本映像作品は、南ロンドンのCamberwell周辺にあるキリスト教会の正面に複数設置されていた看板「PRIVATE PROPERTY / NO RIGHTS OF WAY（私有地立ち入り禁止）」を発見した場所から出発する。その建物が難民シェルターとして使用されていたことから、公共、宗教施設、私有地、支援と隔離が交錯する状況が浮かび上がった。救済のための共同体の開かれた場として想像されがちな教会の前で、立ち入り拒否の言葉が過剰に主張されていたことに、発見当初、作家は強い違和感を覚えた。そこで作家は、看板を移動させる行為によって、複数の「private」の領域が都市の中で立ち現れるのではないかと考えた。パフォーマンスでは、手書きの看板が作家自身の歩行に沿って都市のなかを反復的に移動していく過程で、境界そのものの不安定さが可視化されていく。
名古屋市在住。Minatomachi Art Table, Nagoya［MAT, Nagoya］共同ディレクター、アッセンブリッジ・ナゴヤ共同ディレクター／名古屋芸術大学准教授。2004-2008年BankART1929スタッフ。2009–2013年あいちトリエンナーレのアシスタントキュレーターとして、まちなか展示の会場を担当。アートプロジェクトやフェスティバル、アートセンターにおけるコーディネート、企画、運営を専門とする。
This moving-image anthology is a curated program organized by art directors working across various regions of Japan. Distinct from conventional selection processes led by specialists from film festivals or museums, the program recommends works from perspectives rooted in local contexts. The ways of seeing cultivated within regional communities shed light on distinctive expressions and experimental practices that are often overlooked within established professional frameworks of evaluation. By presenting not only the works themselves but also the viewpoints and judgments of the art directors involved in their selection, the program seeks to open multiple points of entry for engaging with contemporary moving-image practices.
The five selected works respond to the question of how one might assume responsibility for relationships with place and with others. Drawing upon characteristics specific to the moving image—such as its capacity to record time and the psychological and physical distance between camera and subject—these works articulate their positions with quiet intensity. Running throughout the program is a shared attitude: situating oneself within already existing relationships—whether family, local communities, national borders, or institutional frameworks—and confronting the tensions, frictions, and inexpressible subtleties that arise within them.
For those of us living in a chaotic contemporary society, the scenes these works present may appear as landscapes that feel somehow familiar. The temporality of cinema gradually shifts the events on screen from something belonging to others toward something closer to our own stories. This “screen”—a surface that allows us to pause and reconsider—holds the potential to open alternative perspectives.
Video Program
“Constructive Discussion” Shusuke NISHIMATSU｜Japan｜2019｜Color｜13 min
“I have something to talk to you about” Shun SASA｜Japan｜2016｜Color｜17 min
“Clipping Your Nails #03” Hayato ITAKURA｜Japan｜2025｜Color｜43 min
“Private Property No Rights of Way” Rika NAKASHIMA｜Japan｜2017｜Color｜12 min
— Intermission (10 min) —
“Call History” Yusuke SASAKI｜Japan｜2019｜Color｜89 min
Dates: March 21 (Sat) – March 27 (Fri), 2026 | 17:10–20:15
Venue: Cine Nouveau X (inside Cine Nouveau)
1-20-24 Kujo, Nishi-ku, Osaka, Japan
Admission: General ¥2,000 | Seniors / Students / Members ¥1,500
All seats reserved. Tickets available online and at the box office from 7 days prior to each screening. Capacity: 24 seats.
Tel: +81-6-6582-1416
Website: cinenouveau.com
Talk Event: March 22 (Sun), after the screening of The Screen Next Door
Guests: Rika Nakashima (Director of Private Property No Rights of Way) Shunsuke Nishimatsu (Director of Constructive Discussion) Yukawa-Nakayasu (Organizer of this program)
Director: Shusuke NISHIMATSU｜Japan｜2019｜Color｜13 min
On January 1, 2019, my family gathered at my paternal grandmother’s house for the first time in seven years. As we reunited after a long absence, I made a proposal to my family: “I want us all to try doing a group gymnastics routine together.”
At first glance, the proposal seemed absurd. Yet, through observing how each family member hesitated, became involved, and discussed the idea, I believed that the process itself might reveal family relationships, dynamics, and senses of distance that are difficult to articulate in words.
This documentary film explores the nature of the family as a collective through an act that family members would not ordinarily perform together in everyday life.
Shunsuke NISHIMATSU
Born in Gifu Prefecture, Japan. Based in Oita Prefecture. After graduating in 2012 from the Faculty of Arts at Nagoya University of the Arts (Oil Painting Course), he continued his studies at the Braunschweig University of Art in Germany. Working with themes of layered time and memory, Nishimatsu creates poetic works that intertwine encounters with others and subtle inner emotions with historical and social events.
Selected exhibitions include Anytime (Yufuin Station Art Hall, Yufuin, 2025), A Breath of Time (Grand Huit, Nantes, France, 2024), and A New Place (Art Gallery Miyauchi, Hatsukaichi, Hiroshima, 2023), among others.
I have something to talk to you about
Director: Shun SASA ｜ Japan｜2016｜Color｜17 minThis work is the video component of the installation There Is Something I Want to Tell You, first presented in Shun Sasa’s solo exhibition A Life Where a Song Can Be Heard (Destinations and Fingertips) (2016, ARTZONE, Kyoto). The exhibition was planned as a graduation project by Yuriko Fujimoto, who was a student at Kyoto University of Art and Design at the time. The work was initiated after Sasa, who visited Kyoto for research, learned about Fujimoto’s family business and her anxieties about life after graduating from university.
The installation consists of a video work and a lyric sheet, in which the song lyrics featured in the video are printed on an official marriage registration form. In Sasa’s subsequent solo exhibition There Is Something I Want to Tell You (2017, Gallery TURNAROUND, Sendai), where the work was re-presented, seating made from tatami mats produced by Fujimoto Tatami Shop in Saga, Kyoto, was added to the exhibition space.
Yuriko FUJIMOTO Born in Kyoto in 1994. Graduated from Kyoto University of Art and Design and completed her master’s degree at Akita University of Art. Since 2019, she has been working in her current position, involved in the operations of the Akita City Cultural Creation Center since its opening. Projects she has planned and produced include PARK – A Garden for Living and Making (Akita City, 2022), among others.
Shun SASA
Born in Miyagi Prefecture in 1986. He graduated in 2009 from the Department of Fine Arts, Painting Course, at Tokyo Zokei University. Currently based in Sendai, Sasa focuses on the history of places and the memories of people, working across installation, video, and workshops. He has realized numerous locally rooted works and projects, and has participated in exhibitions both in Japan and internationally.
Clipping Your Nails #03
Director: Hayato ITAKURA｜ Japan｜2025｜Color｜43 min
Since 2023, Itakura has continuously documented the act of cutting his own nails. The repetitive gesture of trimming fingertips that grow back again and again, along with the ambient presence and sounds of the surrounding environment inadvertently captured during filming, and events occurring outside the frame, draw different layers of time and distance into a single act. These elements gradually emerge as experiences that overlap with the present body.
