FORIMMEDIATE RELEASE
第4回記者会見資料
January 30, 2015
2015.1.30

PARASOPHIA:
Kyoto International
Festivalof
PARASOPHIA: Kyoto
International
Festival
Contemporary
Culture2015 2015of Contemporary
Culture4th Press Conference

Press
Inquiries
広報に関するお問合せ
Parasophia Office (Public Relations: Akiko Onishi, Masako Taira)
京都国際現代芸術祭組織委員会事務局（PARASOPHIA事務局） 担当：大西、平E-mail: press@parasophia.jp URL: www.parasophia.jp/en
MOBILE: 080-9684-9100 E-mail: press@parasophia.jp
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URL: www.parasophia.jp/press
URL: www.parasophia.jp/pressAbout Parasophia: Kyoto International Festival of Contemporary Culture 2015
Artistic Director

Mr. Shinji Kohmoto
Parasophia: Kyoto International Festival of Contemporary Culture 2015 is the much-anticipated first large-scaleinternational contemporary art exhibition to be organized in Kyoto, held at multiple venues throughout the city,
including the Museum of Kyoto and the Kyoto Municipal Museum of Art.
The festival brings 36 artists from around the world to present their work in Kyoto. There has been a recent trend
among international exhibitions for ever-larger events. As such, Parasophia features an exhibition space of over
10,000 square meters but also allocates enough room to each of the participating artists to show their work
properly. The prudent scale of Parasophia has been conceived to offer the artists careful support while ensuring
the exhibition never feels too big—a festival truly appropriate to the kind of city that is Kyoto.
Almost all of the participating artists were invited to visit Kyoto as part of the festival’s two-year preparation
period. From this, the artists have created new works related to Kyoto, though not simply taking from its richhistory and cultural legacy, but also incorporating many elements of the lifestyle of the city’s residents today.
The visions of the artists have been newly inspired through encounters with places in Kyoto and dialogue withthe residents and history there. The people who assisted the artists in their surveys have changed too, as havethe people who engaged in dialogue with them. The Open Research Program and Public Program carried out
over the two-year preparation period have been a process of sharing with others the simple truth that the world
is full of unknown ideas and means of artistic expression.
Parasophia is a place for encounters with diverse expression and ideas. It accepts what is different. It is anexperience of finding the sense of distance that is respectful but also inclusive. Not merely entertainment that reconfirms what we already know, Parasophia involves both artists and visitors in a global platform of sustainable
creativity and ideas, leading to renewed cultural heritage for Kyoto ten or twenty years from now.

Mr. Shinji Kohmoto

Artistic Director, Parasophia: Kyoto International Festival of Contemporary Culture 2015
Former Chief Curator, The National Museum of Modern Art, Kyoto
Born in Kyoto. Completed the Master’s Program in Design at the Graduate School of Engineering and Design, Kyoto Instituteof Technology. Curator at the National Museum of Modern Art, Kyoto since 1981; Chief Curator from 2006 to 2010.
Kohmoto was one of the four Artistic Directors of Yokohama 2001: International Triennale of Contemporary Art (2001), the first
Yokohama Triennale, subtitled Mega-Wave—Towards a New Synthesis, with fellow artistic directors Nobuo Nakamura, Fumio
Nanjo, and Akira Tatehata. He was also on the jury for the Golden Lion for Best National Participation at the 50th International
Art Exhibition of the Venice Biennale (2003), and the selection committee for the artistic director of Documenta 12 (2007).
Exhibitions curated by Kohmoto include Against Nature: Japanese Art in the Eighties (1989), a landmark presentation ofcontemporary Japanese Art that he co-curated with Kathy Halbreich, Thomas Sokolowski, and Fumio Nanjo, which toured
across the United States until 1991; Project for Survival (1996), a cutting-edge exhibition featuring seven artists and projects
from the early 1970s to 1996, all underrepresented in Japan up to that point, that deal with the ways an individual or an institution builds relationships with and survives in contemporary society; and William Kentridge—What We See & What We Know:
Thinking About History While Walking, and Thus the Drawings Began to Move… (2009), one of the biggest solo exhibitions of
the artist’s work and the first in Japan, which was awarded for its excellent curation.

