Aichi Triennale 2019 Press Release _ Participating Artists
As of March 27, 2019

Aichi Triennale 2019 Has Announced the List of Additional Artists
Aichi Triennale—an international contemporary art festival that occurs once every three years and is
one of the largest of its kind—has been showcasing the cutting edge of the arts since 2010, throughits wide-ranging program that spans international contemporary visual art, film, the performing arts,
music, and more.
This fourth iteration of the festival welcomes journalist and media activist Daisuke Tsuda as its artistic
director. By choosing “Taming Y/Our Passion” as the festival’s theme, Tsuda seeks to address “thesensationalization of media that at present plagues and polarizes people around the world.” He hopesthat by “employing the capacity of art— a venture that, capable of encompassing every possible
phenomenon, eschews framing the world through dichotomies—to speak to our compassion, thus
potentially yielding clues to solving this predicament.” Aichi Triennale 2019 announced the additionof 47 artists to its lineup on 27 March 2019; the list now comprises a total of 79 artists.
Outline of Aichi Triennale 2019 http://aichitriennale.jp/
Theme |  Taming Y/Our Passion
Artistic Director | TSUDA Daisuke (Journalist / Media Activist)
Period | August 1 (Thursday) to October 14 (Monday, public holiday), 2019 [75 days]
Main Venues | Aichi Arts Center; Nagoya City Art Museum; Toyota Municipal Museum of Art andoff-site venues in Aichi Prefecture, JAPAN
Organizer | Aichi Triennale Organizing Committee
Inquiries | Aichi Triennale Organizing Committee (Public Relations Department)
Aichi Arts Center 6F, 1-13-2 Higashi-sakura, Higashi-ku, Nagoya, Aichi 461-8525, Japan

Tel: +81-52-971-6111 Fax: +81-52-971-6115 E-mailpress@aichitriennale.jp

Contents
International Contemporary Art Exhibition…… P2
Film Program ……………………………………P24
Performing Arts …………………………………P25
Music Program …………………………………P29
Learning …………………………………………P30

 

International Contemporary Art Exhibition
After “Freedom of Expression?”
Freedom of Expression? was held in 2015, motivated by a serious sense ofcrisis concerning threats to freedom of speech and expression in Japan. The
exhibition collected works that had been rejected or removed from exhibitionby either systematic censorship or fear of causing controversy. Works dealing
with themes which have been deemed taboo by public cultural institutions inrecent years (such as the issue of the Japanese Military “Comfort Women”, theemperor and wartime responsibility, colonial rule, Article 9 of Japan’sconstitution, or criticism of the government) were displayed along with theactual reasons given at the time for their removal. At Aichi Triennale 2019,
works newly refused exhibition at public galleries after 2015 will be displayedwith the reasons for their rejection in similar fashion, in addition to revisiting
works featured in the original exhibition.

2015 Freedom of Expression?, Gallery Furuto, Tokyo, Japan

Exhibition title design, woodcut by Misako Ichimura,from the exhibition poster from 2015

Song-Ming ANG and Jason MALING
Began collaboration 2017 in Singapore.
Song-Ming Ang makes art revolving around music, pop culture and theeveryday, while Jason Maling makes process driven performances that evolvein response to social encounters. They began collaborating in 2017 on a seriesof strategies that indulge their mutual love of pop music and explore thecultural significance of the amateur. Grouped under the title A Song To Change
The World, their project is constituted by the perpetual performance of an
impossible task, a generative process that asks the seemingly simple, yet
fiendishly complex question: what kind of song could change the world?
Embracing futility, doubt, and earnest ambition, the artists invite the public towork with them in a series of workshops, lectures, and public performances toassist them in their mission.

2018 Festival of Live Art, Melbourne, Australia
2018 Exceptions of Rule: Counterpoints to Truth, ADM Gallery, Nanyang Technological
University, Singapore

A Song To Change The World, 2018
Festival of Live Art, Melbourne, Australia
Photo: Bryony Jackson

AOKI Miku
Born 1996 in Tochigi, Japan. Based in Tokyo, Japan.
Aoki Miku is a student in oil painting at Tama Arts University. In 2019, she
received the Gold Prize at the final selection exhibition for the fourth term of
the Genron Chaos*Lounge New Art School. One day when she was 18 years
old, her mother informed her that, desperately wanting a child, her parents
underwent an artificial insemination procedure that resulted in her birth. This
was also the moment she understood the excessive amount of love she’d felt
from her mother since childhood. Born—oddly enough—in the same year as
the world’s first cloned mammal, Dolly the sheep, Aoki has since focused on
examining necessity and contingency, blessings and curses related to forms of
purposely engineered life, including herself. Her artw ork consists of
installations, zoetropes (series of rotating images that appear to move),drawings created from skin-soft lamé thread embroidery, and more.
2019 Genron Chaos*Lounge New Art School Class Final Selection Exhibition Home Land,
Tokyo, Japan, Gold Prize2018 Genron Chaos*Lounge New Art School Class 4 Outcome Exhibition Vertigo, Genron
Chaos *Lounge Gotanda Atelier, Tokyo, Japan2018 Kanji Yumisashi solo exhibition Mermaid in April, Genron Chaos*Lounge Gotanda
Atelier, Tokyo, Japan (as a featured artist)
2018 Contemporary Art Black Market, BUCKLE KÔBÔ, Tokyo, Japan

1996, 2019
Photo: Tetsuya Matsushita

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order2Walead BESHTY
Born 1976 in London, UK. Based in Los Angeles, USA.
Walead Beshty is known for work that presents, in a simple manner, the realitythat the transmission of information and the transportation of things, which
seem to occur instantaneously, are in fact carried out within the confines ofm any industries and depend on the physical labor of a great m any
people. Travel Pictures involved Beshty developing and printing photographic
film with damage and discoloration from exposure to X-ray scanners when
passing through airport baggage inspection. With the FedEx glass works, heshipped thin glass boxes cut to the size of FedEx standard shipping boxes
around the world, and exhibited those boxes in the form took after becoming
cracked all over through the process of transportation by cargo handlers.
Beshty is often described as a photographer, but his practice has a wide scope,and he also works as a writer and curates exhibitions. In 2018, he organizedth e Pictu re In d u s try exh ib itio n in F ran ce an d ed ited its catalo g u e,which amounted to a monumental publication of over 800 pages.

Travel Pictures [Tschaikowskistrasse 17 in multiple
exposures* (LAXFRATHF/TXLCPHSEALAX) March
27–April 3, 2006] *Contax G-2, L-3 Communications
eXaminer 3DX 6000, and InVision Technologies CTX
5000, 2006/20082015 56th Venice Biennial, All the World’s Futures, Venice, Italy
2014 A Partial Disassembling of an Invention, Without a Future: Helter Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying
Around at Random All Over the Workbench (solo), Barbican Centre, London, UK
2013 Fair Use (solo), the Power Station, Dallas, USA
2011 Securities and Exchanges (solo), Ullens Center for Contemporary Art, Beijing, China
2011 A Diagram of Forces (solo), Malmö Konsthall, Malmö, Sweden

Candice BREITZ
Born 1972 in Johannesburg, South Africa. Based in Berlin, Germany.
Recent works by Candice Breitz have focused on the conditions under which
empathy is produced, reflecting on a media-saturated global culture in whichstrong identification with fictional characters and celebrity figures runs parallel
to widespread indifference to the plight of those facing real world adversity.
Following the completion of her works Love Story (2016) and TLDR(2017), she
is currently working on the third part of a video trilogy that critically probes theattention economy. Breitz has been a tenured professor at the Braunschweig
University of Art since 2007.

2018 Candice Breitz: Love Story (solo), Museum of Fine Arts, Boston, USA
2018 Candice Breitz: Sex Work (solo), Salon Berlin / Museum Frieder Burda, Berlin, Germany
2018 FRONT International: Cleveland Triennial for Contemporary Art, Cleveland, USA
2017 57th Venice Biennial, South African Pavilion, Venice, Italy

Love Story, 2016, Featuring Alec Baldwin andJulianne Moore
Commissioned by the National Gallery of Victoria,
Outset Germany + Medienboard Berlin-Brandenburg
South African Pavilion, 57th Venice Biennial, 2017
Photo: Andrea Rossetti
Courtesy of Goodman Gallery, Kaufmann Repetto +KOWJames BRIDLE
Born 1980 in London, UK. Based in Athens, Greece.
Specializing in fields such as cognitive science and artificial intelligence, James
Bridle is an artist and a technologist whose interests lie in cutting edge scienceand technology. He is also a theorist and journalist, appearing in Wired, Domus,
and more. His work, however, shies away from over-enthusiastic promotion of
new technologies, instead sounding the alarm on the risks inherent withintechnology itself. With demonstrations such as his “trapping” of a self-driving
car using ideas inspired from ancient myths and supernatural rituals, hereferences the history of science and technology while revealing the limits ofany knowledge divorced from context. He published his first book, New Dark
Age, in 2018, and was named as one of Wired’s “100 Most Influential People inEurope” in 2015.

2018 New Dark Age: Technology and the End of the Future, New York: Verso books
2013 Prix Ars Electronica 2013, Linz, Austria, Interactive Art, Honorary Mention2013 17th Japan Media Arts Festival, Tokyo, Japan, Art Division, Excellence Award

Drone Shadow 002, 2012, Istanbul, Turkey

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order3

Tania BRUGUERA
Born 1978 in Havana, Cuba. Based in Havana, Cuba / New York, USA.
Tania Bruguera created performances and installations aiming for socialchange from a young age. She exposes political forces and presents global
issues of migration, censorship, and repression through participatory work. For
over 25 years her activity has involved cooperation with individuals andinstitutions, and so Bruguera defines herself as an “initiator” rather than acreator. In 10,148,451, visitors have an eight-digit number stamped on theirarm. This number, which is always increasing, acknowledges the number of
migrants in the world. Visitors continue into a chamber filled with tear-inducing
vapor; the artist uses what she describes as “forced empathy” to physicallymake visitors cry even if they don’t feel connected to the abstract number
stamped on their arm. In this way, her political work mobilizes spectators to act
as active citizens.

2018 10,148,451, Tate Modern Hyundai Commission, London, UK
2015 56th Venice Biennial, All the World’s Futures, Venice, Italy
2014 Under the Same Sun, Guggenheim Museum New York, USA
2012 Immigrant Movement International, Tate Modern, London, UK
2002 Documenta 11, Kassel, Germany

10,148,451, 2018
Tate Modern Hyundai Commission
Photo: Tate Modern
Courtesy of Estudio Bruguera

BUNYA Yukari
Born 1985 in Okayama, Japan. Based in Brussels, Belgium.
Bunya Yukari creates drawings rooted in the fine arts, music, and architecture.
At college, where she majored in musical composition, Bunya focused on theact of line drawing as a release from the stress of extremely precise
compositional styles. Since then, she has established her own style, much likemusical improvisation, drawing lines on the backing medium without score,sketch, or hesitation. Her drawings feature simple, delicate, relaxed lines, andthe repetition and accumulation of organic forms. Powerful, sharp, straightlines divide the plane and create spatiality in the work. Telling of a period of
influence from the architectural drawings of Libeskind, her work calls to mind
the weightless space of impossible, unbuilt architecture, and also echoes the
tradition of graphic scores by the likes of Kandinsky and Toru Takemitsu.

2016 Trans / Real: The Potential of Intangible Art vol.6 Yukari BUNYA (solo), Gallery αM,Tokyo, Japan
2014 17th Exhibition of the Taro Okamoto Award for Contemporary Art, Taro Okamoto
Museum of Art, Kanagawa, Japan
2013 VOCA 2013, The Ueno Royal Museum, Tokyo, Japan
2012 POSITION 2012 Contemporary Art from Nagoya — The World seen from thisPosition, Nagoya City Art Museum, Aichi, Japanlooking at the vacant scenery 2016.11.11

Miriam CAHN
Born 1949 in Basel, Switzerland. Based in Bergell, Switzerland.
Miriam Cahn was part of the generation that, at a young age, witnessed thefootage of nuclear testing at Bikini Atoll; influenced by the further historicalcontext of the scientists—predominantly Jewish, like Cahn—who bothinvented the atom bomb and opposed its use. Cahn has repeatedly painted
watercolors taking the discord between the beauty and the ethics of the atombomb as their theme. Her oil paintings, on the other hand, include a number ofthemes, such as humans, plants and animals, and architecture, each of whichis explored individually. In her images of humans, in particular, people are attimes painted in vibrant colors standing motionless against dusky toned
landscapes. Cahn’s paintings, which lack the clear, explicit lines used to bringout individual beings, might be understood as hinting toward harmonization or
fusion, rather than strict boundaries. They confront their viewers, however, witha cold, salvationless world, questioning the nature of humans under thedifficult situations in this era of uncertainty.
2018 21st Biennale of Sydney, SUPERPOSITION: Art of Equilibrium and Engagement, Sydney,
Australia
2018 photographs (solo), WAKO WORKS OF ART, Tokyo, Japan2017documenta 14, Learningfrom Athens, Athens, Greece / Kassel, Germany
2016 miriam cahn - AT EYE LEVEL (solo), Kunsthalle zu Kiel, Kiel, Germany2015körperlich –corporel (solo), Aargauer Kunsthaus, Aarau, Switzerland

das schöne blau, 13.5.17
Photo: Daniel Martinek
Courtesy of WAKO WORKS OF ART

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order4

Pia CAMIL
Born 1980 in Mexico City, Mexico. Based in Mexico City, Mexico.
Pia Camil creates work in a range of expressive forms, including large-scaletextile installations, associated with the Mexican urban landscape andmodernization. Her recent major work Telón de Boca was inspired by bartering
at the Tianguis Cultural del Chopo, where different kinds of music mingle
together. Second-hand t-shirts, produced in advance with a designer, were
exchanged for band t-shirts belonging to friends and passersby; the garments
thus collected were sewn together into a single large textile, into which 24
speakers were installed. The band t-shirts are vehicles for cultural, social, andpersonal information; meanwhile, the fact that this surplus of products that had
been produced for the United States market is bargained for in Mexico City
street markets also hints symbolically at global economic and trading systems.
With this work Camil created a monumental sonic space which provided a
stage in which the public was able to participate.

