Sustainable Relationship Between Art and Town for the Future
Nov AMENOMORI
Born in 1969. Free-lance curator. Lecturer in special category, Urban Research Plaza, the Osaka City University. Board member of NPO remo (record, expression and mediumorganization). Since 2003, she has planned and carried out the Breaker Project as a cultural project of Osaka city. She searches for the expression activities rooted in local as aplace which reconsiders current “role of art” with the artist who cannot be satisfied with the system of the existing fine arts and who cultivates original expression activities.

The word “breaker” breaks the wall/boundary between an art and society,that existence of people who live here and various people who live not only

simultaneously reconnects it in a new circuit. Moreover, it passed throughin a scene but in there with the scenery of a town as they focused on themthe established concept and system spreading into society, and imagined

living emerges. Also in the place where Paramodel has chosen for “Thethe expression activities of constructing the next future. For two years

Hundred Landscape of Gokuraku Scene” has the trace of living evidencesof the beginning (the 2003-2004 fiscal year), it was possibly derived fromdeeply, and “Experiment of Town Decoration: Deco-Poly” by Hiroshi Fuji

four artists, Hiroshi Fuji, Nobuaki Date, Kimura Toshiro Jinjin, and Frank

tried to tie connection of a town and people once again. There are the site

Bragigand who cannot be satisfied with the system of the existing fine artsthat turned to a beautiful new building and also a parking lot, then there

and they cultivate an original expressive medium and work with society

are problems of old appearance being lost that the living there, quality ofwith direct relation as existence of pioneer. Since there is a document,relation and various connection may collapse. Though it is natural, even if“Breaker Project 2003-2005” about each activity, I omit the details here,

only the surface leaves a retro image, the lively living which must originallybut I would like to first say a possibility that it has been visible throughhave existed does not exist there.

practice with these four artists, and that the subject serves as a base of
subsequent activity.
Among those projects, the project of Nobuaki Date whointerviewed more than about 60 buildings which are existing in Shinsekai

It is different from until that, it cut deeply in the town in“Endangered Cityscape” by the provocative title. In addition, I would
like to describe that this title also became possible because of the local
confidential relation that we built over seven years or eight years.

in the period over half a year, and “Ukulele to Karuta de kataru Shinsekai /Shinsekai Storytelling with Ukuleles and Karuta” served as a breakthroughIn the process of work, how is “related width” with a town found out

which cleared a relation with a town. I considered that knowledge and theand connected in the process of work production? I think that this is anmethod of behaviour in case the stranger who came from outside starts

important point in case a something foreign called an art resides in a town.

something in the town also mastered fairly at this time. At first, though weThe artist and residents own a certain time and space jointly during thecalled on a resident directly and explained a project and an artist, however

process. While different senses of values meeting at a sharing site, andit was hardly transmitted even if we gave a clear description of them.

rivaling occasionally, something mutually sharable is found out and theThen, we told for what he would like to request them “concretely” thiscircuit which can communicate is formed. That is creating and connecting

time, without giving up. At that time, they did not understand why we weresuch a circuit among all people. And forming the circuit from a familiar

asking for their help such a thing, either. However, if a partner understoodplace at the site in which we are will circulate in the stagnating society;“concretely” what they should do, that would be good at a start. It was thesimultaneously it will lead to creating our future. And needless to say,very thrilling exchange that people had a different sense of values (theythis direct relation and the circuit make a work and activity enhance still

live in another world in a sense) met through the art while appreciating themore richly.

difficulty of conveying by means of language. And at a site of interview,
an artist’s Date extracts the history and recollections of each building by

For production of this document book, we held local people’s interview.

peculiar elocution, and a speaker begins to tell his half a lifetime vividly.

Among those people, there was a comment that the person who always

In this way, he has the way of involving residents in “the art which is notcooperated while saying, “It does not understand at all” recently “canunderstood well” for what purpose, almost forcibly. Though an artist setsconsider it interesting not to understand.” Accept and enjoy “the thingabout a project from an own interest and desire, as a result, it extracts thewhich is not understood” beyond your domain. It may be able to be called

history and charm of a town and is completely fascinated by the fun of the“flowing self” which Sohei Yamada said. The next stage will surely beactivity which makes the relation with residents.

produced from here again.

After that, a subject and possibility emerge and it continues
to the next deployment, at the same time the relation with a town deepens
and it expands through a project each time.
And there was a project, “Endangered Cityscaperediscovering locality in the global era” which we wrestled in 2009 and2010. Yoshinari Nishio, Motoyuki Shitamichi, and Tochka have suggested
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