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Information
Parasophia: Kyoto International Festival of Contemporary Culture 2015 is the first large-scale exhibition of contemporary art to be held in Kyoto. Approximately 40 artists from around the world will participate in the two-month exhibitionat the Kyoto Municipal Museum of Art, the Museum of Kyoto, and other locations. Many of these artists will also havetaken part in the 700 days before the exhibition, making extended visits to Kyoto for site visits, collaborations, andother research for new works that will be presented at the first exhibition in 2015.

Title

Parasophia: Kyoto International Festival of Contemporary Culture 2015

Dates

Saturday, March 7–Sunday, May 10, 2015

Venues

Kyoto Municipal Museum of Art, The Museum of Kyoto, and other locations in Kyoto

Tickets

Adults: 1,800 JPY (advance tickets: 1,400 JPY)
University students/over 70: 1,200 JPY (advance tickets: 900 JPY)
* High school students and visitors under 18 will be admitted free of charge.

Artistic Director

Shinji Kohmoto (former Chief Curator, The National Museum of Modern Art, Kyoto)

Presented by

Kyoto International Festival of Contemporary Culture Organizing Committee, Kyoto Association of Corporate Executives (Kyoto Keizai Doyukai), Kyoto Prefecture, Kyoto City

With the cooperation of

Kyoto City University of Arts, Kyoto Institute of Technology, Kyoto Saga University of Arts,
Kyoto Seika University, Kyoto University of Art and Design, Seian University of Art and Design

Funded in part by

Asahi Group Arts Foundation, The Asahi Shimbun Foundation, The Kao Foundation for Arts
and Sciences, Nissha Foundation for Printing Culture and Technology, Nomura Foundation,
Pola Art Foundation, Supported by the Agency for Cultural Affairs Government of Japan in
the fiscal 2014

grants from

Under the auspices of

The Japan Foundation

Approved by

Association for Corporate Support of the Arts, Japan

With technicalsupport from

Ultra Factory, Kyoto University of Art and Design
Sandwich

Websitewww.parasophia.jp

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accounts

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Parasophia Office | 645 Tearaimizu-cho, Nakagyo-ku, Kyoto 604-8152 JAPAN
Phone: +81-75-257-1453 FAX: +81-75-257-1454 E-mail: info@parasophia.jp

twitter.com/parasophiaJP
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MAP

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Venues

Kyoto Municipal Museum of Art[Hours] 9:00 AM–5:00 PM
Extended hours on March 27–April 12 and April 29–May 10;
open until 7:00 PM Last admission: 30 minutes before closing[Closed] Mondays（exceptions:open on March 9 and May 4;Museum of Kyoto also open on April27 ）124 Okazaki Enshoji-cho (inside Okazaki Park), Sakyo-ku, Kyoto
写真：福永一夫[Directions] Kyoto Municipal Subway Tozai Line Higashiyama Station (Station T10) → 10 min. walkAnnex, The Museum of Kyoto[Hours] 10:00 AM–7:00 PM (last admission at 6:30 PM)[Closed] Mondays（exceptions:open on March 9 and May 4;Museum of Kyoto also open on April27 ）Sanjo Takakura, Nakagyo-ku, Kyoto 604-8183[Directions] 3 min. walk east along Sanjō St. from Kyoto Municipal Subway Karasuma Oike Station(Karasuma Line Station K08/Tozai Line Station T12) Exit

■ Free admission is granted to all visitors to the following venues.
Kyoto Art Center
10:00 AM–7:00 PM (last admission at 6:30 PM)
546-2 Yamabushiyama-cho, Nakagyo-ku, Kyoto 604-8156

