The erosion of change, the coming of a new nihilism]. Yomiuri Newspaper, “Happening no nai Happening” [A Happening “Soku no sekai” [The world as it is]. In Ba So Ji OPEN July 17, 1971. without a Happening]. Interia, no. 122 (May 1969): (Place-Phase-Time), edited by Sekine Nobuo. Tokyo: pp. 44–45. privately printed, 1970. “Obŭje sasang ŭi chŏngch’ewa kŭ haengbang” [The identity and place of objet ideology]. Hongik Misul “Sekai to kōzō: Taishō no gakai (gendai bijutsu “Ningen no kaitai” [Dismantling the human being]. (1972). ronkō)” [World and structure: Collapse of the object SD, no. 63 (Jan. 1970): pp. 83–87. (Theory on contemporary art)]. Design hihyō, no. 9 “Hyōgen ni okeru riaritī no yōsei” [The call for the Publication information has been provided to the greatest extent available. (June 1969): pp. 121–33. “Deai o motomete” (Tokushū: Hatsugen suru reality of expression]. Bijutsu techō 24, no. 351 shinjin tachi: Higeijutsu no chihei kara) [In search of (Jan. 1972): pp. 70–74. “Sonzai to mu o koete: Sekine Nobuo-ron” [Beyond encounter (Special issue: Voices of new artists: From being and nothingness: On Sekine Nobuo]. Sansai, the realm of nonart)]. Bijutsu techō, no.
    [Show full text]
  • Notes Toward an Archaeology of Hallyu
    Volume 15 | Issue 14 | Number 4 | Article ID 5056 | Jul 15, 2017 The Asia-Pacific Journal | Japan Focus Notes Toward an Archaeology of Hallyu Mark Morris Abstract The first consciousness that a new Korean cultural wave –hallyu-- was in motion began to take shape in different forms and at different times in the rest of East Asia. It was the craze for Korean TV drama that represented a sudden apparition of something new from South Korea. Before long, however, this wave grew bigger and far more complex than anyone might have predicted, including Korean pop music and films, animation, online games, smartphones, fashion, cosmetics, etc. There have been resistances to this inundation notably in Japan, a country where several earlier mini-hallyu now seem long forgotten. Keywords Hallyu, tv drama, Korean pop, manga, film I want our nation to be the most beautiful in the world. By this I do not mean the most powerful nation. The only thing that I desire Kim Ku, 1876–1949 in infinite quantity is the power of a noble culture. This is because the power of culture both makes us happy and gives happiness to Kim Ku (1876-1949), in this rightly famous call others. to culture published not too long before his violent death, went on to articulate a vision of a Kim Ku, Baekbeom ilji (1947) Korea in which Koreans would not only be free for the first time in a long while to be Korean, Introduction but would as well project their culture out into the world. As he put it: ‘I wish our country to be not one that imitates others, but rather the source, goal, and model of this new and advanced culture.
    [Show full text]
  • MMCA Lee Kun-Hee Collection Masterpieces of Korean
    MMCA Lee Kun-hee Collection: Masterpieces of Korean Art 21 July 2021 – 13 March 2022 MMCA Seoul The National Museum of Modern and Contemporary Art, Korea (MMCA, Director Youn Bummo) presents MMCA Lee Kun-hee Collection: Masterpieces of Korean Art, from 21 July 2021 through 13 March 2022, at MMCA Seoul. The exhibition will serve as an opportunity for the extensive art collection of the late Samsung Group Chairman Lee Kun-hee to make the first public debut, and to ensure that such high quality works of modern and contemporary art are shared with the wider public. Since its establishment in 1969, the MMCA has been acquiring artworks with the aim of contributing to defining Korean art history. The latest donation of Lee's collection, comprising of 1,488 pieces of artworks, which is being dubbed "the donation of the century" brings the scale of the museum's collection to over 10,000 works of art. Fifty-five percent of those were acquire through donations, which have helped to enrich the collection while overcoming the constraints of a limited acquisition budget. 1 / 8 The modern and contemporary art works donated by the family of the late Samsung Group Chairman Lee Kun-hee is the largest in terms of its size. It is also very significant in that it has enabled the artworks to be enjoyed by a wider public by adding enormous qualitative and quantitative advancements to the MMCA's collection. Its 1,488 works of art run the gamut of modern and contemporary art, including rare and major masterpieces of artists from home and abroad representing the 20th century.
    [Show full text]
  • Open Pbaxter Thesis Final110308.Pdf
    The Pennsylvania State University The Graduate School College of Communications A COMPARATIVE STUDY OF THE U.S. AND KOREAN FILM INDUSTRIES: HISTORY, STRUCTURE, AND FINANCE A Thesis in Media Studies by Patrick D. Baxter © 2008 Patrick D. Baxter Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2008 This thesis of Patrick D. Baxter was reviewed and approved* by the following: Krishna Jayakar Associate Professor of the Department of Telecommunications Thesis Adviser Amit Schejter Assistant Professor of the Department of Telecommunications C. Michael Elavsky Assistant Professor of the Department of Film-Video and Media Studies John S. Nichols Professor of the Department of Film-Video and Media Studies Associate Dean for Graduate Studies and Research *Signatures are on file in the Graduate School iii ABSTRACT This project is a comparative case-study of the U.S. and Korean (South Korea) film industries along historical, structural, and financial dimensions. The genesis of this thesis came through an overall fascination with the film industry globally as nations compete and cooperate with each other, as well as contend with the dominance of the U.S. film industry. It uses the industrial organization model focusing primarily on "market structure." Further, it applies A.J. Scott’s bipartite (major, independent) and tripartite (major, subsidiary, independent) models of the U.S. film industry. The analysis is mainly descriptive being informed by historical development. To elaborate on market structure, samples of studio/mainstream and independent films were collected in both the U.S. and Korean film industries. The samples were analyzed along production company affiliation, distribution affiliation, sources of funding, and other elements.