2018 Telón de Boca (solo), Museo Universitario del Chopo, Mexico City, Mexico
2018 Split Wall (solo), Nottingham Contemporary, Nottingham, UK2017Bara, Bara,
Bara, (solo), Dallas Contemporary, Dallas, Texas, USA
2015 A Pot for a Latch (solo), New Museum, New York, USA
2014 The Little Dog Laughed (solo), Blum & Poe, Los Angeles, USA

Telón de Boca, 2018
Photo: Ramiro Chaves
Courtesy of Museo Universitario del Chopo

The Center for Investigative Reporting
Established 1977 in California, USA. Based in California, USA.
CIR is best known for its weekly investigative radio show and podcast “Reveal”.
As a nonprofit news organization, CIR relies on sustaining members whobelieve in fearless investigative reporting. While most investigative reporting
takes the form of a written or video report created by the organization thatobtained the scoop, CIR uses the material it obtains to explore various formsof expression from animation and drama to hip-hop music and apps—which it
publishes for free through social media and the like. That CIR collaborates withexisting news and broadcasting organizations, rather than relying on its own
resources for all of its operations, is a crucial feature which allows the influenceof its reporting to be felt throughout the USA. CIR’s on-site reporting of thesolitary confinement of minors in detention centers in New York City, and its
exclusive interview with the United States Army Special Forces soldier who
killed Osama bin Laden, in particular garnered global attention as newreporting for the digital age.
2018 Nominated at the 90th Academy Awards, USA
2014 Winner at the 73rd Peabody Awards, USA
2012 Winner of the MacArthur Award for Creative & Effective Institutions, USA
Six-time winner of the National Emmy Award, USA
Three-time finalist of the Pulitzer Award, USA
Six-time winner of the Alfred I. duPont-Columbia Award, USA

The Box, 2014
Director: Michael Schiller
Photo: The Center for Investigative Reporting

Heather DEWEY-HAGBORG
Born 1982 in Philadelphia, USA. Based in New York, USA.
After training in computer science and the arts, and pursuing research in AI
and machine learning, Heather Dewey-Hagborg creates work that encourages
us to think about issues of DNA privacy and surveillance. For Stranger Visions,based on the probable phenotypes derived from analysis of DNA extracted
from things like hairs, cigarette butts, or gum left in public spaces, she created
3D printed sculptures which might or might not resemble the people who
dropped those objects. Invisible is a set of products created by an imaginary
biotechnology company: a spray that deletes 99.5% of the DNA, and a spraythat cloaks biological material with DNA noise. Both of these works sparked
controversy around the world, looking critically at issues of the exploitation,
without consent, of biological information such as a person’s cells and DNA forcommercial or academic gain.

2018 Genomic Intimacy, MU, Eindhoven, the Netherlands
2018 Probably Chelsea, Kunsthall 3.14, Bergen, Norway
2018 Stranger Visions, PERMM Museum of Contemporary Art, Perm, Russia
2018 The Future Starts Here, Victoria and Albert Museum, London, UK2017.COM/.CN - Copresented by KAF and MoMA PS1, K11 Art Space, Shanghai

Stranger Visions, 2012-2013
Courtesy of the artist and Fridman Gallery

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order5

dividual inc.
Founded 2008 in Tokyo, Japan. Based in Tokyo, Japan.
The startup, dividual inc. was launched in April 2008 by media artist Endo
Takumi and information-science researcher Dominique Chen, later joined bycreator Yamamoto Koichi in July of the same year. Based on their mantra,“People w ill alw ays need people,” dividual has created w orks suchas TypeTrace, which visualizes people’s typing patterns, and has also released
and managed the community-based web service “rigureto” (2008 – 2017) andthe photo messenger app “Picsee” (2015). dividual’s shareholders included
many prominent angel investors such as the likes of Ieiri Kazuma and Directorof the MIT Media Lab, Joi Ito. The company was acquired by SmartNews Inc.
in January 2018; dividual continues to operate and manage their pre-existing
services.

2012 [Internet Art Future] Reality in Post Internet Era, NTT InterCommunication Center [ICC],Tokyo, Japan
2008 12th Japan Media Arts Festival, Art Division, Jury Selections, Tokyo, Japan
2007 Haptic Literature, Tokyo Photographic Art Museum, Tokyo, Japan

The Way of TypeTrace ~ Maijo Otaro Edition, 2007

DOKUYAMA Bontaro
Born 1984 in Fukushima, Japan. Based in Tokyo, Japan.
Dokuyama Bontaro started his artistic practice after witnessing the utterchange to his hometown of Fukushima brought about by the Tohoku
earthquake and tsunami of March 11, 2011, and the meltdown of the reactors
at the Fukushima Daiichi nuclear Power Plant. He creates videos andinstallations investigating forgotten memories of the past, places, issues andphenom ena that have becom e hard to see in contem porary society.
Dokuyama’s work involves the intervention of the artist himself by going to thelocation of a given incident to collect interviews with the people affected; hewarns viewers of the possibility that, in our unpredictable modern world,
anyone could becom e a victim at any tim e. By facing the past andinvestigating what has been left behind, as well as what has disappeared,
Dokuyama reveals the memories and emotions of people who have fallen
through the cracks of history, and the reality that fragments of ourselves may
be buried in the future.
2019 Roppongi Crossing 2019: Connexions, Mori Art Museum, Tokyo, Japan2018 Public archive (solo), AOYAMAMEGURO, Tokyo, Japan2018 Assembling, K11 Art Mall, Shenyang, China
2017 Koganecho Bazaar 2017 "Double Façade - Multiple ways to encounter the Other",
Koganecho area, Kanagawa, Japan
2016 The 4th branch, Ministry of Economy, Trade and Industry (solo), Anti-nuclear Occupy
Tent Museum, Kasumigaseki, Tokyo, JapanMy anthem, 2019
© BontaroDOKUYAMAECHIGO Masashi
Born 1982 in Toyama, Japan. Based in Kagawa and Toyama, Japan.
Echigo Masashi has worked primarily in installation since completing his
studies in architecture at Musashino Art University, creating pieces all over
Europe, including the UK, the Netherlands, and Belgium. His process consistsof visiting the exhibition location, gathering objects from the area, arranging
them in the venue, and, after the exhibition has finished, returning them towhere they were found. In his works, the movement of objects overlaps the
movement of the artist’s body. Their appeal rests in the simplicity of using theauthentic movement of a place as a basis for artistic creation, as well as thearchitectural sense of scale of the installations themselves. Recently, Echigo
has been expanding his range of techniques to include video, casting, sound,and more; he has also begun creating works that focus on building a
relationship with a given region. In all cases, his pieces originate from
relationships between the artist and individuals with whom he has establishedsome common ground.

2018 MADE IN CHINA (solo), de Art Center, Beijing, China
2017 Loop hole (solo), gallery Muryow, Toyama, Japan2016The rose, Portland, USA

There is no smoke without fire, 2013
Photo: Keisuke Yunoki
Courtesy of the artist

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order6Ayşe ERKMEN
Born 1949 in Istanbul, Turkey. Based in Berlin, Germany.
Ayşe Erkmen excels in creating artwork out of simple contrivances, such as the
temporary relocation of objects based on her careful interpretations of a site’s
hidden context. At the 2017 Skulptur Projekte Münster, she immersed ocean
cargo containers in an inland harbor separating the city’s commercial andindustrial districts, allowing visitors to cross between them by walking on thesurface of the water—a chasm that would normally be impassable. At the 54th
Venice Biennale in 2011, she employed pumps to draw seawater from theneighboring canal, filtering the “City of Water’s” water via a series of pipes
brought into the exhibition space. With its use of water purification systems
developed in Germany to secure drinking water for conflict zones, the work
asked its viewers to consider the relation of the interior and the exterior,seawater and purified water, disparities in technology across nations, and so on.

2017 Skulptur Projekte Münster 2017, Münster, Germany
2016 Culture City of East Asia 2016, Nara, Art Celebration in Nara – Beyond Time and Space,
Saidaiji Temple, Nara, Japan
2011 54th Venice Biennale, Pavilion of Turkey, Venice, Italy

On Water, 2017
Photo: Roman Mensing/Münster

exonemo
Formed 1996 in Tokyo, Japan. Based in New York, USA.
Formed online in 1996 by Sembo Kensuke and Akaiwa Yae, artist duo
exonemo has created and presented works that deal with the internet itself,from its advent to the present day. Exhibiting a unique hacking sensibility, they
have expanded their activities to include exhibiting works and staging
performances in the real world, from 2000 onward. As seen in their renderingof “the internet landscape” Natural Process, a pixelated recreation of theGoogle search engine home page (www.google.com) meticulously painted
with acrylic, exonemo takes an exceptionally keen and humorous approach toconnecting the virtual space with the physical. Other activities include IDPW
(commonly known as “I pass”), a community of some ten artists formed in2012. IDPW organizes Internet Yami-Ichi, a flea market inserted into the realworld that represents commercial transactions on the internet. To date, themarket has spread to over 20 cities across the world.
2019 ARTPORT: SUNRISE/SUNSET, Whitney Museum of American Art, New York, USA
2018 Hello World: for the Post-Human Age, The Contemporary Art Galley, Art Tower Mito,
Ibaraki, Japan
2012 Yebisu International Festival for Art & Alternative Visions 2012, How Physical, Tokyo
Photographic Art Museum, Tokyo, Japan
2011 Ways of Worldmaking, The National Museum of Art, Osaka, Japan
2006 Prix Ars Electronica 2006, Linz, Austria, Net Vision, Golden Nica

Kiss, or Dual Monitors, 2017, Hello World: for the
Post-Human Age, The Contemporary Art Gallery,
Art Tower Mito, Ibaraki, Japan
Photo: Niko

Ceal FLOYER
British, born 1968. Based in Berlin, Germany.
Conceptual artist Ceal Floyer works in video and installation to perform deftmaneuvers in everyday situations, testing the slippage between function andimplication, the literal and the imagined. In Light (1994), for example, four slide
projectors are used to create the impression that an unconnected bulb is lit;in Fallen Star (2018), a slide projector placed in the middle of the gallery
projects a single star onto the ceiling, where a mirror sends it falling back onto
the floor. Floyer’s poetic, concise, and elegant presentation of her ideas isaccompanied by a unique humor. Delighted, viewers are nudged to double
take and recalibrate their perception of the world.

2018 Ceal Floyer (solo), façade of Neuer Berliner Kunstverein, Berlin, Germany
2018 Ceal Floyer (solo), Lisson Gallery, London, UK
2018 Ceal Floyer (solo), Esther Schipper, Berlin, Germany
2016 Ceal Floyer (solo), Aspen Art Museum, Aspen, CO, USA
2016 On Occasion (solo), Aargauer Kunsthaus, Aarau, Switzerland

Fallen Star, 2018, Lisson Gallery, London, UK
Photo: George Darrell© Ceal Floyer; Courtesy Lisson Gallery

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
7

FUJII Hikaru
Born 1976 in Tokyo, Japan. Based in Tokyo, Japan.
Fujii Hikaru’s practice is based on the notion that artistic production implies aclose relationship with society and history. Mainly in the form of video
installation, he creates work that responds to contemporary social issues
through detailed research and fieldwork on unique cultures and histories ofvarious countries and regions. Fujii organizes workshops—intersections forinterdisciplinary and artistic collaboration between specialists from diverse
various fields. Here he reenacts historical events with participants as well as
generates a situation where an active discussion arises. His methodology links
the present with the past in creative ways, while structurally critiquing thedomains of history and society that remain invisible.

2018 How you know little about me, National Museum of Modern and Contemporary Art,
Korea Seoul Branch, Seoul, South Korea
2018 Onassis Fast Forward Festival 5, Old Chemistry Laboratory (Law School Library),
National and Kapodestrian University of Athens, Athens, Greece
2018 Travelers: Stepping into the Unknown, The National Museum of Art, Osaka, Japan 2017
NISSAN ART AWARD 2017, BankART1929, Kanagawa, Japan, Grand Prix
2016 MOT Annual 2016 Loose Lips Save Ships, The Museum of Contemporary Art Tokyo,
Tokyo, JapanThe Primary Fact, 2018, Onassis Fast Forward
Festival 5, Old Chemistry Laboratory (Law School
Library), National and Kapodestrian University ofAthens, Athens, Greece
Courtesy of the artist, Commission and production:
Onassis Fast Forward Festival 5-Athens

FUJIWARA Aoi
Born 1994 in Aichi. Based in Aichi.
Fujiwara Aoi began producing various paintings of explosions while studying in
the UK, drawing from the visual effects used in Japanese anime such as
the Gundam and the Neon Genesis Evangelion series. In one of her paintings,
a massive streak of light, plumes of smoke, and a mushroom cloud emanatefrom an explosion, while a myriad of imagined creatures resembling alpacas
are suspended in mid-air, as though erupting from the center of the blast. The
motif of explosions stems from the anime programs the artist watched with herparents from a young age, and from the experience of her father and brotherbeing affected by the Tohoku earthquake while she was in high school.
Through her portrayal of this subject matter, she gives thought to the realdisasters, conflicts, and social phenomena that affect our societies.

2018 Form (solo), Mitsubishi Ichigokan Art Museum, Tokyo, Japan2018 Everyday Explosion (solo), gallery N, Aichi, Japan
2016 Pixel (solo), Phoenix Halls, Unversity of Brighton, Brighton, UK
2017 Art Award Tokyo Marunouchi 2017, Tokyo, Japan, Mitsubishi Estate Co.,Ltd. Prize

Catastrophe, 2018
Photo: James Risdon

Regina José GALINDO
Born 1974 in Guatemala City, Guatemala. Based in Antigua, Guatemala.
With her main medium as performance, Regina José Galindo’s work explores
gender injustices, racial discrimination and human rights abuses occurring
within societal power structures. She creates performances in which she
exposes herself to radical and extreme situations that other people have faced,
as a means of exploring inequalities in power relations to see how theseactions influence social ethics. In particular, her work has been suggestive of
fem icid es, b o th o f in d ig en o u s an d n o n -in d ig en o u s w o m en , cru d ely
denouncing violence and abuses of power toward different social groups in herhome region and country, as well as in others.

