GAP Document 2019

GAP
Document

2019
Global Art Practice,
Graduate School of Fine Arts,
Tokyo University of the Arts

List of Acronyms
TUA: Tokyo University of the Arts
GAP: Global Art Practice, Graduate School of Fine Arts, Tokyo University of the Arts
BAP: École nationale supérieure des beaux-arts de Paris / Beaux-Arts de Paris
CSM: Central Saint Martins, University of the Arts London
本誌内では関係大学の名称等について、下記の略表記を使用します。
TUA／藝大：東京藝術大学
GAP：東京藝術大学 大学院美術研究科 グローバルアートプラクティス専攻
BAP：パリ国立高等美術学校（エコール・デ・ボザール・パリ）
CSM：ロンドン芸術大学セントラル・セント・マーチンズ校

Contents
GAP
a place for sharing,experimentation,interdisciplinary andtranscultural practicewith multiple perspectives
Global Art Joint Project 2019 ……02
Collaboration Project ……14
Diverse Perspective ……18
Life in GAP …… 24
Graduation Works 2019 …… 32
GAP Curriculum ……40
GAP Faculty Members ……45
Global Vision and Activities of GAP Faculty
Yuko Mohri ……12
Yusaku Imamura …… 22

GAP
a place for sharing, experimentation,interdisciplinary and transcultural practicewith multiple perspectives
Established in April 2016 as part of the Graduate School of Fine Arts at Tokyo University of the Arts,GAP has pursued activities with a global focus that transcend issues of nation andculture in contemporary society, aiming to become a site of practice beyond a narrow sense of value where
people with diverse perspectives come together, while simultaneously providing aplace for experimentation and mutual learning. Entering its fourth year in 2019, GAP is working tocreate an environment for deeper practical training and learning based on experiences.
What is emerging from the knowledge accumulated through collaborations with BAP and CSM,
which, including the preparatory phase, will enter their fifth year, are larger platforms for exchange.
2019 was also a year that brought significant results and learning.
What follows is an introduction to these achievements.
2016年4月に東京藝術大学大学院美術研究科に開設されたGAP専攻は、
グローバル化した現代において社会が持つ様々な課題に、国家や文化を超え、単一の価値観ではなく、多様なパースペクティブを持って向かい合う実践の場、
同時に実験の場、お互いに学び合える場を目指して活動を行なってきました。
2019年に4年目を迎え、これまでの経験をもとにより深い実践と学びの場づくりに取り組んでいます。
準備期間を含めると5年目を迎えるBAPとCSMとの協働の経験と蓄積からは、より大きなプラットフォームでの交流など、新たな流れも生まれてきています。
2019年も大きな成果と学びを得ることができました。その一端をご紹介します。

Mina Lee …… 30
Nobuyuki Fujiwara …… 38

International Joint Project
granted by the Japanese Ministry of Education, Culture, Sports, Scienceand Technology (MEXT) through its Program for Enforcing the Function of
National Universities
文部科学省国立大学機能強化事業「国際共同プロジェクト」

1

PARIST he Par i s U nit of the G l ob al A r t J o i nt
Project was realized in 2019 under thetheme ‘ART AS EXPERIMENT: Body andSound.’ The purpose of this project was toinvite students to consider their own aswell as their counterparts’ school as a placefor experimentation. They were provided
with classroom experiences incorporating
experiments in dance, performance, soundand installation through which their artwork
came into fruition.
Prior to the project, theoretical classes
by Professor Pierre Alferi introducing theconcept s of ‘ body ’ and ‘sound ’ as well
as experimental music classes by dj sniff
were held, while time was also allocatedfor discussion about the theme beforec o m m e n c e m e nt o f t h e p r o j e c t . J o i nt
c l a s s e s w e r e h e l d d u r i n g t h e To k y osession (July 2-22) at the Toride and Ueno
campuses of TUA, as well as off campus at
the former Denchu Hirakushi House andAtelier and BUoY in Kitasenju. The Paris
session (September 22- October 11) was
held at BAP in France, and also involved
participation in an extracurricular class at the
French National Dance Center. In the final
presentation held at the BAP campus, thestudents were able to successfully present
the results of the project, mobilizing 80 to
100 spectators despite a 40-minute paradestyle performance.

TUA×BAP
Global Art Joint Project
2019

Paris Unit Project ThemeART AS EXPERIMENT:
Body and Sound

Details
Project Period: A pril－ - October
2019
Place: CSM campus, Suffolk, TUA
campusFinal Presentation: ●● 17 September
2019 at Toride Campus, TUA
Support: NPO GASWORKS
Participating students:
TUA
Mayuko Kikuchi, Wu Yiting, Xun
Meng, Sayoko Suwabe , Naoto John
Tanaka, Cho Hyunjoo, Fan Jiemin
CSM
Siyan Zhang, Konstantinos Chaldaios,
Violeta Valcheva, Giorgio Lleuw-on, Helena Adalsteindottir, Laura
Isabella, Winifred Pritchett
Project Supervision:
Nobuyuki Fujiwara (（ P rofessor,
GAP, TUA）)）
Yusaku Imamura (（Professor, GAP,TUA）)Paul Haywood (（ Dean of Academic
Programmes, CSM)）
Faculty:
TUA
Mina Lee （（(Associate Professor,
GAP)
Taro Shinoda (（（ Associate Professor,
GAP)

CSM
Alison Green (（（ Course Leader, MA
Culture, Criticism and Curation)
Fred Meller（ (（（ Programme Director,
Drama and Performance））)
Michiko Oki (（（ Distinguished AssistantProfessor）)
Joe Craig (（（ Project Assistant））) ）Guest Lecturers:）
Takashi Takeda (（（ Professor, Facultyof Music Department of Traditional
Japanese Music, TUA））)
Taku Irisawa (（（ （Research Assistant,
Wood Workshop, TUA)）Kaz Oshiro (（（ （A rtist）)
Pio Abad (（（ （A rtist）)

グローバルアート共同プロジェクトの2019年度のロンドンユニットは、「To Bring Nothing to theTable」をテーマに実施しました。
「何もない」とは与えられた何ものもない中で何を見出し何を行なうか、という大きな問いです。本プロジェクトはこのグローバルアート共同プロジェクトの2019年度

テーマをベースに多角的な対話と協働作業を重ね、のパリユニットは、「ART AS EXPERIMENT:

互いの文化の共通点や差異を体感し、自分のアイデ

Body and Sound」をテーマに実施しました。本

ンティティを見出し、個々の間に起こる衝突や相互プロジェクトは学校を実験の場として捉え、自らのの理解を積み上げながら多文化協働のプラットフォー

学校および互いの学校について考察し、ダンス、パムの可能性を学ぶ現代アートの社会実践です。

フォーマンス、サウンド、インスタレーションの実験

CSMでのロンドンセッション（7月8日～ 29日）

を取り入れた授業体験を通して作品に結実すること

では、郊外のサフォーク州で合宿を実施後、「何が目的です。
事前授業として、「身体」および「サウンド」への（セオリー）の授業やdj sniff氏による実験音楽の授業などを実施し、共同授業開始前にプロジェクト
は東京セッション（7月2日～22日）を本学取手校
地や上野校地のほか旧平櫛田中邸や北千住BUoYなど学外でも開講。パリセッション（9月22日～10月11日）はフランスのBAPで行ない、フランス国立
ダンスセンターの課外授業にも参加。BAPキャン
パス内で開催した最終成果発表会は、40分のパレード形式の演目にもかかわらず、常時80名から100名の観客を動員し、本プロジェクトの成果を発表することができました。
* Please see page 42 for more details on Global Art Joint
Project.
＊グローバルアート共同プロジェクトについては、42ページをご参照ください。

2

ものっていないテーブル」として用意した二度の機

London Unit Project Theme導入となるピエール・アルフェリ教授による理論

テーマについて議論する場を設けました。共同授業

The London Unit of the Global Art Joint Project
was realized in 2019 under the theme ‘To
Bring Nothing to the Table.’ ‘Nothing’ poses thefundamental question of what to look for andhow to proceed when given nothing. Basedon this theme, the project was conceived
as a social application of contemporary art
in which, through multifaceted dialogue
and collaborative work, the participants
encountered the commonalities anddifferences between each other’s cultures,
gained insight into their own identities
and, while building experiences of mutual
understanding and individual conflict ,learned about the possibilities of amulticultural platform for collaboration.
In the London session held at CSM (July 8-29),
following a lodging field trip to a suburb of
Suffolk, the students engaged in activities
while discussing how to develop two events—
an ‘Exchange’ and an ‘Occasion’—that they
had been assigned as ‘an empty table.’ In the
To k y o s e s s i o n (S e p te m b e r 2- 1 9 ) , t heparticipants collaborated in the university
festival Geisai while comparing London to
Tokyo, and focused on individual productionin the workshops at Toride campus, where
Suffolk County was replaced with Toride City.
The final presentation—the ‘Occasion’—clearly delineated the critical questioning andempathy that the students had developed while
mutually sharing respective cultural backgrounds,
leading to complex mutual understanding.

Details
Project Period: April－ - October
2019
Place: TUA campus, BAP campus,
Denchu Hirakushi House andAtelier, BUoY, National Dance
CenterFinal Presentation: 10 October
2019 at BAP
Support: Asian meeting festival
2019, LUPICIA, Bourjois
Participating students:
TUA
Na Ying Ching, Sepideh Hashemi,
Tomohiro Ishii, Mika Jang, Motoyo
Kawamura, Clementine Nuttall,
Sofía Mirai Totoki, Ryo Yamaguchi,
Masaki Yoshida

BAP
Carmen Alves, Béryl Coulombié,
Yannik Denizart, Nicolas Keroulas,
Cham Lavant, Eun Sol Lee, Sacha
Rey, Kobas Verschuren
Project Supervision:
Nobuyuki Fujiwara (Professor, GAP,
TUA）)
Yusaku Imamura (Professor, GAP,
TUA））)
Gwendoline Allain (（I nternational
Relations, Department of Studies,
BAP）)
Faculty:
TUA
Yuko Mohri (（Lecturer, GAP）)
Natsumi Araki (（Associate Professor,
GAP））)BAP
Emmanuelle Huynh (Professor,
Dance Studio)
Pierre Alferi (（ Professor, Literature)
Cynthia Lefebvre（ (Distinguished
Assistant Professor））)
Mao Tao （ (Distinguished AssistantProfessor）)
Félix Touzalin （ (Project assistant）））)
Jocelyn Cottencin （ (Film Director)）
Guest Lecturers:
Akira Kasai （ (Dancer, Choreographer）)
David Horvitz （ (Visual Artist）)）
R u l l y S h a b a r a （ ( A M e m b e r of
SENYAWA, （ Musician）)
dj sniff (Takuro Mizuta)(DJ, Curator）)
Valérie Joly （ (Mezzo S oprano,
Composer）)）
Didier Semin （(Art Historian）)

会「E xc h a n g e」と「Occasion」をどう展開する

To Bring Nothing
to the Table

か話し合いながら活動。東京セッション（9月2日～19日）
では、ロンドンを東京に例えて本学の大学祭「藝祭」に協働参加し、サフォーク州を取手市へと置き換えて工房で個々の制作を中心にしたプログラムも実施。最終発表の「Occasion」では、学生同士が互いの文化的背景を共有しながら批判と共感を重ねた成果がはっきりと見え、複合的な相互理解が生まれました。

TUA×CSM
Global Art Joint Project2019

LONDON

3

ART AS EXPERIMENT: Body and Sound
This year we decided to explore the conceptof body as sound, and sound as body. WhenJohn Cage said: ‘the problem with soundis music’, he freed sound of its musical andacademic dimensions. This opened up the
possibility of considering sound as its own
entity, created by the body itself, nature,or artificially. In September 2019, students
performed Cage’s Musicircus (1967) at theCentre National de la Danse in Pantin, where
they played music or created sounds all at
once.
Following on from the previous year, we (theteaching staff from both schools, led by Yuko
Mohri, and myself) put together a laboratoryof sor ts, composed of various elements
which each student could draw from andcreate with, to their hearts’ content. Theorists
Natsumi Araki, Pierre Alferi, and Didier Semin,
performer & choreographer Maria Ribot,
musician Rully Shabara, and singer Valérie
Joly all brought their expertise to the table.
Two workshops proved key to unlocking
students’ potential and breaking out of theconfines of their respective disciplines.
Turntablist Takuro Mizuta, aka dj sniff, madeus experiment with the material quality ofsound and the simplicity with which it can beemitted, using the most rudimentary means:a needle and a paper cone fashioned into an
amp.
Butoh dancer and choreographer Akira
Kasai’s lecture was of particular importance.
He spoke on the role of the voice and the bodyfrom a Butoh perspective, a contemporary
dance created by Tatsumi Hijikata and Kazuo
Ohno in post-WWII Japan. He brought inelements of theory and reflection to Eurythmy
displays, a movement art combining voice
and body that dates back to 1912, created byAustrian-born alternative teaching pioneer
Rudolf Steiner (1861-1925). Kasai reminded
us that in Japan, the voice and the body exist
together (Noh & Kabuki). European ballet
has expelled the voice from the stage andin doing so deprived the body of that dark,
deep-sitting energy Kasai calls ‘morbid energy’.
I ran workshops combining vocalization,laughter, and writing with body movements,
something that sat just within the realm of
my regular dance and choreography work.
During a summer spent in San Francisco with
Anna Halprin, American choreographer Trisha
Brown made a suggestion that would later
serve as a starting point for the workshops:
long-form improvisation where all present in
the space had two everyday objects. By notusing the objects in the way they were designed,
we challenged ourselves to find novel orunusual uses for them. Any reservations thegroup may have had quickly disappeared.
This concept also appears in Halprin’s famous
piece Parades and Changes (1955).
In Toride, we tried our hands at Simone Forti’s
Logomotion , where one transcribes theirstream of consciousness uninterrupted for 15
minutes onto a sheet of paper, with the pencil
staying continuously on the page. It was thenread aloud.
These sessions were organized, shared andexperimented with to serve as a source of
creative nourishment, to open up new linesof thought, to serve as a springboard into theunknown, and even greater heights.
We wanted to offer students the possibility
to step out of their molds, to disassociatethemselves from the familiar, in the hopeof finding a greater precision and freedomthat they could feed back into their original
disciplines.
Another purpose of this exchange was to breakfree of the passivity of the teacher/student
dynamic that at times makes for, explicitly
or implicitly, the former being dominant
over the latter. The exchange served as anexperimental laboratory bringing together
two different cultures, schools, teaching
philosophies, and methods.
The notion of ‘Parade’ added a ‘travelling’
dimension, making us consider how the facilitiesof the two schools could be incorporated into
the performance. A few of the students madediscoveries of great use to their own work.
As with all experimentation, there was boundto be setbacks. This year, these were mostly
due to the difficulty some students had withgrasping the demands of a group dynamic:
punctuality, consistency, and continuous
engagement. There was also the duty ofbringing not only one’s own, but also others’
ideas to fruition. Visual artists habitually work
alone, and as such never get to experience
the sense of community that brings the best outof the individual, the way only the intensity ofa group can.

Alison Green is a Course Leader of MA Culture,
Criticism and Curation. She is an art historian,critic and curator with a strong histor y of publications,public talks, exhibitions and conference participation.
She teaches the histor y of art and photography,
modernism, critical theor y, theories of histor y,and the histor y and practices of curating and art criticism.

CSM lecturer and one of the core leaders of the
London Unit, Alison Green (Course Leader, MA
Culture, Criticism and Curation) has contributed
a text about the London Unit in 2019.
ロンドンユニットの中心教員の一人であるCSMのアリ
ソン・グリーン講師（MA Culture, Criticism andCuration専攻長）に、2 019年度のロンドンユニットについて寄稿していただきました。

At the heart of this exchange, I continue to share
my dancer/choreographer approach, in which
the group is not seen as a hindrance, but as anecessity and an opportunity.

*Anna Halprin (1920-), dancer and choreographer, widely
considered to be the mother of postmodern dance. She
still teaches to this day at the site her architect husband
Lawrence Halprin (1916-2009) built to pursue her research,tucked away on the outskirts of San Francisco. Musicians,
artists, dancers (including Simone Forti and Trisha Brown),
and poets have taken part in her workshops. The ‘Judson
Church’ (1962-1964), an experimental New York laboratory,
continued to develop her ideas. An innovative teacher who
paid particular attention to individual emancipation, shedeveloped a dance therapy after her cancer diagnosis in
1990.
*Trisha Brown (1936-2017), American dancer and choreographer,collaborated with numerous visual artists, and composers.
She began her choreography work in the parks, galleries, and on
the roofs of New York, before taking her work into a theatre,
where she would go on to question the limitations of said
space. A supremely talented dancer, she passed away in 2017,
her dance company continues to perform her cult pieces( Set and Reset in collaboration with Rauschenberg, Newarkwith Donald Judd) and Early Works . After 1998, she turned
her attention to her newfound passion for baroque, classicaland jazz musical structure, which she would choreograph.
*Simone Forti (1935-), American artist, postmodern dancer,
and author of Italian descent. She improvises by mixing
text with movement, producing body sculptures (Dance
Constructions , 1961). She also has a keen interest in animal
motion, produces landscape portraits in dance form, as wellas drawing from current affairs for her improvisations.
*The Japanese ‘Gutai ’ (1954-1972) avant-garde movement
without doubt influenced performance in Europe and theUnited States. The body of the artist plays a key role in it,
as do the materials used (paint, paper, liquids, gas, sounds,
electricity). It presents Art as action, is performed in forests,
ruins, on stage, hangars, and more. Founder Jiro Yoshihara
wrote: “I am a teacher with nothing to teach, but I will form anenvironment most conducive to creating”.

Emmanuelle Huynh
Emmanuelle Huynh, dancer, choreographer and teacher, studied dance and philosophy. Her
work explores the relationship between dance and literature, music, light, ikebana (Japanesefloral ar t) and architec ture. S ignature pieces include Mùa (19 95), A Vida Enorme (20 02),
Cribles (2009), Shinbai, le Vol de l ’ âme (2009), TÔZ AI ! ... (2014), and in collaboration with
Jocelyn Cottencin, A taxi driver, an architect and the High Line (2016) and portraits projects
in Saint Nazaire (2017-2019) and Sao Paulo (2019 and 2020) and with visual ar tist Nicolas
Floc'h, a four dancer’s piece inspired by the autobiographical work of Pierre Guyotat (2017).
Huynh is also ver y much involved in educ ation , as the direc tor of the C entre N ational deDanse Contemporaine (CNDC) in Angers (2004 to 2012), Assistant Professor at the National
School of Architecture in Nantes (2014 to 2016), and since September 2016, she is the Headof the dance, choreography, performance workshop at the Beaux-Arts de Paris.

4

Alison GreenBAP professor and one of the core leaders of theParis Unit, Emmanuelle Huynh (contemporary
dancer, choreographer) has contributed a text
about the Paris Unit in 2019.
パリユニットの中心教員の一人であるBA Pのエマニュ
エル・ユイン教授（コンテンポラリーダンサー、振付

For this project we proposed to work together
within a framework instead of around a theme.
The ‘we’ here was made up of academics
from the MFA Global Art Practice at Tokyo
University of the Arts and Programmes in
Performance and Culture & Enterprise atCentral Saint Martins, University of the Arts
London. Several ideas underpinned this: one
was a commitment to review and change ourrelationship to things, quickly and radically,
inspired in part by working in the context of anenvironmental crisis. The other was a desire tofocus on the habits, relationships, attitudes
and activities of creative research rather thanits products. This seemed important given thatthe students were coming from different
practices: curating, art, performance, design.
The act of proposing remained embeddedin the title of the project To Bring Nothing to
the Table , as if each time the title is repeated,the question is raised once again, ‘what is it
to…?’

and made/performed a number of artworks.
In London we were faced with a pile of otherpeoples’ cast-offs and had a white-box room
to perform and share experiences. In Tokyo there
was heat, a busy—even chaotic—student
festival, Noh theatre, a thrumming city to
explore and a Category 3 typhoon. In Toride
we made and ate food, cycled or walked thelandscape, and worked in wood and glassstudios with people who have deep technicalknowledge.

There were two metaphors, if you like. One
was about ‘ bringing nothing’—travelling
lightly, arriving somewhere, ready to work,
w ithout all the d ev i ce s that o rdi nar ily
facilitate our practices . When this was
proposed, I thought: a pencil and paper. Keys
and wallet in your pocket to get you homeagain. Arriving and seeing what’s there to workwith. Reaching out for what you need, throughdiscovery. The purpose was, however, notto be ‘free’ but to find out how to work withothers. The other metaphor was the ‘table’—
a location or a space for an occasion, an
invitation, a gathering, a presentation. Come tothe table, join us, pull up a chair. This opened
discussions—more metaphors, here considerably
stretched—around how big it is, what makes
it stand up, what’s on it, can an exhibition or
performance be a table, etc. And of course:
eating, drinking and socialising.

Nothing is what is invisible. What you
can’t see because it is embedded in or
occluded by its environment. It could be
camouflaged, or it could be intentionallyhidden from view.

There were four distinct places where we
tried out this proposal for working together.
In the Suffolk countryside we walked, talked,
made food, rode bicycles, dressed up in costumes

Late in the project I wrote up some notes on
nothing. These were short reflections onwhat I thought we had discovered having
worked together for around five weeks. They
imply meanings that can be seen as social,
natural, technological, political and poetical.
Nothing is what is overlooked. What you
can’t see because you are taught to notvalue it.

