Aomori City has been developing the culture of Hanga since early times
while producing many important printmakers including Shiko Munakata.
Hoping that Aomori City will further generate new arts, we are going to hold
“AOMORI TRIENNALE 2017” with further expanding “AOMORI PRINT -
TRIENNALE 2014” which has been seeking to create an opportunity where
people can be exposed to excellent works. The common theme of AOMORI -
TRIENNALE 2017 is “PRINT”.
“PRINT” not only carries the meaning of “”Hanga” but also contains a wide
range of deep meanings including of “printing, publication, type, newspaper,
photo, evidence, trace and influence”.
In this context, under the theme of “PRINT”, we produce AOMORI -
TRIENNALE 2017 based on two pillars of “Classical” and “Unlimited”.
Fully taking advantage of Aomori’s regional characteristics, we launch a
winter art festival of Aomori that will try to create tourism and new
industries via arts as well.
Aomori City has been developing the culture of Hanga since early times while producing many important printmakers including Shiko Munakata.
Hoping that Aomori City will further generate new arts, we are going to hold “AOMORI PRINT TRIENNALE 2017” with further expanding “AOMORI PRINT TRIENNALE 2014” which has been seeking to create an opportunity where people can be exposed to excellent works.
Under the reinterpretation of “PRINT” as a common theme going with the times, AOMORI PRINT TRIENNALE 2017 seeks to reconsider it as a significant theme referring to the duplication of genes represented by GNR, while also containing a wide range of profound meanings including of “printing, publication, type, newspaper, photo, evidence, trace and influence” as well as its traditional meaning of Hanga.
In line with this, we reconstruct AOMORI PRINT TRIENNALE 2017 based on two pillars that are [Classical] Category in which the conventional “HANGA” fields are respected and [Unlimited] Category in which those artists are featured who create challenging works including in the field of bio such as the previously mentioned genes. Taking the opportunity of the creation of the latter category, we will develop an atmosphere of attracting advanced research institutions and companies to Aomori City going forward and also aggressively take on challenges with fully taking advantage of Aomori’s regionality so that people can enjoy its rich natures and cultures including arts, hot springs (onsen) and meals especially in the winter season instead of those they would experience in visiting art festivals held intensively in the summer season.
Giving a consideration to the fact that there are already so many fine art festivals held all over Japan, it is no wonder that people ask a question of why another triennale is going to be held again, and everyone is aware that some involved people are concerned about a certain kind of decrease in their quality. For example, yesterday, a French curator asked me at a meal, “Why does Japan have so many art festivals?” I, as an art person, had been holding a similar feeling as his/hers/such French curator’s until I assumed the position of an area director responsible for Shodo-shima Island at Art Setouchi.
Consequently, I had to face a serious problem of the falling birthrate and the aging population that local cities suffered from as I had closer relationships with Mr. Shiota, the mayor of Shodo-shima Town, and the people living there. As illustrated by an analogical fact that almost all people residing in NY and blue states had never imagined that Mr. Trump would become the next president thanks to supports from poor, white labors called as hillbillies, there was an unfamiliar Japan there that was completely invisible to us who think about things from a kind of special community referred to as “art”.
Then, I began to ask to myself, “A biennale which started in Europe and US was transformed in a Japanese style as a new form of festivals existing in various places, wasn’t it?” In this way of thinking, I became attached to all handmade art festivals which were launched at the initiative of small towns. I seriously reflected on myself who arrogantly discussed the quality of art from the perspective of Europe and US, while realizing that I wasn’t allowed to be pleased with a generalized situation full of works produced by well-known artists from Europe and US like a stamp rally in which people try to collect stamps placed in mountains and fields.
The reason I have assumed the positon as the director this time can be explained by a background that the people living in the region earnestly recruited me in the context of the 10-year-old exchanges with them which started with my introducing the techniques of “Nebuta” to an educational program of my university.
The first event is going to start in a down-to-earth style owing to the voluntary dedication by those from local economic communities and the city office as well as college students and those from art museums. In addition to the publicly offered exhibition dealing with Classical works and cutting-edge expressions in Unlimited Category, I would very much like you to pay attention to the work of Mr. Yosuke Sakai, designer, who is currently designing a booklet in which all of the thoroughly researched backstreets in Aomori City are covered. It is no doubt that attractive (magical) spots in this region that nobody has ever noticed will be discovered everywhere. I have heard that in these days the best trees covered with frost (jyuhyo) can be seen at Hakkoda instead of Zao as a consequence of global warming. Visitors from a country or a region such as Taiwan and Australia where people have a romantic feeling for the winter season have been increasing their expectation toward the encounter with our winter sports and arts. From January to March in 2018, we would like you to enjoy hot springs and seafood of Aomori as well as your exposure to its deep cultures and new arts.