2017 documenta 14, Leaning from Athens, Athens, Greece / Kassel, Germany
2016 11th Shanghai Biennale, Why Not Ask Again: Arguments, Counter-arguments, andStories, Shanghai, China
2014 Estoy Viva (solo), Padiglione d’Arte Contemporanea, Milan, Italy
2005 51st Venice Biennial, Venice, Italy, Golden Lion for an artist under 35
2001 49th Venice Biennial, Plateau of Humankind, Venice, Italy

La Intención (The intention), 2016
Originally commissioned and produced by
Fondazione Fòcara di Novoli, Lecce, Italy
Photo: Annamaria La Mastra
Courtesy of the artist

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order8

Dora GARCÍA
Born 1965 in Valladolid, Spain. Based in Barcelona, Spain / Oslo, Norway.
Dora García develops her practice across a wide range of formats, from media
and installation to performance, theater and drawing. Her work generates
performative situations requiring the participation of the spectators, pushingthem to reflect on controversial issues related to institutional environments. A
performer often intervenes in these environments, affecting or modifying theworks according to any type of action taken or decision made by the audience.
García’s projects explore the relationships between the artist, the work and the
public, focusing on cultural communication processes and making visible theimportance of the public’s critical participation.

2018 Segunda Vez (solo), Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain2012 dOCUMENTA (13), Kassel, Germany201154th Venice Biennial, Spanish Pavilion, Venice, Italy
2008 16th Biennale of Sydney, Revolutions – Forms That Turn, Sydney, Australia
2007 Skulptur Projekte Münster 2007, Münster, Germany

The Romeos, 2018, Love Comes From the Most
Unexpected Places, Trondheim Kunstmuseum,
Trondheim, Norway
Photo: Aksel-Dev Dhunsi
Copyright: Trondheim Kunstmuseum and Dora
GarcíaGE Yulu
Born 1990 in Wuhan, China. Based in Beijing, China.
Ge Yulu graduated from the Hubei Institute of Fine Arts, School of Animation,
Studio for Video Media Majors and from the Central Academy of Fine Arts
School of Experimental Art. His work explores the theme of individual
resistance in the public space. For GE YU LU (Road), the artist named
anonymous streets in Beijing after himself, a play on his own name which ends
with the Chinese character for road. Ge installed unauthorized street signs, andby mid-2015 Chinese online map services had, in swift succession, registered“Ge Yu Lu” as an official street name. His work raises questions surrounding
public spaces: Who owns them? What functions exist within them and for what
purpose? How are they governed? How is our world constructed and how are
we permitted participation in it? By following the full development of Ge’sinterventions, the viewer encounters the elusive mechanisms that dictate thepublic space.
2018 Culture City of East Asia 2018 Kanazawa, Altering Home, Ishikawa, Japan2018 1st Borderless Art Season, Fei Art Museum, Guangzhou, China
2018 Exhibition of Annual of Contemporary Art of China, Beijing Minsheng Art Museum, Beijing,
China
2017 4th Documentary Exhibition of Fine Arts, Stress Field, Hubei Museum of Art, Wuhan, China
2016 3rd CAFAM Biennial, Negotiating Space: I Never Thought You Were Like That, CAFA Art
Museum, Beijing, China

GE YU LU (Road), 2017

HO Tzu Nyen
Born 1976 in Singapore. Based in Singapore.
Ho’s home country, Singapore, was colonized by the British territory in the
19th century, placed under Japanese military control during the Pacific War,
before gaining independence in 1965. He carefully researches historical
records and folklore, weaving complex tales that span the whole of Asia into
beautiful tapestries. A multi-layered Asian history shines out from his work,transcending any single perspective. The world view that Ho develops—
traversing the conventional genres of film, installation, sound, and theater—adorned in magnificence and splendor, revives tales that had fallen out of
official histories, in the space between fiction and fact, like phantoms. His
retelling of the past achieves dazzling transformations, sometimes dark andsometimes beguiling with its charm, illuminating the problems that persist in
Asia from the modern era to today.

2018 The Critical Dictionary of Southeast Asia Volume 3: N for Names (solo), Kunstverein in
Hamburg, Hamburg, Germany
2014 Asia Pacific Breweries Signature Foundation Art Prize 2014, Singapore Art Museum,
Singapore, Grand Prize2012 MAM Project 016: Ho Tzu Nyen (solo), Mori Art Museum, Tokyo, Japan
2011 54th Venice Biennial, Singapore Pavilion, Venice, Italy

One or Several Tigers, 2017

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order9

Anna HULAČOVÁ
Born 1984 in Sušice, Czechoslovakia. Based in Prague, the Czech Republic.
Anna Hulačová’s expressive style combines the imaginative power of science
fiction with ancient mythology, oriental thought, and traditional Czech culture
and art. Her sculptures resemble extraterrestrial creations, in which organicand inorganic forms are mixed together, from living creatures to household
electrical appliances. While referring to the art of the socialist era, in which
healthy and beautiful bodies symbolized an ideal society, this seems to predicta future in which technological progress brings about radical social andecological changes. Hulačová’s sculptures, combining artificial materials suchas cement and aluminum with natural materials such as honeycombs and fresh
flowers—occupying a space between organic and inorganic, historical andfuturistic, cruel and caring—depict a world that could be understood as both
utopian and dystopian.

2018 Open Space #3 Anna Hulačová (solo), Fondation Louis Vuitton, Paris, France
2018 Baltic Triennal 13, Give up the Ghost, Contemporary Art Centre, Vilnius, Lithuania
2018 Another Banana Day for the Perfect Fish, Palais de Tokyo, Paris, France

Ascension Mark 1, 2017, Frieze London, UK
Copyright of the artist
Courtesy of hunt kastner (Prague)

IMAMURA Yohei
Born 1978 in Fukuoka, Japan. Based in Kanagawa, Japan.
Since his time as a student, Imamura Yohei has consistently used silkscreenprinting techniques to create sculptural pieces. The image transferred throughsilkscreen is not normally considered as having a thickness, but if the process
is repeated about ten thousand times a model akin to a topographic map iscreated from the layering of ink on ink. The pieces resemble the products of a
3D printer, and the creator seems to work just like a data-driven machine.
Imamura’s pieces are not mapped out precisely at the planning stage,
however; the form emerges in response to various difficulties and errors along
the way, ultimately surpassing the original concept. Imamura focuses on thematerial nature of images, which in this day and age circulate as information,
exploring the relationship between information and manual work while using
the analog reproduction technique of printing.

2019 The Universe Consists of Dots and Lines (solo), Fujisawa City Art Space, Kanagawa, Japan
2016 live printing (solo), KAYOKOYUKI, Tokyo, Japan
2014 CSP2, Kuwasawa Design School, Tokyo, Japan
2008 Draw print book, esplanade, Singapore

tsurugi No.1, 2016
Photo: Kei Okano
Courtesy of KAYOKOYUKIIMAZU Kei
Born 1980 in Yamaguchi, Japan. Based in Bandung, Indonesia.
Imazu Kei completed her master’s degree at Tama Art University. She creates
sketches on Photoshop by enlarging and layering image data culled from avast range of media—such as of classical masterpieces of painting and photos
posted on social media—and uses these as the basis for executing her oil oncanvases. The warped and intricately intertwined motifs are telling of how theartist has continuously grappled with the notion of painting itself. Her artistic
practice, predicated on the fact that every possible subject has been treatedover the course of art’s history revolves around pursuing new technicalapproaches to painting, and reflecting on their significance. Imazu’s work iscreated through an approach that merges today’s technology with a traditional
medium. It brings together contemporary social issues and the themes arisingfrom the chosen motifs into one cohesive world.

2019 Roppongi Crossing 2019: Connexions, Mori Art Museum, Tokyo, Japan2018 Measuring Invisible Distance (solo), YAMAMOTO GENDAI, Tokyo, Japan2018 Contemporary Art of the 21st Century – Exhibition of Taguchi Art Collection from Andy
Warhol to Yoshitomo Nara, The Hiratsuka Museum of Art, Kanagawa, Japan2017 In Focus: Contemporary Japan, Minneapolis Institute of Art, Minneapolis, USA

Long-Term Memory, 2019
Roppongi Crossing 2019: Connexions, Mori Art
Museum, Tokyo (Japan)
Courtesy of ANOMALY

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
10

ISHIBA Ayako
Born 1991 in Hyogo. Based in Aichi.
Ishiba Ayako graduated with a master’s degree in Oil Painting and Printmaking
from Aichi University of the Arts. By intervening only slightly in otherwise
straightforward shots of commonplace daily items, she creates photographic
pieces that engender a sense of visual incongruity and unease. In recent work,
she has photographed objects partially outlined in black pen, exploring theflaws in human perception that result in the illusion of a partially flat space.
Precisely because Ishiba manipulates her subjects in such minuscule ways, theviewer receives the impression that the space has been distorted, andexperiences an awkward sense of unease. Like trompe-l’œil paintings, theeffect of her works is easy to comprehend once the trick has been deciphered,getting to the heart of the inherent qualities of the photography medium, which
fictitiously reproduces the reality of the 3D world in two dimensions.

2019 VOCA 2019, The Ueno Royal Museum, Tokyo, Japan, VOCA Encouragement Prize2018 Pop-up Dimension, Kodama Gallery, Tokyo, Japan2018 The Blur in Photographs, KANAZAWA ART GUMMI, Ishikawa, Japan

Between 2 and 3 (My desk), 2017

ITO Gabin
Born 1963 in Kanagawa, Japan. Based in Tokyo, Japan.
Ito Gabin, who started out in editing, applies a similar approach to his wideranging activities, which span paper media, games, video, web design, andcontemporary art. In 1992, he produced Self-Portrait 1972–82 (a large-scale
representation of himself created with instant noodles, consumed in enormous
quantities when he was a growing teenager) for the legendary exhibition
Anomaly, organized by art critic Noi Sawaragi. The following year, heparticipated in the establishment of BOCTOK Inc. Even after earning highpraise in Japan and overseas for his ingenious writing for the PaRappa theRapper music games, Ito has continued to deliver startlingly innovative
projects: modernfart, a website collecting articles that “users can read to killtime"; Tee Party, a “wearable JPEG shop” which sells artists designed t-shirts
online and on demand; and Manba Tsūshin, a platform for discussing manga.

2015 SOBO 28th Exhibition, NNNNY’s Electrical dai-0-kai, SOBO, Tokyo, Japan
2007 Roppongi Crossing 2007: Future Beats in Japanese Contemporary Art, Mori Art
Museum, Tokyo, Japan
1992 Anomaly, Röntgen Kunst Institut, Tokyo, JapanLAXICALSHOOTER Ver.0.01, 2007

IWASAKI Takahiro
Born 1975 in Hiroshima, Japan. Based in Hiroshima, Japan.
Iwasaki Takahiro studied under the Faculty of Arts at Hiroshima City University.
He mainly produces three-dimensional work and installations, creating intricate
landscapes out of everyday objects including toothbrushes, towels, ribbon
bookmarks attached to paperbacks, and duct tape. The appeal of his work liesin the instant cognitive leaps that accompany shifts in scale. For example,
Iwasaki built tower cranes using the bookmark strings that come attached topaperback books: when the viewer comes closer and notices the cranes
perched atop the pages, what had appeared at a distance to be books
suddenly take on the appearance of buildings under construction. Born andraised in Hiroshima, the artist has always been aware of how this major city
was instantly destroyed by the force of microscopic atoms. The characteristic
way in which a small manipulation instantly and completely changes theviewer’s perspective originates in this history of Hiroshima as a place.
2017 57th Venice Biennial, Japan Pavilion, Venice, Italy
2015 Takahiro Iwasaki: In Focus, Asia Society, NewYork, USA
2012 7th Asia Pacific Triennial of Contemporary Art, Brisbane, Australia
2011 Yokohama Triennale 2011, OUR MAGIC HOUR How Much of the World Can We
Know?, Kanagawa, Japan
2009 La 10e Biennale de Lyon, The Spectacle of the Everyday, Lyon, France

A Large Sea of an Old House of the Peninsula of the
Small Sea, 2017, Suzu 2017: Okunoto Triennale,
Ishikawa, Japan
Photo: Keizo Kioku

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
11

KATO Tsubasa
Born 1984 in Saitama, Japan. Based in Tokyo, Japan.
Kato Tsubasa is known for Pull and Raise, an ongoing project in which heworks together with local communities, both in Japan and abroad, to raise up
simple large-scale wooden structures using ropes. These structures reflect thehardships each community has faced, from natural disasters and urban
development to resource extraction. He has shown new developments in his
recent works, which include a piece in which struggling, rope-bound musicians
perform the national anthem of the United States. While all of his collaborations,which are fraught with physicality, are implemented as one-time-only
performances, Kato films the projects from multiple angles and makes theminto video pieces. By re-presenting in video the participants’ solidarity andsense of accomplishment, he evokes the fragility and ephemerality of
temporary communities, as well as the ambiguous flows of communication,such as its tensions and its releases.
2018 Catastrophe and the Power of Art, Mori Art Museum, Tokyo, Japan2017 Reenacting_history Collective Actions and Everyday Gestures, National Museum ofModern and Contemporary Art, Gwacheon, South Korea
2016 Uprisings, Jeu de Paume, Paris, France
2016 Spider’s Thread – Spinning images of Japanese beauty, Toyota Municipal Museum ofArt, Aichi, Japan
2015 Time of Others, The National Museum of Art, Osaka, Japan

Woodstock 2017, 2017
Courtesy of MUJIN-TO Production

Kyun-Chome
Formed 2011 in Tokyo, Japan. Based in Tokyo, Japan.
Kyun-Chome is an artist unit comprised of the female-male duo Eri Homma
and Nabuchi. Acting on their keen senses and curiosity, they conduct mid- tolong-term residencies in various locations both at home and abroad,performing repeated research, interviews, video creations, and a series of“acts” in order to dig deep into the core of the reality of a particular place. They
have created work, mainly in the form of video installation, in socially divided
areas such as Fukushima Prefecture, Ishinomaki City, and Okinawa Prefecture,
as well as in Hong Kong and Berlin. Kyun-Chome investigates the object ofmodern faith, which people seek out despite its transgressions of science andlogical reasoning. Realized by way of unveiling this faith’s underling emotions
and truth, their body of work blurs the boundaries between perpetrator andvictim, parties involved and disinterested, and good and evil, poetically andhumorously sublimating them.