Horikawa Housing Complex (Kamichoja-machi Building)
10:00 AM–7:00 PM (last admission at 6:30 PM)
1F Kamichoja-machi Building, Saikachi-cho, Kamigyo-ku, Kyoto 602-8242

Kamo River Delta (Demachiyanagi)
10:00 AM–6:00 PM / Confluence of Kamo and Takano Rivers

Areas near the cross streets of Kawaramachi and Shiokoji Streets
10:00 AM–7:00 PM / Shimono-cho, Shimogyo-ku, Kyoto 600-8206

Display window at Books Ogaki Karasuma Sanjo
1F Karasuma Building, 85-1 Mikura-cho, Nakagyo-ku, Kyoto 604-8166

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参加作家一覧
リサ・アン・アワーバック

Lisa Anne Auerbachb. 1967 in Ann Arbor, MI, USA; based in Los Angeles

ナイリー・バグラミアン

Nairy Baghramianb. 1971 in Isfahan, Iran; based in Berlin

蔡國強（ツァイ・グオチャン）

Cai Guo-Qiangb. 1957 in Quanzhou, Fujian Province, China; based in New York

ヨースト・コナイン

Joost Conijn

b. 1971 in Amsterdam, The Netherlands; based in Amsterdam

スタン・ダグラス

Stan Douglas

b. 1960 in Vancouver, BC, Canada; based in Vancouver

サイモン・フジワラ

Simon Fujiwara

b. 1982 in London, England, UK; based in Berlin

ドミニク・ゴンザレス=フォルステル Dominique Gonzalez-Foerster

b. 1965 in Strasbourg, France; based in Paris and Rio de Janeiro

ヘフナー/ザックス

Hoefner/Sachs

Franz Hoefner: b. 1970 in Starnberg, Germany; based in Berlin
Harry Sachs: b. 1974 in Stuttgart, Germany; based in Berlin

ヘトヴィヒ・フーベン

Hedwig Houben

b. 1983 in Boxtel, The Netherlands; based in Brussel

石橋義正

Yoshimasa Ishibashi

b. 1968 in Kyoto, Japan; based in Kyoto

ブラント・ジュンソー

Brandt Junceau

b. 1959 in Poughkeepsie, NY, USA; based in Berlin and New York ◎笠原恵実子

Emiko Kasaharab. 1963 in Tokyo, Japan; based in Fujisawa, Kanagawa Prefecture, Japanウィリアム・ケントリッジ

William Kentridge

b. 1955 in Johannesburg, South Africa; based in Johannesburg

ラグナル・キャルタンソン

Ragnar Kjartansson

b. 1976, Reykjavík, Iceland; lives and works in Reykjavík

倉智敬子＋高橋悟

Kurachi b. 1957 in Osaka, Japan; based in Osaka
Keiko Kurachi & Satoru Takahashi Keiko
Satoru Takahsashi b. 1958 in Kyoto, Japan; based in Osaka