In Cutting Nails, the work departs from such personal records to explore how hesitation and intimacy—generated through prolonged physical contact between people—can be drawn back into one’s own body, and how the memories and temporalities evoked through that process might be rearticulated through moving images. The conversations and silences that arise while cutting each other’s nails, the movements of the gaze, and the sensations transmitted through the fingertips, reveal the act of touching not as a fleeting moment, but as an experience in which multiple temporalities flow and overlap. This experience opens the imagination not only toward the body of the other present before us, but also toward layered pasts and relationships with others yet to be encountered.
Hayato ITAKURA:
Within production processes where multiple elements overlap, Itakura intervenes from the perspectives of environmental arrangement and spatial composition, specializing in acts of design within zones of interference (/buffering/viewing). In recent years, his practice has increasingly focused on acts of recording, on events that are preserved or left behind, and on their temporal velocities. Through this interest, he develops works that critically engage with recording practices and media themselves.
Private Property No Rights of Way
Director: Rika NAKAJIMA｜ Japan｜2017｜Color｜12 min
Following Donald Trump’s first election in the United States in 2016, and amid the political turning point of the United Kingdom’s withdrawal from the EU (Brexit), the artist experienced these shifts firsthand while living in the UK as a migrant. As discourses surrounding borders, nationality, and belonging rapidly hardened, the artist was confronted with the question of what “private” means.
This video work begins from the discovery of multiple signs reading “PRIVATE PROPERTY / NO RIGHTS OF WAY” installed at the front of a Christian church in the Camberwell area of South London. Because the building was being used as a refugee shelter, a situation emerged in which notions of the public, religious institutions, private property, support, and exclusion intersected. At the time of the discovery, the artist felt a strong sense of unease at the excessive assertion of exclusionary language placed in front of a church—often imagined as an open communal space for care and salvation.
In response, the artist considered whether relocating the signs might cause multiple domains of “the private” to surface within the city. In the performance, as the hand-painted sign repeatedly moves through the urban space in tandem with the artist’s walking, the instability of boundaries themselves is gradually rendered visible.
Rika NAKAJIMA: Nakajima is interested in the boundaries between the public and the private as defined by rationalism and capitalist systems. Working primarily through site-specific spatial practices, she develops her work across multiple modes of expression, moving fluidly between different artistic fields.
Call History
Director: Yusuke SASAKI｜ Japan｜2019｜Color｜89 min
In parts of Fukushima Prefecture, there is an urban legend known as “the Voice.” At an unexpected moment, one is addressed by an unfamiliar someone and engages in a casual conversation. While speaking, nothing seems amiss, but only afterward does a realization strike: “The person I was just talking to was not human. I have heard ‘the Voice.’”
Captivated by an encounter with “the Voice” experienced in childhood, he searches for clues that might allow him to hear it a third time. The relationship between him and me, who has accompanied him in this search, begins to shift gradually yet decisively with the arrival of an “artist” who also takes an interest in “the Voice.”
Through the layering of narrated audio that gives voice to the inner landscapes of these three figures and images of landscapes they may have seen, director Yusuke Sasaki presents a cinematic meditation on landscape for the twenty-first century.
Yusuke SASAKI
Born in 1985 in Kobe, Hyogo Prefecture. Sasaki is a filmmaker and media researcher. Centering on film and documentary production, his practice spans writing and publishing as well as exhibition curation, working across multiple fields. His major feature-length films include Asphalt (2013), Call History (2019), The Present of Film Love trilogy (2020), and the two-part Phantom Riders (co-directed with Izumi Kishima, 2025). He is currently contributing an ongoing series titled Screen Practices of Landscape to “Kami no Tane,” the website of Film Art, Inc.
Art Directors Involved in the Selection
Jiro Murakami Artist; Founder of Amefurashi; Associate Professor, Department of Fine Arts, Tohoku University of Art & Design Born in 1983 in Yamagata Prefecture. Completed a master’s degree at Kyoto City University of Arts. Since 2013, he has been based in Nagai City, Yamagata Prefecture, where he was born and raised. In 2015, he founded Amefurashi. His activities include the kosyau project, which repurposes a former printing factory, as well as projects dedicated to preserving traditional industries such as straw sandals and brooms. In 2017, he established Nagai Brewery Craftsman, a craft beer company that utilizes local ingredients. Through brewing, he explores beer-making as a form of landscape painting rooted in regional culture. https://ame-furashi.com/
Jumpei Mori PARADISE AIR; Project Associate Professor, Tokyo University of the Arts Born in 1985. Completed a master’s degree in architecture at Tokyo University of the Arts. In 2013, he founded the artist-in-residence program PARADISE AIR in Matsudo, Chiba Prefecture, which has hosted more than 400 artist groups to date. In 2020, he established the company interrobang Inc. He currently serves as a Project Associate Professor at Tokyo University of the Arts. Major projects include MADLABO (2011–2021), Tono Off-Campus (2015–), Hachinohe Art Museum (with Tetsuo Nishizawa and Yoshihide Asako, 2017–), Taiken Bijutsu-ba VIVA (Design / Co-Director, 2019–), Yurakucho Art Urbanism YAU (2021–), and Soudansho SNZ.
Yuri Yoshida Associate Professor, Nagoya University of the Arts Based in Nagoya. Co-director of Minatomachi Art Table, Nagoya [MAT, Nagoya], and Co-director of Aichi Triennale–related project Assembridge Nagoya. Associate Professor at Nagoya University of the Arts. From 2004 to 2008, she worked as a staff member at BankART1929. From 2009 to 2013, she served as an Assistant Curator for the Aichi Triennale, overseeing venues for city-based exhibitions. She specializes in coordination, planning, and management of art projects, festivals, and art centers. https://www.mat-nagoya.jp/ https://assembridge.nagoya/
Yumi Suyama Director, Imabari Landscapes Born in 1986 in Imabari City, Ehime Prefecture. She works as an art coordinator and director in the field of contemporary art. Her major activities include serving on the administrative office for the Tokyo Contemporary Art Award selection process (2018, 2019, 2020), Ehime Sansan Story: Artist in Factory (Coordinator / Public Relations, 2018), and Okayama Art Summit (Production, 2019). Since 2018, she has planned and managed the art project Imabari Landscapes in Imabari City, Ehime Prefecture, based on the concept of “a life with art close at hand.” https://imabarilandscapes.com/
Kensei Ieiri Member, Art & Garden NEKOZE; Director, NPO BEPPU PROJECT Born in Kumamoto Prefecture. Graduated from Ritsumeikan Asia Pacific University. While a student, he was involved with BEPPU PROJECT, working on the international art festival Mixed Bathing World and artist-in-residence programs. From 2013, he served as a curator at the municipal museum Arts Maebashi, where he was responsible for community-based projects. He also co-founded and managed Maebashi Works, an art space integrating residences, studios, and a gallery, together with artists. Since 2018, he has held his current position at BEPPU PROJECT. His activities include Tetsuya Umeda in Beppu “O-tai” (2020) and AIR programs. He has been a managing member of the alternative space Art & Garden NEKOZE since 2022. www.beppuproject.com www.instagram.com/artandgarden_nekoze
Overall Review of the Selection Process
This moving-image program was launched as an initiative distinct from conventional film festivals or museum programs curated by established curators. Five art directors active in different regions of Japan—Yamagata, Matsudo, Nagoya, Imabari, and Beppu—each recommended three works from their own locally grounded perspectives. From a total of fifteen video works, five were ultimately selected.