2018 Gangwon International Biennale 2018: The Dictionary of Evil, Gangwon, South Korea
2017 Reborn-Art Festival 2017, Miyagi, Japan
2016 Hi in the darkness (solo), Komagome Soko, Tokyo, JapanNew Faces made here, 2016, Hi in the darkness (solo),
Komagome Soko, Tokyo, Japan
Photo: Kenji Morita
Courtesy of the artist

LEUNG Chi Wo + Sara WONG
Began collaboration 1992 in Hong Kong. Based in Hong Kong.
Leung Chi Wo majored in photographic culture at the Photography Researchand Archiving Centre (CRAF) in Italy, and went on to earn an M.F.A. at the
Chinese University of Hong Kong. Sara Wong received her B.A. from the
Chinese University of Hong Kong, followed by a Master of LandscapeArchitecture from the University of Hong Kong. Leung and Wong began theircreative collaboration in 1992, while continuing to pursue their individual
practices. The pair was chosen to represent Hong Kong for the city’s firstcontribution to the Venice Biennale, where they presented City Cookie—in
which cookies were made in the shape of the sky that peeks through high-risebuildings. Museum of the Lost, a more recent photographic work, focuses on
random bystanders in old snapshots. Here, an affection for the overlooked
coexists with a commentary on the nature of photography—a medium that
captures mechanically and indiscriminately.
2018 Echigo-Tsumari Art Triennial, Niigata, Japan2018 4th APB Foundation Signature Art Prize, National Museum of Singapore, Singapore
2015 Museum of the Lost (Solo), Blindspot Gallery, Hong Kong
2014 The Part In The Story Where A Part Becomes A Part Of Something Else, Witte de With
Center for Contemporary Art, Rotterdam, Netherlands
2011 Instant · Eternal, Pingyao International Photography Festival, China

Girl In A White Shirt With Ponytail, 2014

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
12

LIM Minouk
Born 1968 in Daejeon, South Korea. Based in Seoul, South Korea.
Lim Minouk is one of Korea’s foremost artists exploring topics such as thepotential of communities that transcend the framework of the nation state, or
the power of latent solidarity existing between individuals. Lim attempts tobring to light communities that remain invisible within modern society, and—focusing on the common sorrow as yet shared between the peoples of thenorth and south, whose bodies and minds, as well as their histories, have been
torn apart—has frequently expressed the possibilities of jō (). The media andscale she works in span a diverse range across her projects: large-scaleinstallations combining video, photography, or other visual media withelements calling attention to tactile qualities, such as fake fur or glass;theatrical works incorporating songs or performances into participatory tours;
pieces accomplished through the audience’s subtle interventions; and more.

2016 10th Taipei Biennale, Gestures and Archives of the Present, Genealogies of the Future,
Taipei, Taiwan
2016 Artists-in-Berlin Program of the DAAD, Berlin, Germany
2015 United Paradox, PORTIKUS, Frankfurt am Main, Germany
2015 The Promise of If, PLATEAU Samsung Museum of Art, Seoul, South Korea
2015 Absolut Art Award 2015, Stockholm, Sweden

Amanda MARTINEZ
Born 1988 in Greenville, South Carolina, USA. Based in New York, USA.
Visually representing musical plurality is an on-going approach that Amanda
Martinez takes in her sculpture. Sculpture hand-carved from styrofoam, andcoated in latex or enamel, reminds one of digital special effects. Her carvings
start with a point of focus from which an identical motif fans outward, but are
not systematically designed ahead of time. The artist herself tries as much as
possible to use old technologies, simple science, and nature. From her
specialist musical education, Martinez is interested in expressing music in an
abstract form, deeply rooted in academic theory. She considers a physical andpoetic relationship to the materials as an important part of her creative process.

2018 New Wave (solo), VICTORI + MO, New York, USA
2018 This Body, VICTORI + MO at Garis & Hahn, Los Angeles, USA
2017 Surface Tension, E.TAY Gallery, New York, USA
2017 NADA (New Art Dealer Alliance), yours mine & ours gallery, New York, USA
2016 Transforming Milk into Milk, Redline Contemporary Art Center, Denver, USA

New Wave (solo), VICTORI + MO, New York, USA, 2018

Claudia MARTÍNEZ GARAY
Born 1983 in Ayacucho, Perú. Based in Amsterdam, the Netherlands.
Claudia Martínez Garay’s artistic practice is concerned with socio-politicalissues related to Peruvian history. She focuses on how colonialism has
influenced the use of tools from everyday life, questioning how such objects
are created, preserved, transformed, and circulated. Her work is the result ofresearch into how images are strategically built so that people will interpret
history in a certain way; she reproduces, transforms, deconstructs, andreconfigures iconography used in war and terrorism, and motifs reminiscent oftraditional South American crafts and rituals from before European invasion.
The moment of (un)recognizing history is where the artist wants to situate herwork, as she delves into (post)war and (de)colonial issues, and the relationshipbetween memory and remembrance.

2018 12th Shanghai Biennale, Proregress—Art in an Age of Historical Ambivalence, Power
Station of Art, Shanghai, China
2018 4th New Museum Triennial, Songs for Sabotage, New Museum, New York, USA
2015 4th San Juan Poly/Graphic Triennial, San Juan, Puerto Rico
2014 12th Bienal de Cuenca, Cuenca, Ecuador
2011 Art on the Go, Contemporary Collection of the Lima Art Museum MALI, Estação, Sao
Paulo, Brazil... imaywanpas quidakuwakmi ... (... but you can staywith my stuff ...), 2017
Photo: Arturo Kameya
Courtesy of the artist and GRIMM (Amsterdam/New
York)

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
13

MASUMOTO KeikoBorn 1982 in Hyogo, Japan. Based in Shiga, Japan.
Masumoto Keiko graduated from Kyoto City University of Arts with a master’s
degree in ceramics. Familiar with the Japanese tea ceremony since childhood,she developed an interest in purely decorative tools with no practical purposeand began to create ceramics in forms that dismantle the hierarchicalrelationship betw een the tool itself and the m otifs that decorate it.
In Sparrows/Plate set, the sparrows fly off the dishes on which they werepainted; Pot/Tunnelfeatures cars with lit headlights traversing a tunnel boredthrough the center of a pot. For Haniwa Pot(Warrior), surface ornamentationand essential function are turned upside-down when a haniwa figurine
decorative motif is molded into the shape of the pot itself Masumoto works
with long-established traditional techniques, while simultaneously transcending
existing frameworks with her flexible, contemporary ideas. Her uninhibited
imaginative power is sustained by her masterful craftsmanship.

2018 Ascending Art Annual Vol.2, Matsuri, Matsuru, Spiral, Tokyo, Japan2017 Art Fair Tokyo 2017, Gallery Murakoshi, Tokyo, Japan
2013 Hyogo Arts Promotion Award, Hyogo, Japan
2009 Tokyo Wonder Wall 2009, Tokyo, Japan, 3D / Installation Works Section, Grand Prize

Byodo-in the Phenix Hall/Plates, 2015
Photo: KENSE

Mónica MAYER
Born 1954 in Mexico City, Mexico. Based in Mexico City, Mexico.
Mónica Mayer is a pioneer of feminist art in Mexico who has produced
numerous pieces that expose gender inequality. In The Clothesline, aparticipation project that she began in 1978, she invites the audience to write
anonymously on pink sheets of paper about the experiences of sexual
harassment or oppression they experience in their everyday lives. By providing
a safe environment where people can share their feelings, Mayer makes theaudience aware of the double standards in our social structures, creating astarting point from which to dialogue and develop solidarity.

2017 The Clothesline Project (solo), National Museum of Women in the Arts, Washington
D.C., USA2017 Radical Women: Latin American Art, 1960–1985, Hammer Museum, Los Angeles, USA
2016 When in Doubt... Ask: A Retrocollective Exhibit of Mónica Mayer (solo), Museo
Universitario Arte Contemporáneo [MUAC], Mexico City, Mexico
2007 WACK! Art and the Feminist Revolution, Museum of Contemporary Art [MOCA], Los
Angeles, USA20027th NIPAF Asia Performance Art Series, Tokyo, JapanEl Tendedero (The Clothesline), 1978
Museo de Arte Moderno, Mexico City, Mexico
Photo: Victor Lerma
Courtesy of the Pinto mi Raya Archive

MURAYAMA Goro
Born 1983 in Tokyo, Japan. Based in Tokyo, Japan.
Murayama Goro studied painting at Musashino University and at Tokyo
University of the Arts, where he became interested in auto-generative methodsof producing images, beginning work on maze or mesh-like paintings
according to rules he set for himself. Given his strong interest in autopoiesis (abasic theory of biological systems,) as well as in the biological patterns formedin cellular automaton modeling, it is also characteristic for the supporting
media for his works, such as the canvas, to appear to structurally growoutward. He has additionally been inspired by the conditions of perception,such that the viewer ends up discovering phantom images like faces in his
art—even the works created autonomously, or systemically in accordance withrules—and is developing pieces that make use of camera facial recognition
functions.

2019 21st DOMANI: The Art of Tomorrow, The National Art Center, Tokyo, Japan2018 Emergence of Order (solo), Daiwa Foundation Japan House, London, UK
2015 Fantasy in prison (solo), Koganei Art Spot Chateau 2F, Tokyo, Japan
2010 shiseido art egg 4, Goro Murayama Exhibition: The re-enchantment of painting
system (solo), Shiseido Gallery, Tokyo, Japan

The portrait to Umwelts & programs, 2015
Photo: Takafumi Kato

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
14

NAGATA Kosuke
Born 1990 in Aichi, Japan. Based in Tokyo, Japan.
Nagata Kosuke lived in Aichi up to his high school years, then went on to study
architecture at Tokyo University of the Arts. Having received his masters fromthe same school, he engaged in research on digital design, creating work all
the while. He is currently studying photography theory and working on artistic
production as a Ph.D. candidate in the Graduate School of Film and New
Media at the same university. While the popularization of digital photography
and smart devices has made it simple to communicate through creating andprocessing images, such images are conditioned by a number of apparatuses:
the cameras that take the photos, the software that processes them, thedevices that display them. Overusing said software and devices, Nagata
foregrounds these very functions, creating works that make us rethink theconditions under which our digitally-mediated experiences play out.

2018 Open Space 2018: in transition, NTT InterCommunication Center [ICC], Tokyo, Japan2018 Yebisu International Festival for Art & Alternative Visions 2018, Mapping the Invisible,
Tokyo Photographic Art Museum, Tokyo, Japan2017 Malformed Objects – Bricolage for myriads of other bodies, YAMAMOTO GENDAI,Tokyo, Japan
2016 Therapist (solo), Tokyo Wonder Site Hongo, Tokyo, Japan

Postproduction, 2018
Courtesy of the artist

Reynier Leyva NOVO
Born 1983 in Havana, Cuba. Based in Havana, Cuba.
Reynier Leyva Novo carefully exam ines official docum ents to create
photographs, videos, and installations about a people and history that havestarted to be forgotten in Cuba, a country in the process of change. In his
minimalist piece El peso de la muerte (The Weight of Death), Novo melted
down bullets and converted them into a series of weights, conceptuallyquestioning the weight of life. He deconstructed myth and history with hispiece A Happy Day FC, in which he erased the figures of leaders such as Mao
Zedong and Fidel Castro from archive photographs, evoking our imagination in
relation to these past events. Novo’s work looks critically at ideology andpower, elegantly confronting us with past violence and history.

2018 Going Away Closer: Japan-Cuba Contemporary Art Exhibition, Spiral Garden, Tokyo,
Japan
2018 Going Away Closer: Japan-Cuba Contemporary Art Exhibition, Centro de Arte
Contemporáneo Wifredo Lam, Havana, Cuba2017 57th Venice Biennale, Cuba Pavillion, Venice, Italy
2015 12th Havana Biennale, Havana, Cuba201211th Havana Biennale, Havana, Cuba2010 Liverpool Biennial, Liverpool, UK

A Happy Day FC No. 11, from the series “A HappyDay”, 2016 (in process)

ODAWARA Nodoka
Born 1985 in Miyagi. Based in Tokyo.
Both sculptor and researcher, Odawara Nodoka deploys art and writing to
critically engage with the topic of Japanese sculpture, specifically during the
beginning of the modern period and the Second World War. Her work goesbeyond dealing with sculpture as an artistic genre, bringing to the fore theunderlying issues of Japan’s modern and contemporary history. The trajectoryof public sculpture closely reflects the shifting of eras and of society. Attesting
to this are the arrow-shaped pillar that once marked the epicenter of theatomic bomb’s explosion in Nagasaki, the statues of soldiers and themonument formerly known as the Hakkō Ichiu Tower erected during the war,as well as the proliferation of statues of female nudes in the post-war period.
Odawara is keenly aware of how public sculpture, to a greater extent thanartwork in museums, is formed by the times, society, and the subconscious of
the people that inhabit them.