アン・リスレゴー

Ann Lislegaard

b. 1962 in Tønsberg, Norway; based in Copenhagen and New York眞島竜男

Tatsuo Majima

b. 1970 in Tokyo, Japan; based in Kawasaki, Kanagawa Prefecture,

アフメド・マータル

Ahmed Materb. 1979 in Tabuk, Saudi Arabia; based in Abha, Jeddah, and Makkah

アーノウト・ミック

Aernout Mikb. 1962 in Groningen, The Netherlands; based in Amsterdam

森村泰昌

Yasumasa Morimurab. 1951 in Osaka, Japan; Based in Osaka

スーザン・フィリップス

Susan Philipsz

b. 1965 in Glasgow, Scotland, UK; based in Berlin

フロリアン・プムヘスル

Florian Pumhösl

b. 1971 in Vienna, Austria; based in Vienna

ピピロッティ・リスト

Pipilotti Ristb. 1962 in Grabs, Switzerland; based in Zurich

アリン・ルンジャーン

Arin Rungjang

b. 1975 in Bangkok, Thailand; based in Bangkok

笹本晃

Aki Sasamotob. 1980 in Yokohama, Japan; based in New Yorkグシュタヴォ・シュペリジョン

Gustavo Speridião

b. 1978 in Rio de Janeiro, Brazil; based in Rio de Janeiro

高嶺格

Tadasu Takamine

b. 1968 in Kagoshima, Japan; based in Akita, Japan田中功起

Koki Tanaka

b. 1975 in Mashiko, Tochigi Prefecture, Japan; based in Los Angeles

アナ・トーフAna Torfs

b. 1963 in Mortsel, Belgium; based in Brussels

ローズマリー・トロッケル

Rosemarie Trockel

b. 1952 in Schwerte, Germany; based in Cologne

ジャン=リュック・ヴィルムート

Jean-Luc Vilmouthb. 1952 in Creutzwald, France; based in Paris

ヤン・ヴォーDanh Vob. 1975 in Bà Rịa, Vietnam

王虹凱（ワン・ホンカイ）

Hong-Kai Wangb. 1971 in Huwei, Yunlin County, Taiwan; based in Vienna and Taipei（シュー・タン）徐坦

Xu Tanb. 1957 in Wuhan, Hubei Province, China; based in Guangzhou and New York

やなぎみわ

Miwa Yanagib. 1967 in Kobe, Japan; based in Kyoto

アレクサンダー・ザルテン

Alexander Zahlten

b. 1973 in Madison, WI, USA; based in Boston and Kyoto＊2015年1月現在 ＊◎マークは今回追加作家

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Hedwig Houben

b. 1983 in Boxtel,
The Netherlands; based in
Brussels

www.hedwighouben.nl

Video still from Hedwig Houben, The Hand, the Eye and It, 2013.
Lecture/performance. Video by Bas Schevers. Courtesy of Fons
Welters Gallery, Amsterdam

Brandt Junceau

b. 1959 in Poughkeepsie, NY,
USA; based in Berlin and New
York

Installation view of Brandt Junceau, Haengender, 2011. Photo by
Oliver Ottenschlaeger, courtesy of Sigmund Freud Museum, Vienna

Ragnar Kjartansson

While strategically employing a style of expression that incorporates lecture and performance,
Hedwig Houben transforms the process of deconstructing (particularly sculptural) artistic
conventions (subject and object, the artist and the creative process, discussion of works of art,
and the viewer’s gaze), and the relationships among them, into art in its own right. Houben’s
lecture/performance The Hand, the Eye, and It (2013), presented at Parasophia, assigns aclay model of the artist’s own hand the role of intermediating among, and interrelating, various
elements: the indeterminate, proto-sculptural object “It,” the artist, her gaze and hands, anda spoken explanation of the work. Her most recent piece, The Good, the Bad, the Happy, theSad (2014), is a video in which two clay sculptures in progress, designated as Good and Bad,
are placed on a living room carpet and converse with one another, mediated by the artist.
The witty, psychoanalytically informed repartee between the two sculptures, whose opinions
clash, offers an incisive analysis of the relationships among the autonomy of works of art, theworks themselves, the artist, and the viewer.

After graduating from Bard College in 1981, Brandt Junceau began working as an artist
based in New York, exhibiting sculptures and drawings, and as an essayist writing on
sculptors and their work. In 1991 he received a Guggenheim Fellowship in Sculpture and a
Pollock-Krasner Artist’s Grant, and began working in Rome in a residence at the American
Academy. There he had the opportunity to immerse himself in the sculpture of the ancientworld. In 2010 he was awarded a grant from DAAD (the German Academic Exchange
Service), and went to live and work in Berlin, where he interacted with researchers ina wide range of disciplines extending beyond art, going on to exhibit work at various
venues in Europe. In addition to shows in New York, Berlin, and Brussels, his solo
exhibition Vandal was held at the Freud Museum in Vienna. While Junceau frequently
employs the traditional sculptural methods of plaster moldmaking and casting, he also
works in terra cotta, a technique in use since prehistoric times, exploring the forms that fire
his imagination and producing repeated studies of them. In his recent exhibitions he hasrevealed his working process by showing the successive states a sculpture goes through,a reflection of his interests in the theme of time in psychoanalysis and in archaeologicalrelics. Junceau has been invited to create a new work for Parasophia: Kyoto International
Festival of Contemporary Culture 2015.