Nothing is what once was useful, beautiful,valued, etc., but now is considered waste.
Nothing has an uncertain status. Nothingis relative to something.
Nothing can be contested. In other words,
one person thinks ‘it’s nothing, no big deal.’
But to another, ‘it’s not nothing. It is an
important thing’.
Nothing is the space in between otherthings.
Another meaning for nothing would bephilosophical, which by definition needs
m o re ti m e fo r ref l e c ti o n , c r iti q u e a n dunderstanding. There is potential, here only
gestured towards, to explore the project’s

experience of nothing in relation to somequite famous philosophical debates about
the nature of reality and our access tounderstanding the world around us. JeanPaul Sartre’s argument with Immanuel Kant
about there being no essence to reality,
only many versions, would pertain. Sartre, in
his book Being and Nothingness , explores
the idea that if we have no access to an
essential reality, we continually make andre-make it. Sartre thought that individuals
ascribe meaning to themselves, and toothers, with reference to stable and things,
ideas, etc., but these are each unknowablein themselves, and we are unknowable toourselves. However, the encounter withother people and things is precisely where
this process happens. The ethics implied by
Sartre’s philosophical project was to bringforward awareness of this ‘lack’ or emptinessand a recognition of the fugitive nature of—and
our inability to possess—reality. Consciousness
is difference and negation.
As a project to learn something about creative
practice—and how to teach it—throughtranscultural research, To Bring Nothing
to th e Tab l e p ro p o s e d a n d te s te d th epossibilities of integrating teaching, learning,making and socialising. We researched
together and shared it along the way. HereI refer to many more ‘we’s’ than we started
with: fifteen MA students; artist Pio Abad;translators (many informally but in the UK
it was Michiko Oki); assistants Joe, Monica,
Yoshi, Hayato; glass artist and TUA professor
Nobuyuki Fujiwara—amongst many others.
We did this within a framework of challenges
that came from being a large group of people
who began mostly as strangers, people whocome from different countries and who
differently consider their creative practices
and positions. This connected up identity,
practice-habit, interest and obligation, as
we hosted and guested and travelled andstudied together.

家）に、2 019年度のパリユニットについて寄稿していただきました。

To Bring Nothing to the Table
5

Looking BackInheriting from the previous year the theme’A r t i s ex p e r i m e nt ati o n , a n d th e m o s teffective place for experiments is the school,’the framework of experimentation expanded
this year to include not only ’body’ but also’sound.’ In addition, the workshop was notconfined to the school but also involved
active participation in events that comprise
actual manifestations of experimental art,such as the Asian Meeting Festival held at
BUoY in Kitasenju and John Cage’s musicalwork, Musicircus , performed at the National

Dance Center in France. The sheer amountof information appeared to overwhelm thestudents, but I feel that being given the
chance to participate in art history and sitesof activity through direct experience wasvery significant for them.
With various activities taking place, the final
presentation began in a rather guerrillalike manner, but the students delivered a
powerful performance despite the presenceof a large audience.

In the first half of the Tokyo session,
the students had already attended
numerous lectures and workshops, and soan interim presentation was held in theform of an open studio to consolidate
perspectives. The program was put
together through discussion between
students and teachers about how toadapt previously acquired expressive
methods to presentations taking theform of performance art.

on the Project
Adopting ‘Nothing’ as the central pillar, thisyear’s program was a challenge both for the
students and teachers. The students had tothink and act for themselves throughout,from initially identifying a theme to deciding
what to do. ‘Nothing’ does not mean anything.
What is ‘Nothing’? How can ‘Nothing’ become
something conceivable? T he question
becomes philosophical, and there was much
confusion among the students who had to
apply it to their actual practice. Meanwhile,the teachers had to provide of fhand
guidance and indicate a framework. Paying
attention to their use of language in orderto give focused support, teachers used theword ‘Exchange’ to refer to meetings and‘Occasion’ to refer to presentations and, while
trying not to guide in any single direction,
they prepared a simple ‘table with nothing
on it’ in available spaces on and off campus,
and kept persistent watch over the things
that transpired. The challenge continued
while moving among the four sites of Suffolk,
London CSM campus, and the TUA Ueno
and Toride campuses. ―Nothing on the table, but you can put anything
to the table. All is up to you.

A week spent in a former farm in thecenter of a wheat field in Suffolk on theoutskirts of London. Daily life would
involve the necessity of cycling for 30
minutes to buy a carton of milk. Amongother events, the students mutuallyshared things found during walks inthe ‘Exchange’, and baked original pies
which they then ate together at the‘Occasion.’
ロンドン郊外のサフォーク、麦畑の中の元農場で過ごした1週間。30分自転車をこいで牛乳1本を買いにいくような生活の中で、「散歩

前半の東京セッションでは、学生はすでに数の途中で見つけたもの」をExchangeで見せ多くの講義やワークショップを受けていたの合ったり、「自分なりのパイ」を作ってみんなでで、この時点で一度まとめてオープンスタジ

食べるOccasion。

オという形式で中間発表会をした。これまで獲得した表現方法をどのようにパフォー
ミングアートとして発表するか、学生と教員で話し合い、プログラムを組み立てた。

During the Paris session at BAP in thelatter half, a body workshop by Professor
Emmanuelle Huynh took place almost
ever y morning. The purpose of theworkshop was not to nurture dancers,
but rather emphasize the considerationof p hys i c al m ove m e nt a m i d s t t h erelations between the other and space.
For students who had no experience ofphysical expression, the content wasarranged in such a way that they could
consider the body as an element of theirexpressive range.
BAPで行なわれた後半のパリセッションでは、
エマニュエル・ユイン教授による身体ワーク
ショップがほぼ毎朝行なわれた。ワークショッ
プの目的はダンサーを育成するものではなく、他者や空間との関係性の中で、身体の動きを考えることに重きを置いている。身体表現の経験がない学生にとっても、身体を表現の要

前年からの「芸術とは実験である。実験の場としなアート活動をしているイベントに積極的に参加し「Nothing」を柱に据えた今年のプログラムは、員でのミーティングに「Exchange」、
プレゼンテーて最も有効な場所が、学校である」というテーマをた。学生にとっては少し情報過多のようではあった学生にとっても教員にとってもチャレンジングだっションや発表に「Occasion」という単語を使って方継承し、今年は実験の枠組みを「身体」だけではな

が、体験を介してアートの歴史や現場に関われたこた。テーマを見つけ、何をどうするかまで、全てのこ向性を単一に導かないよう努めながら、校内外の使

く「サウンド」にも広げた。またワークショップの開とはとても大きかったと感じている。

とを学生自身が能動的に考え、動かなければならなえる空間に、ちょっとした「何ものっていないテーブ

催場所を学校の中にとどめず、北千住BUoYで行な

最終発表はいくつものアクティビティが行なわれい。Nothingは何でもありではない。Nothingとはル」としての場を用意し、そこで起きることを見守りわれたアジアンミーティングフェスティバルやフラン

る中、ゲリラ的に始まるパフォーマンスだったが、多何か。
「ない」ということはどのように「在り得る」の続けた。サフォーク、
ロンドンCSMキャンパス、東京

ス国立ダンスセンターで行なわれたジョン・ケージ

くのオーディエンスがいる中でも実に堂々とした表か。問いは哲学的になり、現実の活動に落とし込ん

上野キャンパス、取手キャンパスへと、四つの場を移作曲作品《ミュージサーカス》など、実際に実験的現ができたのではないかと思う。

でいく学生の戸惑いは大きい。そして教員は、彼らを動しながら挑戦は続いた。

恣意的に導いたり、枠を示したりしてはならない。サ

Nothing on the table, but you can put anything
to the table. All is up to you.

ポートに徹するために言葉の使い方に気を配り、全ART AS EXPERIMENT:
Body and Sound

To Bring Nothing
to the Table

Yuko Mohri Paris Unit Project Leader

Mina Lee London Unit Project Leader

The Toride campus has workshops that
can accommodate a variety of materials
and techniques. Collaborative activities
had occupied the majority of what had
occurred in the three locations before
moving to Toride, but the students
digested the experiences and encountersthey had gained and were able to connect
them to their own expressive forms byusing the workshops at Toride. At the‘Occasion’ on the final day at Toride,students made a toast using their own
handmade glassware.
取手キャンパスには多様なマテリアルと技法に対応する工房がある。ここに至る三つの場
では、コラボラティブな活動が大半を占めたが、その経験や出会いを自分の中で咀嚼し、取手の工房で自分のかたちへとつなげていった。取手最終日のOccasionでは自作のグラスで乾杯をした。

素として考えていけるような内容になった。

6

7

PARIS

ART AS
EXPERIMENT:
Body and SoundTOK YOLONDONINTERVIEWEE:
Masaki Yoshida
Ryo Yamaguchi
Tomohiro Ishii

INTERVIEWEE:
Cho Hyunjoo
Sayoko Suwabe
Xun Meng

Interviewed by :Cho Hyunjoo, Sayoko Suwabe, Xun Meng

Interviewed by :Masaki Yoshida, Ryo Yamaguchi, Tomohiro Ishii"We started from the basics.
Yuko from TUA and Emma from BAP began the programby teaching us ways to stretch. We tried yoga and specific ways to breathe, slowly
getting ready to move our bodies. Even after some time into the program, instead oflearning sophisticated formula of choreography, we were encouraged to focus on
simply being aware of our bodies and imagining new scenes we can make with them.

"We started from nothing.
Our unit’s theme: ‘To Bring nothing to the table ’, was all that was given to us.
At the first meeting of our session in London, we were ‘ teleported’ to Suffolk,
the most rural town one could imagine several hours northeast from London.
At the farm we stayed, we were not given any structured schedule, agenda, orreal instructions, but instead were expected to do something, anything, and yet nothing.

For most of us, it was the first time trying to perform using our bodies,
which made the program even more challenging. Communication was not easy either.
Almost every student had a different nationality and cultural background.
We had to spend much more time deciding each step of creation
than when we were working as individual artists.

For most of us—no, all of us—it was the first time trying to do something
while aiming at nothing. For the first few days we were often confusedand even frustrated, spending much of the time chatting and doodling on grassfields.
We had never been told to be unproductive as such a cross-cultural artist group.

But ironically, we felt more freedom.
Our performance became bolder as days went by.
Masaki, for instance, once performed being completely naked.
We inspired each other within and outside of the atelier. We taught students from Paris
how to make Japanese origami, while they took us to local restaurants and told us
episodes from French history in return. A handful of students who were bilingual in
French and Japanese bridged our communication as a group.
Through the Paris unit program, we were able to rediscover many things.
We are now conscious of our bodies in a different way even in daily contexts.
We have proven ourselves their potential.
And we realized how bodily performance is not limited by its category;it exists in all categories of art. For instance, when one paints, one moves one’s armand body to use the brush; when one shoots a video, one’s body moves according to
the camera’s angle. We are constantly aware of our movement now,which makes us want to apply it to our own art practice.
Follow your attraction to new things.
Enjoy them, and take them in from their basics until you find them inside of you.
Paris has taught us to do so. "Reflections by Students
8

To Bring
Nothing
to the Table

But soon, we taught ourselves how to propel.
On long walks along the Suffolk wheat fields, biking for an hour to go into town andbuy groceries, baking pies for a group dinner without having any previous experience
with the cuisine, we felt an internal shift that made us turn toward one anotherand pay attention to a dozen faces of difference that inspired us.
Even as completely different minds, we were on the same page.
Through the London unit program, we opened ourselves to perspectives,in which we learned how to sustain and power our own creativity.
The absence of a solid theme made us bond with what we had in our hands:
our ideas, tools, materials, and new friends, and focus on things that were alreadyunfolding in front of us. This dense focus on actual activities fruited within us as ourown guidelines, new works, and an overall atmosphere of deep human connection.
At first, nothing we were doing seemed to be connected to art practice, and we simply
felt lost. In the end, however, we were presenting videos and photographs, mask madefrom a solid block of wood in Toride workshop, glassware; we were reciting satiricalpieces and performing our own interpretations of the experience at the final occasion.
We celebrated how everything we experience eventually linger in our art.
Pace yourself to brace yourself, and look around.
Even ‘nothing’ requires your creativity."

Among those who had participated in
the Paris and London Units, three GAP
students from each unit interviewed
one another about their experiences
throughout the program.

パリユニット、ロンドンユニットに参加した
GAP学生の中からそれぞれ3人ずつがお互いにインタビューし合い、両ユニットを振り返りました。

Student interviews compiled and edited by Cho Hyunjoo

9Snap Shots!!

PARIS

ART AS
EXPERIMENT:
Body and Sound

1 Group photo before final presentation in Paris
2 Emma’s workshop in
Tokyo 3 John Cage Musicircus performance at CND, Paris 4 Rehearsal at
BAP, Paris 5 Feedback session at BAP, Paris 6 Preparation and making
tools for final presentation at BAP, Paris 7 ORIGAMI mask workshop at
BAP, Paris 8 Check out the venue for final presentation at BAP, Paris
9 Planning the time schedule at BAP, Paris
Costume design at BAP, Paris* 1 taken by Sepideh Hashemi, 2 taken by Mao Tao, 3 to 10 taken by Ryo
Yamaguchi

1

2

1

3

3

4

5

4

2

5

7

6

7

6

8

LONDON

9

To Bring
Nothing
to the Table

1 Kostas' mask made in Toride workshop
2 Final Occasion work in London
by Gio, Helena, Winnie 3 Sayoko drawing a portrait of Hyunjoo in
Suffolk 4 Kostas and Helena with the mask 5 Final Occasion work in
London by Kostas & Vio 6 Helena on grass in Suffolk 7 Final Occasion
work in London by Momo 8 Final Occasion work in London by Mayu
9 Final Occasion preparation in London
Field across from student
lodging in Suffolk* All photos taken by Cho Hyunjoo

8
10

9

10

10

11

Yuko Mohri
The experience ofbeauty always comessuddenly.

Lecturer, GAP

akin to having all of my previous
troubles blown away. This image hasremained strong in me. It seems tome that Zumthor’s words about ourperception being visceral, quoted at
the outset, refer to such inspiration.
It is not only in things and environments
one encounters while traveling that
one has perceptions that leave an
impression.
The Global Art Practice is a placewith an intense flow of people always
coming and going. In addition to
being exclusively a graduate school,
this department also has exchange
programs with universities in othercountries, making the flow ofstudents and staff, both in and out,
over whelmingly higher than thatof other educational spaces. The
environment has ultimately led to avariety of new encounters, including
students, that I would not have hadworking creatively by myself.
Even in the familiar Ueno and Toride
facilities, the environment istransformed through the knowledge
and experience brought in by people
newly encountered. There is evenmore of a transformation if members
come together with completely
different prior backgrounds in terms oflifestyle. In other words, encounterswith people are also a spring of
inspiration that would not have beenobtained working alone.
Does engaging in a global practicesimply mean travelling around theworld while one works? In recent
years, my attitude has changed since
becoming involved in education. It
is about perceiving something froma certain fixed time, in a society andera characterized by fluid change.
Couldn’t this also be described asa global practice? I also wonder
whether that ‘attitude of passive
activity’ is the work of an artist.

ことを指しているように、私には思われます。
印象的な感受とは、旅先で出会うモノや環境だけではありません。
グローバルアートプラクティス専攻は、常に人の出入りが激しい場所です。大学院のみの学科であるうえに、他国の大学とも交流があるため、学生やスタッフの出入りが他の教育現場よりも圧倒的に多い。この環境は私にとって結果的に、一人で制作活動をしていたときよりも、学生も含めた様々な新しい出会いにつながりました。
たとえ慣れ親しんだ上野や取手の校舎で

3 / flutter at Voluta (2018), Camden Arts Centre.

「美とは感受である」──これは、美に形はあっても、新しく出会った人々が運んでくるあるのかという問いに対して建築家のペー

知識や経験によって、その環境は一変しま

ター・ツムトアが答えた言葉です。ある一瞬す。今までの生活背景が全く違うメンバーが間の強烈な経験、過去も未来もなくなった

集まれば、その変化はなおさらです。つまり、

かのような、時間が宙吊りになったような感

人々との出会いも、一人で活動するだけでは

じ……これらが美に触れたときに起こる感得られなかったインスピレーションの宝庫な覚の一つである、と彼は言います。美術家としのです。

て活動する中で、アーティストとはこうした瞬グローバルに活動するということは、単間を常に待ちわびているだけの存在なのでに、世界中をまわりながら活動をしていくこはないかと私は考えるようになりました。

とを意味しているのでしょうか。私は近年、

私の仕事は、サイトスペシフィックなイン

学校に関わるようになってから考え方が変スタレーション制作をすることです。スタジ

わってきました。流動的に変化する社会やオを拠点に毎日作業を進めていくよりも、青時代において、ある一定の時間から何かを感

森や小豆島、ロンドンやパリ、台北やシャル

受する。これもグローバルな活動とも言える

ジャといったさまざまな現場を訪れ、そこかのではないでしょうか。その「受動的な能動ら得られたインスピレーションを糧に、自分の態度」もまた美術に関する仕事ではないができる仕事を模索していく活動と言えます。

かと思っています。

そんな活動の中で、美の体験は、いつも

1 / Moré Moré (Leaky): Variations,‘Sensory Agents ’ (2018) .
Photo: Len Lye Centre, New Plymouth

突然こちらにやって来ます。
例えば、昨年初頭にキューバを訪れたときのこと。キューバンミュージックが流れる大きなコンサート会場で、少しお酒が入って気持ちのいい気分になっていると、ガードマンが座っている椅子が目に入ってきました。もともとパイプ椅子だったものが壊れてしまったのでしょう。そのあたりにある木片やビニール袋、ロープを使ってどうにか椅子の機
能を取り戻していました。そのブリコラージュ
は非常に美しく、崩壊から華麗に息を吹き返した椅子を見た瞬間、音楽も空気も止まってしまい、自分が今まで悩んでいたことを吹き

2 / You Locked Me Up in a Grave,
You Owe Me at Least the Peace of a Grave (2018).
Photo: Kuniya Oyamada

4 / Moré Moré (Leaky): cabinet at summer rains(2019), SCAI THE BATHHOUSE.

飛ばしてくれるような感覚が訪れたのです。
このイメージは私の中に強く残り続けました。
「美とは感受である」という冒頭のツムト

Encounters with others are alsoa spring of inspiration.

12

アの言葉は、このようなインスピレーションのInstallation works by Yuko Mohri

毛利悠子インスタレーション作品

1 , 4/ An installation inspired by the water leaks seen inside train stations in Tok yo. The work was constructed as a means to prevent actual water leaks that werecreated on site. The work reached completion when the leaks had been dealt with safely and the circulation of the water had been achieved. It is a piece that captures
previously overlooked features of the city with a humorous and critical gaze. 2/ The angled spiral stairs suggests the anticipation of a perpetual ascending/descending
movement. A work whose reciprocation evokes the notion of eternity. The speakers were inspired by the Leslie speaker. The sound of two piano wires made to vibrateusing an EBow, generating several different sounds through their sympathetic resonance that reverberated throughout the venue. Rotation, spirals and revolution—an acoustic sculpture installation that considers the energy arising from rotation. In addition, the title is derived from the words of Luis Auguste Blanqui, a French
revolutionar y in the 19th centur y who could not stand the noise of For t du Taureau where he had been imprisoned. 3/ A work which captures and orchestrates thenatural light, gravity and magnetic force in the space. The score generated by the goldfish swimming in the water tank is an homage to John Cage’s Variations VII (1966).