2018 Methods of Symbolise, Tomonotsu Museum, Hiroshima, Japan2017 STATUMANIA (solo), ARTZONE, Kyoto, Japan
2016 SHIRAKAWA Yoshio and ODAWARA Nodoka: Matters of Sculpture, Satellite Gallery of
Aichi University of the Arts, Aichi, Japan↓ (2017), 2017

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order15

Pangrok Sulap
Formed 2010 in Ranau in Sabah, Malaysia.
Based in Kota Kinabalu in Sabah, Malaysia.
Pangrok Sulap is an art collective formed in 2010 in Ranau in Sabah, Malaysia.
Their name comes from a combination of words meaning “punk rock” and “ahut farmers use as a resting place.” The collective is composed of roughly ten
members united by their DIY spirit, including artists, musicians, social activists,
and more. Influenced by the resistance activities of Taring Padi, a community ofwoodblock print artists based in Yogyakarta with whom they came into contact
through the Indonesian punk band, Marjinal, Pangrok Sulap began producing
woodblock prints depicting issues faced by local communities, as well as by
the indigenous communities of Borneo, garnering attention from both insideand outside the region. The radical and the local equally inhabit the name“Pangrok Sulap,” which indicates the messages the collective sends out: topromote awareness around human rights, to speak out against political
decadence arising from greed, and to urge different peoples to unite.
2018 Kochi-Muziris Biennale 2018, Possibilities for a Non-alienated Life, Kochi, India
2018 9th Asia Pacific Triennial of Contemporary Art, Brisbane, Australia
2018 Lopung Is Dead! – Pangrok Sulap’s Inaugural Solo Exhibition (solo), A+ WORKS of ART,
Kuala Lumpur, Malaysia
2017 6th Asian Art Biennial, Negotiating the Future, Taichung, Taiwan

SEBARKAN CINTA (Spread the Love), 2017

PARK Chan-kyong
Born 1965 in Seoul, South Korea. Based in Seoul, South Korea.
Park Chan-kyong produces works containing philosophical readings of theissues faced by North and South Korea; the history of Asia’s art as well as its
wars; and of the continent’s shared religious legacy. Since the first inter-Korea
summit, held in 2000 following the ceasefire of the Korean War, he has
additionally created many works and written many inquiries concerning thepast and future of North and South Korea. In 2014, he acted as the artistic
director of the SeMa Biennale, receiving high praise for his keen depiction ofcontemporary Asia with his use of metaphors involving ghosts, spies, andgrandmothers. Foregrounding for contemplation the negative legacy of theCold War era and of America’s relationship to all of East Asia (including the
Korean peninsula and Japan,) he attempts, through both critical and poetic
expressive means, to question the set of values in which the two Koreas andneighboring countries have been geopolitically entrenched by the 20th
century’s various obsessions.
2017 안녕  Farewell (solo), Kukje Gallery, Seoul, South Korea
2017 2 or 3 Tigers, Haus der Kulturen der Welt [HKW], Berlin, Germany
2015 Pa-gyong: Last Sutra Recitation (solo), Institute of International Visual Arts [Iniva],
London, UK
2013 Homeworks 6, Artheum, Beirut, Lebanon
2011 61st Berlin International Film Festival, Berlin, Germany, Golden Bear for the Best Short Film

Child Soldier, 2017
Courtesy of the artist

pascALEjandro(Alejandro JODOROWSKY and Pascale MONTANDON-JODOROWSKY)
Based in Paris, France.
pascALEjandro refers to collaborations betw een film m aker Alejandro
Jodorowsky and artist Pascale Montandon-Jodorowsky, who are based in
Paris, France. Over the course of 40 years, Jodorowsky has developed atherapy technique called “Psicomagia,” which consists of small rituals taking
the form of “prescriptions” customized through a series of consultations. In
exchange, Jodorowsky asked only that the counselee write in a letter to him
what the problem had been, what prescription was given, and what theoutcome of the situation turned out to be. As many of Jodorowsky’sprescriptions request that the counselee perform an action they had beendreading, his advice is often quite imaginative and radical. By utilizing thepower of a ritual to carry out their action, the counselee is able to overcome
the limitations that have been holding them back.

2018 pascALEjandro: Alchemical Love (solo), Blum & Poe, Los Angeles, USA
2017 As Above, So Below: Portals, Visions, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland2017 pascALEjandro - L'Androgyne Alchimique (solo), Azzedine Alaïa Gallery, Paris, France
2015 Alejandro Jodorowsky (solo), CAPC musée d'art contemporain de Bordeaux, Bordeaux, France
2012 Resisting the Present: Mexico 2000/2012, The Musée d’Art moderne de la Ville de Paris, Paris, France
Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
16

Tania PÉREZ CÓRDOVA
Born 1979 in Mexico City, Mexico. Based in Mexico City, Mexico.
Tania Pérez Córdova is known for work that transforms everyday materials into
conceptual sculpture. Her practice focuses on the seemingly paradoxical
relationship between the materiality and inherent narrativity of creation. The
objects she creates remain fundamentally faithful to a specific material’s
original formal and conceptual coordinates. However, because personal
narratives, fragments of imagined dialogues, or the sense of a mood or feelingare deliberately inserted, the viewer cannot avoid reading abstract ideas fromthem, transforming her sculptures into object-based performances. As well as
her sculpture practice, Pérez Córdova runs Juan de la Cosa / John of the Thing,a publishing project based in London and Mexico City, with writer and artist
Francesco Pedraglio.

2018 Daylength of a Room (solo), Kunsthalle Basel, Basel, Switzerland
2017 Smoke, nearby (solo), Museum of Contemporary Art Chicago, Chicago, USA2017Ayrton,
Museo Tamayo, Mexico City, Mexico
2016 11th Gwangju Biennale, The Eighth Climate (What Does Art Do?), Gwangju, South
Korea
2015 3rd New Museum Triennial, Surround Audience, New Museum, New York, USA

Portrait of a woman unknown, 2014
Courtesy of the artist

Stuart RINGHOLT
Born 1971 in Perth, Australia. Based in Melbourne, Australia.
Stuart Ringholt is an artist working across a diverse range of media including
sculpture, collage, performance, workshops and public art. Exploring human
psychology and em otions, his Laughter W orkshops and Anger
Workshops enable a release of love, fear, shame, forgiveness and loss for theparticipants. His sculpture, Untitled (Clock) (2014), presents tim e ascompressed based on the premise of one day being comprised of eighteen
hours. The second hand of the clock ticks with a nervous rhythm proposing analternative calendared life of shorter days and nights but many moreyesterdays. It asks: what are the myriad of biological and environmental
consequences of planet Earth turning faster on its axis?

2016 Proposals to Surrender, Ming Contemporary Art Museum, Shanghai, China
2015 Stuart Ringholt: Nudes, Signs, and a Contract (solo), Osmos Gallery, New York, USA
2012 dOCUMENTA (13), Kassel, Germany
2011 3rd Singapore Biennale, Open House, Singapore
2008 16th Biennale of Sydney, Sydney, Revolutions – Forms That Turn, Sydney, Australia

Untitled (Clock), 2014
Collection MCA Sydney
Courtesy of Assembly New YorkUgo RONDINONE
Born 1964 in Brunnen, Switzerland. Based in New York, USA.
Projecting symbolic images associated with Romanticism and the natural world(clouds, rainbows, mountains, etc.) into our everyday life, Ugo Rondinone’s
work reveals the ambivalent nature of our contemporary life. In Vocabulary of
Solitude, clowns in psychedelic dress are representing 45 actions of anindividual during 24 hours spent alone, such as dreaming, farting, wishing, lying.
Their blank facial expressions and reflective poses contradict our expectations.
According to Rondinone, “Timelessness, a fragmentary and subconscious
relationship with the past and memory, and our ambiguous relationship with thedetails of our environment are the foundation of much of my work. Rather thana distorted reality, my work is an effort towards hyper-reality.”

2018 Ugo Rondinone: Liverpool Mountain, Tate Liverpool, Liverpool, UK
2016 Ugo Rondinone: Vocabulary of solitude (solo), Museum Boijmans Van Beuningen,Rotterdam, Netherlands
2011 Yokohama Triennale 2011, Our magic hour : How much of the world can we know?,
Kanagawa, Japan

Vocabulary of Solitude, 2014-2016, Ugo Rondinone:
Vocabulary of solitude (solo), Museum Boijmans Van
Beuningen, Rotterdam, the Netherlands
Photo: Stefan Altenburger
Courtesy of studio rondinone

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
17

SAWADA Hana
Born 1990 in Kyoto, Japan. Based in Kyoto, Japan.
Sawada Hana studied printmaking at Kyoto Seika University. She has createda series of installations based on the process of investigating, from a numberof angles, the small unidentifiable objects that appear in photographs taken of
printed materials or image-sharing websites. Sawada is known for artwork thattouches on photography’s inherent quality as a “mechanical eye” not limitedby the photographer’s intentions in what it captures. Focusing specifically on
the errors that appear in the process of an image’s creation, she highlights thepresence of the photographic medium itself, which we often overlook, despite
the role it plays in a large part of the information we habitually consume. Her
work also contains, in some measure, an attempt to use photography tocritically engage with our very consciousness, which reads meaning into
images regardless of its actual presence.

2019 The 14th Gunma Biennale for Young Artists 2019, Gunma, Japan, Encouragement Award
2018 Bouncing Sounds of an Invisible Ball (solo), Gallery PARC, Kyoto, Japan2017 New Cosmos of Photography 2017 [40th competition], Tokyo, Japan, Excellence Award
2017 1floor2017, GOUMOKUTEKITEKI-FUMOURON, Kobe Art Village Center, Hyogo, Japan

Gesture of Rally #1805 (detail), 2018

SholimBorn 1985 in Belgrade, Serbia. Based in Belgrade, Serbia.
Sholim uses the GIF image format, which allows animation and has been usedsince the early days of the internet, to create video loops of several seconds inwhich human faces and landscapes transform in strange ways. His work is
published on social media, and the fantastic world of his creations, which hedescribes as “digital surrealism” has received high acclaim. Sholim has astrong belief in the artistic potential of the GIF format, which can be played onany mobile device around the world, and draws his inspiration from theoverflowing creativity, capacity to disseminate information, and even stupidity,of the internet. The artist applies his own keen humor to a satirical look at
various socio-political topics, such as religion, corporate culture, global
economics, and mankind’s reliance on technology.

2018 theGIFs Award of GIF creator 2018, SHIBUYA HUMAX CINEMA, Tokyo, Japan2018 "NOISE" Digital Festival, Space Debris, Istanbul, Turkey
2015 ARTour Biennale 2015, Mons, Belgium
2015 First Look 2015, Museum of the Moving Image, New York, USA

Dream no.6, 2017
Courtesy of the artist

Taryn SIMON
Born 1975 in New York, USA. Based in New York, USA.
Taryn Simon directs our attention to familiar systems of organization—
bloodlines, criminal investigations, mourning, flower arrangements—making
visible the contours of power and authority hidden within. A multidisciplinary
artist who has worked in photography, text, film, sculpture, and performance,
Simon turns our attention to the margins of power, where control, disruption,and the contours of its constructedness become visible. She reveals theimperceptible space between language and the visual world—a space in which
multiple truths and fantasies are constructed, and where translation anddisorientation occur. The technical, physical, and aesthetic realization of her
projects reflects the control and authority that are the very subject of her work.
Often invoking the form of the archive, Simon imposes the illusion of order on
the chaotic and indeterminate nature of her subjects.
Nuclear Waste Encapsulation and Storage Facility, Cherenkov Radiation
Hanford Site, U.S. Department of Energy
Southeastern Washington State2018 Taryn Simon: A Cold Hole + Assembled Audience (solo), MASS MoCA, North Adams, USA
2018 Taryn Simon: An Occupation of Loss (solo), Artangel, London, UK
2018 Taryn Simon: Shouting Is Under Calling (solo), Kunstmuseum Luzern, Luzern, Switzerland
2017 Taryn Simon: An American Index of the Hidden and Unfamiliar (solo), Louisiana
Museum of Modern Art, Humlebaek, Denmark2015 56th Venice Biennial, All the World’s Futures, Venice, Italy

An American Index of the Hidden and Unfamiliar, 2007
© Taryn Simon
Image courtesy of the artist and Gagosian

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order18

Studio Drift
Established 2007 in Amsterdam, the Netherlands.
Based in Amsterdam, the Netherlands.
Studio Drift is an artist collective established in 2007 by Lonneke Gordijn(1980) and Ralph Nauta (1978). Gaining knowledge from nature and using
contemporary technology, Ralph and Lonneke together with their teamdevelop experiences and performances that unite people on an emotional levelwith themselves, their environment and other people. The team consists ofartists, designers, architects, engineers and programmers. Studio Drift works
across a range of media, navigating the boundaries of art, technology andmankind.
In recent years, their cross-disciplinary practice has moved towards large-scaleinstallations that translate complex natural processes into performativeenvironments such as Franchise Freedom, their flying sculpture with hundredsof drones. They are well known for their attempts to poetically articulate data
extracted from natural phenomena, such as the flight patterns of birds or the
structure of flowers blooming.