For Parasophia, Ragnar Kjartansson and The National present A Lot of Sorrow (2013–14).
Kjartansson is an Icelandic artist who has had solo shows at institutions worldwide, andhas participated in two Venice Biennales, representing Iceland in the 2009 iteration. The
National, a highly praised American band formed in 1999, consists of musicians Matt
Berninger, Aaron and Bryce Dessner, and Scott and Bryan Devendorf. A Lot of Sorrow,conceived by Kjartansson and executed by The National, is an over six-hour video, which
was filmed during a performance at MoMA PS1 in 2013. For the event, The National
played their three minute, twenty-five second song “Sorrow” live on stage, repeatedly andcontinuously, for six hours. Multiple camera angles grant the viewer access to several
perspectives as the band and the crowd feed off each other’s energy with every repetition.

b. 1976, Reykjavík, Iceland; lives
and works in Reykjavík

Ragnar Kjartansson and The National, A Lot of Sorrow, 2013–14.
Single-channel video. Performance still, Sunday Sessions, MoMA
PS 1, New York, 2013. Photo by Elisabet Davidsdottir, courtesy of
the artists, Luhring Augustine, New York, and i8 Gallery, Reykjavík. ©
Ragnar Kjartansson and The National

Keiko Kurachi &In Kurachi and Takahashi’s project The Art of Survival they focus on the creative techniques
human beings employ in order to stay alive, reconfiguring physical, intellectual, and linguistic

Satoru Takahashi

relationships in a research and production project. At Parasophia they present the project
Ornament and Crime: Sense/Common (2015), featuring a paradoxical space (a labyrinth of

Keiko Kurachi(倉智敬子)
b. 1957 in Osaka, Japan; basedin Osaka
Satoru Takahashi (高橋悟)
b. 1958 in Kyoto, Japan; basedin Osakalanguage) containing a white structure signifying a courtroom and prison, garden stones,
and white nautical maps, from which relationships and meanings have been dismantled
and bleached away to nothingness. On the other side of the mirror is a projected film of
Suujin district of Kyoto, which has and will continue to develop apart from the main stream of
history. This heterogeneous exhibition space causes the viewer to adopt a fluid perspective
Temporary Foundation《法と星座・Turn Coat/Turn Court》
2014 ヨコハマ
トリエンナーレ2014での展示風景 写真：来田猛

Ahmed Materand to question concepts of division, field, authority, and language, continuously reiteratingprocesses of thought and inspection.

Mater works as both a doctor and an artist. In the field of art, he is also the leader of the Saudi Arabianyoung artists’ collective Ibn Aseer, and a co-founder of the nonprofit Edge of Arabia (2003–). In
recent years he has worked on the ongoing project Desert of Pharan, which documents the rapid
development of Makkah, adopting multiple perspectives on the future outlook and possibilities of the
Muslim world. He presents Leaves Fall in All Seasons, a film made up of mobile phone footage shotb. 1979 in Tabuk, Saudi Arabia; basedin Abha, Jeddah, and Makkah

by immigrant workers on building sites in and around Makkah, which was transferred to the artist’s
phone and uploaded to the Internet. The footage records the physical and cultural transformation

ahmedmater.com

of the holy city from these men’s perspective, revealing behind-the-scenes realities of Makkah’s
modernization that are omitted from the official narrative.