1・4 東京の駅構内に起こる水漏れ現場からインスピレーションを受け、制作現場で実際に水漏れを起こし、それに対処することで構成。無事に漏れを抑え、水を循環させることで作品を成立させた。これまで目を向けられていなかった都市の相貌をユーモラスかつ批評的なまなざしで捉える作品。
2 傾斜角度をつけられた螺旋階段は上昇／下降する永久運動を予感させ、その往還は見るものに永遠性を喚起させる作品。スピーカーは、レスリー・ス
ピーカーに着想を得ている。2本のピアノ線をイーボウでそれぞれ振動させた音は、共振を起こすことで数種類の音となって会場に響き渡る。回転、螺旋、そして革命──エネルギーが回転によって生まれることについて考察した音響彫刻のインスタレーション。タイトルは19世紀フランスの革命家ルイ・オー
ギュスト・ブランキが、幽閉されたトーロー要塞に響き渡る騒音に耐えられずに発した言葉から取られた。 3 展示室空間の自然光や重力、磁力を取り込んでオーケストレーションしていく作品。水槽の金魚の動きによって生成されるスコアは、1966年ジョン・ケージの《Variations VII》からのオマージュ。

人との出会いもインスピレーションの宝庫“Our perception is visceral”—these
are words architect Peter Zumthorused when responding to thequestion of whether beauty has aform. He says that the intensity ofa brief experience, the feeling of
being suspended in time as if there
is no longer past nor future… these
are among the sensations that occur
when touching up on b eaut y. I n
my work as an artist, I have cometo wonder whether being an artist
is about always waiting for such
moments.
My work involves the creation of sitespecific installations. Rather thanbeing based in a studio and working
from there everyday, this could be
described as the activity of visiting
various sites—such as Aomori andS hō doshima, London and Paris ,Taipei and Sharjah— and searching
for work that I could undertake, using
the inspiration found there as fuel.
In this kind of work, the experience ofbeauty always comes to me suddenly.
For example, I visited Cuba earlylast year. I was at a big concert hall,with Cuban music flowing and I was
feeling at ease after having a bit todrink, when I saw the chair wherea guard was sitting. It must haveoriginally been a folding chair, but
had been broken. It had somehow
been restored to use as a chair withwhatever was at hand: bits of wood,
plastic bags, and rope. The bricolage
was so ex traordinarily beautifulthat the instant I saw this chair,
which had collapsed and then hadmagnificent life breathed back into
it, the music and the air both stopped
and I was visited by a sensation

美の体験は
いつも突然
やって来る

Global Vision and Activities of GAP Faculty13Collaboration ProjectAt our overseas partner schools BAP and CSM, attempts are being made to develop educational environmentsthat transcend countries and continents, expanding new exchanges and collaborations between universities that differ
from international exchanges to date. Included here is a contribution from the Dean of Academic Programmes at CSM
and from the Dean of the Faculty of Fine Arts at TUA. In addition, a short unit by Emmanuelle Huynh was heldin 2019 for all students of the Department of Fine Arts with the aim of sharing what is being learned in GAP.
The progress of this unit is introduced on pages 16 to 17.
海外提携校であるBAPとCSMでは、国や大陸を超えた、これまでの国際交流とは異なる
新たな大学間交流や連携を繰り広げる教育の場の展開が試みられています。
CSMおよび本学の学部長にコメントを寄せていただきました。

CSM's Vision
Why is it necessary to have a graduate programon transcultural practice and collaboration in our time;
what is the object of our hope and ambition?
There is nothing. We don’t hope. We have no ambition. There is no particular point.
Negative and reductive phrases that are immediately demotivating and undermining of cultural aspiration. Either that, or words
presented out of context.
Tokyo University of the Arts and UAL: Central Saint Martins are two educational institutions specialising in Art and Design thatare each recognised for their global influence, the excellence of their legacy, and the depth of their impact on contemporary
cultural landscapes. We have chosen to work in consort, to affect distinctiveness in the area of international partnership andcollaboration. We have elected to forefront student agency and co-operation as a means of seeding change (cultural and social).
We have initiated a long-term commitment to mutual recognition as a route to a genuine exchange of values and perspectives.
We are actively and strategically connecting to a much wider network of specialist Universities in the interest of a future facing
Shared Campus that harvests wisdom from experience.

また2019年は本学の美術学部全体に、GAPの学びを共有してもらおうと、BAPのエマニュエル・ユイン教授によるショートユニットを開催しました。16－17ページにその模様をご紹介します。

We are doing all of this for nothing, with no particular hope and no fixed ambition.

Since its establishment in 2016, GAP has
collaborated with CSM and BAP on whati s c all e d th e G l o b al A r t J o i nt Proj e c t .
Encompassing an initial year of preparation,
its five-year history as of 2019, has involved
overcoming many barriers including
dif ferences in culture and educational
systems to develop a new educ ational
program that institutions of higher education
seek in a globalized age. The reason we
have been able to continue on this difficult
journey is a desire for serious re-examinationof the current state of higher educationby this university and our collaborators,
and a shared feeling of urgency about theimportance and necessity of devising new
methods. There is much anticipation nextyear, the sixth in the history of GAP, for theunprecedented transcultural initiatives
Shared Campus by CSM, and the tentatively
titled SCHOOLS, a new platform by BAP.

TUA’s Vision
People are born on the earth, and live their lives while connected to nature,society, and to one another. Through these relations we become conscious of
ourselves and of the age we live in, and this leads each of us to the realizationthat we are alive. I consider art to function as a medium through which people
can form relationships with nature, with other people, and with society. And I
believe that having an interest in art means to have an interest in relationships.
There are various countries, regions and peoples on the earth. I believe that
artists possess the means to consider the condition and significance of such
relationships, fostering people with the feeling of being alive while providing
vitality to the inhabitants of the earth.
Developed by TUA in collaboration with universities and other organizations
based overseas, the art project TURN engages artists in social issues in different
regions with the aim of altering awareness of such issues. In addition, DOOR is a
program that strives to nurture human resources to that aim.
And GAP was newly established in an era in which the social role of art ischanging dramatically. Attracting students with diverse backgrounds andperspectives, I hope GAP will bring about the creation of new art forms insociety through the application and pursuit of various relationships.

It is not necessary to grow transcultural collaborations, it’s essential. If we believe in humanity, there are no national borders. If weneed global solutions, we need international communities. If our future is to be assured, it is vital that our individuals can connect
their realities. And, if we aspire to education, we have to start to learn from outside of our own priorities.

今の時代に大学院課程で文化を超えた実践と連携が必要なのはなぜか：
希望と野心の目指す先とは？
何もない。希望もない。野心もない。特別な目的もない。
文化への熱い思いや意欲を失わせるネガティブで人を萎縮させるような言い方だ。あるいは、それは文脈から生まれ出た言葉なのかもしれない。
東京藝術大学とロンドン芸術大学セントラル・セント・マーチンズ校は芸術とデザインを専門とする教育機関で、どちらもその世界的な影響力、輝かしい功績、同時代の文化的景観への関わりの深さなどにおいて評価されている。私たちは国際パートナーシップ・協力体制という領域で個性を発揮していく

GAPは 2016年の開設当初から CSMと BAP

人は地球に生まれ自然や社会と関わり合いながら、そして人と係わり合いながら生きての二校と連携・協働してグローバルアート共同プ

ため、連携することを選択した。文化的・社会的変化を生み出す手段として、学生の持つ力と協力体制を前面に押し出すことにした。相互承認に向けて長いく。関わることによって自己を認識し、時代を意識し、それが一人ひとりの生きるというこ

ロジェクトと呼ぶ授業を行なってきた。準備期間

期的な取り組みを開始し、価値と視点の丁寧な交換につなげていく。未来を見据えたShared Campus（シェアドキャンパス）で経験から知を育てていくことの実感につながっていく。アートとは「人と自然」「人と人」「人と社会」が関わる際の媒の1年を合わせて2019年までの5年間を通し、文とを視野に、専門性を持った他大学と積極的かつ戦略的に連携の輪を広げている。

体としての機能を持っていると私は考えている。アートに興味を持つということは、「かかわ化や教育システムの違いなど多くの障壁を乗り越り」に関心を持つということであると思う。地球上には様々な国、地域があり、人がいる。

え、
グローバル化した現代において高等教育機関が私たちが、それらとの「かかわり」の在り様、意義、意味、に対して思考し、実践することに求められる新たな教育プログラムを開発してきた。

より、生きている実感を持つ人を育てることになり、地球の住人を生き生きとさせる術であ

この困難な道のりを歩み続けることができたのは、ると考える。

私たちはこれらのことを、特別な希望や確固たる野心を抱くことなく、目的なしにやっている。
多様性や様々な視点に立脚しない「正統派」の立場や支配的な声を積極的に疑うべき時代はとっくに過ぎた。何か一つのことを目指す時代は終わったのだ。なぜならすべての可能性を想像しなければならないから。時代は今、ポジティブな行動を積み重ねるその過程に希望を見出す。次世代の人々、学生た

本学とともに両校が現代の高等教育のあり方を真藝大が海外の大学などと連携して展開しているアートプロジェクト「TURN」は各地域

摯に問い直し、新たなメソッドを作り出すことの重の社会的課題にアーティストが関わり、課題に対しての意識を変容させていこうというもの

要性と緊急性を切実に感じ取っているからにほかである。また「DOOR」はその人材を育成するプログラムである。

ちは、野心的な目標を持たずとも行動できる。即時性があるからだ。彼らの努力や言葉は「今」に意味を持つ。特定のゴールはない。代わりにそこには複数の視点と複数の解があり、それらがより平等な環境と社会のあり方を要求し、ポジティブな成果を公平に分配することを求める。

ならない。6年目となる2020年からは CSMによるそしてアートの社会的役割が大きく変化する時代の中で新たに創設したのがGAP専攻で「Shared Campus」や BAPが仮に「SCHOOLS」

文化を超えたコラボレーションは必要なのではない、必要不可欠なのだ。私たちが人類を信じるなら、そこに国境はない。私たちがグローバルな解決策をある。地域的にも思考的にもより多様な学生が集まるGAPにおいて、様々な「かかわり」をと呼ぶ新たなプラットフォームなどを通して、これま必要とするなら、国をまたいだコミュニティが必要だ。私たちの未来を保証するためには、個人がそれぞれの現実から考えられることが重要だ。そして私た

実践しながら社会における新たなアートの姿を創出していくことを期待しています。

ちが教育に情熱を注ぐなら、自分たちの優先順位の外に出て学ぶ必要がある。

でにないトランスカルチュラルな取り組みが期待されている。
（Text by Yusaku Imamura）

14

It is way past the time when we should start to actively doubt orthodox positions and dominant cultural voices that have nobasis in diversity or a range of insights. It’s time to want nothing, because we need to imagine everything. It is the moment tocapture hope in the processing of positive actions. The next generation, our students, can work without ambition because there
is an immediacy; their efforts and discourses are meaningful in the now. There is no particular point, because there are multiple
perspectives and multiple solutions that demand a fairer environmental and social ecology and a more equitable distribution of
positive outcomes.

Katsuhiko Hibino
Artist, Dean of the Faculty of Fine Arts and Professor at
Inter-Media Art Department, Tokyo University of the Arts

日比野克彦

Paul Haywood

ポール・ヘイウッド

アーティスト、東京藝術大学美術学部長・研究科長、先端芸術表現科教授

Dean of Academic Programmes : Art, Performance and Programme X
UAL: Central Saint Martins

ロンドン芸術大学セントラル・セント・マーチンズ校:
アート、パフォーマンスおよびプログラム X 美術学部長

15

Short Unit ‘Body as a Stage’Student voices＊記載の学年は、2019年7月時点の情報です。

Emmanuelle Huynh is the first professor of
performance at BAP. Her class is a place where
embodied knowledge within formative arts
education, and an awareness of space andthe world through the body can be gained,
namely a place for learning knowledge beyond
language. Huynh restores education, a fieldthat tends to be a place for learning techniquesand methods, to the primordial site of the bodyand brings us to reconsider its existence.
Over the past two years, she has been conducting
joint classes with GAP, and in order to allow
more students the opportunity of experiencing
educational methods that have had significant
results, a three-day intensive class was held asa short unit for students of the Departmentof Fine Arts and Graduates School of Fine
Arts including Oil Painting, Sculpture, Crafts
and Inter-Media Art at TUA.
While arousing physical sensations in theindividual, her classes also heighten
awareness of relations with others as well as
one’s position within a collective. Movements
are not made with a preconceived image,
but rather arise organically so as to cause
relations between ‘I’ and ‘the other,’ andallow the body and space to respond to one
another. By moving slowly while sensing
what is happ ening in the moment , thepar ticipants move to form a landscape.
C o nti n u i n g f ro m m o r n i n g to eve n i n g ,this three - day intensive workshop wasa substantial learning oppor tunity andl e d to s i g n i f i c a nt r e a l i z at i o n s a m o n gparticipants. At a time when performanceoccupies an important position even withincontemporary art, it is vital to vigorously
incorporate embodied knowledge andlearning through per formance into ar t
education. It is my intention to continue andfurther develop this class next year.

*Students’ year of study is current as of July 2019.

Oil Painting Undergraduate Year 2

Mika Kasai

I usually make drawings. Since I normally only use my eyes and hands when making
work, I had never really been aware of my physical sensations. Through participation inthis short unit, I became acutely aware of the physical sensations throughout my bodythat would usually go unnoticed. I feel like my field of vision has expanded. In addition,
since my practice has mainly focused on thinking with my head, it was refreshing toexperience thinking through the actual use of my body as a means of production. It wasa shame it only took place over three days. I would certainly like to participate in futureclasses of this kind.

油画 学部2年

笠井 美香

Glass Master’s Program Year 1

Chang Rachel RuqianThis three-day workshop was a first-time experience for me, and truly refreshing.
Until now, I had been accustomed to shaping and decorating things with my hands
and working from a rough concept in mind beforehand, from which I would develop
an image and then produce the work while thinking and adjusting as I progressed. In
this workshop, instead of prioritizing the mind in physical movements, we focused on
our own bodies, and were led to a heightened sensitivity of our skin, voice and otheraspects. Humans encounter the world through the body. My over-reliance on sight had
gradually led me to ignore the body, occasionally causing a feeling of being burdened.
By changing one’s perspective, the way one looks at things can change dramatically.
I believe this workshop will be useful not only for future research but also in daily life.
These three days have been truly enjoyable.

ガラス造形 修士1年

常 如倩

この3日間のワークショップは初めての体験で、とても新鮮な感じでした。今まで手を使って何かを造形したり装飾したりの作業に慣れていて、いつも作る前は頭の中に少しでもコンセプトがあり、そのコンセプトのイメージから発展し、ゆっくり考えながら調整して制作していました。今回のワークショップでは自分の頭を優先して体を動かすのではなく、自分の体に注目し、肌や声など感覚を敏感にさせました。人間はいつも体を通してこの世界と接触します。視

私は普段ドローイングを中心に制作をしています。普段の制作の中で使うのは目と手のみでしたので、身体の感覚をあまり意識することがありませんでした。今回ショートユニットに参加して、普段は意識しない身体全体の感覚がとてもクリアになりました。視界が広がった感じがし覚を頼りすぎの自分がだんだん無意識に体の存在を無視して、たまに負担に思っていました。
視点を転換すると、見え方が大きく変わります。このワークショップのきっかけで今後の研究
だけではなく、生活にも役に立つと思います。この3日間とても楽しい時間でした。

ます。また、頭で考えることが中心でしたので実際に身体を使って考え、制作する体験はとても新鮮でした。期間が3日間ととても短かったのが残念です。またこのような講義がありましたらぜひ参加したいです。

Anri Ikeda

Inter-Media Art Doctoral Program Year 1

Sachi Tanihara

I was truly fortunate to be able to attend this class. It was the first time I had learned
about creative and experimental physical performance, and it led to a string of
discoveries. I was very impressed by the way I was guided throughout the class tocreate organic movements that I had never experienced before despite having no priorencounters with creative dance. Having experienced the reawakening of sensations
deep within me over three days, I feel this class will have a lasting impact on my researchin the future. It was so compelling that I thought how wonderful it would be if it became afull-year course at TUA. I will never forget the class, and I am sure to use the experiencein the future.

Details
Instructor : Emmanuelle Huynh (Professor, Dance Studio, BAP)
Course period : July 29 – 31, 2019
Venue: Ueno campus

先端芸術表現BAP初のパフォーマンスの教授であるエ

中の自分の位置などを意識させる。固定したマニュエル・ユイン。彼女のクラスは造形美イメージで動くのではなく、関係性を生起さ術教育における身体知と身体による空間認せ、他者との関係、身体と空間が呼応してゆ識、世界認識、すなわち言葉を超えた知を学く。今、ここで起こっていることを感じながらぶ場となっている。技法や手法の習得の場

ゆっくり動くことで、一人ひとりの動きが風景となりがちな教育を根源的な身体に引き戻をかたち作ってゆくのである。

して考えさせるのである。

3日間、朝から夕方までの集中したワーク

これまで2年間にわたってGAPと共同授

ショプは充実した学びの時間であり、大きな業を行ない、大きな成果を残した教育メソッ

気づきを残すこととなった。現代アートでもドをより多くの学生に経験してもらうため

パフォーマンスが重要な位置を占めるようにに、東京藝術大学美術学部および大学院美なってきた現在、美術教育において身体知、術研究科の油画、彫刻、工芸、先端芸術表

パフォーマンスによる学びをしっかりと組み現などの学生にショートユニットとして3日込んでいく必要がある。本授業を来年も継間の集中授業を行なうことになった。

続して発展させていきたいと考えている。

彼女の授業は個人の身体感覚を呼び覚ま（Text by Yusaku Imamura）

すと同時に、他者との関係、コレクティブの博士1年

Sculpture Master’s Program Year1

谷原 佐智

この授業を受講できて、本当に私は幸運でした。創造的で実験的な身体パフォーマンスを学べたのは初めてで、発見の連続でした。創作ダンス経験がほとんどなくても、授業を通して今まで経験したことのない動きを自然に作っていけるよう導いてくださったことに、感銘を受けています。自分の奥にある感覚が呼び覚まされる経験が3日間続き、自分の研究に今後大きな影響を与える授業だと感じました。藝大に通年の授業としてあったら素晴らしいのにと思えるくらい面白く、
今後記憶に残るような授業でした。この経験を絶対に今後に活かしていきます。

This workshop led me to experience indistinct ideas unrealizable in sculptural form
that I nevertheless felt could be given tangible form. The body sharing activity weconducted in pairs on the first day involved a process of gradually synchronizing bodies
while sensing the body temperature and breathing of the other through the sensesof hearing, smell and touch that are usually hindered by vision, rendering an image ofmutually stepping into one another’s body and consciousness. Outside on the third day,we synchronized our bodies with the ground, leading me to imagine being connected
to Mother Earth. In the stage workshop, which involved stopping the performancewith the word “end” to create a pictorial still image, I learned about the relationshipbetween time and the body. From such experiences, I understood that the sharing andembodiment of images is born out of the relationship between the self and others, while
the images that emerged out of this workshop created a narrative in space. In the future,
I want to deepen my understanding of the body in my own sculptural practice, andcreate works that utilize the body.

彫刻 修士1年

池田 杏莉

このワークショップでの経験は、私が彫刻表現に移すことのできない曖昧なイメージを具現化させる可能性を感じました。1日目のペアで行なった身体の共有は、音やにおい、感触といった、普段は視覚に阻害される四感で相手の体温や呼吸を感じながら徐々に身体をシンクロさせていく過程で、互いの身体と意識の領域に踏み入るイメージがありました。3日目の外では、大地と身体がシンクロしていき、地球という母体と繋がっているようなイメージを得ました。
「終わり」の一言でパフォーマンスを止め、絵画的にシーンを切り取るステージのワークショップでは、時間と身体の関係を学びました。これらから私は、イメージの共有や具現化は

Oil Painting Undergraduate Year 1

Miyū Mori

自身と他者との関係性から生まれ、その生まれたものが空間の中に物語を作っていくように思えました。彫刻を作るにあたって、今後さらに身体への理解を深め、身体を使った作品制作をしていきたいと思いました。

I am a first year undergraduate in the Department of Oil Painting, but I had beeninterested in the physical expression classes run by GAP from the beginning. However,since GAP is only for graduate students and there is also a language barrier, it felt very
distant. With such obstacles removed, I feel very fortunate to have been able to join
this short unit and make use of this valuable opportunity. The words ‘diversity’ and‘global’ advocated by TUA are closely related to the body, in the sense of opening andexpanding things that were closed, respecting differences between oneself and others,
and removing preconceptions and habits. I hope such a place of learning will continue tobe offered.

油画 学部1年

森 未有

私は油画科の学部1年ですが、GAPの身体を使った表現に入学当初から興味を持っておりました。しかし、入口が修士で言語の壁もあるGAPは遠い存在でした。今回のショートユニットは、その両方の障害を取り払ったかたちで開催され、私にとっては大変幸運で貴重な機会でした。
藝大が掲げている「多様性」「グローバル」などは、閉じていたものを開き広げること、自他の差異を尊重し、思い込みや慣習を取り払うことなど、身体と密接に関係していると思います。ぜ
ひ今回のような学びの場を継続していただきたいです。

Collaboration Project in TUA
16

17

Diverse Perspective
GAP also places importance on exchanges and collaborations with Asian countries.
GAP organizes a class called ‘Social Practice’ led by internationally active artists
who have a cultural background in Asia, which is becoming a place to gain deeper insight and learn new methodologies.
In addition, the overseas research program ASAP has also been implemented since 2018,
resulting in visits to various cities across Southeast Asia. The invited lecturers for 2019, Ong Keng Sen and ruangrupa,
are introduced here together with ASAP.
GAP専攻ではアジア圏との交流や連携にも重きを置いています。アジアを文化的背景に持ち、国際的に活躍するアーティストによる「社会実践論」という授業を開催し、より深い思考と実践を学ぶ場となっています。さらにASAPという海外研修プログラムも2018年から実施し、東南アジア諸都市を訪問しています。2019年度の招聘講師であるオン・ケンセンやルアンルパ、
そしてASAPをご紹介します。

In a globalized age and for a globalized
art practice, it is important to be able
to recognize, discern and empathizewith the diverse perspectives thatexist in the world.
Until now, humans have been trappedin a narrow world with a fixed sense ofvalues and ideals shaped by hegemony.
As stated by the French philosopher
Jean-François Lyotard, there is noneed to be fooled by big narratives
that construct and justify certain ideas.
A single perspective constitutes aworld defined by a single focus,
comparable to the use of one-point
perspective in visual representation.
Diverse perspectives can be found
not in grand narratives or in culture,but in individuals. It is important tolisten to these small voices.
Contemporary art provides a meansof confronting the diverse valuesof the world beyond geographicalconditions and national values.