By intentionally setting no predetermined theme, the program encompassed a wide range of expressive forms, including video essays, video performances, and works conceived for exhibition spaces such as video installations. Faced with works that fluidly crossed genres and reaffirmed the expansive potential of the moving image, the final selection process proved challenging.
Above all, the selection committee focused on the sense of “inevitability” inherent in each work—works that could only have emerged from circumstances unique to each artist. Long-term research spanning more than a decade, sustained dialogue with local residents, or subtle nuances embedded in everyday gestures—these elements gave rise to moving images shaped by artists responding sensitively to the realities of the “here and now” within contemporary society.
When administering public art programs through museums or universities, art directors are often required to remain attentive to social considerations, current affairs, and accessibility for audiences. In this project, however, by deliberately distancing itself from such expectations, it became possible to encounter works that transcend established genres and expand the possibilities of artistic expression. Rather than eliminating the noise or instability that arises when an artist’s narrative comes into contact with broader social realities, the program embraces and presents them as they are. It is in this approach that the program’s significance lies.
The five selected works each engage a contemporary question: how to assume responsibility for one’s relationship to land and to others. They make full use of qualities unique to the video medium—its durational nature and its capacity to modulate psychological and physical distance from its subjects. Within unavoidable preexisting relationships—family, community, national borders, or institutional systems—the artists situate themselves and confront the tensions, frictions, and ineffable subtleties that arise. In a chaotic contemporary society, these works hold the potential to function as punctuation marks—moments that invite us to pause and think more deeply rather than depart with easy understanding.
At the same time, the works that were not selected possessed an intensity equal to those chosen. The artists’ bold engagement with urban and local contexts, and their multifaceted attempts to connect with society through their practices, offered significant insight to the committee. Although the screening format required narrowing the selection to five works, the process served both as a reunion with artists whose practices will continue to draw attention and as a site of new encounters. We are confident that opportunities for collaboration with these artists will arise in other forms in the future.
The program is scheduled to tour not only within Japan but also to multiple art spaces overseas. Through this circulation, perspectives born in one region may intersect with viewers and artists elsewhere, generating new spaces for dialogue. It is hoped that this initiative will move beyond the screening of works alone, connecting people and places across borders, and become a meaningful step toward building a new international network of artistic co-creation.
2001年に台北の板橋で設立されたOpen Contemporary Art Center（OCAC）は、バンコクや台北の様々な地区を拠点に進化を遂げてきたアーティストコレクティブ。初期にはアーティストスタジオ、ブッククラブ、展覧会などのプログラムを提供していましたが、現在では特にタイのアーティストとの国際的なつながりを深めるための「ThaiTaiプロジェクト」を通じて成長を遂げています。現在は9人のメンバー全員が活動中のアーティストで、OCACは現代アートシーンにおける多様な対話と芸術的可能性を促進するシンクタンクおよびプラットフォームとして機能しています。
ピンク色の外壁が特徴的なスタジオピンクハウスは、美術家・諫山元貴と画家・手嶋勇気によるシェアアトリエ。隣接するアートギャラリーミヤウチの倉庫だった旧民家の一画を2015年から活用しています。2020年のコロナ禍を機に一部を改装し、多目的スペースとしての活用を開始。2022年からは学生・キュレーター・アーティストの交流プログラム「Pink de Tea Time」を企画・実施、2023年からはアートギャラリーミヤウチの展示期間に合わせて、休憩・交流の場としてのカフェ「ピンク喫茶」を開いています。https://www.instagram.com/pinkhouse_hiroshima/
artXtension is a network based on the concept of “from locally rooted initiatives to traveling projects.” Its aim is to circulate projects originally organized by individual art spaces to other regions—both within Japan and abroad—so that they may reach new audiences and communities.
For its first edition, artXtension will tour “Un/Uttered,” a screening program originally organized in 2024 by TRA-TRAVEL (Osaka) and OCAC (Taiwan) in collaboration and curated by P.M.S. The program presents video works by artists from diverse Indigenous communities in Taiwan. Each work delicately explores the tension between what is uttered and unuttered, seeking the essence of personal existence within the complexities of contemporary society.
Through these films created in our neighboring country, Taiwan, the program invites audiences to reconsider the boundaries between cultures, humans and nature, perceptions of gender, and identity in the modern world.
The first stop of the tour will be Kyū-Yokota Clinic (Cotomeya annex building, Tottori City, Tottori Prefecture). We warmly invite you to join us.
＜Screening 1＞ Date & Time: Saturday, November 29, 2025, 13:30–16:00 Venue: Kyū-Yokota Clinic (Cotomeya annex building403 Sakae-machi, Tottori City, Tottori Prefecture) Admission: 500 yen No reservation required / Capacity: approx. 20 people Contact: TPlat (Tottori Creative Platform Association) takeuchi-k@tottori-u.ac.jp (Representative Director: Takeuchi)
＜Screening 2＞ Date & Time: Sunday, November 30, 2025, 14:00–16:30 Venue: Chiisai Ouchi (2-9-36 Kaike Onsen, Yonago City) Admission: 1,000 yen No reservation required / Capacity: approx. 10 people Contact: TPlat (Tottori Creative Platform Association) takeuchi-k@tottori-u.ac.jp (Representative Director: Takeuchi)
Screening Program
“Lost Days” Director: Kawah Umei｜Taiwan｜2019｜Color｜30 min
“I Am a Woman, I Am a Hunter” Director: Rngrang Hungul｜Taiwan｜2022｜Color｜17 min
“Ugaljai” Director: Baru Madiljin｜Taiwan｜2016｜Color｜4 min
“Misafahiyan Transformation” Director: Posak Jodian｜Taiwan｜2022｜Color｜16 min
Curated by: P.M.S. Organized by: TRA-TRAVEL Co-organized by: Art & Garden Nekoze, Seasun, AIR motomoto, Center / Alternative Space and Hostel, TPlat (Tottori Creative Platform Association), Studio PINKHOUSE + Art Gallery MIYAUCHI Supported by: Q SO-KO, Hospitale Project Executive Committee, Kodomo no Jinken Hiroba (Children’s Human Rights Plaza) Grant support: City of Osaka (Titles omitted; listed in no particular order)
This program was made possible with grants from the following organizations in 2024: City of Osaka, Housen Cultural Foundation (Japan), National Culture and Arts Foundation (Taiwan), and Taipei City Department of Cultural Affairs (Taiwan). Some program details have been modified from the 2024 version.