Still from Ahmed Mater, Leaves Fall in All Seasons, 2013. Film, 20
min. Courtesy of Ahmed Mater and Athr Gallery

6Throughout Yasumasa Morimura’s career, he has produced photographic self-portraits
in which he transforms himself into iconic subjects. These works reflect his distinctive
interpretations of the history of art and history in general, and as privately conceived
fictions that subvert received value systems and historical narratives, convey the sensethat our everyday, commonsense world is itself a colossal fiction. At Parasophia, Morimura
presents “Las Meninas renacen de noche” (The Maids of Honor Reborn in the Night),
which was photographed in the Museo Nacional del Prado, home to Velázquez’s cryptic
masterpiece Las Meninas, and “Hermitage 1941–2014,” which depicts the Hermitage
Museum, from which the art was evacuated during World War II, leaving only empty
frames. Both are simultaneously soliloquies by Morimura and compelling fictions narrated
by the artist as individual.

Yasumasa Morimurab. 1951 in Osaka, Japan; Basedin Osaka

www.morimura-ya.com

Yasumasa Morimura, Las Meninas renacen de noche V: Drawn
by a distant light, awaken to the darkness, 2013

Gustavo Speridião

b. 1978 in Rio de Janeiro, Brazil;
based in Rio de Janeiro

From Gustavo Speridião, The Great Art History, 2005–15

Gustavo Speridião completed a master’s program in visual language at the School ofFine Arts of the Federal University of Rio de Janeiro. In addition to photograph and film,
he works in a wide range of media including collages and drawings featuring words andpictures atop existing media, which playfully intervene in the appropriated imagery. At
Parasophia, Speridião exhibits his work in Asia for the first time. Here he presents his
self-published “history of art,” The Great Art History (2005–15), made by scrawling words
and images on top of the 608-page tome The Great LIFE Photographers, a compendiumof photographs from the American photojournalism magazine LIFE from its inception in1936 through the late 20th century. Through additions ranging from simple visual jokes
to doodles inviting complex interpretations, Speridião transforms the iconic 20th-century
scenes and instantly recognizable shots by over 100 photographers from the pagesof LIFE into a separate, fictional “great” history of art. This is not only an ironic take on
capital-lettered History and Art, or on politics and society, but also a critique of the way
we interpret photographs, one that piquantly dismantles all sorts of calcified clichés. For
Parasophia, a Japanese-language edition has been produced in addition to the existing
English, Portuguese, and French editions.

Jean-Luc Vilmouth has produced art in public or in everyday spaces, particularly focusing
on interventions in the works that transform environments and alter relationships between
people and surrounding objects. Café Little Boy (2002) was inspired by messages written
on the wall of an elementary school in Hiroshima after the bombing. The school was
eradicated except for the reinforced concrete outer wall. This shell of a building was used
as an aid station immediately after the bombing, and the surviving blackened wall was
heavily inscribed with messages to family members or pupils at the school. This work
replicates this scene in the present, with viewers asked to write messages on the walls ortable. Their involvement becomes part of the work, and messages are written in response
to others, forming exchanges, eventually overlapping one another until they become an
illegible sea of text.

Jean-Luc Vilmouthb. 1952 in Creutzwald, France;
based in Paris

Jean-Luc Vilmouth, Café Little Boy, 2002. Work in three
dimensions. Installation view at Centre Pompidou, Paris, 2014.
Collection of Centre Pompidou, MNAM/CCI, Paris (purchased in2005). Photo by Jean-Luc Vilmouth

Xu Tanb. 1957 in Wuhan, Hubei
Province, China; based in
Guangzhou and New YorkXu Tan, “Social Botany Project,” 2013–. Video still from
Plant

Alexander Zahlten

Xu was a member of Da Wei Xiang (Big Tail Elephant Group), a group that actively
addressed the problems that were arising from the rapid urbanization of Guangzhou.
Today, he is recognized worldwide as an artist whose practice reaches into the realm ofsocial theory. Xu began his ongoing Social Botany Project in 2012. He has interviewed
more than 50 individuals working in all aspects of botany for this project, from farmers togovernment officials to artistic workers. Of the thee key contexts that his analysis presents,
his work for Parasophia belongs to the context of “agricultural planting,” with “endurance,”“animalistic freedom,” “seed,” “blood line,” “eudemonia,” and “anxiety about filial piety”
among its keywords. Xu will create “reading spaces” which combine video with text andother materials that have arisen from this project, including the results of his research in
Kyoto.