Ong Keng Sen has been involvedin numerous performing arts andth e ate r p ro d u c ti o n s a s A r ti s ti c
Director of TheatreWorks, and inrecent years as Director of Singapore’s
leading per forming ar ts festival.
From 1994 to 2013, he organized The
F ly i ng Ci rcu s Proj e c t , a shar i ng
platform and cross-cultural exchange
workshop that transcended eras,
nations and genres, leading him to
make a significant contribution as apioneer in Asian art and artist networks.
Keng Sen is an old friend whose ideas
and criticism have always inspired
me, while for several years he also
gave intellectual support to Tokyo
Wonder Site as international advisor.
I invited him to GAP for two reasons:
One is his ability to read and criticize

GAP Social Practice Seminar

Ong Keng Sen

グローバル化した時代と世界のアートプラ

た。フランスの哲学者ジャン・フランソワ・リ

あるのではなく、個人の中にこそ見つけるこ

クティスにとって、世界には多様なパースペ

オタールが言うように、ある理念を構築、正とができる。その小さな声に耳を傾けること

クティブが存在することを知り、それに耳を当化する大きな物語に惑わされる必要はなが重要である。

傾けること、そして共感する力こそが重要でい。単一のパースペクティブとは、まるで一

現代アートは、地理的な条件や国家の価ある。

点透視図法のように一つの焦点によって規値観を超えて世界の多様な価値観としっか

人間はこれまで狭い世界の単一な価値定される世界である。多様なパースペクティ

りと向かい合う術なのである。

観やヘゲモニーによる価値観に囚われてきブは大きな物語や総体としての文化の中に

through fic tion, developed into
stories, and presented at the end
in the form of a museum. It was aworkshop that encapsulates theessence of the creative process
in a shor t space of time, greatly
stimulating students throughKeng Sen’s astute criticism of theirrespective works.

Details
Special Lecture: CREATING NOTHING – Intercultural Performanceand The Flying Circus Project 1996 -2013
Lecturer: Ong Keng Sen
Course period: May 29 – June 3, 2019
Venue: Ueno campus, Toride campus

オン・ケンセンはシアターワークスのアーケンセンとは長い友人であり、私は彼の思味やこだわりを端緒に、それをいかにフィク

ティスティック・ディレクターとして、そして近考と批評に常に刺激を受け、トーキョーワンションを通して変容させ、ストーリーメイキン

年ではシンガポールを代表するパフォーミン

ダーサイトにおいてもインターナショナルアド

グをし、最終的にはそれをミュージアムとしグアーツフェスティバルの芸術監督として数バイザーとして長く思想的なバックアップをてどのように提示して見せるか、というプロセ

多くのパフォーミングアーツ、舞台芸術の演してもらってきた。彼をGAPに招聘したのにスを学ぶものだった。創作のプロセスのエッ出を手がけてきた。1994年から2013年まは二つの理由がある。彼の透徹した創作にセンスを短期間で走り抜けるようなワーク

で時代と国とジャンルを超えた異文化交流

対する読む力と批評力こそが、GAPのようなショップであり、ケンセンのそれぞれの作品のワークショップとシェアのプラットフォー

トランスカルチュアルな学びの場が必要としに対する鋭い批評とともに学生たちに大きムである「フライング・サーカス・プロジェクていることと、フライング・サーカスのようなな刺激を与えることとなった。

ト」を組織し、アジアのアート、アーティスト

プラットフォームが今の時代にも必要である

ネットワークの草分けとして大きな貢献を残こと、そしてそれを議論することである。

（Text by Yusaku Imamura）

GAPでのワークショップは、個人的な興している。

Ong Keng Sen（Text by Yusaku Imamura）

Photo: JeannieHo

18

creations with penetrating acuity, askill which is needed in transculturalplaces of learning such as GAP; theother is his work in platforms like
Flying Circus, which are still vital
today and should be discussed ingreater depth.
The GAP workshop involved learning
about the process of how personal
interests and preferences shared at
the beginning could be transformed

ONG KENG SEN, artistic director of TheatreWorks and the artspace 72-13 in Singapore, founded the Arts Network Asia, a micro-grant
peer organization and the international Curators Academy focused on the synergy between contexts and curation in Asia. His seminal
work is the nomadic artist residency, The Flying Circus Project which brings together international artists traveling through Asia, sharing
their contexts amongst themselves and young people in the local sites. He is a Fulbright Scholar and was awarded the prestigious Fukuoka
Asian Arts and Culture Prize in 2010 for his creations in Asian contemporary performance. His directions have been presented to muchacclaim all over the world including Lincoln Center in New York City, Théâtre de la Ville in Paris, Edinburgh International Festival, Theater
der Welt in Berlin, Shakespeare Festival at Hamlet’s Castle in Denmark, Tanzquarter Vienna, Rotterdam Schouwburg, Roma Europa
Festival, Cocoon Theater in Tokyo, Idans Festival in Istanbul, Panorama Festival in Rio de Janeiro and Adelaide Festival in Australia. He
holds a Masters in Performance Studies (Intercultural Performance) from Tisch School of the Arts, New York University and was also an
Adjunct Professor with the National University of Singapore, where he started the theatre studies programme in 1992. Ong is the Founding
Festival Director of the all-new Singapore International Festival of Arts (SIFA). He directed four editions of SIFA from 2014 to 2017. He is
the first Singapore artist to have received both the National Arts Council Young Artist Award (1992) and the Cultural Medallion (2003).

19

“Our dialogue is inefficient. Probably
all of you here at the university are
seeking something efficient…(laughs)”
These are the words of Ade Darmawan,
representative of ruangrupa, spoken
at a recent international forum.
The values that ruangrupa offers
are diverse and reflect tolerance,
placing importance on the process ofcontinuing the dialogue itself rather
than the premise of confronting thelistener with conclusions. There is ahistorical and cultural backgroundto such thinking. In the late 1990s
at a time when the dictatorship had
continued for more than 30 years,
Indonesia suffered from the Asian
Financial Crisis, leading to rising
inflation, unemployment and social
unrest. It was an era in which you
would be arrested if five or more
people gathered without asking priorpermission. Sensing that the social
system is not simply something

provided, but must be built by thepeople themselves, students took
action. The activities of ruangrupa
also began at that time. Indonesia is
a diverse country, consisting of morethan 13,000 islands on which morethan 500 languages are spoken. That
is why it is important to talk while
admitting differences.
ruangrupa first secured a space of
their own, and started by creatinga ‘living room.’ Initially, the size wasapproximately that of 4.5 tatami mats(‘ruangrupa’ means ‘the shape of aroom’ in Indonesian). The conversation

GAP Social Practice Seminarruangrupa

has continued since then. Appointed
as Artistic Director of Documenta 15
in 2022, ruangrupa are not planninganything special and will insteadtransfer their activities to Kassel
unchanged. ‘Lumbung’ (rice barn)
expresses their idea of sharing. This
will surely have a profound effecton the creation of societies in the
coming era. Even though they are
attracting attention from around theworld and fully occupied with work,
they agreed to hold a weeklong
workshop here at GAP. How will thisseed grow?

Details
Special Lecture: Artist Collective-Space as a form and place where
we take part in distributing knowledge and experience
Lecturer: ruangrupa
Course period: October 17 – 21, 2019
Venue: Ueno campus, Toride campus

values and worldviews that differ
f ro m th o s e p rev a l e nt m a i n l y i nWestern Europe. Every year, we also
visit art biennales held in various
parts of Asia, providing opportunities
to learn about the unique challenges
faced by different cities as well as
issues shared across the world.
The most important aspect of thep r o g r a m i s th e o p p o r tu n i t y fo r
students to learn through encounters
w i t h internationally active Asianar tists, visiting their ateliers andgaining direct exposure to their
methods and ideas. Artists’ ateliers

Asia Study Trip

Arts Study Abroad
Program (ASAP)

人以上人が集まるときには届け出をしないの形」を意味するという）。そのときからずっ

昨年より、本学先端芸術表現科の小沢剛

多分、ここにいらっしゃる大学の皆さんはと逮捕されるような時代。社会システムを与と対話が続いている。2022年の「ドクメン教授とともにASAPでアジアと出会う旅を行

efficientなことを求めていらっしゃるとは思

えられたものではなく、自分たちで作り上げタ15」のアーティスティック・ディレクター

なっている。昨年はホーチミン（ベトナム）、

最も重要なプログラムはアジアを出自にいますが……笑」。先日のある国際フォーラ

なくてはならないと学生たちは立ち上がっ

に選出されたルアンルパは、ドクメンタに特バンコク（タイ）を訪問し、今年はバンコク

国際的に活躍するアーティストたちと出会

ムでのルアンルパ代表アデ・ダルマワンの発た。ルアンルパの活動もそのときに始まっ

別なものを計画するのではなく、カッセルに（タイ）、ジャカルタとジョグジャカルタ（イい、アトリエを訪問し、彼らの制作と思考に言だ。

た。1万3千以上の島と500以上の言語が存

彼らの活動そのものを持っていくという。彼

ンドネシア）を訪問した。

直に触れ合うことからの学びの機会で、これルアンルパが提供する価値観は多様で寛在し、多様性を持つインドネシア。そこではらのシェアの思想を表した 「ルンブン（米昨年からバンコクでは国際交流協定校でまでにディン・Q・レ、ウィット・ピンカンチャ

容で、対峙するような結論を前提とするので違いを認めながら対話をすることこそが重要倉）」。それがこれからの時代の社会づくり

あるシラパコーン大学とワークショップを行

ナポン、ヘリ・ドノ、エンタン・ウィルハソなはなく、対話を続けるプロセスそのものを重だ。

にじっくりと影響を与えていくだろう。世界ない、今年は新たな国際交流協定校の候補

どのアーティストを訪問している。アーティス

抱える固有の課題と世界が共有する課題を学ぶ機会を設けている。

要視している。そこには歴史的、文化的な背ルアンルパはまず自分たちのスペースを確中から注目され、大忙しの彼らが、ここGAPであるインドネシア芸術大学ジョグジャカル

ト・コレクティブの活動が盛んなインドネシ景がある。30年以上独裁政権が続いた90保し、そこにまず 「リビングルーム」を作ってで１週間、ワークショップを行なってくれた。

タ校を訪問した。世界の芸術文化はますま

アでは、ルアンルパに代表されるいくつかの

年代末、インドネシアをアジア通貨危機が襲いった。最初は四畳半ぐらいの大きさからこの種はどのように育っていくだろうか。

す多様化、多極化してきている。特に経済成

コレクティブを訪問している。

いインフレと失業、社会不安が増大した。5（「ルアンルパ」はインドネシア語で「部屋（Text by Yusaku Imamura）

Iswanto Hartono
Photo: Jin Panji

Reza Afisina
Photo: Jin Panjiruangrupa - always written using lowercase letters and without spaces - is a contemporary art organization
and artist collective founded in 2000 by a group of artists based in Jakarta, Indonesia. This collective started
as a contemporary art ecosystem that was developed from a nonprofit work model. As an NPO lead andfounded by creatives, ruangrupa is involved in wide-ranging initiatives including operating the art space thatthey use as their headquarters, holding exhibitions and workshops, conducting research as well as directing
international exhibitions.
In 2019, ruangrupa worked together with 2 artist collectives: Serrum and Huru Hara to initiate Gudskul:
Contemporary Art Collective and Ecosystem Studies. This is an educational platform aimed at maximizing
learning opportunities surrounding the arts in the forms of collaboration and sharing.
Another facet of their art ecosystem is the ArtLab which is a program that examines art projects and perform
creative collaborations. These usually deal with urban issues and the media. ArtLab aims to be a space forindividual artists or interdisciplinary groups from within and outside Indonesia to interact and work together.

長著しい東南アジアは、芸術文化活動も盛このように多様な世界観を直に現地に赴んで世界の注目を集めている。そこでは西欧

いて肌で感じ、学ぶことを私たちのASAPで中心の価値観とは異なる多様な価値観、世は重要視しており、今後もアジア各地で展開界観を学ぶことができる。毎年、アジア各地していきたいと考えている。

で開催されるビエンナーレも訪れ、各都市のvisited so far include Dinh Q. Lê, Wit
Pimkanchanapong, Heri Dono andEntang Wiharso. In Indonesia, where
the activities of artist collectives
are flourishing, we visited several
collectives including ruangrupa, themost representative of them all.
In ASAP, we value the importance oflearning about diverse worldviews
through firsthand experiences inother countries, and it is our hope
to further develop the program toinclude respective parts of Asia in
the future.

Details
Instructors: Yusaku Imamura (Professor, GA P),
Tsuyoshi Ozawa (Professor, Inter-Media A rt)
Course Period: November 11 – 21, 2019
Cities Visited: Bangkok ( Thailand),Jakarta and Yogyakarta (Indonesia)「私たちの対話はinefficientなんです。

ruangrupa

20

Since last year, together with Professor
Tsuyoshi Ozawa of the Department
of Inter-Media Art of TUA, we haveorganized trips to encounter Asia
in the form of ASAP. Last year wevisited Ho Chi Minh (Vietnam) and
Bangkok (Thailand), and this year
we visited Bangkok , Jakar ta andYogyakarta (Indonesia).
Since last year, we have held workshops
in Bangkok with our international
exchange partner Silpakorn
University, and this year we visited
I n d o n e si a I ns titute of th e A r t s ,Yogyakarta, which is a candidate
for a new international exchange
partnership. Art and culture aroundthe world is becoming increasingly
diverse and multipolar. With it sremarkable economic growth anda flourishing of the arts and culturalactivities, Southeast Asia has been
attracting worldwide attention in
par ticular. This region offers thepossibility to discern a variety of（Text by Yusaku Imamura）

ASAP Credits
S uwanna Kongsakpaisal , S urain T hapanakul(Luean Rit Community)
J a k a p a n V i l a s i n e e k u l , Ve e r aw at S i r i ve s m a s(Silpakorn University)
Wit Pimkanchanapong (Artist)
Melani Setiawan (A rt Collector)
Rudy A kili (A kili Museum of A rt)
Ir wan A hmett and Tita Salina (A rtist)
Mia Maria (Pasar Seni A ncol)
Jun Tirtadji (ROH)
Ade Darmawan, Iswanto Hartono, Reza Afisina(ruangrupa)
MG Pringgotono, Marcellina Dwi Kencana Putri(GUDSKUL)
Bayu Genia Krishbie (National Gallery of Indonesia)
Aaron Seeto (Museum MACAN)
Yustina Neni (Kedai Kebun Forum)
Agnesia Linda (Cemeti)
Ucup Baik ( Taring Padi)
A lia Swastika ( Yogyakarta Biennale)
Heri Dono (A rtist)
Suastiwi Triatmodjo (ISI Yogyakarta)
Yulriawan Dafri (ISI Yogyakarta)
Wimo A mbala Bayang (Ruang MES56 )B rigitta Isabella (KUNCI Cultural Studies
Center)Entang Wiharso (A rtist)
Oei Hong Djien (OHD Museum)
Mami Kato (Studio Mendut)
Natasha Sidharta (IndoA rtNow)

21

Yusaku Imamura
As a new platform forcreation to actualize
connections in theworld, GAP is working
on global issues in ourcontemporary society.

Tokyo Independent, exhibition
worked on as supervisor. April 2019.
Photo: Kenshu Shintsubo
東京インディペンデント2019

22

Zuni HK Belt-Road Cultural Exchange
Conference 2019, September 2019.
香港で開催された一帯一路における国際文化交流の姿を検討する会議に参加

a place for experimentation where
one can learn even from failures.
Against the trends of result-oriented
evaluation, I focused on the outcome,going beyond the output and processitself. I think this focus is relevant andimportant for GAP.
I would like to develop GAP to be an
experimental laboratory to tackle
global issues in our contemporarys o c i et y, w hil e wo r k i n g w ith ourinternational par tner s . It would
work on the development of new
educational methods, international
collaboration research, art projects,
artist-in-residence, and cultural policy
research from an interdisciplinary andmulti-perspectives. CSM, a partnerof global art collaboration projects,
is working on Shared Campus, a newinternational university collaboration
platform, while BAP is building a newplatform called SCHOOLS (tentative).
In Asia, GAP is also working with
Silpakorn University to create a Social
Art Lab working on contemporarysocial issues. I hope that GAP will movetowards a new platform for education
and research by collaborating withthese new global attempts.

るように感じることが現代に生きる私たち

私の個人的な思いとしては、GAPは国際に求められる感受性といえよう。なぜなら西的なパートナーと現代社会のグローバルな田幾多郎が「私とは場所である」と語ったよ

課題に取り組むエクスペリメンタル・ラボラ

うに、私たちは生きるこの世界と不可分であトリーを目指したい。そこでは新たな教育メ

り、この世界こそ、そしてこの世界との係わり

ソッドの開 発 、国際共同 研究、アートプロ

こそが私であるから。

ジェクト、アーティスト・イン・レジデンス、

私は建築を通して世界と係わりを探ってき

そして文化政策研究などを学際的、複合的た。その後、キュレーションから文化政策まな視点から取り組んでいきたい。これまでのでを取り組んできた。それは異なる職能であグローバルアート共同プロジェクトのパート

るかのように見えるが、私はそこに大きな差ナーであるCSMは新たな国際的な大学連携

異を見出さない。なぜなら私は、建築は存在のプラットフォームであるShared Campusと場に関する哲学であり、世界を構築する技を推進し、BAPはSCHOOLS（仮称）という術（生成させる技）であると考えている。そし新たなプラットフォームを構築しようとしていて建築家は世界をどのように見て、そこにどる。アジア域においてもGAPはシラパコーのような新たな係わりの場を挿入するかで潜ン大学と連携し、共同で現代社会の課題に在化していた場の力を顕在化させる。そうし取り組むラボをつくることにも取り組んでいた観点からすると、建築もアート作品もそしる。このような新たな世界的な取り組みと連て文化政策も世界の係わりを顕在化するも携しながら、GAPがこれまでにない新たなのであるからだ。

教育と研究のプラットフォームに向かってゆ

私はトーキョーワンダーサイトというアートセンターを東京における新たな創造のプラッ
トフォームとして創設し、十数年にわたり館長として運営していた。同時に新たな東京都の文化政策にも取り組み、文化政策とまちづ「グローバル・アート・プラクティス」を私は「グローバル化した世界と時代におけるアート
プラクティス」と読み替え、本専攻はそれを思考し実 践する場であると考えている。世界は様々なパースペクティブによって把握され、物語られる。それには歴史的、地理的、
文化的そして個人的な様々なパースペクティ
ブが存在する。それらのパースペクティブに耳を傾け、直に肌身で触れる、あるいは触れくり政策を結びつけ、芸術文化の自由な創造の場と人を育む場づくりを行なってきた。
そこでの課題はいかに自由な創造性を発揮できるすき間・空き地を構築するかということだった。そのために、そこに集う人々が考えや活動をシェアし、失敗をも学びとできる実験の場所を目指した。成果ばかりが求められる時代に、プロセスそのものとアウトプットを超えるアウトカムを大切にしていた。この考
えはGAPにも重要なことだと考えている。

3rd INTERNATIONAL SYMPOSIUM ON ART, CRAFT AND
DESIGN (ARCADE) 2019 ‘Establishing Society Establishing Humanity’,Silpakorn University, Thailand, June 2019.
タイのシラパコーン大学で開催された東南アジアの芸術大学連携国際会議に参加くことを願っている。

現代社会のグローバルな
課題に取り組む

I read 'Global Art Practice' as 'art
practice in a globalized world andera,' and believe that this department
is a space to think about and put suchan approach into practice. The world
can be understood and narrated
through a range of perspectives.
There are a variety of historical,
geographical, cultural, and personal
perspectives. Living in the modern
w o r l d , i t c o u l d b e s a i d t h at w eneed the sensitivit y to listen to
those perspectives, touching them
directly with our bare skin, or feelingas if we are. This is because we are
inseparable from this world in which
we live, and it is precisely this world
and our connections to it that makeus who we are—as Kitarō Nishidasaid, “I am topos.”
I have came to explore connections
to the world through architecture.

It is from such a starting point that I
have engaged with activities varying
from curation to cultural policy.
These may appear to have different
functions, but they do not seem so
different to me. This is because I
think of architecture as the philosophyof existence and space, and as thetechnology that constructs (techniquesthat generate) the world. Architects
actualize the latent power of spaceaccording to how they view the world,and how they insert new connections
into it. Looked at from such a pointof view, architecture, works of art,and cultural policy are all things that
actualize connections in the world.
I established an art center called
Tokyo Wonder Site as a new platform
for creation in Tokyo and had beenrunning it as director around 17 years.
At the same time, I was also working
on a new cultural policy of the Tokyo
Metropolitan Government. It was an
attempt to connect cultural policy
and urban policy to create a place forthe freedom of art and culture anda place for nurturing new talents.
The challenge was how to create
open spaces where anyone could becreative. It was a place where people
could share ideas and activities andProfessor, GAP

世界との係わりを顕在化する
新たな創造のプラットフォームとして

Global Vision and Activities of GAP Faculty

Talk at Bangkok Design Week,
February 2019.

Beyond Wonder-Perspectives of Utopia,
Nagoya University of the Arts, October 2018.