Nov 30, 2025 / 14:00–16:30 – Yonago City, Tottori Prefecture:Chiisai Ouchi Contact: TPlat (Tottori Creative Platform Association)
Dec 13, 2025 – Nagoya City, Aichi Prefecture: Q SO-KO Contact: Seasun
Dec 14, 2025 – Beppu City, Oita Prefecture:Art & Garden Nekoze
Jan 31, 2026 / 15:00–17:00 – Kanuma City, Tochigi Prefecture:Center / Alternative Space and Hostel
Mar 20 (Fri, national holiday) – Apr 5 (Sun), 2026 / 10:00–12:00, 13:00–15:00, 15:00–17:00 (Closed Tue & Wed) – Hatsukaichi City, Hiroshima Prefecture:Art Gallery Miyauchi
＜Schedule being arranged＞
Kumamoto Prefecture, Arao City: AIR motomoto Re-screening in Osaka is also under consideration.
■ P.M.S. Founded in 2022 by Posak Jodian, manman, and Sophie Chen, P.M.S. is a collective that shares diverse interests in aesthetics, culture, and politics related to moving images. The group has organized multiple screening events, mainly focusing on Indigenous communities and the fluidity of gender. After each screening, they hold discussions to share multiple perspectives, foster mutual understanding, and explore the dynamics between individuals and communities.
■ OCAC (Open Contemporary Art Center) https://www.facebook.com/opencontemporary Founded in 2001 in Banqiao, Taipei, the Open Contemporary Art Center (OCAC) is an artist collective that has evolved across different districts in Taipei and Bangkok. Initially offering artist studios, book clubs, and exhibitions, OCAC has since grown through international collaborations, particularly its ThaiTai Project, which connects artists from Thailand and Taiwan. Currently composed of nine active artist members, OCAC functions as both a think tank and a platform that fosters diverse dialogues and artistic possibilities in the contemporary art scene.
■ Participating Art Spaces (Organizers and Screening Venues)
Art & Garden Nekoze (Beppu, Oita) An alternative space combining a gallery, kitchen, gathering area, and garden. Located about a 5-minute walk from Beppu Station, it was renovated and opened in 2023. The space hosts exhibitions, artist residencies, talks, and screenings. Its café “Kissa Neko-jita,” open only during events, serves original menus inspired by each exhibition. With the motto “When we see someone’s NEKOZE, adjust our NEKOZE. But still, NEKOZE is comfortable” the space is collaboratively run by members utilizing their individual strengths. Website |Instagram
Seasun (Nagoya, Aichi) Established in Nagoya, SEASUN aims to be a hub where people can always engage with contemporary art and culture from Southeast Asia. It focuses on exchange between Southeast Asia and Japan through art and culture, organizing and managing projects such as artist residencies, community exchanges, academic collaborations, screenings, talks, and parties. https://seasun-art.com/
AIR motomoto (Arao, Kumamoto) A micro-residency facility located in Arao City, northern Kumamoto. Founded by contemporary artist Hanako Miyamoto, a native of Arao, who revitalized a local space for this purpose. The name “motomoto” comes from both Kumamoto and Miyamoto, and also from the Japanese phrase “dame de motomoto” (“nothing ventured, nothing gained”), carrying a positive nuance. Operated by Miyamoto and Valeria Reyes, the residency provides a relaxed environment for artists to focus on their own work, with participants personally invited by Miyamoto. https://www.motomoto-air.com/
Center / Alternative Space and Hostel (Kanuma, Tochigi) A multi-purpose, artist-run facility in Kanuma City that combines lodging and art programming. Founded in 2022 by sound artist Madoka Kawano and filmmaker Masahiro Tamaki, who left their corporate jobs in Tokyo to move back to Tochigi. They renovated an empty shop in a declining arcade, creating a one-of-a-kind venue centered on experimental film and music, open to both locals and visitors. Their motto, “Making tomorrow a bit more enjoyable,” reflects their vision to nurture alternative expressions and local community ties while raising children. In 2025, they officially launched an artist-in-residence program, Center AiR. https://center-kanuma.net/
TPlat (Tottori Creative Platform Association, Tottori) https://tplat.org/ TPlat was established in November 2024 as a platform connecting individuals and organizations engaged in creative activities within and beyond Tottori Prefecture, aiming to weave a richer daily life for local communities. Its origins trace back to the Tottori Geijusai Artist-in-Residence Project (2014–2015), which took place across 10 sites in the prefecture. In 2016, the participating groups formed the Tottori Geiju Executive Committee, launching the web magazine +○＋＋○ (Tott) in 2017. To further develop these initiatives, TPlat was incorporated in 2022 under Japan’s Dormant Deposit Utilization Project. Its mission is to sustain creative and autonomous activities that enrich local life, even amid population decline and reduced resources.
Studio Pink House + Art Gallery Miyauchi (Hatsukaichi, Hiroshima) Instagram – Pink House |Miyauchi Foundation Studio Pink House, recognizable by its pink exterior, is a shared studio founded by artist Motoki Isayama and painter Yuki Tejima in part of a former warehouse of Art Gallery Miyauchi, repurposed in 2015. During the pandemic in 2020, it was renovated into a multi-purpose space. Since 2022, they have organized the “Pink de Tea Time” program for student–curator–artist exchange, and since 2023 have opened “Pink Café” during exhibitions as a space for rest and conversation.
Art Gallery Miyauchi, established in 2013 by the Miyauchi Art Foundation, functions as a small museum since 2020. It hosts exhibitions related to Hiroshima, along with numerous workshops and lectures, and actively collaborates with artists on site-specific projects. Together with Studio Pink House, the gallery serves as a hub revitalizing the local art scene through a growing network of creative activities.
TRA-TRAVEL (Osaka) https://tra-travel.art/ Founded in 2019, TRA-TRAVEL has collaborated with over 50 creators from more than 15 countries through exhibitions, residencies, talks, and art tours. Operating without a permanent venue, TRA-TRAVEL focuses on designing and implementing flexible “mobile projects” in partnership with various art spaces, cinemas, and co-working hubs in Japan and abroad. Its projects promote sustainable forms of international artistic exchange. Collaborations include organizations such as the Osaka Chishima Foundation for Creative Arts, Japan Foundation Manila (Philippines), Sàn Art (Vietnam), and OCAC (Taiwan). Each year, TRA-TRAVEL expands its network through new regional collaborations that bridge local and global art communities.
彼はRAW Academie: CURAおよびIndependent Curators International（ICI）Intensives（2024）の修了生であり、2024年にはジョグジャカルタのCEMETI – Institute for Arts and Societyの新ディレクターの一人に就任した。 それ以前は、2020年から2024年までRuang MES56の共同ディレクターを務めていた。
LIR.