As literally expressed in the word of “Unlimited”, we will, under the theme of “PRINT”, invite artists who raise questions from a new perspective without being bound by the boundaries of expression. We will also develop this event into a project to seek the essential meaning of duplication starting with Hanga by closely examining the concept of duplication and by expanding such concept even to the fields of the duplication of DNA (inclusion of duplication error) and to the self-learning of a deep learning program. Setting an objective of local cities’ acquiring new perspectives which tend to be exposed to the bias of homogenization due to globalization, we intend to make this triennale a cornerstone where Aomori can grow to a city of culture and leading-edge industries attracting worldwide attentions through the interaction between tradition and advanced cultures. Accordingly, as for Unlimited Category, we will request to submit works against people and organizations that are mainly involved in experimental expression activities including bio arts and artificial life researches
The publicly offered exhibition held for the purpose of raising “Hanga” expressions to the level to be well recognized in the world and discovering new talents following “MUNAKATA” who will open up new generations.
(The “Shiko Munakata International Block Printing Award”, Classical Department, AOMORI TRIENNALE 2017 )
BCL is an artistic research framework to pursue collaborative activities beyond the boundaries of science, art and design. This framework was established in Britain in 2004 by Goerg Tremmel and Shiho Fukuhara. After moving its operating base to Tokyo in 2007, BLC conducted exhibitions and collaboration activities at museums and galleries within and outside Japan such as ICC, Palais de Tokyo and Ars Electronica. In particular, it focuses on the impacts on societies made by the development of biotechnology and water environment issues. In addition, its mission is to open up closed technologies for people with critically being involved in the said issues.
Completed Doctoral Course (Majoring in Physics), Gradual Department of School of Science, The University of Tokyo in 1989 (Doctor of Science); Served as Postdoctoral Researcher at Yukawa Institute for Theoretical Physics, Kyoto University; Assumed Position of Research Associate at Natural Science & Technology, Kobe University; Employed as Associate Professor at General System Studies Major Course, Department of General Systems Studies, Graduate School of Arts and Sciences, The University of Tokyo in 1994; Advanced to Professor in 2008; Engaged in Science of Complex Systems, Especially in Researches of Artificial Life; Coauthored “Evolutionary Scenario of Complex Systems” (Asakura Publishing Co., Ltd., 1998) and “Boundary between Human and Machine: Where Can We Find Our Mind?” (KODANSHA LTD., 2016); Authored “Actions Create Life” (Seidosha, 2008) and “Sandwich Theory of Life” (KODANSHA LTD., 2013); Serving as Member of The Physical Society of Japan and The Japanese Society for Artificial Intelligence; and Editorial Member of J. Artificial Life, BioSystems, Adaptive Behavior.
Born in 1978; Graduated from Oil Painting Course, Department of Painting, Tokyo University of the Arts; Completed Anatomy for Artists Course, Graduate School of Fine Arts, Tokyo University of the Arts; Started Activities as Pupil, Artist and Illustrator for Scientist Kenichiro Mogi after Experiencing In-house Designer; Became Independent Artist in Spring of 2017 and Developed Activities through Various Expression Channels including Painting, Illustration and Video; Wrote Regular Column Titled “Art Crossroads” at Portal Site of SHUEISHA for 2 Years Starting from 2014; Involved in Production of Book Titled “Sandwich Theory of Life (KODANSHA)” in 2012 Written by Takashi Ikegami and Illustrated by Takumi Ueda (himself).
Artist and Designer; Produced Many Works Putting Emphasis on Subjects Relating to Technology and People with Employing Techniques such as Bio Art, Speculative Design and Design Fiction; Studied Media Art and Animation at Gifu Prefectural International Academy of Media Arts and Sciences (Commonly Called as IAMAS); Moved to London Where Involved in Research & Development of Interactive Art at Public Spaces, etc. in Haque Design+ Research for Several Years; Obtained Degree of MA in 2012 from Design Interactions Course, Royal College of Art in Britain; Worked as Researcher at Design Fiction Group, MIT Media Lab from 2014 to Fall of 2016; Took Degree of MS in 2016; Serving as Project Researcher at The University of Tokyo since April 2017; Won Excellence Award at Work Art Division in 19th Japan Media Arts Festival for Her Work Titled (Im)possible Baby, Case 01: Asako & Moriga; Hold Exhibitions Within and Outside Japan including at MORI ART MUSEUM and Ars Electronica.
Born in Kanagawa in 1981 and Currently Residing in Kyoto; Engaged in Installation and Live Performances Using Computer Programming, Mechatronics, etc.; Leading Sound Art Project Titled The SINE WAVE ORCHESTRA since 2002; Published His Works at Different Exhibitions Domestically and Internationally including 2nd Yokohama Triennale 2005; Received Honorary Mention Award in 2004 at Prix Ars Electronic; Participated in Creative Activities of Various Artists such as Shiro Takatani, Ryuichi Sakamoto and Dumb Type.
He moved to the old urban area of Porvoo in 2016 after acting as a visual artist for 17 years in Shanghai. This move of his that can be regarded as a voluntary defection from China to Finland embodies his distress about his value and survival as an artist which he had felt in the urban life. Based on such experiences he underwent at hand, he has been criticizing modern urban lives with making use of ink brush painting (Sumi-e) as a tool and the third Language which is one of the most traditional painting methods in China. Concurrently, he sharply questions about what separates the West and the East from the perspective of times.