バンコクデザインウィークでの講演「ビヨンド・ワンダー――さまざまなユートピアへの眼差し」
キュレーション

23

Life in GAP
GAP is located in the rich natural environment of theToride campus. It comprises the Studio 401 that is used
exclusively by GAP, a space with commanding viewson the 4th floor of the Senmon Building , functioning
as a shared atelier for first and second year students
where they can pursue individual production. In this spacewith high ceilings and good sunlight, each student works
diligently on their own creations.
Characteristic of the Toride campus is the specializedcommon workshops. These facilities, which are available
to students of all departments of the Faculty of Fine Arts,
have instructors with advanced expertise and skills
in each workshop, who are able to support students’
self-expression and spirit of inquiry.
In addition, several other spaces are provided: the Senmon
Building Studio 104, which is used as a base for unit programs
conducted at Toride and as a classroom and exhibition
space for critiques; the University Museum in Toride campus,
which is used for exhibitions and critiques, and the GAP Room,which is the base for lectures when held at the Ueno campus.
Another attraction of the Toride campus is GEIDAI SHOKUDŌ,a canteen where you can enjoy warm and nutritious meals
that is also frequented by many visitors from off campus.

University Museum in Toride

大学美術館取手館

GAP専攻の拠点は、自然あふれる環境の中にある取手校地です。
見晴らしのいい専門教育棟の4階に位置する「401スタジオ」はGAP専用のスペースで、1・2年生が共有して使う個人制作用のアトリエになっています。

Studio 104, Senmon Building

天井が高く日差しが気持ちよく差し込むこの空間で、一人ひとりが専門教育棟104

制作に励みます。取手校地の特徴は、「共通工房」と呼ばれる

GAP Room (Ueno)
GAPルーム（上野校地）

専門工房があることです。美術学部全科の学生が利用できるこの施設には、高度な専門知識と技術を持った教員が各工房に在籍しており、Photo: Miho Onodera

学生の自己表現と探求心をバックアップしてくれます。

There is alsoa delicious
canteen!

ほかに、ユニットプログラムが取手で行なわれる際の拠点であり
クラスルームや講評の展示場所としても使用される「専門教育棟104」や、展覧会や講評会で使用する「大学美術館取手館」、上野で授業を行なう際の拠点となる「GAPルーム」などがあります。
また、学外からのお客さんも多いという「藝大食堂」では、温かく栄養満点な食事が摂れるのも取手校地の魅力の一つです。

Workshops
at Toride
取手にある工房

GEIDAI SHOKUDŌ
Studio 401

藝大食堂

おいしい食堂もあります！

401スタジオ

Metalwork Machinery
Workshop

Metalwork Molding andCasting Workshop

Metalwork EnamelingWorkshop

Wood Workshop

Paint Workshop

Stone Workshop

Glass Workshop

Supports the production of diverse
expressive forms, offering precision
work using various machine tools toa wide range of manual processing
methods including welding andmelting.

Melting and casting in bronze, brass,aluminum, stainless steel, iron andother metals are accommodated, in
addition to molding in plaster, silicon
and wax.

Facilities of fering various kinds oftreatment s and coloring for metal
surfaces. Among cloisonné enamelingtechniques in particular, an original
g l a z e c a l l e d ‘ G e i d a i Yu ’ i s b e i n g
prepared and refined here.

Possessing various woodworking
machines and hand tools, support isgiven in selecting the best means fromnumerous processing techniques toachieve advanced sculptural forms inwood.

Accommodates a diver se range of
expressive forms, including the use ofsynthetic resin paints such as urethaneand lacquer as well as natural resin
paint s such as U rushi lacquer andcashew nut.

Supports a variety of creative approaches
such as sculpture, mosaic, relief work,
works on pedestal, and stone. Fully
equipped with heavy machinery andtools, dust extractor a n d o utd o o rworkspaces.

Fully equipped with facilities for hotwork,
kiln work, framework and coldwork.
Provides an environment facilitating
the exploration of glass as well as its
relation to other materials.

金工工房・金工機械室

金工工房・鋳造室

金工工房・金属表面処理室

木材造形工房塗装造形工房

石材工房

ガラス造形工房

各種工作機械による精密加工から溶接・溶断

ブロンズ、真鍮、アルミニウム、ステンレス、鉄

金属表面の各種加工・着色等を施す設備。特様々な木工機械と手道具を有し、多様な加工

ウレタン・ラッカーなどの合成樹脂塗料のほ彫刻、モザイク、レリーフ、作品の台座など、石ホットワーク、キルンワーク、フレームワーク、を含めた手作業による幅広い加工まで、様々などの溶解・鋳造による制作のほか、石膏やシに七宝技法は、「藝大釉」と呼ばれるオリジナ

技法から的確な手段を選択して、木質素材にか、漆・カシューといった天然樹脂塗料を用い材を用いた多様な作品制作に対応。大型機械

コールドワークに関する機材を完備。ガラスな表現の制作実現をサポート。

リコン、ワックス成形に関しても対応可。

ル釉薬の調合・精成も行なっている。

よる高度な造形表現をバックアップ。

た技術も有し、多様な表現形態に対応。

や工具、屋外作業場、集塵機を完備。

素材はもちろん、他素材との関係も探求しやすい環境を提供。

24

25

Interviews with Students

First and second year students currently enrolled in the MFA program as well as GAP graduateswere asked to talk about their day-to-day experiences in GAP and projects
they are currently engaged in among other topics.
現在GAPに在籍する修士1年生、2年生、そして卒業生に、GAPでの生活について感じたことや
現在制作している作品についてなど、お話を聞かせてもらいました。
*Year of study and age of inter viewees current as of March 2020.
＊学年や年齢は2020年3月現在の情報です。

Clementine Sarah Nuttall MFA GAP, Year 1“There is value in imperfection” —This, Clementine explains, is what
she gained from extensively studying
the technique of kintsugi , and what
now forms the basis of her thinking.
Having studied conservation andrestoration of wooden sculpture andarchitecture in the UK, Clementine
had an interest in traditional Japanesetechniques, and after staying in Japano n t wo p rev ious o cc asio ns , shereturned three years ago as a research
student in the Department of Crafts
at TUA. But why did she choose GAP
instead of continuing her studies inthe Department of Crafts? “I gave ita lot of consideration, but I thought
GAP could offer more possibilities forme to further expand the direction I
was taking as an artist.” So what did
she think after actually enrolling?
“ I t e xc e e d e d my e x p e c t at i o n s .
There were professors from various
backgrounds and with wide-ranging
careers, and I could consult withthem regardless of the problem.
I was free to experiment, while asystem of support was there to help
me achieve what I wanted to.”H av i ng l ear ne d to co nsi d e r the
background of her work in more depth
after entering GAP, what Clementine
works on now is ‘the use of traditional
techniques to make new things’—thefusion of tradition and contemporary
art. Here, one can sense the strong

Hikari Katsumata MFA GAP, Year 2
conviction in her words at the
beginning.
“I think the beauty of imperfection
should not be limited to the field ofcraft, but can be applied by everyone
to address problems facing society.
That is because wherever you turn toin the world, you will not find perfection.
It is precisely for this reason, however,that I wa nt to di s cove r valu e i nimperfection and share it with theworld, while it is my hope, in a sense,
to continue to transmit that value.”
There is much anticipation for the
future activities of Clementine, who
has already taken the first steps inher career as an artist.

“After entering GAP, my sense of value
came to pieces in a good way.” These
are the words of Hikari, who enrolledin GAP after graduating from theInter-Media Art Department at TUA.
She explains: “I was interested in goingoverseas, and I was attracted to therichness of the program after hearing
about it from a senior GAP student.”
She also describes how busy the firstyear had been, which focuses on
the London Unit. It was apparently
in the spring of the second year
at th e b e g i n n i n g of production
on her graduation work that Hikari
truly realized just how much she had
accumulated in the first year.
“As I interacted with overseas students,
I realized there was no such thing as
having to do something in a certain

If you are curious,
open minded andhardworking, GAP
has the potential
to be a rewarding
experience for you!

Hikari Katsumata
KINTSUGI I , ceramic and urushi lacquer, H40 x W 40 x D 40 cm, 2019

Age: 24
Countr y of origin: Japan
Year enrolled: 2018

Please turn to page 35 to see details of Hikari’s final work.
勝俣さんの修了作品は、35ページに詳細を掲載しています。ぜひご覧ください。

込められています。

「GAPに入って、価値観がいい意味で壊れささいなことがきっかけではありますが、「そとで、もともと持っている価値観をひっくり

クレムさんが長らく勉強してきた“金継ぎ”

では実際、入学してどうだったのでしょう。

「不完全な美とは、工芸の分野に留まらず、ました」と話す勝俣さんは、本学学部の先端もそも自分が良いと思ってきたものはなぜ良返したかった」の技法を習得する中で得たことで、今、自身「期待以上でした。いろいろな背景やキャすべての人に当てはまるのではないか、社

芸術表現科を経てGAPに入学。
「海外に興いのだろう？ 悪いと思ってきたものはなぜのベースの考え方でもあると言います。

リアを持った先生がいて、自分の悩みはどん会が直面している問題にも適用できるので味があり、GAPの先輩から話を聞いてプロ悪かったのだろう？」と考えるまでに至りま「不完全性の中に価値がある」――これは26

use something cheap and familiar orthat we would throw away as garbage
in order to overturn the senses ofvalue I had originally possessed.”
After graduation, she will start working
as an art teacher in high school while
continuing activities as an artist.
“I want to give students opportunities
to learn about contemporary art. I
want to question the true meaningof expressive freedom, in English
if possible. The reason is because I
think art can act as a bridge between
p e o p l e , h e l p i n g u s a c c e pt o n eanother.”
Nourished by the experiences
gained in GAP, it will be exciting to
see what kind of classes Hikari willdevelop in a new environment.

Changing thelanguage orenvironment
will bring new
discoveries!

Clementine Sarah Nuttall
Age: 36
Countr y of origin: UK
Year enrolled: 2019

way,” says Hikari. Such a realization
occurred through trivial challenges
such as how to proceed with theex h i b iti o n o r h ow to d i v i d e th eworkspaces, but it led her to consider
why she had liked certain things or
thought negatively of other things
until that point. “What germinatedthrough working with people from
London and Hong Kong in the London
Unit was an awareness of issues.”
Tissues and cardboard were thematerials Hikari decided to use forher final work. What appeared at firstglance to resemble the fur of a luxury
carpet was expressed using thesematerials.
“Rather than using materials thatwere valuable or special, or things
unique to the art world, I wanted to

能性があるのではないかと思って」。

卒業後は、作家活動を続けながら中高一貫校で美術教師として働き始めます。

もともとイギリスで木彫や彫刻・建築の保なことでも相談ができ、試すという自由があはないかと思う。なぜなら世界中どこを見てグラムの充実さに惹かれた」と言います。たす。「ロンドンユニットでロンドンや香港の「生徒には現代アートを学ぶ機会を与えた

存修復を学んでいたクレムさんは、日本の伝

り、やりたいと思ったことに対してサポートも完璧な世界はないから。けれど、だからこだし１年目は、ロンドンユニットを中心に多人達と関わって、芽生えたのは問題意識でしい。できれば英語で、表現の自由を真の意味

統的な技術に興味を持ち、二度の日本滞在態勢がある」

そ、不完全性の中に価値を見出すことを世忙な日々だったとのこと。そうして迎えた２た」。

で問いたい。なぜならアートがお互いを認め界と共有したいし、ある意味、希望として私年目の春、修了制作に入ろうとしたときに、勝俣さんの修了作品には、ティッシュやダは持ち続けて発信したい」「気づいたら１年間の蓄積があった」という

ンボールといった素材が用いられています。

のが正直な実感だったそうです。

一見、高級絨毯に見えるような毛皮をそれら「海外の学生と触れ合う中で、“こうじゃなの素材で表現しました。

授業を展開するのか、新たな環境での活躍

きゃいけない”ということはない、ということに「高価なもの、特別なもの、美術界特有のが楽しみです。

気づいた」と勝俣さんは言います。それは、ものではなく、安価なもの、慣れ親しんだも展示の進め方や作業スペースの分け方などの、ゴミになってしまうようなものを用いるこ

を経て３年前、工芸科の研究生として本学

GAPに入ってからは 「作品の背景をよりに来ました。しかしなぜ、工芸科に進むので一層考えるようになった」と言う彼女が今取はなくGAPを選択したのでしょうか？

り組むのは、「伝統的な技法を使って新しい「非常に悩みましたが、GAPは自分のやっものを作っていく」こと。伝統と現代美術のている作家の方向性をもっと拡げられる可融合です。それは冒頭の言葉に強い意志がすでに一人の作家として歩み始めている彼
女の今後の活動に、目が離せません。

合える架け橋になるのではないかと思うから」
GAPで得た経験を糧に彼女がどのような27

Yusuke Muroi Alumnus graduated in 2019
Currently, Yusuke is pursuing activities
as an artist while working as a teachingassistant in the Department of Inter Media Art at TUA. He has actively held
solo exhibitions and was selected for
the POCORART National Open Call
Exhibition vol.9 in 2019.
Yusuke talks about the extent towhich he couldn’t speak English at the
beginning, laughing as he says, “Infact, I felt nervous even when sitting
next to overseas students during theentrance ceremony.” He entered GAP
after working for two years as a stage
c arp e nte r following graduationfrom university. “I was so busy that
I couldn’t do anything other than
my job, and studying by l i s t e n i n g
to English on my way to work wasa b o u t a l l I c o u l d m a n a g e ,” h eexplains . H oweve r, th e m o s tsignificant experience for him during
GAP was participating in the Paris Unit.
How did he deal with the language
barrier?
“In comparison to native English
speakers, it is easier to understandp e o p l e w h o s e n ati ve to n g u e i s
not English. They would teach me,

and we would all talk to each otherwhile using body and hand gestures.”
Acquiring English in this way throughsuccessive communication led him
to take the initiative during a trip to
Paris. He contacted the Fondation
Jean Dubuffet to ask permission to
see the work of Jean Dubuffet, anartist he admired.
Talking about his own practice, Yusuke
describes how trying to make his work
coexist with the space is the mostimpor tant thing for him whencreating work. He explains; “How can
one intervene and make use of thespace without violently changing
it?”During the Paris Unit, Yusuke wasapparently impressed by Saint Mariede la Tourette, the par ticipants’lodging throughout the trip,
which he describes as “a beautiful
space like no other,” and this was asentiment he felt was reciprocatedamong the collaborating students
of BAP. “They had a strong aesthetic
sense, and it was pleasurable tocreate a space together.” Whether
or not this experience influenced
Yusuke, he professes, “Collaboration

is now something that interests me.”Finally, when asked about his future
prospects, an unexpected hobby isdiscovered. ’Actually, my hobby iscollecting Kokeshi dolls…,’ he says
with an embarrassed grin.
“Kokeshi craftsmen continually paintthe same face over and over. At first,
they do their best to imitate theirteacher, but with lesser skill. Gradually,
they get used to it and improve, andthe face they paint becomes unique.
However, when comparing two of
their dolls, you find the latter often
shows greater mastery while the faceof the former is undoubtedly more
appealing.”
Yusuke explains: “This applies to theexperience of people engaged inart. That is why I’m always thinking of
betraying myself and returning to thebeginning.”
Update yourself by converting what
you have gained into something
dif ferent—his tireless challenge
continues.

Diversity in GAP

Where students are from
学生出身国
C h i l e , C h i n a , C o l o m b i a , D e m o c r ati c
Republic of the Congo, HongK o n g , I r a n , J a p a n , M e x i c o , N o r w a y,
Philippines, Romania, South Korea,
Spain, Taiwan, Thailand, UK , USA

There is something
to gain if you havemotivation. Tr yingto obtain it by yourown means is what is
important.

Yusuke Muroi
Age: 29
Countr y of origin: Japan
Graduated year: 201928

Where classes were held

Where tutors are from

授業開催国

教授・ゲスト講師の出身国

France, Hong Kong, Indonesia, Japan,
Thailand, UK , Vietnam

フランス、香港、
インドネシア、日本、タイ、
イギリ
ス、ベトナムChile, China , France, H ong Kong ,India, Indonesia, Japan, Poland,
Singapore, South Korea, UK

チリ、中国、フランス、香港、
インド、
インドネシア、
日本、ポーランド、シンガポール、韓国、
イギリス

チリ、中国、コロンビア、コンゴ民主共和国、香港、
イラン、日本、メキシコ、ノルウェー、フィリピ

Hamster-Powered Night Light(Two-person exhibition with Gakudai Kawasumi)
Period: May 25 to June 9, 2019
Venue: mumei (Kiyosumi-shirakawa, Tokyo)

KEN&Peace
Period: October 22 to November 3, 2019
Venue: HIGURE 17-15 cas (Nishi-Nippori, Tokyo)

現在、本学の先端芸術表現科で助手と教えてもらったり、互いに身ぶり手ぶりで話影響してか、「コラボレーションが今はおもし

して勤めながら作家活動をする室井さん。

したり」。そうしてコミュニケーションを重ねろいと思っている」と話してくれました。

2019年は、個展開催やポコラート全国公募

る中で英語を身につけ、訪れたパリでは尊最後に今後の展望を聞くと意外な趣味が展vol.9に入選するなど活躍中です。

敬する作家の一人であるジャン・デュビュッ

発覚。「じつはこけしを集めるのが趣味で「じつは入学式で隣に留学生が座っただけ

フェの財団に自らコンタクトを取り、作品を……」と照れ笑い。

で緊張した」と言うほど、入学当初は英語が見せてもらうなどもしたそうです。

「こけし職人は同じ顔をひたすらに描き続できなかったと笑います。GAPには、大学室井さんが作品を制作する際、最も重視すける。最初は下手で師匠の真似をしてがん

卒業後、大道具として2年間働いた後に入りるのが「空間とどう共存するか」だと言いま

ばって描く。次第に慣れて上手くなり自分のました。
「仕事以外は何もできないほど忙しす。
「暴力的にその空間を変えすぎることはせものになっていく。けれど二つの顔を見比べく、英語は通勤途中にリスニングを勉強しず、その空間そのものを生かしながらどう介入ると、後者にはこなれた感が多く見られ、前た程度」と言います。しかしGAPで最も大していくか」。パリユニットでは、「空間の美者のほうが明らかにいい顔なんです」

きな経験になったのは、参加したパリユニッ

しさに長けていた」と話すように宿泊したラ・

室井さんは言います。
「これが美術をやる

トだったとのこと。言葉の壁はどうしたのでトゥーレット修道院にも感銘を受けたようで、人間の流れと重なる。だから自分を裏切ってしょうか。

それはコラボレーションしたBAPの学生にも最初に戻ることを常に考えている」と。

「ネイティブに比べて、母国語が英語でな感じたそうです。
「美意識が高く、一緒に空間

い人のほうが聞き取りやすい。そういう人にを作っていく楽しみがあった」。そんな経験もン、ルーマニア、韓国、スペイン、台湾、タイ、イギ＊国名はアルファベット順です。

リス、アメリカ

Career path after GAP 卒業後の進路
ArtistContinuing studies as doctoral or research students atuniversities in Japan and overseas
Participation in Artist-in-Residencies overseas(Greece, France, Iceland)
Educational institutions (teachers and teaching assistants
at educational institutions in Japan and overseas)
Art magazine
Art dealer
Art translation
Video production company
Spatial design company
Advertising company

アーティスト
博士課程、 研究生として国内外の大学に進学
海外アーティスト・イン・レジデンス（ギリシャ、フランス、アイスランド）
教育機関（国内外の教育機関にて教員、助手）
美術雑誌
美術商
美術翻訳
映像制作会社
空間演出会社
広告会社

得たものをまた別のものに変換し、更新していく――彼の飽くなき挑戦は続きます。

29

Global Vision and Activities of GAP Faculty

The reality ofmany people using
many languages,
living and working
in many spaces—everyday at GAP.

Associate Professor, GAP

After returning to Japan (in the case of
Torii, the repatriation to Japan in 1945
is more accurately his first visit to
the country), they both hardly spoke
Korean, and tried to live only in their‘post-Joseon’ worlds. Or rather, they
had no option but to discard Korea
from their lives. After the war, Japan
constructed their history as if theyignored the time and space which
Japanese people spent in Korea
and which also existed in Japanesesociety. At least, in the Japanese art
history written after 1945, there is no
description about Japanese artists
lived and worked in Korea and theirworks even if they wrote about thepaintings by Japanese masters who
painted Korea with an exotic gazeand exhibited their works at the
government-sponsored exhibitions.
In other words, as a result of theborder having moved, the activity of
the Japanese artists living in Korea
lost its place - or rather, its place tobe recognized.
What do ‘ international ’ and‘interaction’ refer to, and in what form?
Do they refer to people crossing
borders and engaging in some kindof hu m a n/ i nte ll e c tu a l/m ate r i a linteraction at their destination? If thatis the case, and a border has crossed
where the people are, then how
should we refer to the interaction
before such a movement?
The reality of a great deal of people
moving easily and routinely
manipulating many languages, and of
individuals moving between many
locations during their lives (which
could not yet be described as thenorm within Japan) is the everyday
for GAP. That being the case, theexample discussed above may now bebeyond consideration. However, if theaccumulation of the kinds of context
in which one discusses the daily livesof GAP students, and how students
themselves talk about it, forms thehistory of GAP as it is today, thenone day when we look back on it, theframework of the example above
might emerge, albeit from a different
perspective. I continue steadily
digging for traces of interactions
between modern artists in Asia withsuch an idea in mind, as I pass thedays with students.