LIRは、ミラ・アスリニングティアス（Mira Asriningtyas）とディト・ユウォノ（Dito Yuwono）によって結成されたアート・インスティテューション／キュレーター・コレクティブ。2011年にインドネシア・ジョグジャカルタで設立されたLIR Spaceは、アーティストが互いに支え合い、前向きな環境を築くことを目的に活動を開始。二人は2019年、ダカールのRAW Material Companyによるプログラム「RAW Academie: CURA」のフェローに選出。LIRのプロジェクトは、学際的なコラボレーションとリサーチを基盤とする展覧会を特徴とし、知識や記憶、歴史を世代を超えて継承することを志向している。代表的なプロジェクトには、「Curated by LIR」展シリーズ（ジョグジャカルタ／ジャカルタ、2018〜2023）、「Transient Museum of a Thousand Conversations」（ISCPニューヨーク、2020年／OUR Museum台北、2023年）、「Pollination」第3版（2020–2021）などがあり、また故郷カリウランを舞台に地域住民の記憶をアーカイブ化する長期プロジェクト「900mdpl」（2017・2019・2022）にも取り組んでいる。
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About TRA-PLAY
TRA-PLAY is a project that reinterprets and re-stages workshops originally organized by art organizations in Japan and abroad, adapting them to the context of the host location.
For TRA-PLAY vol.4, the curator collective LIR. from Yogyakarta will participate, presenting a localized Osaka version of a project originally carried out in their home city. Through this workshop, we aim to share and re-enact practices that emerged from the specific systems, cultures, customs, and social conditions of a place.
By engaging with these practices together in Osaka, the program invites us to listen to contemporary voices while reflecting on our own culture, society, and institutional structures. We warmly welcome your participation.
TRA-PLAY vol.4 with LIR. “Reflecting Practice: Nongkrong and Portfolio Review”
Date: Wednesday, November 12, 2025 – (Doors open 15 minutes before the start)
Venue: SSK (Super Studio Kitakagaya)
Admission: Free (Reservation required — please contact TRA-TRAVEL via Instagram or Messenger by 1:00 p.m. on the day of the event)
Organized by: TRA-TRAVEL
Co-organized by: LIR.
Supported by: City of Osaka, Housen Cultural Founda
TRA-PLAY vol.4 with LIR. “Reflecting Practice: Nongkrong and Portfolio Review”
LIR. is a curator collective founded in 2011 in Yogyakarta, Indonesia. Alongside organizing international exhibitions and collaborations, they run educational platforms and engage in activities centered on “passing down local knowledge, memories, and histories across generations.”
In this workshop, we welcome Dito Yuwono, artist and co-founder of LIR., who will lead a portfolio review session in nongkrong—a casual Indonesian way of gathering to spend time and share conversations together.
By receiving direct advice from a practicing Indonesian curator, participants will have the opportunity to reflect on their art works and practices from a different perspective, and explore new directions for their future activities.
We hope this will be an inspiring and fruitful occasion not only for artists but also for participants from various fields. All are warmly invited to join.
Dito Yuwono
Dito Yuwono’s practice traverses between visual art making and curatorial practice. In his artistic practice, Dito is interested in how a space is interwoven with politics and history, and his research-based artistic practice often addresses socio-political-historical issues through the production of video, photography, and audio-visual installation.
Dito is an alumni of RAW Academie: CURA, and Independent Curators International/ICI Intensives (2024). In 2024, he was appointed as one of the new directors of CEMETI – Institute for Arts and Society in Yogyakarta, Indonesia. He comes to the position from Ruang MES56, where he has served as co-director from 2020-2024.
About LIR.
LIR is an art institution turn curator collective consisting of Mira Asriningtyas and Dito Yuwono. LIR Space was initially established in 2011 as an art space in Yogyakarta – Indonesia with an aim to build a supportive and positive environment for artists. Together they were a fellow of RAW Academie: CURA (RAW Material Company – Dakar, 2019).
LIR’s projects are characterised by the multi-disciplinary collaboration and research-based exhibition in order to foster continuous transgenerational transmission of knowledge, memory, and history. LIR’s recent project including “Curated by LIR” exhibition series (Yogyakarta & Jakarta, 2018 – 2023); “Transient Museum of a Thousand Conversations” (ISCP – New York, 2020 and OUR Museum – Taipei, 2023); 3rd edition of Pollination (2020‐2021)—a collaborative exercise between different institutions across Southeast Asia initiated by The Factory Contemporary Arts Centre co‐hosted by MAIIAM Contemporary Art Museum (Thailand), Selasar Sunaryo Art Space (Indonesia), with the support of SAM Funds for Arts and Ecology (Indonesia) and The Gray Centre for Art and Inquiry (Chicago); and “900mdpl” (Kaliurang, 2017, 2019, & 2022), a long-term site-specific project in their hometown Kaliurang, an ageing resort village under an active volcano Mt. Merapi in order to preserve the collective memories of the people and create a socially-engaged archive of the space.
TRA-PLAY is a project that remakes and reinterprets workshops and other programs originally organized by art organizations in Japan and abroad, adapting them to the local context of the host city.
For TRA-PLAY vol.1–3, we will be joined by Hanoi’s art hub AiRViNe, Guangzhou’s artist collective Prickly Paper, and Hong Kong’s artist collective c.95d8.
Art projects cultivated in each of these regions will be adapted into an Osaka version, presented over three days through workshops and talk events. By sharing and practicing the approaches developed within the systems, cultures, customs, and social contexts of each group’s home region, we aim to create an opportunity not only to listen to diverse contemporary voices but also to reflect on our own culture, society, and systems.
Capacity｜10 participants (reservation required; please book via TRA-TRAVEL’s Instagram or Facebook by the day before)
Organizer｜TRA-TRAVEL
Co-organizer｜c.95d8
Support｜Osaka City, Housen Cultural Foundation
ワークショップ3 with c.95d8「Same but Different」
香港を拠点に活動するアーティスト・コレクティブ「c.95d8」を招聘し、パフォーマンス・ワークショップを体験・実践します。c.95d8は障害をもつ人々の経験を基盤とし、障害を創造的な資源かつ、熟考に値する主題として、パフォーマンスやワークショップを実施してきました。また、c.95d8が運営する「Crip Art Residency」では、障害のあるアーティストを受け入れを行ってきました。「Crip※」という言葉に込められているのは、障害者としての誇りや文化を積極的に受け入れる姿勢です。
We invite the Hong Kong–based artist collective c.95d8 to lead a participatory performance workshop. Rooted in the lived experiences of people with disabilities, c.95d8 has developed performances and workshops that treat disability as both a creative resource and a subject worthy of deep contemplation, which is understood as ‘crip’ to embrace the disability pride and culture.
In this Osaka event, participants will explore the relationship between bodily differences and the flow of time among people, while also engaging with the delicate interplay between the self, others, and the objects that shape these connections. Blending the formats of workshop and performance, the session offers a space to sense, reflect, and practice together.
またc.95d8が運営する「Crip Art Residency」では、障害のある人々の生活経験を基盤としたプログラム運営を行っています。
c.95d8
c.95d8 is a Hong Kong art and coliving space and collective founded in 2022. c.95d8 focuses on crip issues, and curated cultural events and artist residencies. Crip Art Residency is based on the lived experiences of disability. This program views disability as a creative resource and a subject worthy of contemplation, aiming to expand the spectrum of contemporary art while also re-presenting various dimensions of disability.