2019 Studio Drift: Elemental (solo), Amos Rex, Helsinki, Finland
2018 Studio Drift: Coded Nature (solo), Stedelijk Museum, Amsterdam, Netherlands
2017 Franchise Freedom, Art Basel | Miami, Miami, USA

Drifter (with Lonneke and Ralph), 2018
Photo: Tom Cornelissen

SUGE Syunichi
Born 1980 in Tokyo, Japan. Based in Tokyo, Japan.
Suge Syunichi completed his post-graduate studies at Keio University in Mediaand G overnance. He has been involved in the educational television
program Pythagora Switch since his time studying under Sato Masahiko as anundergrad, exploring new forms of artistic expression that employ humanperceptive faculties. Following a stint in product planning for children’s
educational toys, Suge began teaching at Tama Art University. In addition to his
involvement in video production for NHK’s television shorts 2355/0655 andconcept planning/direction for exhibitions held at 21_21 DESIGN SIGHT, he hasreceived high accolades for his writing, which includes HENT-Economics (awork using comics and experimental forms to engage readers in learning about
behavioral economics) and Kansatsu-no-Renshuu (Exercise in observation) (anaccount of Suge’s self-imposed routines.) Suge’s work effortlessly catches oureye and piques our curiosity with its arrangements of simple lines and shapes;
those w ho encounter it w ill see the w orld in a w hole new light.
2019 The 753rd Design Gallery 1953 Plan Exhibition, Syunichi Suge: You Have to Use Your
Imagination, Design Gallery 1953, Tokyo, Japan2017 SOBO 28th Exhibition, Principles of Directionality, SOBO, Tokyo, Japan
2012 2355-ID, D & AD Awards, TV & Cinema Communications / TV Promotions &Programme Junctions, Yellow Pencil
2011 Difference, Paul Smith SPACE GALLERY, Tokyo, Japan

Principles of Directionality: Line of Sight, 2017

TAKAMINE Tadasu
Born 1968 in Kagoshima, Japan. Based in Akita, Japan.
Takamine Tadasu lays bare buried issues in society through the prism of his
own personal experiences and physical sensitivities, employing various media
including video, installation and stage performance. Created at the site of aformer manganese mine which still bears traces of Japan’s history of Korean
forced labor, A Lover from Korea is a work inspired by his relationship with hispartner. Another work, The Unwelcomed, takes as its theme an immigrant ship
washed ashore on a nearby coast. Both works are laced with a sense of pain
and frustration coming from the artist himself—emotions which can’t bedismissed as mere empathy for others. Placing his audience in uncomfortablesituations, Takamine pointedly calls into question their sense of belonging,while conveying, through untrained, awkward bodies, an underlying warm,
naive humanity that longs for others.
2012 Tadasu Takamine’s Cool Japan (solo), Contemporary Art Gallery, Art Tower Mito,
Ibaraki, Japan
2011 Too Far To See (solo), Ikon Gallery, London and others
2010 Aichi Triennale 2010, Arts and Cities, Aichi, Japan
2003 Z.O.U. - Zone of Urgency, Arsenale, 50th Venice Biennale, Dreams and Conflicts, Venice,Italy
2003 A Lover from Korea (solo), NPO Tanba Manganese Memorial, Kyoto, JapanThe Unwelcomed, 2018, Japan Media Arts Festival
in Kyoto Exhibition: Ghost, ROHM Theatre Kyoto,
Kyoto, Japan
Courtesy of the artist

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
19

TANAKA Koki
Born 1975 in Tochigi, Japan. Based in Kyoto, Japan.
Through various methodologies such as documentary style video, installation
work, critical writing, and also curating public talks and gatherings, Tanaka
Koki explores the question of how people can share a past, present, or evenfuture experience or events as one’s ow n. He assem bles tem porarycommunities for his film and captures people’s behavior including slippages
and missteps; it unlock the very considerations to the social, the historical, andthe institutional aspect of these human activities. In parallel to his artistic
production Tanaka is vigorously developing his activities as a writer andspeaker, following through on his critical intuition, which has led him toinvestigate the existing frameworks and institutions surrounding contemporaryart, and to attempt to redefine them.

2018 Vulnerable Histories (A Road Movie) (solo), Migros Museum für Gegenwartskunst,
Zürich, Switzerland
2017 Skulptur Projekte Münster, Münster, Germany
2017 57th Venice Biennial, VIVA ARTE VIVA, Venice, Italy

Provisional Studies: Workshop #7 How to live
together, and sharing the unknown, 2017, Skulptur
Projekte Münster 2017, Münster, Germany
Photo: Koki Tanaka
Courtesy of the artist, Vitamin Creative Space(Guangzhou), Aoyama Meguro (Tokyo)

Javier TÉLLEZ
Born 1969 in Valencia, Venezuela. Based in New York, USA
Javier Téllez’s work focuses on the invisible situations of marginalized
communities. He has created installations, film and videos all across the globe,
in cities including London, Lima, Tokyo, Berlin, Sydney, Lisbon, Mexico City
and New York. Often developed in collaboration with people with disabilities ormental illnesses, his projects question notions of the pathological and thenormal that are related to the social and political context of the locations.
Combining different approaches to filmmaking, Téllez opens dialogues thatprovide fresh interpretations of classical myths, private and collective
memories, and historical references.

2018 Shadow play (solo), Guggenheim Museum Bilbao, Bilbao, Spain2017 NOSFERATU (the undead) (solo), Memorial Art Gallery of the University ofRochester, New York, USA
2013 Praise of Folly (solo), Stedelijk Museum voor Actuele Kunst, Ghent, Belgium
2012 dOCUMENTA (13), Kassel, Germany2008Whitney Biennial 2008, New York, USA

One flew over the Void (Bala perdida), 2005
Courtesy of the artist, inSite 05 and Peter Kilchmann
galerie, Zürich

Barthélémy TOGUO
Born 1967 in Mbalmayo, Cameroon.
Based in Bandjoun, Cameroon and France, Paris.
Barthélémy Toguo, whose work encompasses watercolor, wood sculpture,
installation, photography, video, performance, and other media, takes a strong
interest in the relationship between African countries and their former colonies,
as well as the flow of immigrants and merchandise between them. His
project The New World Climax is centered around large sculpted wooden seals
inspired by immigration passport stamps. The outdoor installation Welcome
involved chairs of varying sizes placed in a clearing along a forest trail leading
to a waterfall—a thoughtful gesture by the artist offering immigrants andtravelers somewhere to sit and rest. In 2008, Toguo founded Bandjoun Station,an art center located in Bandjoun, Cameroon that offers residencies to artists;
he continues to manage its operations.

2018 Paradise Is Now Palm Trees in Art, Salon Dahlmann, Berlin, Germany
2017 A world view: The Tim Fairfax Gift, The Queensland Art Gallery | Gallery of Modern Art,
Brisbane, Australia
2016 Deluge, Carré Saint Anne, Montpellier, France
2015 56th Venice Biennale, Venice, Italy
2014 An Afropolitan View, Uppsala Art Museum, Uppsala, Sweden

Water Dance, 2015, WOMAD, Charlton Park,
Malmesbury, UK© Courtesy Galerie Lelong, Paris & Bandjoun
Station, Cameroon

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
20

tomotosi
tomotosi

Born 1983 in Yamaguchi. Based in Tokyo.

Born 1983 in Yamaguchi. Based in Tokyo.

tom otosi studied architectural engineering at Toyohashi University of
tomotosi studied architectural engineering at Toyohashi University ofTechnology,
Technology, andand attended
attended thethe Genron
Genron Chaos*Lounge
Chaos*Lounge New
New ArtArt School.
School. He
Heappliesapplies anan exquisitely
exquisitely balanced
balanced approach
approach toto hishis photography,
photography, video,
video, andandinstallations,
which
focus
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imperfectionofcities.
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installations, which focus on the imperfection of cities. He is known for works
that
that reveal
reveal thethe hidden
hidden interstices
interstices ofof thethe city,
city, andand thatthat involve
involve taking
taking newnew
actions
actions which
which break
break unwritten
unwritten socialsocial rules.
rules. For
For Buying
Buying aa 7-Eleven
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at 7-Eleven,
7-Eleven,thethe artist
artist photographedphotographed aa 7-Eleven
7-Eleven store
store opposite
opposite aa gallery
gallery where
where hehe waswas
exhibitingexhibiting work
work andand “copied“copied andand pasted”
pasted” itit onto
onto thethe outside
outside ofof thethe gallery
gallery (this
(this
was
all
done
with
the
store’s
printing
services,andstationeryboughtthere).
was all done with the store’s printing services, and stationery bought there). By
By
showing society’s reactions of acceptance or rejection of the sense of
showing society’s reactions of acceptance or rejection of the sense ofincongruitythathebringsabout,
tomotosi
presents
alternative
relationships
incongruity that he brings about, tomotosi presents alternative relationships
between people and their city.

between people and their city.

2018 tttv (solo), chuohonsengarou, Tokyo, Japan2018 tttv (solo), chuohonsengarou, Tokyo, Japan2017
2017 DailyPortalZ
DailyPortalZ thethe Rookie
Rookie ofof thethe YearYear Award,Award, Second
Second prize
prize
2016 WIRED CREATIVE HACK AWARD 2016, Finalist

2016 WIRED CREATIVE HACK AWARD 2016, Finalist

Buying a 7-Eleven at 7-Eleven, 2018
Buying a 7-Eleven at 7-Eleven, 2018
Courtesy of the artist

Courtesy of the artist

TSUDA Michiko
Born 1980 in Kanagawa, Japan. Based in Kanagawa, Japan
Tsuda Michiko received her Ph.D. in Film and New Media Studies from Tokyo
University of the Arts. Her body of work includes installations composed ofarranged mirrors, picture frames, and video apparatuses, as well as pieces
created in collaboration with various performers. It allows the viewer to freely
wander spaces organized around their own presence and that of the camera;
with each shift in perspective, the boundaries grow indistinct between what isreal and what is false, the acts of seeing and being seen, the roles of theviewer and the performer. Based on the inherent qualities of visual media andthe viewer’s subjection to the gaze of the camera, Tsuda’s work is both simple
and carefully calculated. It questions the act of seeing itself, as well as the
cognitive processes or bodily sensations we unconsciously take to be selfevident.

2019 Roppongi Crossing 2019: Connexions, Mori Art Museum, Tokyo, Japan2017 Observing Forest (solo), Zarya Center for Contemporary Art, Vladivostok, Russia
2017 20th Japan Media Arts Festival, Tokyo, Japan, Art Division, New Face Award
2016 Open Space 2016: Media Conscious, NTT InterCommunication Center[ICC], Tokyo, Japan
2015The Day After Yesterday (solo), TARO NASU, Tokyo, Japan

You would come back there to see me again thefollowing day., 2016, Open Space 2016: MediaConscious, NTT InterCommunication Center [ICC],Tokyo, Japan
Photo: Tadasu Yamamoto

USUI Yui
Born 1980 in Tokyo, Japan. Based in Kasukabe, Saitama, Japan.
As a woman living and working in Japanese society, Usui Yui creates work thatunravels modern and contemporary history, questioning the viewer about theposition of women. In shadow of a coin (2013-2016) and shadow work (20122016)—pieces that attack gender imbalances (the “shadowed” side of womenand labor in capitalist society) and that characterize her expressive direction—organdy is embroidered with sharp, though at first glance delicate, messages.
The very fact that Usui’s work is based on women eschews simply observing
the history and experiences of the other, rather representing her commitment
to attempting to intervene as a party directly concerned—a practice she iscurrently in the process of developing further.

2018 VOCA 2018, The Ueno Royal Museum, Tokyo, Japan
2016 Assembridge NAGOYA 2016, PANORAMA GARDEN -Discovering Signs in an Alternative
Ecosystem-, Former Minato Dormitory of Nagoya Customs, Aichi, Japan
2016 shadow work (solo), Oyama City Kurumaya Art Museum, Tochigi, Japan

shadow of a coin, 2013-2018, shadow work, Oyama
City Kurumaya Art Museum, Tochigi, Japan
Photo: Shinya Kigure

Aichi
Aichi Triennale
Triennale 20192019 Press
Press Release
Release __ Participating
Participating Artists
Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet orderInternational contemporary Art Exhibition – As of March 27, 2019, in alphabet order
21

WADA Yuina (Shinkazoku)
Born 1989 in Gifu. Based in Tokyo.
Wada Yuina received her B.F.A. from Nagoya University of the Arts’s Oil
Painting Course 2 and was part of the first graduating class of the Genron
Chaos*Lounge New Art School. Her interest in kawaii culture has inspired her
to create paintings that confront the audience like glittering gems, intricately
composed with vivid colors. Wada runs the art class Home of Painting. In
collaboration with her students, she put on the Shinkazoku (New, True andEvolving Family) exhibition, a project they have continued to pursue. The
personal experiences and emotions of our acquaintances—as well as intimate
relationships, including those between family members—constitute closed
worlds. They consequently radiate a strong energy, which Wada captures inher work. The thoughtfulness of her ideas’ elucidation and precision of her
co m p o sitio n al lo g ic can b e seen in h er research n o tes: a d etailed
log of her production process, which she exhibits along with her work.

2018 “Shinkazoku” Exhibition by Home of Painting, B. Esta337, Tokyo
2016 First Premise First Press, Genron Chaos*Lounge New Art School Achievement
Exhibition, Tokyo, Takeshi Natsuno Award
2013 Solo Exhibition, Gallery Delaive, Amsterdam, Netherlands
2012 GEISAI#17, Tokyo, Shin Suzuki Award

Empty and Poke, 2018
Photo: Hideto Nagatsuka

WASHIO Tomoyuki
Born 1977 in Aichi, Japan. Based in Aichi, Japan
Washio Tomoyuki, who is self-taught, creates a diverse body of work whichspans multiple media and genres: illustration, graphic design, animation,
photography, murals exhibited both indoors and out, as well as sculpture andfashion featuring Tekun, a character of his own making. He is well versed inmusic and street culture, and playfully depicts a world that extends out of theeveryday. His recent activities include the self-initiated project Invader
Ladutorm, which brings together artists from different disciplines. For Aichi
Triennale 2019, Washio will create a large-scale mural based on the festival’s
theme “Taming Y/Our Passion” on the stage for the music program, which will
be held in the Shikemichi/Endoji area.

2019 TEKUN WAS HERE (solo), THE LITTLE HUT, Taipei, Taiwan
2016 Tomoyuki Washio’s WILD THINGS (solo), Art Lab Aichi, Aichi, Japan
2016 ACG Exhibition: Art Court Frontier 2016 #14, ARTCOURT Gallery, Osaka, Japan
2016 Very Addictive Re-Extension of Aesthetics in Daily Life, MOCA Yinchuan, Yinchuan, China
2014 Awazu Kiyoshi: MakurihirogeruEXPOSE1 Art Running Wild: AWAZU Kiyoshi and
Performance, 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa, Japanseven years one day, 2014, Awazu Kiyoshi,
Makurihirogeru (EXPOSE)1 Art Running Wild: Awazu
Kiyoshi and Performance, 21st Century Museum ofContemporary Art, Kanazawa, Ishikawa
Photo: Atsushi Nakamichi / Nacása & Partners
Courtesy of 21st Century Museum of Contemporary
Art, Kanazawa

Anna WITT
Born 1981 in Wasserburg am Inn, Germany. Based in Vienna, Austria.
Anna Witt is interested in people from a wide range of social strata, and brings
these people into the performance and video installation work that she creates.
Members of the community, whether that be a region or a business, andpassersby appear in her video work. In Sixty Minutes Smiling, people who
resemble the typical employee of the company maintained their professionalsmiles for 60 minutes. With Care, another of her works, the movements of
those providing and receiving nursing care, in an aging region, weretransformed into a group dance performance. Witt questions the meaning of
human autonomy by making visible the social systems created by the logic ofpolitics and economics, and emphasizing the movement of the human body,which carries those.