30

キゾチックな作品は大家の絵として語られても、「朝鮮」在住日本人画家の作品はない。
つまり、国境が動いた結果、彼の地での人々の美術活動は居場所、つまり認識される場を失ってしまった。
「国際」「交流」とは、何がどうであればそれに当てはまるのだろう。国境を越えて人境が人の居場所を越えて移動してしまったと
きには、移動前の交換はどう呼ばれるのだろうか？
安藤義茂という画家がいる。日記のごとくあまりにも多くの人々がたやすく移動し、描き続けたハガキ大のスケッチには、市場や多くの言 葉をごく普 通に操りながら、一人

洗濯場に集う人々の、まさしく日々の生活のが多くの場所で生きて活動する現実（日本

息づかいと生命力が脈打っている。松山出

国内ではまだ一般的とまでは言えない）が、身の安藤は、様々な事情によって釜山に移

GAPの日常である。その中では、上に例示し住し、描き、地元の作家たちとの交流を持ったことはもう考えの埒外かもしれない。しかた。鳥居昇という画家は、きりりと髪を結いし、GAPの学生たちの日常がどの文脈で語上げた老婆を、敬意を込めたまなざしで正面られるのか、学生自身がどう語るのか、そのから描く。鳥居は「朝鮮」の地に生まれ、学蓄積が歴史であるなら、ある日振り返ったとび、美術教師として教えた。二人とも、「朝

きに今日のGAPの姿に、別の視点からの、鮮」「移民」である。

しかし上の例示のような枠組みが見えてくる

両方とも「朝鮮」が日本の植民地であっかもしれない。そんな想像をめぐらし、学生

た時代のことなので、「移民」という言葉はたちとの日々を過ごしながら、アジア近代のしっくりこないかもしれないが、彼らの周囲

美術家たちの交流の痕跡を地道に掘り返しには、朝鮮語が飛び交う中に日本語があり、続けている。

キムチやチゲの匂いの中にたくわんと味噌汁の生活があった。隣り合うその生活に通う血の温もりと実感が、「朝鮮」をものめずらしくエキゾチックに描く当時の宗主国日本
在住日本人画家の大家による「朝鮮」モチー
フの絵とは異なる力を、それぞれの作品に吹き込んでいる。
この二人にはもう一つ共通点がある。二人とも、日本に戻った（鳥居の場合は正確には19 4 5年の引揚が「初来日」である）

1/ The exhibition toured six museums in Japan between April 2015 and Februar y 2016. Takeji Fujishima's Flower Basket (top right) was painted when he was a teacher
at Tokyo Fine Arts School, during a one-month period of research in Korea in 1913. In 1935, he visited Korea as a judge in the Joseon Art E xhibition.
2/ N ob o r u To r i i , 1 9 1 8 -2 011 B o r n i n Ko rea . Tau ght as an ar t tea ch e r af te r g r a duati n g fro m a Ke i j o S hihan G ak ko (Ke i j o N o r mal S cho o l i n co l o ni al Ko rea). A f te r
repatriating to Japan in 1945, he worked as an art teacher at Yokohama Suiran High School in Kanagawa Prefecture until his retirement, but never told students about
his time in Korea.
3/ Yoshishige A ndo, 1888 -1967 Born in Matsuyama, graduated from Tok yo Fine A r ts School (present-day Tok yo University of the A r ts). In 1927, he quit his job as ateacher and moved to Busan, Korea to dedicate himself to painting. In Busan, he frequently interacted with local Korean painters, and this sketch is one of a series
he made as a form of a diar y during his time there. He continued to send his work from Busan to the Tokyo Imperial E xhibition, but after returning to Japan in 1935 hechanged his painting style and stopped talking about his experiences in Busan.

史の中には、「朝鮮」を描いた官展大家のエ的交換をすること、だろうか。だとしたら、国鳥居昇《老婆》1943年
朝鮮美術展覧会特選受賞作 神奈川県立近代美術館蔵「日韓近代美術家のまなざし――『朝鮮』で描く」展リーフレットを作ってきた。少なくとも、戦後の日本美術が移動し、移動先でなんらかの人的知的物

2 / Old woman, 1943, by Noboru Torii.
Received the Special Award, Joseon Art Exhibition.
Collection of The Museum of Modern Art, Kamakura and Hayama.

1 / Korean and Japanese Modern Artists
in the Korean Peninsula, 1890s to 1960s
Exhibition leaflet.

鮮」をまるでなかったことのようにして歴史

3 / Nikkan Ichiba (‘Japan and Korea market’),
1927, by Yoshishige Ando.
Collection of Matsuyama-shi Hojo Furusato-Kan.
安藤義茂《日韓市場》1927年
松山市北条ふるさと館蔵

のち、「朝鮮」をほぼ語らず、その「後」の時間の中にだけ生きようとした。いや、捨てざるを得ずそのように生きざるを得なかった。
戦後「日本」は、戦前の日本にあった 「朝1 2015年4月から2016年2月まで日本国内6美術館を巡回した展覧会。右上の藤島武二《花籠》は、東京美術学校の教員だった藤島が1913年に1か月ほど「朝鮮」に研究滞在したときの作品。1935年には朝鮮美術展覧会の審査員として「朝鮮」を訪れている。
2 鳥居昇（1918―2011）は 全羅北道全州郡生まれ、京城師範学校卒業後美術教師として教えていた。1945年の日本引揚後、定年まで神奈川県立翠嵐高校の美術教師を務めたが、教え子たちには「朝鮮」に居たことを語らなかった。
3 安藤義茂（1888―1967）は 松山生まれ、東京美術学校卒業。1927年に教員を辞めて画業に専念するために釜山に渡った。釜山では地元の「朝鮮」の画家たちと多くの交流があり、このスケッチは釜山で日記のように描き続けた一枚。釜山から東京の帝展に作品を送って入選を続けていたが、1935年に帰国後、画風を一変させ、釜山時代を語らなくなる。

多くの場所で生きて活動する現実がGAPの日常There is an artist called Yoshishige
Ando. The postcard-sized sketches
that he kept painting, just like adiary, pulse with the clear vitality andbreath of people gathering at themarket or washing on the riverside.
Ando was born in Matsuyama but
relocated to B usan in Korea forvarious reasons, painting andinteracting with local painters. A
painter called Noboru Torii painted
a n o l d w o m a n f r o m t h e f r o n t—
her hair tied up tight, and holdinga respectful gaze. Torii was born,studied, and taught as an ar t
instructor in the ‘Joseon’ region (nowthe Korean peninsula). The two areboth ‘Joseon’ - ‘immigrant.’
They both lived in a time when Korea
w a s a J a p a n e s e c o l o n y, s o t h eword ‘immigrant’ might not soundquite right; They lived with Japanese
language while Korean was flying
around them, and their lives were
flavored by Japanese Takuan andMiso as well as Korean Kimchi and
Jjigae. The reality and warmth of theblood flowing through this life sideby-side impresses into their work a
power quite distinct to the paintingsof Japanese master artists residing inthe sovereign state of Japan at thesame time, who portrayed the motifof Korea as something exotic.
The two have one more thing in common.

多くの人が
多くの
言葉を操り

Mina Lee

31

Graduation
Works
2019
11 students from our 3rd graduating classexhibited their works in the 68th Tokyo Universityof the Arts Graduation Works Exhibitions,which was held from January 28th to February 2nd,
2020. Please take a look at the culminationof their work over two years in GAP.
* Italics indicate English titles and brackets indicate Japanese titles.
* Comments from student’s primary tutor.

2020年1月28日～2月2日に開催された
第68回 東京藝術大学 卒業・修了作品展において、GAP専攻からは第3期生となる修了生11名が出展しました。

Vinn Feng

Koshiro Shikine

Chiaki Haibara

フォン・ヴィン

敷根 功士朗（しきね こうしろう）

灰原 千晶（はいばら ちあき）

Country of origin: People's Republic of China

Country of origin: JapanCountry of origin: Japan

perpetuum vestigium 《パーペチュアム ベスティギウム》
Organza, cotton, metal, fishing line
H300×W300×D900cm

Tuxedo La Smoking Bomber 《タキシード・ラ・スモーキング・ボンバー》
Video installation
H250×W600×D500cm

Blow Up
Video, sound installation
H500×W500×D500cm

She creates work that can be understood as thevisualization of emotional traces that once existed inpeople. They comprise faint and fleeting memories,
embroidered as dates on thin cloth, or crystallized into asingle teardrop. Arranged at random, and involving theplacement of tears in petri dishes in a manner reminiscent ofa science experiment, her work is difficult to understand at
first glance, but a unique sense of poetry flows throughout.
(Taro Shinoda)

China and France where he had stayed as a student,
Tokyo where he had rented a room, Kagoshima where
his grandmother lives, the Internet—the birth and loss of‘relationships’ discovered in various places. The world is fluidand ephemeral. Through the medium of video, he explores
the cosmos hidden in everyday life, which becomes visible
when editing commonplace scenery. (Yuko Mohri)

She creates highly poetic forms to express issues that weface in contemporary society, such as race, culture andpolitics. The use of imaginative and abstract forms makes
it possible to approach the essence of such matters.
While appearing to consist of simple elements, the work is
carefully conceived, drawing the viewer into a sophisticatedconceptual worldview. (Taro Shinoda)

彼女は人が存在した感情の痕跡を視覚化するような作品を制作してい在学中に滞在した中国、フランス、東京の下宿先や祖母が住む鹿児

彼女の作品は、人種や文化、政治、と我々が現代社会で抱えている問る。薄い生地に日付の刺繍をしたり、涙の一滴を結晶化させるような島、またはインターネット上など、様々な場所から見出す「関係」の誕

題をとても詩的に表現している。詩的かつ抽象的に表現することによ淡く儚い記憶である。無造作に並べたり、科学の実験のようにシャー生と喪失。世界は流動的で儚い。あたりまえの景色を編集することでり、その事象の本質に迫ることができる。シンプルに見える要素でもそレに涙を入れたり、一見するとそのコンセプトはわかりにくいがそこに見えてくる、日常に潜む宇宙を、映像表現で模索する。
（毛利悠子）の作品は熟考を重ねて制作されており、鑑賞者は質の高い観念的な世

GAPで学び過ごした2年間の集大成をご覧ください。
＊斜字体は英語の修了作品名を示し、《 》内は日本語の修了作品名を示します。
＊コメントは各学生の担当教員より。

は彼女独特の詩が流れている。
（篠田太郎）

32

界観に引き込まれる。
（篠田太郎）

33

Nanaka Adachi

Abraham Benjumea Ariza

Sixte Paluku Kakinda

Hikari Katsumata

安達 七佳（あだち ななか）

アブラハム・ベンフメア・アリサ

シクステ・パルク・カキンダ

勝俣 比加里（かつまた ひかり）Country of origin: JapanCountry of origin: Republic of Colombia

Country of origin: Democratic Republic of the CongoCountry of origin: JapanA Worthless Journey
Old clothes of my family
H50×W800×D1cm

Reaching the sun, melting above 《太陽に達する、空の上溶ける》
Installation
H500×W600×D600cm

Intimate Moments/Monologue
Video installation
H500×W1000×D1000cm

Plane P and solid P 《平面Pと立体P》
Cardboard
H10×W300×D200cm

She created a soft tapestry using thread, cloth, textiles
and clothing used to wrap around the body. This became apicture scroll expressing stories she herself had composed.
Based on the theme of ‘immigration’, the story questions
the meaning of changing the place one resides throughtravel and movement, and the relationship between people
and land. It expresses compassion for those who are
nobody. (Nobuyuki Fujiwara)

Adopting sun worship as his theme, he has continued touse scrap and other materials to make work that can beread both as painting and as sculpture. While his images are
consistently stable, his work simultaneously incorporates
elements absorbed from various phenomena. I look forward
to seeing his work develop in the future. (Taro Shinoda)

The atomic bomb Little Boy that was dropped on Hiroshima
used uranium from his native Democratic Republic (DR) of
the Congo. Feeling great sorrow because of this, he drew
an invisible line binding himself to Japan, DR of the Congo,
the survivors, war and prayers for peace. It was as if he were
trying to bind his existence to the world. (Yusaku Imamura)Starting as a cardboard box, this becomes a forest, alandscape, and then fur. She expresses her own uniqueworldview in an impressive manner while altering the way
she uses materials. She interweaves her own images withsocial structures, the climate, stories and other motifs toconstruct an original world. These objects born out of
paper, which give the impression one could almost detect
their scent, have a truly beautiful appearance.
(Nobuyuki Fujiwara)

糸、布、織物、身を包む衣服の素材を使って、柔らかなタペストリーを太陽神信仰をテーマにして、スクラップなどからペインティングとも彫

広島に投下された原爆リトルボーイには彼の出身地であるコンゴからダンボール箱をスタートに、それは森になり風景になり毛皮になる。素作る。それは、自分自身で作った物語を表す絵巻となり、「移民」とい刻とも取れるような作品を制作し続けてきた。彼のイメージは一貫してのウランが使われている。そのことに深い悲しみを持つ彼は、自分自材の使い方を変遷させながら、自分自身の世界観を印象的に表現すうテーマをもとに、人と土地との関わり方・旅や移動といった住む場

ぶれることがなく、しかし同時にいろいろな事象を吸収する要素もあ

身、日本、コンゴ、被爆者、戦争、そして平和への祈りを繫ぎ止めるようる。自身のイメージを、社会構造や風土、物語などに絡めながら、独自所を変えることの持つ意味を問いかける物語となっている。何者でもり、今後も展開が楽しみである。
（篠田太郎）に見えない線を描く。彼の存在と世界の係わりを繫ぎ止めようとするの世界を構築する。においまで感じそうな紙から生まれた物体は、とてかのように。
（今村有策）

も美しい表情を持っている。
（藤原信幸）

ないものたちへの慈しみの心。
（藤原信幸）

34

35

Cheng Yu

Zhuang Yingqian

Tong Yuen Wai Vanessa

Armaine Toldera Yapyuco

成 （せい いく）

ジュアン・インチェン

トン・エンイ・ヴァネッサ

アルメイン・
トルデラ・ヤピュコ

Country of origin: People's Republic of China

Country of origin: People's Republic of China

Country of origin: Hong Kong

Country of origin: Republic of the Philippines

Roses
Installation
Size variable

An Average Tokyo
Photograph
H30×W120 cm, 6 pcs

Vanessa Tong 《ヴァネッサ・トン》
Installation
H300×W300×D300cm

Mapping the Human Consciousness 《人間の意識のマッピング》
Installation
H300×W300×D300cm

Menstruation is experienced by women every month fordecades of their lives. Focusing on this most familiar yettaboo phenomenon that is treated almost as if it doesn’t
exist, she gathered the words of women of different regions
and ages. Through private confessions, an unspoken story
emerges in front of our eyes. (Natsumi Araki)

Having come to Japan to pursue ar t af ter studyingarchitecture, he had an interest in the landscape of Japanas a different culture. By superimposing photos taken
in succession and averaging the pixels they contain, thefigures of moving people and cars become invisible. Whatcan be seen in this strange tranquility wholly different
from everyday scenery? This is an attempt to capturearchitecture, the city and people from a new perspective.
(Natsumi Araki)

Memories of Childhood. Having been able to experience
anime and other aspects of Japanese culture she had
longed for by pursuing the field of art and studying overseas
in Japan, she took a step back from herself as an adult andcreated a ‘self portrait’ in three dimensions. Disassemblingand joining ziplocks together, she created a stuffed dollmatching the scale of her own body and stuffed it with usedclothes in an attempt to symbolize herself.
(Nobuyuki Fujiwara)

With an interest in things intangible, spiritual existence
and healing, she created a space resembling a sanctuary
through a long process of trial and error. Utilizing theJapanese tradition of ‘sumi-nagashi’ (paper marbling), shefound spiritual and physical repose through various actions
that included this creative process. Her very own private
space was opened to others, allowing many people to sharein the experience. (Natsumi Araki)

一生のうちの数十年間にわたって、女性が毎月体験する月経。彼女は建築を学んだ後に来日してアートを学んだ彼は、日本という異文化に幼少期の記憶。アニメなどで憧れていた日本の文化を、美術という分

霊的、精神的な存在と癒しについて関心を持つ彼女は、試行錯誤を重この最も身近でありながらもタブー視され、存在しないかのように扱わおける風景に興味を抱いた。連続撮影した写真を重ねて色彩を平均化

野の留学というかたちで体験してきた自分が、成長した自分と幼いままねながらサンクチュアリーのような空間を作り上げた。日本の伝統でれる現象に着目し、様々な地域や年代の女性の言葉を拾い集めた。プすることで、動く人や車の姿が見えなくなる。普段の景色とは全く異なの自分を一歩引いた視点から「自画像」として立体に表現した。ジッ

ある墨流しの手法を用いながら、その制作過程を含む行為の中に、心ライベートな告白を通して、語られることのなかった物語が目の前に立る奇妙な静けさの中から見えてくるものは何か。建築、都市、人間を新プロックを解体した素材をつなぎ合わせ、自分自身の身体スケールにと身体のやすらぎを見出した。彼女自身の私的空間は、その場所を体ち現れる。
（荒木夏実）

たな視点から捉えようとする試みである。
（荒木夏実）

合わせた“ぬいぐるみ”を作り、使用済みの衣服を詰め込むことで今ま験する多くの人へと開かれている。
（荒木夏実）

での自分を詰め込み象徴するという試み。
（藤原信幸）

36

37

Global Vision and Activities of GAP Faculty

Nobuyuki Fujiwara

38

Glass frame workshop with guest lecturer from BAAD,
Israel and students from MSFAU, Turkey.

Workshop at LASALLE College of the Arts,
Singapore.

ガラス・フレームワークショップ風景。トルコのミマール・シナン美術大学

シンガポールのラサール芸術大学にてワークショップ風景の学生とイスラエルのベツァルエル美術デザインアカデミーの講師

主にトルコ共和国のミマール・シナン美術大
学とアナドール大学、そしてイスラエルのベ
ツァルエル美術デザインアカデミーの三校から教員・学生の交換授業を行なっている。本
年度で最後を迎えるのだが、過去５年間を通してみるとそれぞれの国で受ける考え方やプログラムの違いに、学生たちは大きなインパクトを受けているのがわかる。しかしそれらがポジティブな方向で消化され、さらに自身のアイデンティティを考察するきっかけにもなっている。
また、本学には共通工房や工芸科ガラス
造形工房、和紙工房、染色工房などを中心に活動している 「藝大ファクトリーラボ」という組織がある。その企画の一つに、感動創造研究所という組織と一緒にミラノサローネに若手作家・教員を紹介するために出品す
ることを行なっている。来年三回目を迎えるが、この活動も、日頃の制作をヨーロッパという海外でどのように見られ、感動を与えられるかという課題を持って進めている。そこ
での体験を通し、出品者は自身の作品に対する新しい視点を見出しているように感じられる。

Glass frame workshop with students from BAAD, Israel .
ガラス・フレームワークショップ風景。
イスラエルのベツァルエル美術デザインアカデミーの学生「GAP（Global Art Practice）専攻」の担

今や海外から来る学生と一緒に学び、海当をすることになり、当然のことながら海外外に行って他国の学生と学ぶことは、ごく自

Pit-firing class at Toride campus with students
from TUA and MSFAU.

の留学生と交流することが以前にも増して然なことになりつつある。そのような中で、本学取手校地にて穴窯実習。

多くなってきている。

今更ながらにグローバルということを考え

海外から本学に来校する留学生のうち、ると、結局一人の作家として、またはクリエ

主に共通工房で素材を直接加工しながら制イターとして自身の出生を知りアイデンティ

作する学生と話をする機会が多いのだが、ティを知ることがグローバルであることの基

母国での教育システムとの違いをよく話して本であることを改めて自覚する。

トルコのミマール・シナン美術大学の学生、藝大の学生くれる。もちろん、母国の大学にも同じようにスタジオや制作のための場所はあるが、藝大の取手校地にあるスタジオでの制作には、また違った印象を持つようである。藝大の共通工房では、それぞれの工房の教員たちと制作について相談しながら、周りの学生たちと自分自身で制作していくのに対して、普段本国ではコンセプトを主体に学び、制作の際は発注するようなかたちで仕事を依Glass frame workshop with guest lecturer from BAAD,
Israel and students from TUA and MSFAU, Turkey.

Students from Israel and Japan working together
at LASALLE College of the Arts, Singapore.