TRA-PLAY is a project that remakes and reinterprets workshops and other programs originally organized by art organizations in Japan and abroad, adapting them to the local context of the host city.
For TRA-PLAY vol.1–3, we will be joined by Hanoi’s art hub AiRViNe, Guangzhou’s artist collective Prickly Paper, and Hong Kong’s artist collective c.95d8.
Art projects cultivated in each of these regions will be adapted into an Osaka version, presented over three days through workshops and talk events. By sharing and practicing the approaches developed within the systems, cultures, customs, and social contexts of each group’s home region, we aim to create an opportunity not only to listen to diverse contemporary voices but also to reflect on our own culture, society, and systems.
Workshop 2 with Prickly Paper — Moyamoya: Subtle Tensions in Everyday Life through Woodblock Printing
In this workshop, we invite Chen Yifei from Prickly Paper, an artist collective based in Guangzhou, China, to explore woodblock printing as a way to speak about society. Through creating woodblock prints together, participants will gain a deeper understanding of Prickly Paper’s practice and the social context behind their work, while also engaging in dialogue about how woodblock printing can function as a tool for communication and exchange.
Under the theme “Subtle Tensions in Everyday Life through Woodblock Printing”, we will start from the small, hard-to-define feelings of unease that arise at home, at work, on social media, or within society at large. Participants will be encouraged to give shape to these lingering, in-between emotions through the medium of woodblock printing, creating a space to share and reflect on the unspoken dissonances we all encounter.
Prickly Paper Prickly Paper is a booklet originally created by Chen Yifei and Ou Feihong for an exhibition at the Fei Art Museum in Guangzhou. The first issues were placed in the public toilets of a Guangzhou building, with its title being a Cantonese homonym for “toilet paper.”
Each issue features a woodblock-printed cover by different artists, while the inside pages are printed with a home printer. Submissions and layouts change with each theme, and the publication embraces a rough, handmade style. Produced in small quantities, Prickly Paper sustains itself through limited sales and serves as a way to connect with friends.
The Prickly Paper workshop aims to bring the practice of woodblock printing and zine-making to a broader and more diverse audience. To date, it has traveled to 17 cities and regions, hosted in art institutions, community centers, independent bookstores, and self-organized spaces.
In July 2023, the project relocated to a storefront in Shenjing Village, Huangpu District, establishing an independent space named Cigao Union.
TRA-PLAY is a project that remakes and reinterprets workshops and other programs originally organized by art organizations in Japan and abroad, adapting them to the local context of the host city.
For TRA-PLAY vol.1–3, we will be joined by Hanoi’s art hub AiRViNe, Guangzhou’s artist collective Prickly Paper, and Hong Kong’s artist collective c.95d8.
Art projects cultivated in each of these regions will be adapted into an Osaka version, presented over three days through workshops and talk events. By sharing and practicing the approaches developed within the systems, cultures, customs, and social contexts of each group’s home region, we aim to create an opportunity not only to listen to diverse contemporary voices but also to reflect on our own culture, society, and systems.
We warmly invite you to join us.
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TRA-PLAY vol.1 with AiRViNe
「ベトナム・アフタヌーンティー: In-Betweenness」
日時｜8月16日（土）16:00–19:00（入出場自由）
会場｜イチノジュウニのヨン （大阪府大阪市西成区山王1-12-4）
参加費｜無料（1ドリンク制）
定員｜なし（お茶の提供は数に限りがございます）
主催｜TRA-TRAVEL
共催｜AiRViNe
協力｜C-index
助成｜大阪市、芳泉文化財団
本ワークショップは、ハノイのアートハブ AiRViNe（Artist-in-Residence Vietnam Network）によるシリーズ「Nature on the Roof」をリメイクしたものです。
Nature on the Roofは、ハノイの放置された屋上住宅にアーティストを招き、その空間や近隣住民との対話を通じて制作された本イベントは、レジャーをゲリラ的な実践として再構築する試みでした。
文化交流やキャリア支援、地域社会との関わり、そして持続可能なアートインフラの育成を目的に、アーティスト・イン・レジデンスを通じてベトナム現代美術シーンの発展の支援をおこなう。2024年以降、AiRViNeは On the Move（OTM） および Green Art Lab Alliance（GALA） の正式メンバーとなり、さらに 台湾アートスペースアライアンス（TASA）、台湾アジア交流基金会、黄金町エリアマネジメントセンター との提携を通じて、ベトナムと国際的なアーティスト・イン・レジデンスをつなぐ重要なハブとしての役割を担う活動を行う。また、ワークショップやトーク、メンタリングを通じ、ベトナムのアーティストが国際的なレジデンスの機会を見つけ繋げる橋渡しとして積極的に支援活動を行う。
TRA-PLAY vol.1 with AiRViNe Vietnam Afternoon Tea: In-Betweenness
Date & Time｜Saturday, August 16, 16:00–19:00 (free entry/exit) Venue｜Ichinojuuni no Yon (1-12-4 Sanno-cho, Nishinari-ku, Osaka) Admission｜Free (one drink required) Capacity｜No limit (please note the number of tea servings is limited) Organizer｜TRA-TRAVEL Co-organizer｜AiRViNe In cooperation with｜C-index Supported by｜Osaka City, Hosen Cultural Foundation
Workshop 1 with AiRViNe:
“Vietnamese Afternoon Tea: In-Betweenness”
This workshop reinterprets Nature on the Roof, a series organized by Hanoi’s art hub AiRViNe (Artist-in-Residence Vietnam Network).
Nature on the Roof invited artists into an abandoned rooftop house in Hanoi, where they created works in dialogue with the space and its neighbors. The event sought to reimagine leisure as a guerrilla practice.
Its inspiration came from Vietnam’s culture of trà đá vỉa hè—sidewalk iced tea. In contrast to the formality of the tea ceremony, trà đá emerged as a more casual and communal counter-culture. While traditional rituals often carry an air of elitism, trà đá transforms the act of drinking tea into an accessible, flexible, and shared cultural practice. It reflects the Vietnamese approach of adapting imported customs to local realities—relaxing rules, letting go of perfection, and embracing possibility.
In Osaka, we will adapt that spirit into Vietnam Afternoon Tea.
Following the workshop, we will hold a public discussion titled In-Betweenness. This conversation will explore how Vietnamese artists and art organizations move fluidly between roles—artist, organizer, curator, and institution—depending on the needs and contexts of their practices.
AiRViNe
Artist-in-Residence Vietnam Network (AiRViNe) – founded by Nguyen Tu Hang and Tran Thao Mien – aims to support the growth of Vietnam’s contemporary art scene through artist residencies that foster cultural exchange, professional development, community engagement, and sustainable art infrastructure. Since 2024, AiRViNe has become an official member of On the Move (OTM), the Green Art Lab Alliance (GALA), and partnered with Taiwan Art Spaces Alliance (TASA), Taiwan-Asia Exchange Foundation, Koganecho Management Area Center —affirming its growing role as a vital connector between Vietnam and the international art residency landscape.