2018 Unexpected EncountersArtist in Residence Maebashi 2015-2018, Arts Maebashi,
Gunma, Japan2018 Human Flag (solo), Museum Belvedere 21, Vienna, Austria
2010 6th Berlin Biennale for Contemporary Art, What is waiting out there, Berlin, Germany
2008 Manifesta7, Principle Hope, Rovereto, Italy

Sixty Minutes Smiling, 2014

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order
22

YUAN Goang-Ming
Born 1965 in Taipei, Taiwan. Based in Taipei, Taiwan.
At the cutting edge of video installation in Taiwan, Yuan Goang-Ming uses
drones and equipment of his own making to create video pieces in whichquestions concerning reality hide within daydream-like beauty. Everyday
Maneuver, footage of an empty city with wailing sirens captured by drone,
seems to the audience both extraordinary and also somehow real. It makes
perfect sense once you learn that this is the actual state of the city during
military exercises held in Taiwan. His videos bring us through time and space,challenging our physical senses and revealing political questions anduncertainties that lurk in the world like fissures.

2016 Memories through Cycle-Images by RongRong & Inri & Yuan Goang-ming,Contemporary Art Center, Art Tower Mito, Ibaraki, Japan
2015 La 13e Biennale de Lyon, La vie moderne (Modern Life), Lyon, France
2003 50th Venice Biennial, Taiwan Pavilion, Venice, Italy
2002 4th Gwangju Biennale, PAUSE, Gwangju, South Korea

Everyday Maneuver, 2018, Tomorrowland — Yuan
Goang-Ming Solo Exhibition, TKG+, Taipei, Taiwan
Courtesy of the artistYUMISASHI Kanji
Born 1986 in Mie, Japan. Based in Tokyo, Japan
Yumisashi Kanji is a painter who consistently returns to the themes of suicide
and mourning. After graduate school he started a video production company in
Nagoya with a university friend, but he resigned from his role as representative
director in 2013 before going to Tokyo and starting out as an artist. His mother,
who had suﬀered mentally and physically since an earlier traﬃc accident, diedby suicide in 2015, while Yumisashi was studying in the first class at Genron
Chaos*Lounge New Art School. He had a vision of a bird holding a gold ring
before her funeral procession, and this has become a core motif that appears
again and again in many of the pieces that Yumisashi has created since.
His Mourning O, which took the death by suicide of a pop idol 30 years prioras its theme, was awarded the Toshiko Okamoto Award at the 21st Taro
Okamoto Award for Contemporary Art in 2018. Mermaid in April, Yuminashi’s
exhibition from the same year, was a continuation from that piece andattracted widespread attention.
2019 Dinamite Traveler, SHEEP STUDIO, Tokyo, Japan
2019 Taro went to the battle field, Taro Okamoto Memorial Museum, Tokyo, Japan2018 Mermaid in April (solo), Genron Chaos * Lounge Gotanda Atelier, Tokyo, Japan2018 The 21st Exhibition of the Taro Okamoto Award for Contemporary Art, Taro Okamoto
Museum of Art, Kanagawa, Japan, Toshiko Okamoto Award
2016 First Premise First Press, Genron Chaos * Lounge New Art School Achievement
Exhibition, Tokyo, Japan, Gold Prize

Mountains of Switzerland, 2018
Photo: Takumi Suizu
Courtesy of the artist

Katarina ZDJELAR
Born 1974 Belgrade, Yugoslavia. Based in Rotterdam, the Netherlands.
Katarina Zdjelar works with different modes of expression, including video andperformance, that focus on the relationship between speech and language.
“When I speak a language other than my mother tongue, my speech falls
between me speaking language and language speaking me,” notes the artist,
whose homeland is former Yugoslavia, a country described as having“seven frontiers, six republics, five nationalities, four languages, threereligions, two alphabets, and one state.” In Shoum, two Serbian men replay a
British band’s 80s hit and try to transcribe its lyrics. In Zdjelar’s work, language
is depicted in a state of ambiguity and contingency, bringing to relief theimplicit connection between language and identity in contemporary society,the tension which arises in the liminal space between different cultures andlanguages, and the plight of today’s immigrants who inhabit these zones of inbetweenness.
2019 Katarina Zdjelar: AAA (Mein Herz) (solo), Hartware MedienKunstVerein [HMKV],
Dortmund, Germany
2018 Katarina Zdjelar Vladimir(solo), Salzburger Kunstverein, Salzburg, Austria
2016 Kochi-Muziris Biennale 2016, forming in the pupil of an eye, Kochi, India
2013 5th Moscow Biennale, Space of Exception, Moscow, Russia
2009 53rd Venice Biennial, Serbian Pavilion, Venice, Italy

Shoum, 2009

Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order23

Film Program
KOMORI Haruka
Born 1989 in Shizuoka, Japan. Based in Miyagi, Japan
Rather than following and documenting the immediate effects of the 2011
Tohoku earthquake and tsunami, Komori Haruka’s videos focus on people,
lending a keen ear to their stories. Her highly received documentary Trace ofBreath (2016) follows a year in the life of a man who runs a seed store andn u rs ery in th e city o f R iku z en takata in Iw ate P refectu re. Its s is terwork, Listening to the Air (2018) portrays a female radio host for Rikuzentakata
Saigai FM (a disaster-related station) and her efforts of giving a voice to thememories and sentiments of the countless people affected by the disaster.
Since volunteering in the coast of the Tohoku region in March 2011, Komori
has also been active as a duo with painter and writer Natsumi Seo under thename “Haruka Komori + Natsumi Seo.” They have created multiple works
comprised of text written by Seo and video shot and edited by Komori. While
creating works that document the scenery and the accounts of people, the duo
also plans and organizes events that serve as a platform for dialogue.

2018 Listening to the Air
2016 Trace of Breath
2014 Under the Wave, on the Ground (Haruka Komori + Natsumi Seo)2012 The Place Named

Listening to the Air, 2018
© Haruka Komori

TOMITA Katsuya
Born 1972 in Yamanashi, Japan. Based in Yamanashi, Japan.
Tomita Katsuya, along with screenwriter and film director Toranosuke Aizawa
and other members, heads the film production collective Kuzoku, which
operates under the motto “creating and showing films on our own terms.”
Tomita interpolates the reality of the streets into his fictional narrative throughin-depth interviews with real people who lead their lives in the places where hisfilm s are set, an d b y actively castin g n o n -p ro fessio n al acto rs. H isrepresentative work includes Off Highway 20 (2007), which portrays young
delinquents in a suburban city, and Saudade (2011), a tale of manual labor,
immigrants, and hip-hop music against the backdrop of Japan’s atrophying
economy. In Bangkok Nites (2016), created as part of a long-term residency inThailand and Laos, Tomita traces the scars left by the wars that ravaged the
Indochina peninsula in the 20th century, while his multilayered narrative throws
light on contemporary Japan through the prism of South East Asia.

2016 Bangkok Nites
2011 Saudade2007 Off Highway 20
2003 Above the Clouds

TENZO, 2019
Courtesy of All-Japan Young Soto Zen Buddhist
Priest Association

Aichi Triennale 2019 Press Release _ Participating Artists
Film Program – As of March 27, 2019, in alphabet order24

Performing Arts
Monira AL QADIRIAt the age of 16 Monira Al Qadiri moved from Kuwait to
study in Japan, and received her Ph.D. in Intermedia Art
from Tokyo University of the Arts. She works in a variety of
mediums, including video, sculpture, and installation,bringing together her early fascination with Japanese
anime and her acute insight on the Middle East, where she
was born and raised. Her artwork emerges from thisintersection of a Japanese imaginativeness, and a critiqueof Middle Eastern society, which has been held at themercy of both fossil energies and an historical void left in
the wake of the establishment of nation states. Al Qadiri
blends phenomena that society and religion have deemedseperate—the sacred and the profane, men and women,
the dead and the living, good and evil—transgressing theseboundaries with her unique sorrow and humor. In 2017,
she created and performed Feeling Dubbing, appearing as
an anime character dressed in men’s clothing; she has
additionally begun focusing on playwriting.
The title of her new theatrical work is Phantom Beard.
Employing as a metaphor the 40 bearded Arab men aJapanese psychic once divined to be her guardian spirits,
Al Qadiri will attempt to access the blanks left in Middle
Eastern history.
(International co-production with Wiener Festwochen and Kunstenfestivaldesarts)

Feeling Dubbing, 2017,
Kunstenfestivaldesarts, Brussels, Belgium
Photo: Catherine Antoine
Courtesy of the artist

2018 Asia Pacific Triennial, Brisbane, Australia
2018 6th Athens Biennale, Athens, Greece
2017 The Craft (solo), Gasworks, London, UK
2017 Feeling Dubbing, Kunstenfestivaldesarts, Brussels, Belgium
2017 20th Contemporary Art Festival Sesc Videobrasil, Sao Paulo, Brazil

ICHIHARA Satoko (Q)Ichihara Satoko has led the theater company Q since 2011.
She writes and directs plays that deal with human behavior,
the physiology of the body, and the unease surrounding
these themes, using her unique sense of language andphysical sensitivity. In one of her works, themes such assex, cross mating and breeding are clinically portrayedthrough the viewpoint of women; the audience is showeredwith physically stimulating, verbal rampages and the actors
execute their lines using their entire bodies—at times in themanner of caricature, at times in the manner of confession.
Here, the patriarchal, anthropocentric narrative of sexuality
and reproductive behavior is invalidated, and even the
ethics and morals of the social majority are radically called
into question.
F o r Aich i T rien n ale 2 0 1 9 , Ich ih ara w ill presen t th einternational premiere of a new work of fantasy. The piece
will explore contemporary sexuality, reproduction, andmadness through a liberal interpretation of the themes andstructure of The Bacchae, the ancient Greek tragedy
written by Euripides.

The Underground Fairy, 2017 SCOOL, Tokyo, Japan
Photo: Mizuki Sato
Courtesy of Q

2018 Me and Sailor Moon’s Subway Trip (South Korea/Hongkong/Japan co-production), Namsan Arts Center, Seoul, South Korea
2018 Favonia’s Fruitless Fable, The Question of Faeries, KYOTO EXPERIMENT, Kyoto, Japan2017 Favonia’s Fruitless Fable, the Seoul Marginal Theater Festival, Seoul, South Korea
2017 Favonia’s Fruitless Fable, nominated as the finalist for the 61st Kishida Prize for Drama, Kunio Playwriting Prize, Tokyo, Japan
2013 Qlobe of Life II, Festival/Tokyo Emerging Artists Program, Tokyo, Japan
2011 Insects, 11th Aichi Arts Foundation Drama Award, Aichi, Japan, Drama Award
Aichi Triennale 2019 Press Release _ Participating Artists
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KOIZUMI Meiro
Through experimental video and performance works thatmingle reality with fiction, Koizumi Meiro explores therelatio n sh ip s b etw een th e s tate/co llective an d th e
individual, and between the body and the emotions. Can
an individual give up their life for their country and what
they hold dear? Can murder ever be justified? Ultimate
questions that arise from fissures in the fabric of history
and daily life are addressed in interviews he conducts withJapanese veterans who were part of the special (suicidal)
attack forces; former-soldiers who have committed assault
or murder during their service; as well as United Statesveterans of the Iraq War—through this, Koizumi examines
how violence and motivations for self-sacrifice transpire.
His video works incorporate elements of theater that invite
the viewer to experience the emotions of their subjects. By
placin g th e au dien ce in am bivalen t positions— torn
between reality and dreams, past and future, despair andredemption, love and hate, perpetrator and victim—
Koizumi critically portrays a society in which no one issimply an onlooker.

Rite for a Dream (Today My Empire Sings), 2016, Today My Empire Sings,
VACANT, Tokyo, Japan
Photo: Shizune Shiigi
Courtesy of the artist, Annet Gelink Gallery (Amsterdam) &MUJIN-TO Production, Tokyo (Japan)

Commissioned by Aichi Triennale 2019, Koizumi will try his
hand at creating his first full-fledged theater piece, whichtakes Aeschylus’s ancient Greek tragedy Prometheus
Bound as itspoint of departure.

2018 Sacrifice, MMCA Performing Arts: Asia Focus 2018, Seoul, South Korea
2018 Battlelands (solo), Pérez Art Museum Miami, Miami, USA
2017 Today My Empire Sings (solo), Vacant, Tokyo, Japan
2015 Trapped Voice Would Dream of Silence (solo), Arts Maebashi, Gunma, Japan
2013 Project Series 99:Meiro Koizumi (solo), Museum of Modern Art, New York, USA2010 Aichi Triennale 2010, Arts and Cities, Aichi, Japan

Nature Theater of Oklahoma  EN-KNAP Grou
The Nature Theater of Oklahoma is a performing arts group
under the direction of Pavol Liska and Kelly Copper. The
name is derived from “The Nature Theater of Oklahoma,”the final destination that the protagonist of Kafka’snovel The Man Who Disappeared (Amerika) is heading
toward. The performing arts group has been based in New
York since the 90s, and is known for its extreme
performance style and challenging artistic limits with every
work; it boasts a cult-like popularity wherever the groupgoes.
The work to be staged for Aichi Triennale 2019 iscommissioned and performed by, internationally active
Slovenian dance company EN-KNAP Group. The
exaggerated literary style of the dialogue and the razorsharp gestures take the absurdity to new heights in thisallegorical parody Western, as told through the bodies ofhighly trained performers. This work brings to the fore boththe ambition and the emptiness of the United States ofAmerica, a nation founded on the principle of “the pursuitof happiness.”
Co-production with Théâtre de la Ville and Steirischer Herbst

Pursuit of Happiness, 2016, Ljubljana, Slovenia
Photo: Andrej Lamut
Courtesy of EN-KNAP Productions

2019 Die Kinder der Toten, Berlin International Film Festival, Berlin, Germany, International Film Critics Prize for Best Film2018 No President, Dusseldorf, Germany
2018 Die Kinder der Toten, Nestroy Prize, Vienna, Austria, Nestroy Special Prize for Theater
2017 Deutschland 2071, Cologne, Germany2016Pursuit of Happiness, Ljubljana, Slovenia
Aichi Triennale 2019 Press Release _ Participating Artists
International Contemporary Art Exhibition – As of March 27, 2019, in alphabet order26

Milo RAU (IIPM)  CAMPO
Director, playwright, film director, and journalist, Milo Rau
has led the International Institute of Political Murder (IIPM)
since 2007. IIPM’s approach is to carefully investigate
terrible incidents or historical events that occurred in reality,
and to reconstruct them on the stage. As well as being akind of accusatory re-enactment, their many works––
woven together from sources such as testimony from bothassailant and victim , and contem porary m edia andrecords––have a clearly designed political condemnation
and aesthetic force which draw the audience in physicallyand mentally, inspiring discussion as well as a sense of
revulsion.
The work to be staged for Aichi Triennale 2019 is the
product of CAMPO (a theater in Ghent, Belgium) inviting
Rau to create a piece with local children as the cast. This
work concerns a case of the confinement and murder of ayoung girl that shook Belgian society in the 90s. The
performance violently shakes the emotions of the audience,a s c h ild re n “ re - e n a c t” d o c u m e n ts re la tin g to th eperpetrator and victim of this crime.