ガラス・フレームワークショップ風景。

シンガポールのラサール芸術大学にてグループワークをする

イスラエルのベツァルエル美術デザインアカデミーのガラス講師と学生、イスラエルと日本の学生

トルコのミマール・シナン美術大学の学生、藝大の学生頼するところに、違いを感じながら学んでいるようだ。
GAPのほかに現在、「GAC (Global Art
Crossing)」の活動を並行して行なってきた。 GACとは、中東の国々の美術大学との交流促進を目的としたプロジェクトである。

そこに立ち返らざるをえない

After becoming the course leaderof GAP (Global Art Practice), it goes
without saying that my interactions
with overseas students have become
more frequent than before.
Among the overseas students whocome from other countries to study atthis university, it is mainly those whocome to use the common workshops
and manipulate materials directlywith whom I have opportunities to
speak, and they often talk about theeducational system in their native
countries. While studios and places
where they can produce work surely
exist in the universities in their homecountries, the students seem to havea different impression of production
through using the studio at the Toride
campus of TUA . At the common
workshops, while consulting instructorsof each workshop, overseas students
work on their own projects in the same
fashion as the students around them.
On the other hand, in their native
countr y learning is centered on
devising a concept, and production
is outsourced when the time comesto make the work. It is this difference
that they sense while studying here
at TUA.
In addition to GAP, we have also been
conducting the parallel activities
of GAC (Global Art Crossing). GAC
is a project that aims to promoteexchange with art universities fromcountries in the Middle East. It offers
exchange classes for teachers andstudents mainly from Mimar Sinan
Fine Arts University (MSFAU) andAnadolu University in the Republic
of Turkey, and Bezalel Academy ofArts and Design (BAAD) in Israel.
We are coming to the end of thisprogram, but it is possible to see theconsiderable impact the differencesin ways of thinking and programcontents of respective countries
has had on participating students
over the past five years. However,the students are assimilating theseexperiences in a positive way, while
the program also offers them theopportunity to consider their own
identities.
In addition, an organization called
Geidai Factory Lab exists within thisuniversity, the activities of which are
centered on the common workshops
and respective workshops forglassmaking, sculpture, Japanese
papermaking and dyeing. One of the
projects it has initiated involves thecooperation of an organization called
Kando Sozo Kenkyujyo to introduce
young artists and professors fromJ a p a n at M i l a n o D e s i g n We e k .
Next year will be the third year of thisexchange, and these activities are
likewise b eing develop ed whileconsidering how the ever yday
activity of creative production isseen from a European perspective
and how audiences there can beinspired. Through this experience,the exhibitors seem to be finding
new perspectives on their work.
It is now becoming completely naturalf o r s tu d e nt s i n J a p a n t o s tu d ytogether with students from overseas
and also go abroad to study among
students of different nationalities.
When considering the global
situation amidst such developments,
I feel all the more keenly that as anindividual artist and creator, knowing
one’s birthplace and one’s identity isfundamental to being global.

Professor, GAP

グローバルとは自身の出生を知りアイデンティティを知ること

Global means
to know your own
birthplace andidentity.
This is where
one must return.

Course Leader,

39

GAP Curriculum
The GAP program consists of a two-year curriculum with the objective of learning a variety of perspectives and values
in order to be able to establish one's own position in the practice of art in contemporary society.
The first year of the Master’s degree (M1) is based on a Unit Program—the Global Art Joint Project—together withoverseas partner institutions. Through the practice of creating and presenting work while engaging in dialogue with people
coming from different places and cultural backgrounds, each student will ascertain their position in relation to society and art.
In the second year (M2), students will delve deeper into various research themes on the basis of their experiencesin the first year, spending a full year researching, creating, and then presenting their final work.
Furthermore, in addition to the compulsory subjects, students are able to take practical courses, lectures, and research trips
to suit their individual interests, and there are also opportunities for exhibitions and presentations
with the exhibition at Chinretsukan Gallery and Toride Art Path.

GAP専攻では、現代社会におけるアートの実践について自らの姿勢を確立するため、多様な視座や価値観を学び取ることを目的とした2年間のカリキュラムを構成しています。
修士1年次（M1）は、海外提携校とのグローバルアート共同プロジェクトであるユニットプログラムを主軸に、知らない土地で文化背景の異なる人々と対話をしながら作品制作と発表を行なうといった実践を通じて、それぞれの社会やアートに対する姿勢を見極めていきます。
修士2年次（M2）は、1年次の経験をもとに各々の研究テーマをさらに深め、1年間かけて修了作品のリサーチ・制作・発表を行ないます。
また必修科目に加え、個々の関心に合わせて実習や講義、研究旅行を履修することができるほか、「陳列館展示」や「取手アートパス」といった展示・発表の機会も設けています。

*The following is an overview of the main curriculum for 2019. Because the curriculum is reviewed andupdated every year, the content of subsequent years may vary.

Two Years at GAP＊下記は2019年度の主なカリキュラムの流れです。カリキュラムの内容は毎年見直して更新されるため、次年度以降が同じ内容とは限りません。

Unit Program （(Art Practice I・II) ユニットプログラム（アートプラクティスⅠ・Ⅱ）

M1First-year
Master’sStudents

Paris Unit

パリユニットLondon Unit

ロンドンユニット

Tokyo Session

Unit
Pre-Session

Paris Session

東京セッション

London Session

ユニット事前授業

Independent Work

パリセッション

自主制作

Tokyo Session

ロンドンセッション

東京セッション

Social Practice IⅠ
Introduction to Japanese ArtⅠ I
GAP Seminar I〜III
Art Communication I

45Introduction to Japanese ArtⅡ II

日本アート概論Ⅰ

GAP Seminar I〜III

GAP演習 I〜Ⅰ
Ⅰ
Ⅰ

6Exhibition at
Chinretsukan
Gallery

7

8

9

10

Introduction to Japanese ArtⅠ III

Second-year
Master’sStudents

40

Graduation Works & Thesis

アートコミュニケーションⅡGAP Kobiken
Research Trip
GAP古美術

Exhibitionat Toride
Art Path

研究旅行

取手アートパス

Introduction to Japanese ArtⅡ IV

日本アート概論Ⅰ
Ⅰ
Ⅰ

Social Practice IIⅠ

11

日本アート概論ⅡGAP演習 I〜Ⅰ
Ⅰ
Ⅰ

Art Communication II

アートコミュニケーションⅠ

陳列館展示

M2

社会実践論Ⅰ121

日本アート概論Ⅳ

社会実践論ⅠⅠ

修了制作・修了論文

Planning and Research
for the Graduation Works & Thesis

Graduation Works &Thesis Interim Review

Graduation Works Production /Thesis Writing

Graduation Works &Thesis Final Examination

Graduation Works
Exhibition

修了作品・修了論文に向けてプランニング＋リサーチ

修了作品・修了論文 中間講評

修了作品制作・修了論文執筆

修了作品・修了論文 最終審査会

卒業・修了作品展

41

Art Practice I・II

アートプラクティスⅠ・Ⅱ

We consider the study of transculturaland diverse perspectives to beimportant when studying art in the
globalized modern world. Centeredon the Unit Program of the Global Art
Joint Project, this is a new programof art education for a contemporary
world, working in collaboration withs eve r a l wo r l d - c l a s s u n i v e r s i t i e s .
Students form a ‘unit’ with faculty
members from overseas art schools
and GAP, and implement a jointlydeveloped curriculum in Japan andove r seas . Fro m 2016 to 2019 thi s
program has been implemented with
BAP and CSM. Lectures, research,workshops, creation of work,
presentations and the like were allundertaken in relation to a given theme.
Af ter the Unit Program , student s
choose a lab and focus on individual
work and research with a view to thegraduation exhibition.

グローバル化した現代においてアートを学ぶ
際に、トランスカルチュアルで多様なパースペ
クティブを学ぶことが重要だと考えます。グローバルアート共同プロジェクトのユニット
プログラムを中心とした本プログラムは、複数の世界有数大学と協働して取り組む現代における新たなアート教育プログラムです。
海外の美術大学と本専攻の教員と学生がユニットを構成し、共同で開発したカリキュ
ラムを日本と海外で実施します。2 016～
2019年はBAP、CSMと実施。それぞれのテーマのもとで講義、リサーチ、ワークショッ
プ、制作、発表などを行ないました。ユニット
授業後、学生は研究室を選び、修了展を見据えた個人制作やリサーチに集中します。

M2の中心となる授業で、研究室単位で個人指導と研究室のゼミが行なわれます。M1で学んだ思考と制作手法を活かし、さらなる研究を深めながら1年間かけてじっくり制作に取り組みます。

Art Communication I・II アートコミュニケーションⅠ・Ⅱ
This course is aimed at cultivating thecommunication skills necessary forinteraction and cooperative production
with par tner schools over seas . I n
addition to targeting improvement inEnglish language ability appropriate toa student’s level through preparationof an introduction to their own portfolio
in English, taking classes in debateform with an emphasis on speaking,writing exercises and the like -theobjective is for students to discover thecommunication skills and respective
methods required to work as an artist
on the global stage.

42

This course provides opportunities
fo r s tu d e nt s to d e e p e n t h i n k i n gthat forms the foundation of theirown work by confronting issues incontemporar y society and art, andcoming into direct contact with thep r a c ti ce of i nte r nati o nally a c ti ve
ar tists. Contemporar y ar t now has
multiple poles, having shifted from
Europe and the United States. The
Social Practice course invites artists
from A sia , whe re GAP i s lo c ate d .
Lectures, workshops, and mentoring
sessions are held in an intensive format
over approximately one week. In thepast, the following have been invited:ruangrupa, Ong Keng Sen, YoungHae Chang Heavy Industries, Song
Dong, Yin Xiuzhen, Alfredo Jaar, Gim
Hongsok, Shuddhabrata Sengupta,
Marek Bartelik, Hou Hanru, Yongwoo
Lee, and Wang Hui.

GAP Seminar I〜III

Art Practice III・IV アートプラクティスⅢ・Ⅳ
This is the core class for M2, in which
individual guidance is provided in lab
units, as well as lab seminars. Students
will take advantage of the ways ofthink ing and creative te chniqueslearned in M1, engaging in considered
work over the year while going deeper
into their research.

Social Practice I・II 社会実践論Ⅰ・Ⅱ

海外の連携校との交流や共同制作をする際に必要なコミュニケーション能力を養うことを目的とした授業です。学生のレベルに合わ
せて英語の語学力向上を図るだけでなく、英語でのポートフォリオや自己紹介の準備、スピーキングに重点を置いたディベート形式の授業、ライティング演習などを行なうこと
で、アーティストとして世界を舞台に活動するために必要なコミュニケーション能力とは何か、それぞれの方法を見つけることを目指します。

In order to implement the objectiveof ‘ T h i n k i n g U s i n g Yo u r H a n d s’—part of the broader GAP education
policy ‘Discourse and Hands’—threepractical courses are provided in thebasics and application of modeling,drawing as a way of expressing ideas,
and acquiring diverse means ofexpression. In Seminar I, students learn
the cycle of ‘think, make, show, thinkagain,’ improve their basic modelingability, and research the applicationof m ate r i a l s . S e m i n a r I I p rov i d e s
lectures and workshops on the themeof ‘drawing’ as a means of expressing
ideas, common to all creative areas
rather than just ar t . Seminar III
involves practice focusing primarilyon the experience of watching andcontemplating films as a means oflearning the diverse ways of expressionin contemporary art, such as video andsound art, and performance art.

現代における社会やアートの課題に向き合い、国際的に活躍するアーティストの実践に直に触れ合うことを通して、自らの制作の礎となる思考を深める機会を提供しています。
現代アートは欧米中心から多極化しており、
社会実践論ではGAPが位置するアジアを背景に持つアーティストを招聘しています。約1週間の集中講義形式でレクチャー、ワーク
ショップ、メンタリングを行ないます。これまで、ルアンルパ、オン・ケンセン、チャン・ヨンへ重工業、ソン・ドン（宋冬）、イン・シウ
ジェン（尹秀珍）、アルフレッド・ジャー、ギ
ム・ホンソック、シュッタブラタ・セングプタ、
マレック・バルテリック、ホウ・ハンルー、イ・
ヨンウ、ワン・フィを招聘しました。

GAP演習Ⅰ～Ⅰ
Ⅰ
Ⅰ
GAPの教育指針である「頭と手」の中で、「手を使って考える」を実践するために、造形の基礎と応用、思考の表記方法としてのドローイング、多様化する表現手段獲得に向けた三つの実技演習コースを設けています。
「考え、作り、見せ、また考える」というサイク
ルを身につけ、造形の基礎力の向上と素材の応用を研究する演習Ⅰ。アートに限らずすべてのクリエイティビティに共通する思考の表記方法としての「ドローイング」をテーマにレクチャーとワークショップを行なう演習
Ⅱ。ビデオやサウンド、パフォーマンスなど多様化する現代アートの表現手段獲得の基礎として、主に映画を鑑賞して瞑想する体験を重視し実践する演習Ⅲなどがあります。

Introduction to Japanese Art I〜IV

日本アート概論Ⅰ～Ⅳ

In M1, classes allow students to learn
about the position and historical origin
of Japanese ar t in the world fromvarious perspectives. Students learn
about Japan and the global art scenethrough international art festivals, andconsider the history of our university
and current art from the perspectiveof conservation and restoration. In M2,
students explore the structure of therelationship between art and society inthe 20th to 21st centuries. Under thetheme of ‘Manifestos and Movements,’
the objective is for students to findreference points for their own work inhistorical manifestos, and to deepen
their consideration through classes
centered on discussion and presentations.

M１では、世界における日本のアートの位置
付けや歴史性を多様な観点から学ぶ授業を展開します。日本と世界のアートシーンについて国際芸術祭を通して学び、保存修復という観点から本学の歴史と現在のアートを考えます。M2では、20～21世紀におけるアートと社会と哲学の関係構造を探ります。
「マニフェストとムーブメント」をテーマに歴史的なマニフェストに自らの制作の参照点を探し、ディスカッションと発表中心の授業
で思考を深めることを目指しています。

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GAP Kobiken Research Trip GAP古美術研究旅行
The Kobiken Research Trip to Kyoto
and Nara, with their long histories, isa traditional part of the curriculum
at our u n i v e r s i t y. Stu d e nt s l e a r nabou t ancient Japanese art such asarchitecture and statues of Buddha
in preliminary lectures before the trip,
and then architecture and garden
tours are undertaken on-site. Students
are allowed to view inner temples
usually closed to the public. This isa research trip that provides a highdensity experience going beyond mere
appreciation, including observations
on precise details.

長い歴史をもつ京都と奈良への古美術研究

GAP Faculty Members

旅行は、本学の伝統的なカリキュラムの一つです。旅行前の事前授業で建築や仏像など
日本の古美術について学び、現地では、普段は入れない内陣に入れていただいての拝観や建築・庭園めぐりなどを行ないます。細かな部分の観察を含めて、単なる鑑賞を超えた密度の高い経験をつむ研究旅行です。

Nobuyuki Fujiwara [Course Leader, Professor] 藤原 信幸（ふじわら のぶゆき）［GAP専攻長・教授］
Born in 1958, Fujiwara is a Professor and Vice Dean of the Faculty of Fine Arts at Tokyo University of the Arts. He graduatedwith an MFA from the Graduate School of Fine Arts in the same university. After studying at Pilchuck Glass School in 1984,
he worked as a designer for Iwata Glass Co,. Ltd. until 2001. Fujiwara is also a member of Japan Glass Artcrafts Association
and a trustee of the Association for Glass Art Studies. He has participated in a number of exhibitions since 1985 including his
first solo show in 1995. Major exhibitions include 4th Koganezaki Vessels in 2008 (Koganezaki Glass Museum, Honorable
Mentions) and the International Exhibition of Glass Kanazawa 2010 (Kanazawa, Honorable Mentions). Recipient of Kyohei
Prize (Grand Prize) at the 11th Glass ’08 in Japan and 12th Glass ’12 in Japan at JGAA. His works have been collected byAlexander Tutsek-Stiftung (Munich, Germany), Contemporary Glass Arts Museum(Turkey), Koganezaki Glass Museum(Japan), Notojima Glass Museum (Japan) and the Glass Museum of Hsinchu City (Hsinchu City, Taiwan).＿＿
1958年生まれ。現在、東京藝術大学美術学部教授、副学部長。1984年、同大学大学院美術研究科修士課程修了、アメExhibition at Chinretsukan Gallery 陳列館展示
The exhibition at Chinretsukan Gallery
is intended as an open studio-style
introduction to the present state ofwork in GAP, more than four years
since it s es t ab li shme nt ; thi s yearth e titl e wa s GA P O p e n Stu di o @Chinretsukan Gallery—In progress.
The GAP atelier in Toride was moved
to Ueno to simultaneously introduce
students’ work and encourage active
interaction between GAP students andstudents at the Ueno campus. In the final
stage of the exhibition, workshops werealso held under the joint program withoverseas partner institution BAP, oneof the features of the GAP program.
Students from both GAP and BAP
u n d e r to o k a p e r fo r m a n c e at th e
Chinretsukan.

陳列館展示は、設 立してまだ4 年余りのGAPの活動の 「今」をオープンスタジオとリカピルチャックガラススクール参加、翌年から岩田硝子工芸株式会社入社、2001年まで務める。日本ガラス工芸協会会員、日本ガラス工芸学会理事。1985年最初の個展開催後、展覧会多数開催。公募展などにも出品する。主な受賞歴は、2008年「第4回KOGANEZAKI・器のかたち・現代ガラス展」黄金崎クリスタルパークミュージアム（奨励賞）、2010年「国際ガラス展・金沢2010」金沢・石川県能登島ガラス美術館（奨励賞）、2005・2008・2012・2015・2018年「日いうかたちで紹介することを企図し、今年は本のガラス展」（08藤田喬平賞・観客賞受賞、12藤田喬平賞）など。

「G A Pオープンスタジオ＠陳列館― 進行

Class in charge: GAP Seminar I 担当授業：GAP演習 I中」というタイトルで開催しました。取手にあるGAP専攻のアトリエを上野に引っ越し、学生の作品を紹介すると同時に、GAP学生と上野キャンパスの学生との積極的交流を図ります。会期終盤には、本専攻の特色の一つである海外提携大学・BAPとの共同プ
ログラムによるワークショップも開催。GAPとBAP両校の学生が陳列館でパフォーマン
スを繰り広げました。

Yusaku Imamura [Professor] 今村 有策（いまむら ゆうさく）［教授］
Imamura was involved in the establishment of Tokyo Wonder Site, an art center supporting national and international young
creators, and promoting interdisciplinary experimental projects. He served as its founding director from 2001 to 2017. From2001 to 2013, he also advised the governor of Tokyo on the cultural administration of the Tokyo Metropolitan Governmentand created Arts Council Tokyo, helping to build a new arts and cultural foundation in the city. He played a central role inorganizing cultural programs for Tokyo’s bid to host the Olympic Games. After studying architecture, Imamura worked at
Arata Isozaki Atelier and was appointed Visiting Researcher at Columbia University School of Architecture from 1991-93.
Currently he is a special visiting professor at Nagoya University of the Arts, a part-time lecturer at Musashino Art University,
an international advisor at PMQ (Hong Kong) and a senior advisor at Kamoe Art Center (Hamamatsu City). He has also servedon the House of World Cultures (Berlin) Program Advisory Board and worked as an advisor at Tensta Konsthall (Stockholm)and United Nations University amongst others.
国内外の若手クリエーターの人材育成、国際文化交流、領域横断で実験的なプロジェクトを推進するアートセンターであったトーキョーワンダーサイト

Exhibition at Toride Art Path
To r i d e A r t Path co mb i ne s eve nt s
including an open campus at Toride
campus, an exhibition for advancementby the Depar tment of Inter-Media
Art, also based in Toride, and otherstudents willing to participate at theevent . This year, under the theme‘Art Path 2019 Geisai Exhibition’, M1
students in the GAP program createdtheir own exhibition and presented
wo rk . A s a re sult of par ti c i pati n g
s tu d e n t s d o i n g e v e r y t h i n g f r o morganizing the exhibition to advertising,presenting work that came out of one’s
individual creative practice as a groupe x h i b i t i o n , t h e p r o c e s s i nv o l v e d
students receiving feedback based on
the exposure of each work to objective
consideration. This was also an
opportunity for students to objectively
review their own work, leading to theirnext creative endeavor or practice.