AiRViNe has organized collaborative residency programs with partners in Vietnam, Taiwan, and Japan, and hosts visiting artists from Vietnam, Italy, Netherlands, UK and Philippines. Through workshops, talks, and mentorship, the network actively supports Vietnamese artists in navigating and applying to international residency opportunities.
1982年 中国福建省生まれのビデオとインスタレーションを主に制作するアーティスト。厦門大学芸術学院で学士号（2004年）と修士号（2007年）を取得後、2009年から2010年までStichting Niemeijer Fonds（NL）の助成を受けRijksakademie van Beeldende Kunsten（オランダ）に滞在。 2015年にHUAYU Youth Awardの審査委員会特別賞を受賞。2018年OCATヤング・メディア・アーティスツ・オブ・ザ・イヤー受賞。中国、ドイツ、アメリカ、オランダで個展及びグループ展を多数開催。
主な展示として、「個展：Geyser」（WHITE SPACE、北京、2023年）、「Motion is Action-35 years of Chinese Media Art」（BY ART MATTERS、Hangzhou、2023年 ）、「Three Rooms: Edge of Now」（ZKM、カールスルーエ、2019年／ナムジュンパイクアートセンター、2018年）など。
Looking back on the practices and projects from Beijing to Osaka to New York.
Yang Jian, an artist from Fujian Province, China, participated in the TRA-TRAVEL residency program “AIRΔ vol.8 with WHITE SPACE Beijing” in 2024, during which he held an exhibition titled The Octopus Garden in Osaka.
Since then, he has continued to base his practice in Osaka. From February to May in 2025, Yang participated in a residency program in New York, where he developed work exploring the relationship between “clean” and “censorship,” and how these concepts contribute to divisions rooted in race and ideology—affecting daily life and modes of thought.
In this upcoming Beer with Artist vol.9, we will hear directly from Yang about his residency experience in New York, his current life in Osaka, and his perspective on the Chinese contemporary art scene.
This event is designed as a casual and open space to “ask the artist,” allowing participants to freely engage in conversation, ask questions, and make new connections.
We hope this will be a space not only to discuss Chinese culture and local issues, but also to enjoy open dialogue informed by Yang’s experiences as an artist working across different countries and contexts.
Yang’s video works will also be presented as part of the event.
We warmly welcome your attendance!
✅ Event Information
Date & Time: Thursday, July 10, 2025 | 19:00–21:00
Language: Japanese & English
Admission: Free (donations welcome)
Venue: EARTH, 1-3-26 Taishi, Nishinari-ku, Osaka-shi, Osaka 557-0002, Japan
Organized by: TRA-TRAVEL
In cooperation with: EARTH
✅ Artist Information
Yang Jian
Artist
Born in 1982 in Fujian Province, China, Yang Jian is an artist primarily working with video and installation. He earned both his bachelor’s and master’s degrees from the Academy of Arts at Xiamen University in 2004 and 2007, respectively. From 2009 to 2010, he was a resident at the Rijksakademie van Beeldende Kunsten in the Netherlands, supported by the Stichting Niemeijer Fonds.
In 2015, he received the Jury Special Award at the HUAYU Youth Award, and in 2018 he was named OCAT Young Media Artist of the Year. He has presented solo and group exhibitions in China, Germany, the United States, and the Netherlands. Recent exhibitions include Geyser at WHITE SPACE Beijing (2023), Motion is Action – 35 Years of Chinese Media Art at BY ART MATTERS in Hangzhou (2023), and Three Rooms: Edge of Now at ZKM in Karlsruhe (2019) and the Nam June Paik Art Center (2018).
Yang is currently based in Nanjing, China, and Osaka, Japan.
シリパッタナーナンタクーンは、一緒に暮らすアフリカンパロット「ボイス（Beuys）」との共同制作や、人間と非人間の関係性、経済、所有、記憶、喪失といったテーマを鋭く掘り下げ、映像、彫刻、インスタレーションなど多様なメディアで表現しています。これまで第53回ヴェニスビエンナーレ・タイ館代表、FRIEZE London 2023、タイランドビエンナーレ2023など、世界各地で作品を発表してきました。
今回の「Beer with Artist vol.8」では、シリパッタナーナンタクーンとともに街を歩きながら、「空き家」や「家の記憶」について考えます。アーティストからの問いかけに、参加者が応える対話形式で進行し、日常のなかに潜む社会的なテーマを身近に感じるひとときを目指します。
2009年には、第53回ヴェニスビエンナーレ・タイ館に選出され、その後も、National Museum of Modern and Contemporary Art（ソウルl）、Museo MACRO（ローマ）、MAIIAM Contemporary Art Museum（チェンマイ）、Frieze Art Fair（ロンドン）など、国際的な美術館やビエンナーレ、アートフェアで作品を発表しています。
Beer with Artist vol.8 with Wantanee Siripattananuntakul
“Walking Through Osaka’s Quiet Spaces: Memory, Nature, and What Remains”
Wantanee Siripattananuntakul is a Bangkok-based artist working internationally. Since May 2025, she has been staying in Matsudo as part of the PARADISE AIR artist-in-residence long-stay program, where she is researching and creating new work around the theme of “vacant houses.” She is also spending a week in Osaka to further explore themes related to urban space and memory.
Siripattananuntakul’s multidisciplinary practice—spanning video, sculpture, and installation—explores complex themes such as the relationship between human and non-human beings, economic systems, ownership, memory, and loss. Often collaborating with her African parrot Beuys, she has exhibited globally, including representing Thailand at the 53rd Venice Biennale, and participating in Frieze London 2023 and the Thailand Biennale 2023.
In this edition of Beer with Artist vol.8, participants will join the artist on a walk through the city, engaging in conversations around vacant homes and the memories embedded in them. The event will unfold in a dialogue format, with participants responding to questions from the artist—creating an opportunity to reflect on the hidden social layers of our everyday surroundings.
This casual event aims to be a welcoming space for exchange and connection, based on the theme “Ask the Artist.”
We hope the event will offer room for free and open dialogue—whether about her experiences working across cultures and countries, her ongoing research in Matsudo, or her upcoming solo exhibition in June at the Art Centre of Silpakorn University. Questions about artistic practice, personal struggles, or creative concerns are all welcome.
We look forward to seeing you there!
✅ Event Information
Date & Time: Friday, May 30, 2025 | 15:00–17:00 * Cancelled if it rains
Language: Japanese & English
Admission: Free (donations welcome)
Venue: Konohana Ward, Osaka City
(For details, please contact TRA-TRAVEL via Instagram or Facebook by 1:00 PM on the day of the event.)