Five Easy Pieces, 2016, Kunstenfestivaldesarts, Brussels, Belgium
Photo: Phile Deprez
Courtesy of IIPM

2017 National Dutch Theatre Festival, the Netherlands, Final Selection2017 Het Theaterfestival, Belgium, Final Selection2017Theatertreffen Festival 2017, Berlin, Germany, 3-sat award2017 Theater Heute, Germany, Award for Best production, Best dramaturge
2017 Mess Festival, Sarajevo, Bosnia and Herzegovina, Golden Laurel Wreath for Best Performance, Golden Laurel Wreath for Best Director,
Audience Award for Best Performance, Critics Award
2017 Premio Ubu, Italy, 2016/2017 Best foreign performance2016 Theater and Dance Critics Award, Belgium, Special juryprize2016 Five Easy Pieces, KUNSTENFESTIVALDESARTS, Brussels, Belgium

Saeborg
Saeborg creates latex body suits as extensions of her own
skin, deploying them in performances. Motivated by her
strong desire to transcend fixed identities (such as gender)and even the human body itself, she dons bodysuits thatcaricature sows or insects as toy-like figures, creating
playful dystopias composed of the ecosystem’s basest
creatures. The lives of livestock—their procreative activity,
the delivery of their offspring—are strictly managed, andthen they’re sent off to the slaughterhouse. In Saeborg’s
work, this world is portrayed with an innocent cheerfulness,
resulting in a sense of irony. All of her pieces to present
have been shown in international exhibitions and museums
in both Japan and abroad, following premieres at theTokyo fetish party Department-H.
For her first theatrical installation, she will present a playspace inhabited by creepy-cute animal characters. Invited
into the world of the livestock, the audience, too, will be
asked to participate in the performances/behaviors specific
to its laws.

Slaughterhouse-9, 2014, 17th Taro Okamoto Award for Contemporary Art,
The Taro Okamoto Museum of Art, Kanagawa, Japan
Photo: Kyoichi Tsuzuki
Courtesy of Kyoichi Tsuzuki

2018 6th Athens Biennale, Athens, Greece
2018 TAG: Proposals on Queer Play and the Ways Forward, Ins|tute of Contemporary Art, University of Pennsylvania, Philadelphia, USA
2016 Roppongi Art Night 2016, Roppongi Hills A/D Gallery, Tokyo, Japan
2014 The 17th Exhibi|on of the Taro Okamoto Award for Contemporary Art, Taro Okamoto Museum of Art, Kanagawa, Japan, Toshiko Okamoto
Award

Aichi Triennale 2019 Press Release _ Participating Artists
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TAKAYAMA Akira (Port B)
Takayama Akira formed the creative collective Port B in
2002. He produces a wide range of works and projects
that include tour-style performances, video installations,social experiments, discussions, and sightseeing tours.
Underlying all of his work is the question, “What istheater?,” which he explores by expanding the possibilitiesof the medium and the ways in which it can engage society.
Drawing on theories of spectatorship, Takayama proposes
a form of theater that serves as a device enabling creative
and thought-provoking encounters with parts of the cityand society that remain invisible. In 2013, he founded Port
Urban Research Center, which applies theatrical methods
to tourism, urban planning, social practices, and media
development, among other activities.
In response to the festival’s them e— “Tam ing Y/Our
Passion”—Takayama will develop an urban project basedon Aristotle’s Rhetoric, holding lectures, workshops,
rehearsals, and more during the two-and-a-half months of
the festival, and transforming the city of Nagoya into a
stage for oration and performance.

Wagner Project, The Master-Singers of Nuremberg, 2017,
KAAT Kanagawa Arts Theatre, Kanagawa, Japan
Photo: Naoya Hatakeyama

2018 Our Songs – Sydney Kabuki Project, Biennale of Sydney 2018, Sydney, Australia
2017 McDonald’s Radio University, Kunstlerhaus Mousonturm Frankfurt, Frankfurt, Germeny
2014 Yokohama Commune, Yokohama Triennale 2014, Kanagawa, Japan
2014 Evakuieren, nachtkri|k-Theatertreﬀen 2015, Germany
2013- Tokyo Heterotopia, Fes|val/Tokyo, Tokyo, Japan

Theater Urinko  MIURA Motoi  KUWAKUBO Ryota
Founded in 1973 in Nagoya by a group of eight young
artists, Theater Urinko is a company that specializes in
productions for children and youth. It takes its namefrom the Japanese word urinko, meaning “wild boar
piglet.” Based in its own dedicated theater in Nagoya’s
Meitō district, the company brings their shows to
schools in Aichi, M ie, and Gifu prefectures, andfrequently tours within and outside of Japan. In their
45-year history, Theater Urinko has created as many as
211 w orks and has held an astonishing 450
perform ances each year, shaping children’s
experiences of theater in the Tokai region.
For their new work at Aichi Triennale 2019, they will
perform a play by Russian children’s author Samuil
Marshak, who is best known for Twelve Months. The
production invites Motoi Miura of the theater company
Chiten as director and media artist Ryota Kuwakubo as
set designer, both of whom have established their own
distinct techniques and vision. The outcome of theircollaboration w ill be a m agical, otherw orldly
performance sure to captivate the hearts and minds ofchildrenand adults alike.

Otogizōshi/Gikyoku (The fairy tale book of Dazai Osamu: a drama), 2010,
Urinko Theater, Aichi, Japan
Photo: Jiro Shimizu
Courtesy of Theater Urinko

Miura Motoi is a representative, and the director, of Chiten. He spent two years in Paris as part of the Japanese Agency for Cultural Affairs’ Artist
Overseas Training program. Upon his return to Japan in 2001, Miura got up and running with Chiten, which moved from Tokyo to Kyoto in 2005.
Representative works include Chekhov’s Three Sisters, and Jelinek’s Kein Licht (No light) and Sports Play. In 2013 Chiten opened the studio UnderThrow. He has been the recipient of many awards, including: The Kyoto City Award for New Artists in 2011; and the Yomiuri Theater Award
Special Jury Prize in 2017. His publications include: Omoshirokereba OK ka? Gendai Engekikō (Is just being interesting OK?: A meditation oncontemporary theater, Goryu Books) , and Yappari Higeki Datta. “Wakaranai” Engeki e no Omāju (Iwanami Shoten).
Kuwakubo Ryota is an artist, and Associate Professor at the Institute of Advanced Media Arts and Sciences (IAMAS). After studying contemporaryart, he started creating work using electronics from 1998. His unique style, “device art,” emerged from work that takes a close-up view ofphenomena arising at the various boundaries between digital and analog, human and machine, information transmitters and receivers, etc. Since
his installation The Tenth Sentiment, first exhibited in 2010, Kuwakubo has focused on work of a kind in which visitors weave their own
experience. He is also active as a member of Perfektron, an art unit exploring life themes and experimentation.
Aichi Triennale 2019 Press Release _ Participating Artists
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Music Program
Junretsu
Junretsu Presents“Kiyoshi Maekawa and Keiko Fuji in 1969: The Rock and Blues Animating the Showa Era”
Venue: Main Theater, Aichi Prefectural Art Theater
Show dates: September 15 (Sun), 16 (Mon; public holiday), 2019
Performers: Junretsu, Marcia and more
Vocalists Kiyoshi Maekawa and the late Keiko Fuji wereicons of the Showa kayō (mid-20th century Japanese pop)
genre. They are less well-known, however, for being
musically talented singers with roots in Western rock andblues w ho transcended the fram ew ork of the m ore
traditionally inflected Japanese enka music. This showcase
w ill consist of covers of these legendary Japanesemusicians’ repertories and beloved Western classics, asinterpreted by a number of young artists. Produced andheadlined by kayō style vocal group Junretsu— who
achieved their first appearance on the prestigious television
special NHK Kōhaku Uta Gassen in 2018—, “Kiyoshi
Maekawa and Keiko Fuji in 1969” will be a new musicalexperience for young and old, men and women alike.
*Kiyoshi Maekawa will not make an appearance.

Junretsu is a kayō style vocal group formed in 2007. It consists of four members: Kazuyoshi Sakai, Shota Gogami, Yujiro Shirakawa, and Ryohei
Odai, many of whom formerly portrayed heroes on sentai shows (a distinctive television genre featuring color-coded costumed superhero teams).
With their classic approach to the mūdo kayō sub-genre, they won the support of a primarily older female audience and made their major label
debut with the 2010 single Namida no Ginzasen (Tears on the Ginza line). Junretsu proceeded to build up their fanbase through regularperformances at public bathhouses nationwide, achieving their first appearance on the prestigious NHK Kōhaku Uta Gassen in 2018.

Sakanaction“Aichi Triennale 2019 Sakanacjon Live Performance: Darkness”
Venue: Main Theater, Aichi Prefectural Art Theater
Show Dates: August 7 (Wed), 8 (Thurs), 10 (Sat), 11 (Sun), 2019
Performers: Sakanaction
Sakanaction will present a unique performance merging live
music with spatial installation at the Main Theater of Aichi
P re fe c tu re A rt T h e a te r. T h is w ill b e a n a m b itio u s a n dexperimental undertaking unlike their usual performances, using
a state-of-the-art sound system that presents a rich musicalexperience quite distinct from conventional L/R stereo. This is
not a one-night show, but an elaborate spectacle only madepossible by a four-day span at the same venue.

Sakanaction is a five-part band established in 2005, comprised of Ichiro Yamaguchi (vocals, guitar), Motoharu Iwadera (guitar), Ami Kusakari(bass), Emi Okazaki (keys), and Keiichi Ejima (drums). After their 2013 album sakanaction reached number one on the Japanese music charts, theywent on to perform at the prestigious television special NHK Kōhaku Uta Gassen in December of that year. In 2016, the band received the BestMusic Award at the 39th Japan Academy Film Prize for the music of the film Bakuman. From headlining major rock festivals around the country toholding regular events at clubs, their expressive repertoire goes well beyond that of a typical rock band. Their literary lyrics, beautiful melodies,and continuous experimentation have garnered a strong fan following. Sakanaction will go on an arena tour in the spring of 2019, with ten
performances in seven cities across Japan.
Aichi Triennale 2019 Press Release _ Participating Artists
Music Program – As of March 27, 2019, in alphabet order29

Learning
ENDO Mikiko and HIBINO Katsuhiko
ENDO Mikiko| Born 1971 in Tokyo, Japan. Based in Fukuoka, Japan.
HIBINO Katsuhiko| Born 1958 in Gifu, Japan. Based in Tokyo, Japan.
Endo Mikiko co-leads workshops on playground safety, along with her work as
an architect on designing museums, public spaces, and other environmentsthat can be enjoyed by adults and children alike. She has garnered attention
for her involvement of locals in her design and construction methods, as wellas her use of design techniques expanded to include provisions for community
building among a space’s patrons. Hibino Katsuhiko organizes collaborative
projects with people from different regions and industries, while experimenting
with methods to integrate art into society as an effective force for change. With
his use of cardboard, which he has employed since the beginning of his career,
he challenges the canvas as a supporting medium, the permanence of thefinished work, and other assumptions about the nature of art. His activities
m ainly consist of w orkshops, and often can even be understood as
foregrounding support for the creativity of participants and collaborators over
his own expressivity and ideas as an artist. For their collaboration, Endo and
Hibino will work on creating the base for one of Aichi Triennale’s “artplaygrounds”: a park that will encourage creativity in children.

ENDO Mikiko
Mie Prefectural Museum, Mie, Japan
Photo: Osamu Kurihara

HIBINO Katsuhiko
DNA RIVER, 2006
HIBINO DNA AND... Katsuhiko HIBINO, Please respond!!, the Museum of Fine Arts, Gifu, Japan

ENDO Mikiko
2018 Cloud Bed, exterior furniture design for Hoshino Resort Tomamu, Hokkaido, Japan2017 Space and exhibition design for Fukuoka Science Museum, Fukuoka, Japan
2014 Space and exhibition design for kids exhibition “MieMu,” Mie Prefectural Museum, Mie, Japan
2011-2017 Maternity House in Zambia, participatory architecture for rural health clinics in Copperbelt Province, Zambia
2011 Set design for kids educational program “Inai-Inai-Bah!,” NHK E-television, JapanHIBINO Katsuhiko2015 The Minister of Education, Culture, Sports, Science and Technology Award at the 66th Japan’s Art Encouragement Prize2010 Setouchi International Art Festival, Kagawa, Japan
2003 Echigo-Tsumari Art Triennale 2003, Niigata, Japan
1995 46th Venice Biennial, Japan Pavilion, Venice, Italy

Aichi Triennale 2019 Press Release _ Participating Artists
Learning – As of March 27, 2019, in alphabet order30