の創設に携わり、2001年の創設から2017年まで館長を務める。2001年から2013年まで東京都の文化行政について知事に助言・進言を行なう東取手アートパス

取手アートパスは、本学取手校地におけるオープンキャンパス、GAPと同じく取手を拠点とする先端芸術表現科による進級展、その他本学の学生有志による展示などが一体となったイベントです。今年度は「アートパス
2019～藝祭Exhibition～」というテーマの
もと、GAP専攻ではM１が自ら展覧会を作り上げて作品を発表しました。個人の制作
活動によってできた作品をどのようにグループで発表するかなど、展覧会の構成や広報なども含めてすべてを参加学生が手分けして行なった結果、その過程では各々の作品が客観的な視点にさらされ、フィードバックを受けることに。それは自らの作品を客観的に見つめ直し、次の制作や活動へと繫がる
機会にもなりました。

京都参与も兼務し、アーツカウンシル東京の創設をはじめ、東京の新たな芸術文化基盤作りに取り組む。東京オリンピック
招致においては文化プログラム作成に中心的な役割を果たす。建築を学び、磯崎新アトリエ勤務を経て、1991-1993コロン
ビア大学建築学部客員研究員。現在、名古屋芸術大学特別客員教授、武蔵野美術大学非常勤講師も務め、PMQ（香港）イ
ンターナショナル・アドバイザー、浜松市鴨江アートセンターシニアアドバイザー。これまでに世界文化の家（ベルリン）プロ
グラム・アドバイザリー・ボード、テンスタ・コンストハル・アドバイザー（ストックホルム）、国連大学アドバイザーなどを歴任。
Class in charge: Art Practice III & IV, GAP Seminar II, Social Practice I & II, Introduction to Japanese Art III & IV, ASAP
担当授業：アートプラクティス III & IV、GAP演習 II、社会実践論 I & II、日本アート概論 III & IV、ASAP

Mina Lee [Associate Professor] 李 美那（り みな）［准教授］
Mina Lee specializes in modern and contemporary art history of East Asia. She graduated from Tokyo University of theArts, Graduate School of Fine Arts with a major in Western Art History. She has organized and conducted exhibitions andeducational programs as a curator at Shizuoka City Museum of Art (1993-2003) and as a chief curator at the Museum ofModern Art, Kamakura & Hayama (2003-2017). Major exhibitions include Oil Paintings in the East Asia－Its Awakening andDevelopment (1999), Alberto Giacometti and Yanaihara Isaku (2005) and Korean and Japanese Modern Artists in the Korean
Peninsula, 1890s – 1960s (2015) among others.
東アジアを中心とする近現代美術史。東京藝術大学大学院美術研究科西洋美術史専攻修了。静岡県立美術館学芸員（1993-2003）、神奈川県立近代美術館主任学芸員（2003-2017）として展覧会、教育普及プログラムを企画・実施。主な展覧会に 「東アジア/絵画の近代 ― 油画の誕生と展開」（1999）、「アルベルト・ジャコメッティ―矢内原伊作とともに」（2006）、「日韓近代美術家のまなざし ―『朝鮮』で描く」（2015）など。
Class in charge: Art Practice I & II, Introduction to Japanese Art I & II, GAP Kobiken Research Trip, London Unit
担当授業：アートプラクティス I & II、日本アート概論 I & II、GAP古美術研究旅行、ロンドンユニット

44

45

GAP Faculty Members
Yuichiro Tamura [Adjunct Instructor] 田村 友一郎（たむら ゆういちろう）［非常勤講師］

Taro Shinoda [Associate Professor]

篠田 太郎（しのだ たろう）
［准教授］

Taro Shinoda (born 1964, Tokyo) began his career as an artist after studying landscape gardening. Shinoda’s highly acclaimed
sculptures and installations show impressive craftsmanship and address his understanding of the universe and cosmic space
as “nature evolving in coexistence with human activities.” He has participated in multiple international exhibitions including
20th Biennale of Sydney (2016), The Sun and Mt. Fuji and Steve Reich, MISA SHIN GALLERY (Tokyo, 2016), Sculpture
Garden (collaborative project) / Kaz Oshiro / Taro Shinoda , Las Cienegas Projects (Los Angeles, 2011), Sensing Nature , Mori
Art Museum (2010), the Istanbul Biennial (2007), the Busan Biennale (2006) and the Yokohama Triennale (2001).
1964年東京生まれ。造園を学んだ後に作家活動を開始する。宇宙を含む森羅万象を「人類の営みが共在するような進化する自然として理解する」ことをテーマに、見事な手作業による彫刻やインスタレーションを制作し、高い評価を受けている。第20回シドニービエンナーレ（2016）、「The Sun and Mt.Fuji and Steve Reich」MISA SHIN GALLERY（2016）、「SCULPTURE GARDEN （COLLABORATIVE PROJECT） / KAZ OSHIRO / TARO SHINODA」ラ

1977年富山県生まれ。日本大学芸術学部写真学科卒業。東京藝術大学大学院映像研究科博士後期課程修了。ベルリン芸術大学空間実験研究所在籍（2013 2014）。旧来の領域にとらわれない独自の省察の形式を用いた作品形態を通して、観客とのあいだに従来とは異なるコミュニケーションを志向する。近年の主な展覧会に「Milky Mountain/裏返りの山」(Govett- Brewster Art Gallery、ニュージーランド、2019)、「アジア・アート・ビエンナーレ」（国立台湾美術館、
台中、2019）、「話しているのは誰？」（国立新美術館、東京、2019）、「美術館の七燈」（広島市現代美術館、広島、2019）、「六本木クロッシング2019」（森美術館、東京、2019）、「The Fabric of Felicity」（GARAGE現代美術館、モスクワ、2018）、釜山ビエンナーレ（釜山現代美術館、
韓国、2018）、日産アートアワード2017（BankART Studio NYK、横浜、2017）、「2 or 3 Tigers」(HKW、ベルリン、2017)など国内外多数。
www.damianoyurkiewich.com

Class in charge: GAP Seminar II

ス・シエネガス・プロジェクト（ロサンゼルス、2011）、「ネイチャー・センス展」森美術館（2010）、イスタンブール・ビエ
ンナーレ（2007）、釜山ビエンナーレ（2006）、横浜トリエンナーレ（2001）など国際展にも多数参加している。

担当授業：GAP演習 II

Hiraku Suzuki [Adjunct Instructor］］]］ 鈴木 ヒラク（すずき ひらく）
［非常勤講師］

Class in charge: London Unit 担当授業：ロンドンユニット

Natsumi Araki [Associate Professor］] 荒木 夏実（あらき なつみ）
［准教授］
Curator. Received her BA in Literature from Keio University, and her MA in Museum Studies from Leicester University. Has
been involved in the organization of exhibitions and educational programs as a curator for the Mitaka City Arts Foundation(1994-2002) and Mori Art Museum (2003-2018). Exhibitions she curated include Odani Motohiko: Phantom Limb, GoBetweens: The World Seen through Children, Dinh Q. Lé: Memory for Tomorrow, Roppongi Crossing 2016: My Body, Your
Voice . Awarded the 26th Ringa Art Encouragement Prize (Art Criticism Division) and the 10th Western Art Foundation Prize
for the Go-Betweens exhibition.
キュレーター。慶應義塾大学文学部卒業、英国レスター大学ミュージアム・スタディーズ修了。三鷹市芸術文化振興財
団（1994-2002）、森美術館 （2003-2018）でキュレーターとして展覧会および教育プログラムに携わる。主な展覧会

Born in 1978, obtained his MFA at Tokyo University of the Arts in 2008 and later participated in artist residencies in Sydney, San Paulo,
London, New York, Berlin and other places. Suzuki continues to explore the relationship between drawing and language as he attempts
to expand the potential in the concept of drawing by using different approaches including two-dimensional works, sculpture, video,
photography and performance. Founded Drawing Tube in 2016, a platform for the alternative contemporary drawing research andpractice. His works have been exhibited worldwide, including 21st Century Museum of Contemporary Art (2009), Mori Art Museum(2010), Museum of Architecture (2015), Yinchuan Museum of Contemporary Art (2016), Maison de la Culture du Japon à Paris (2015),
Arts Maebashi (2017), MOCO Panacée (2019), and Museum of Contemporary Art Tokyo (2019-2020). His publications include GENGA(Kawade Shobo Shinsha, 2010) and SILVER MARKER (HeHe, 2020). www.hirakusuzuki.com
アーティスト。1978年生まれ。20 08年東京藝術大学大学院修了後、シドニー、サンパウロ、ロンドン、ニューヨーク、ベルリンなどの各地で滞在制作を行う。ドローイングと言語との関係性を主題に、平面・彫刻・映像・写真・パフォーマンスなどから、ドローイングの概念を拡張するような制作活動を展開している。 2016
年より現代ドローイングの実践と研究のためのプラットフォーム「Drawing Tube」を主宰。主な展覧会に金沢 21世紀美術館（2009）、森美術館（2 010）、ヴロツワフ建築美術館（2 015）、銀川現代美術館（2 016）
、パリ日本文化会館（2 015）
、アーツ前橋（2 017）
、M OCO Panacée（2019）、東京都現代美術館（2019–2020）。著書に『GENGA』（2010、河出書房新社）、『SILVER MARKER』（2020、HeHe）などがある。
www.hirakusuzuki.com

Class in charge: GAP Seminar II 担当授業：GAP演習 IIに「小谷元彦展：幽体の知覚」、「ゴー・ビトゥイーンズ展：こどもを通して見る世界」、「ディン・Q・レ展：明日への記
憶」、「六本木クロッシング2016：僕の身体、あなたの声」など。
「ゴー・ビトゥイーンズ展」で第26回倫雅美術奨励賞、第Kanoko Tamura [Adjunct Instructor]］

10回西洋美術振興財団学術賞受賞。

田村 かのこ（たむら かのこ）
［非常勤講師］

Born 1985 in Tokyo. Director of Art Translators Collective, an independent organization that specializes in translation and interpretingin the ﬁeld of art, Director of Communication Design at the Sapporo International Art Festival 2020 . Tamura tries to expand thepossibilities of translation as a creative way of expression by conducting translation, interpreting, editing, project management, and
PR. Since 2016, she has also been in charge of Art Communication course at Global Art Practice, Tokyo University of the Arts. Tamura
graduated with a BS from the Department of Civil Engineering and Architecture at Tufts University in 2008, and received a BA from theInter-Media Art Department at Tokyo University of the Arts in 2013.

Class in charge: Paris Unit 担当授業：パリユニット

Yuko Mohri [Lecturer]

Born 1977 in Toyama prefecture, Japan, Tamura holds a doctoral degree from the Graduate School of Film and New Media,
Tokyo University of the Arts and a Bachelor of Photography from Nihon University. He was a guest researcher of the Institut für
Raumexperiment at Berlin University of the Arts (2013-2014). Unbound by pre-existing conventions, Tamura’s original meditations andreflections in his artwork are directed toward creating new channels of communication with the audience. Recent exhibitions include
Milky Mountain (Govett-Brewster Art Gallery, New Zealand, 2019), Asian Art Biennial (National Taiwan Museum of Fine Arts, Taichung,2019), Image Narratives: Literature in Japan (National Art Center, Tokyo, 2019), The Seven Lamps of the Art Museum (Hiroshima City
Museum of Contemporary Art, Hiroshima, 2019), Roppongi Crossing 2019 (Mori Art Museum, Tokyo, 2019), The Fabric of Felicity(Garage Museum of Contemporary Art, Moscow,2018),Busan Biennale (Museum of Contemporary Art Busan, Korea, 2018), Nissan Art
Award 2017 (BankART Studio NYK, Yokohama, 2017), 2 or 3 Tigers (Haus der Kulturen der Welt, Berlin, 2017) among others in Japan andabroad. www.damianoyurkiewich.com

毛利 悠子（もうり ゆうこ）
［講師］

Yuko Mohri (born 1980, Kanagawa) is an artist whose installations detect invisible and intangible forces such as magnetism,gravity and light. In 2015, Mohri received a grant from the Asian Cultural Council for a residency in New York. She has
participated in a number of exhibitions both in Japan and abroad, including the 14th Biennale de Lyon 2017 (France), KochiMuziris Biennale 2016 (India) and the Yokohama Triennale 2014. Mohri is the Grand Prix winner of the Nissan Art Award 2015
and is also the recipient of Culture and Future Prize at the 65th Kanagawa Cultural Award in 2016 and the New Artist Award at
the 67th Japanese Ministry of Education Award for Fine Arts in 2017. http://www.mohrizm.net/
1980年生まれ。美術家。磁力や重力、光など、目に見えず触れられない力をセンシングするインスタレーションを制作。

1985年東京生まれ。アートを専門とする通訳・翻訳者の活動団体 「Art Translators Collective」主宰。札幌国際芸術祭2020コミュニケーション・デ
ザインディレクター。通訳・翻訳を中心に幅広く活動しながら、あらゆるものの間に立つメディエーター（媒介者）として、クリエイティブな翻訳の可能性を探る。GAP専攻では、2016年から2018年まで助教を務めたあと、アーティストのためのコミュニケーション授業「アートコミュニケーション」を担当している。2008年タフツ大学工学部土木建築科（米国）卒業、2013年東京藝術大学美術学部先端芸術表現科卒業。

Class in charge: Art Communication I & II 担当授業：アートコミュニケーション I & II

Ryusuke Kido [Project Lecturer] 木戸 龍介（きど りゅうすけ）［特任講師］
Born 1984 in Tokyo, Japan. Kido completed his MFA in Sculpture from Tokyo University of the Arts, Graduate School of Fine Arts. Main
exhibitions include; Time Remapping with Wit Pimkanchanapong (Bangkok, Thailand, 2013), Distant Observations. Fukushima in Berlin(Berlin, Germany, 2014), When “&” Discovers New Forms of Art (Kawasaki, Japan, 2016), solo exhibition KIYOME MO/NU/MENT (Tokyo,
Japan, 2017). Awards include; First prize of Museum of Contemporary Art Tokyo Bloomberg Pavilion Project (2012), Emerald Grant
Award from Tokyo University of the Arts (2019). http://www.ryusukekido.com

2015年、アジアン・カルチュラル・カウンシル（ACC）のグランティとして渡米。
「リヨン・ビエンナーレ2017」（フランス）、「コーチ=ムジリス・ビエンナーレ2016」（インド）、「ヨコハマトリエンナーレ2014」（神奈川）ほか国内外の展覧会に多数参加。2015年に日産アートアワードグランプリ、2016年に神奈川文化賞未来賞、2017年に第67回芸術選奨文部科学
大臣新人賞を受賞。http://www.mohrizm.net/
Class in charge: GAP Seminar III, Paris Unit 担当授業：GAP演習 III、パリユニット
Photo: Naoko Maeda

1984年東京生まれ。2011年東京藝術大学大学院美術研究科彫刻専攻修了。主な展覧会に、「Time Remapping with Wit Pimkanchanapong」（バンコク、2013）、「Distant Observations. Fukushima in Berlin」（ベルリン、2014）、「＆（アンパサンド）がカタチをひらくとき」（川崎、2016）、個展 「KIYOME MO/NU/MENT」（東京、2017）。主な受賞に、東京都現代美術館 「ブルームバーグ・パヴィリオン・プロジェクト公募大賞」（2012）、東京藝術大学 「藝大美術エメラルド賞」（2019）。http://www.ryusukekido.com

Class in charge: GAP Seminar I, ASAP 担当授業：GAP演習 I、ASAP

46

47

［特任助教］
Hayato Fujioka [Project Assistant Professor] 藤岡 勇人（ふじおか はやと）
Born 1990 in Ehime. Fujioka completed his MA in Culture, Criticism and Curationfrom Central Saint Martins in 2016. He widely works
in the field of art and culture as a researcher, curator and filmmaker. He is directing a documentary film 72 Sliding Doors , which wasscreened at Nuovi Orientamenti in Ravenna, Italy in 2015. His recent curatorial projects include On the Verge of Fiction (Taipei, 2019), In
Search of Mokuhanga Light: Globalizing Japanese Woodblock Printmaking (Cyprus and Hawaii, 2017), and Tokyo Analogies | Richard
Nicholson (London, 2017).
1990年愛媛県生まれ。2016年ロンドン芸術大学セントラル・セント・マーチンズ校MA Culture, Criticism and Curation修了。研究者、キュレーター、映像作家として、幅広く文化事業に従事している。2013年より退蔵院方丈襖絵プロジェクトのドキュメンタリー「72 Sliding Doors」の制作を手がけ、Nuovi Orientamenti（イタリア、2015）
で上映。最近の主な展覧会企画には「On the Verge of Fiction」（台湾、2019）、「In Search of Mokuhanga Light: Globalizing
Japanese Woodblock Printmaking」（キプロス・ハワイ、2017）、「Tokyo Analogies ¦ Richard Nicholson」（ロンドン、2017）などがある。

Class in charge: Art Practice I & II, Social Practice I & II, Introduction to Japanese Art III & IV
担当授業：アートプラクティス I & II、社会実践論 I & II、日本アート概論 III & IV

［特任助教］
Yoshinori Takakura [Project Assistant Professor] 髙倉 吉規（たかくら よしのり）
Born 1981 in Tokyo. In 2011, Takakura received his doctorate in Oil Painting from Tokyo University of the Arts, Graduate School of Fine
Arts. He was selected for Overseas Study Program for Artists provided by the Agency for Cultural Affairs, and worked in Lebanon. After
returning to Japan in 2013, he began working at Tokyo University of the Arts, Department of Oil Painting. In 2016, hejoined Global Art Practice as a Project Assistant. He participates in group and solo shows while also planning exhibitions.
1981年東京生まれ。2011年東京藝術大学大学院美術研究科博士後期課程油画技法・材料研究室修了。
文化庁海外研修制度による採択の結果レバノン共和国にて滞在制作。2013年帰国後同大学油画科非常勤講師を務めた後2016年より現職。個展やグループ展への出品に加えて展覧会企画も行なう。

For more information, please visit
our website and Instagram!!
Websitehttp://gap.geidai.ac.jp/

Instagram

gap_geidai

Class in charge: Art Practice III & IV, London Unit 担当授業：アートプラクティス III & IV、ロンドンユニット［特任助手］
Hiroko Nakajima [Project Research Assistant] 中島 裕子（なかじま ひろこ）
Born 1980 in Tokyo. Nakajima received her BA in Contemporary Jewellery at Konstfack, University of Arts, Crafts and Design, Sweden in2012, and MA in Fine Art (Sculpture) at Slade School of Fine Art, UK in 2016. Recent exhibitions include Kuroko at Gallery House, Leeds(2019), Art Triangle at the Embassy of the Kingdom of the Netherlands, Tokyo (2018), Odds at Assembly Point, London (2017), PILLOWSWALLOW HOLLOW YELLOW at ArtWall, Athens (2017). Recipient of Chelsea Arts Club Trust Award (2015).
http://hirokonakajima.tokyo/

GAP Document 2019
Global Art Practice,
Graduate School of Fine Arts,
Tokyo University of the Arts

1980年東京生まれ。2012年スウェーデン国立芸術工芸デザイン大学現代ジュエリー学科を卒業。2016年ロンドン大学スレード校美術学部彫刻学科修士課程修了。主な展覧会に「Kuroko」（リーズ、2019）「Art Triangle」（東京、2018）「Odds」（ロンドン、2017）「PILLOW SWALLOWHOLLOW YELLOW」（アテネ、2017）など。主な受賞歴にChelsea Arts Club Trust Award （2015）がある。http://hirokonakajima.tokyo/

Publication date: March 31, 2020

Class in charge: Paris Unit 担当授業：パリユニット

Published by: Global Art Practice, Graduate School of Fine Arts,
Tokyo University of the Arts

［特任助手］
Tsukasa Doi [Project Research Assistant] 土井 つかさ（どい つかさ）

5000 Omonma, Room 211-B, Toride, Ibaraki, 302- 0001 JAPAN
Email: gap-contact@ml.geidai.ac.jp

Born in Tokyo. Doi recieved her MFA from Inter-Media Art Department from Tokyo University of the Arts. After working at afilm design office, patent office, etc., Doi has worked in Global Art Practice as an Adjunct Education and Research Assistantsince 2017.

Chief Editor: Yusaku Imamura

東京出身。東京藝術大学大学院美術研究科先端芸術表現専攻修了。映像設計事務所、特許事務所等の勤務を経て2017年より現職。

A rt Direction&Design: Masao Otsuka,Megumi Maruyama(marron's inc)

Class in charge: Art Practice III & IV, Introduction to Japanese Art I & II 担当授業：アートプラクティス III & IV、日本アート概論 I & II

Logo design: Kenta Kawagoe

Production Team: Hayato Fujioka, Hiroko Nakajima, Monica Castillo

Translation: Jaime Humphreys, Benjamin Cagan,［教育研究助手］
Claire Fujita [Adjunct Education and Research Assistant] 藤田 クレア（ふじた くれあ）

Kanoko Tamura (A rt Translators Collective),

Born 1991 in Beijing. Fujita received her MFA from the Inter-Media Art Department of Tokyo University of the Arts in 2018. Her work addresses
the form of communication through kinetic sculptures. Main exhibitions include; Playing in the Woods (Nagano, 2016), Cross Domain (SuZhou,
China, 2018). Awards include; Tokyo University of the Arts Purchasing Prize (2017), Metro Cultural Foundation Prize (2016).

Photo: Kenta Kawagoe(pp. 32-37 ), GA P faculty and staff

1991年中国、北京生まれ。2016年東京藝術大学美術学部先端芸術表現科卒業後、同科の修士課程へ進学、2018年に修了。物質や動力に重点を置きながら、コミュニケーションのあり方についての動く作品を主に制作。主な展示歴に、「森にあそぶ」（長野県、2016）、「交叉域-」（中国 蘇州、
2018）。受賞歴、東京藝術大学 卒業展示 買い上げ賞受賞（2016）、メトロ文化財団賞受賞（2016）。

Printed by: 52japan Co.,Ltd.

Class in charge: GAP Kobiken Research Trip, GAP Seminar III, Paris Unit 担当授業：GAP古美術研究旅行、GAP演習 III、パリユニット

Printed in Japan

Monica Castillo [Adjunct Education and Research Assistant］] モニカ・カスティリョ［教育研究助手］
Born 1990 in the Philippines, Monica E. Castillo received her BA in Animation from De La Salle-College of Saint Benilde, Philippines in2011 and her MFA from Global Art Practice department of Tokyo University of the Arts in 2019. In 2014, Castillo held her first solo show
entitled INKED, which was followed by a group show, Tagaytay Art Beat, in 2015. In 2018, she was awarded the Grand
Prize from Asia Network Beyond Design, Seoul.
1990年フィリピン生まれ。デラサール大学聖ベニルデ校卒業。2019年東京藝術大学大学院美術研究科グローバルアートプラクティス専攻修了。2014
年に初めての個展「INKED」を開催。翌年、グループ展「Tagaytay Art Beat」に参加。

Class in charge: Art Communication I & II, London Unit 担当授業：アートコミュニケーション I & II、ロンドンユニット［GAPアシスタント］
Michiyo Takahashi［ [GAP Assitant］] 高橋 三千代（たかはし みちよ）
After working at the Toride Administration Office of Tokyo University of the Arts, she worked as an assistant at the InterMedia Art Department. Since April of 2019, she has been working as part of the Global Art Practice Staff.
東京藝術大学取手校地事務室勤務後、同大学先端芸術表現科教育研究助手を経て2019年4月より現在に至る。

48 48

Max Tokunaga, GAP faculty and staff
Editing, Writing and Proofreading: Mayuko Ono© 2019-2020 Global Art Practice, Graduate School of Fine Arts,
Tokyo University of the ArtsGAP Document 2019