Alexander Zahlten is an Assistant Professor of East Asian Languages and Civilizations at Harvard
University. His research on film and audiovisual culture in East Asia and especially Japan from the
1960s onward examines the topics from a wide range of historical, political and other perspectives.
For Parasophia, he has curated a selection of Japanese and other films from the 1960s through thepresent day as part of the screening program at the Museum of Kyoto Film Theatre, with a focus
on “East Asia as seen in Japanese cinema.” This program re-interprets traces of how Japan has
attempted to represent themselves and other countries in cinema by referencing entertainment
movies, documentaries, and experimental films, and offers an opportunity for the people of thesecountries, for whom the modern East Asian narrative is too complex and close to home to be
discussed objectively, to re-examine it as a meta-narrative woven by the films that Zahlten selects as
an outside, yet deeply informed and insightful, observer.

b. 1973 in Madison, WI, USA;
based in Boston and Kyoto

Parasophia Conversations 01: Alexander Zahlten & Keisuke
Kitano “Image Traffic in the 21st Century,” Kyoto Art Center,
November 16, 20147

Images for press use

Pipilotti Rist
Still from Pipilotti Rist, Gigantic Pear Log, 2014. Video installation.
Courtesy the artist, Luhring Augustine, New York, and Hauser& WirthAernout Mik
Still from Aernout Mik, Touch, rise andfall, 2008. Video installation. Courtesyof the artist and carlier | gebauer

Yasumasa Morimura
Yasumasa Morimura, Las Meninas
renacen de noche V: Drawn by a distantlight, awaken to the darkness, 2013

Cai Guo-Qiang
Installation view of Cai Guo-Qiang: Da Vincis do Po inthe street outside Centro Cultural Banco do Brasil, SãoPaulo, 2013. Photo by Joana França

Susan Philipsz
Susan Philipsz, The Distant Sound,2014. Three-channel sound installation.
Installation view, Moss, Norway, 2014.
Photo by Eoghan McTigue. © Susan
Philipsz

Miwa Yanagi
Miwa Yanagi, stage truck for Nichirin no tsubasa, 2014.
Photo by Shen Chao-Liang

Dominique Gonzalez-Foerster
Parasophia: Kyoto International
Festival of Contemporary Culture 2015
Open Research Program 03 [Lecture/
Performance] Dominique Gonzalez-Foerster “M.2062 (Scarlett),” Annex, The
Museum of Kyoto, September 6, 2013.
Photo by Tadashi Hayashi, courtesy ofParasophia OfficeHedwig Houben
Video still from Hedwig Houben, The Hand, the Eye and It, 2013.
Lecture/performance. Video by Bas Schevers. Courtesy of Fons
Welters Gallery, Amsterdam

Arin Rungjang
Installation view of Arin Rungjang,Golden Teardrop, 2013. Video andsite-specific sculptural installation.
Photo by Kornkrit Jianpinidnan,
courtesy of the artist and the Officeof Contemporary Art and Culture,ThailandLisa Anne Auerbach
Lisa Anne Auerbach, American
Megazine #1, 2013. Ink on paper.
Installation view with mega-girls, Los
Angeles Municipal Art Gallery, 2013.
Photo by the artist, courtesy of the artist
and Gavlak. © Lisa Anne Auerbach

Joost Conijn
Still from Joost Conijn, Vliegtuig(Airplane), 2000. Video, 29 min.

Gustavo Speridião
From Gustavo Speridião, The
Great Art History, 2005–15
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