    [Show full text]
  • South Korean Cinema and the Conditions of Capitalist Individuation
    The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation By Jisung Catherine Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kristen Whissel, Chair Professor Mark Sandberg Professor Elaine Kim Fall 2013 The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation © 2013 by Jisung Catherine Kim Abstract The Intimacy of Distance: South Korean Cinema and the Conditions of Capitalist Individuation by Jisung Catherine Kim Doctor of Philosophy in Film and Media University of California, Berkeley Professor Kristen Whissel, Chair In The Intimacy of Distance, I reconceive the historical experience of capitalism’s globalization through the vantage point of South Korean cinema. According to world leaders’ discursive construction of South Korea, South Korea is a site of “progress” that proves the superiority of the free market capitalist system for “developing” the so-called “Third World.” Challenging this contention, my dissertation demonstrates how recent South Korean cinema made between 1998 and the first decade of the twenty-first century rearticulates South Korea as a site of economic disaster, ongoing historical trauma and what I call impassible “transmodernity” (compulsory capitalist restructuring alongside, and in conflict with, deep-seated tradition). Made during the first years after the 1997 Asian Financial Crisis and the 2008 Global Financial Crisis, the films under consideration here visualize the various dystopian social and economic changes attendant upon epidemic capitalist restructuring: social alienation, familial fragmentation, and widening economic division.
    [Show full text]
  • Stranger Free
    FREE STRANGER PDF Megan Hart | 432 pages | 24 Sep 2013 | Harlequin Mira | 9780778315780 | English | Don Mills, Ont, United States Stranger (TV Series – ) - IMDb Stranger Mok's non-reaction to the latest murder puzzles those around him, but it begins to affect him unexpectedly. The police try to determine if they're dealing with a serial killer. Si-mok goes out to meet who he thinks is the real killer, and he gets a bag that will determine the Stranger of many. A home invader sends a wordless message to Shi Mok. The special unit is officially dissolved without Stranger agreement. Stranger IMDb celebrates its 30th birthday, we have six Stranger to get you ready for those pivotal years of your life Get some streaming picks. Hwang Shi Mok is an exemplary prosecutor who Stranger from hypersensitivity to certain frequencies of sound. After undergoing a corrective surgery, he lost his sense of Stranger and lacks of social skills. While investigating a serial murder case, he Stranger police lieutenant Han Yeo Jin, who assists him in solving it. As they begin to unravel the mystery behind the murders, they also discover that their efforts are being continuously foiled Stranger expounding them will also lead to unfold the secrets about a larger scheme of corruption between the government's Public Stranger Office and Stranger private conglomerate. Written Stranger Wikipedia. The poster of this show caught my Stranger on Netflix as it had Doona Bae in it. Excellent story-telling techniques combined with the background score makes it a must-watch show, even if you do not understand the language Netflix has excellent subtitles for this.
    [Show full text]
  • Existence Beyond Condition This Text Is Excerpted from a Forthcoming
    Existence Beyond Condition This text is excerpted from a forthcoming anthology of newly translated writings by Kishio Suga, edited by Andrew Maerkle and published by Skira Editore and Blum & Poe. Introduction by Andrew Maerkle In 1970 Bijutsu Techō dedicated the featured content of its February issue to the voices of emerging artists. Subjects included Susumu Koshimizu, Lee Ufan, Katsuhiko Narita, Nobuo Sekine, Katsuro Yoshida, and Suga, who all appeared together in a roundtable discussion. 1 The year prior, in 1969, these artists had made their mark at major exhibitions, such as the 9th Contemporary Art Exhibition of Japan at the Tokyo Metropolitan Art Museum and the annual Trends in Contemporary Art exhibition at the National Museum of Modern Art, Kyoto. Not participating in either, Suga was the lone exception, although his solo exhibition in October 1969 at Tamura Gallery, where he presented the work Parallel Strata, caught the eye of influential critics such as Toshiaki Minemura. Indeed, Suga was on the cusp of his breakthrough. Later in 1970, he would be included in Trends in Contemporary Art in Kyoto, as well as another important annual survey, the Artists Today exhibition organized by the Yokohama Civic Art Gallery, and August 1970: Aspects of New Japanese Art at the National Museum of Modern Art, Tokyo. Additionally, he won the grand prize at the 5th Japan Art Festival exhibition, which traveled to the Guggenheim Museum in New York under the title Contemporary Japanese Art. It was a sign of things to come, then, that Suga was chosen to contribute one of two long essays that led the roundtable, the other being Lee Ufan’s “In Search of Encounter.”2 Full of dense rhetoric, “Existence beyond Condition” is one of Suga’s most challenging texts to unpack.
    [Show full text]