Organized by: TRA-TRAVEL
In cooperation with: PARADISE AIR
✅ Artist Information Wantanee Siripattananuntakul
Artist
Born in 1974 in Bangkok, Thailand, Wantanee Siripattananuntakul is a multidisciplinary artist whose practice spans video, sound, sculpture, and installation. Her work examines complex social, political, and economic systems, with a particular focus on inequality and the impact of ideological structures on everyday life.
She earned a B.F.A. from Silpakorn University and later studied under Prof. Jean-François Guiton at Hochschule für Künste Bremen, where she was awarded the Meisterschüler title in 2007.
In 2009, she represented Thailand at the 53rd Venice Biennale and has since exhibited
internationally at institutions such as the National Museum of Modern and Contemporary Art (Seoul), Museo MACRO (Rome), MAIIAM Contemporary Art Museum (Chiang Mai), and Frieze Art Fair (London). Recent highlights include the 7th Anyang Public Art Project in South Korea, the Thailand Biennale in Chiang Rai, and her participation in the Art Explora Residency at Cité internationale des arts in Paris (2024).
She is currently an artist-in-residence at Paradise Air in Matsudo, Japan, where she is developing new work that explores memory, ecology, and the quiet transformation of urban space.
Her works are part of several public collections in Thailand, including the Ministry of Culture and the MAIIAM Contemporary Art Museum. Through residencies and exhibitions across Asia and Europe, she continues to build a practice grounded in poetic inquiry and critical engagement with global structures.
■interview
Qenji Yoshida (hereafter QY):
You’ve been active in many different regions around the world in recent years, but to begin, could you briefly introduce yourself? What kind of artist are you, and what themes or questions are central to your practice?
Wantanee Siripattananuntakul (hereafter WS):
My practice moves between video, sound, sculpture, and installation — but I think of it less in terms of media, and more as a way of asking questions. I explore how political, economic, and emotional forces shape our lives, often through systems like class, property, inheritance, and species hierarchy.
Much of my work traces what disappears quietly: a fading memory, a displaced animal, an overlooked document. I’m interested in subtle resistance — gestures that seem small, but carry emotional and political weight. Whether through a misplaced feather, a shifted pedestal, or an echo in the image, I try to create spaces where meaning doesn’t declare itself, but arrives slowly, through tension, silence, or care.
I often work with material as memory—fragile, living, or unstable—and with a more-than-human presence, where animals, stones, and light are not symbols but witnesses and participants in unfolding histories.
QY: I haven’t been able to follow your recent work closely, so I’m really looking forward to hearing more from you this time.
I understand you’re currently participating in an artist-in-residence program at PARADISE AIR in Matsudo—could you tell us about the project or research you’re working on there?
WS: Yes, I’m here for a residency at PARADISE AIR.
My current project explores the layered stories within akiya — Japan’s vacant houses. I walk through neighbourhoods, photograph, collect fragments, and speak with people who live nearby or still feel attached to these places.
The reasons a house becomes akiya are never simple. It’s not only about legal systems or emotional distance—often, it’s tied to economic strain, local politics, and unspoken community concerns. In Matsudo, for example, I learned from a local official that the issue began less with the tax burden and more with neighbours’ anxiety about safety and the pressure to maintain appearances.
I’m drawn to this in-between space, where memory, care, and structural forces interact. These houses aren’t just abandoned; they are silent records of hesitation, pressure, and transition.
QY: So “akiya” (vacant houses) is a theme where many complex factors intersect—people, memory, ownership, economy, population… That’s really fascinating.
It also seems like a difficult topic to approach, not something that can be easily addressed. That’s why I’m very curious to see how your research in Matsudo and Osaka will develop moving forward.
Do you see similar issues related to vacant houses in Thailand as well?
WS: I’m not sure if we have the same kind of “akiya” issue in Thailand, but we definitely have many empty houses for different reasons.
In Thailand, the housing finance system is complicated for ordinary people. Buying a house is hard because the loan system isn’t built for us. The interest rates are very high — even when I purchased my home with a special promotion after the big floods years ago, I still had to pay at least 3% interest. Usually, people pay 5 or 6%, which becomes a huge burden over time.
Many people can’t keep up with payments, so the bank seizes the house and puts it back on the market as second-hand property. There are a lot of those cases.
There’s another issue — people may have to move away because they can’t find work in that area, so they leave the house and try renting it out. But renting in Thailand is risky. We don’t have strong laws to protect landlords, so if the tenants don’t take care of the property, you cannot do much.
So yes, we have many empty houses. But they don’t come from rural decline like in Japan. They come from economic pressure, insecure housing systems, and weak legal protections. I’m still considering whether we can call it “akiya,” but it’s a related kind of structural abandonment, shaped by different forces.
QY: For this event in Osaka, instead of holding a talk in a gallery setting, it will take place as a walk through the city.
You mentioned that you would actually prefer to ask questions to the participants about “akiya” (vacant houses) in Japan and Osaka, rather than just sharing your own perspective.
What kind of questions are you hoping to ask specifically?
WS: Yes, instead of giving a formal talk, I wanted this event to be a shared walk, where we observe the city together and exchange thoughts more naturally. Rather than presenting my own views right away, I’d like to ask participants a few quiet questions related to vacant houses (akiya)—and the memories, emotions, or meanings these spaces might carry. These questions aren’t meant to have “correct” answers. They’re gentle prompts to reflect on the places we often pass without noticing and open up personal or social layers of thinking. For this walk, I’m planning to ask four questions: 1.Have you ever passed by a house that felt like it was holding a memory? What did you feel? 2.What do you think happens inside these empty houses when no one is watching? 3.Have you ever had to let go of a place you didn’t want to leave? 4.What makes people give up a house, even when they don’t want to? These questions create a quiet space for personal memory, imagination, and reflection on larger social systems. I also hope to record some of the participants’ responses on video, as we walk, filming from behind to keep the focus on the surrounding environment and the voice, rather than on the person. These recordings may later become part of a broader work about care, absence, and the layered life of cities.
“Art Practices in the Philippines: Alone and Collectively”
Marika Constantino is an artist, curator, and cultural worker based in the Philippines. In 2012, she co-founded 98B COLLABoratory in the Escolta district of Manila, operating an experimental platform that connected art and the local community through a historical building. Currently, she runs KANTINA, an artist-in-residence program she founded in Roxas City, fostering spaces for learning and creativity in collaboration with local residents. In 2017, she was selected as a “Global Cultural Fellow” by the University of Edinburgh and received a New York Fellowship from the Asian Cultural Council. With a strong international presence, she continues to engage with society, history, and memory through her art-based practice.
At Beer with Artist vol.7, we will hold a casual talk event where we ask Constantino about her past activities. This series, themed “Ask the Artist,” aims to create relaxed opportunities for conversation and connection with artists. Participants are encouraged to enjoy food and drinks while exchanging thoughts with the artist. Not only will we talk about the Philippines, but also casually explore questions like how she has survived as an artist and cultural worker, and learn more about her current activities in Roxas. We warmly invite everyone to drop by and join the conversation!
✅ Event Information
Date and Time: Thursday, May 15, 2025, 19:00–20:30
✅ Artist Information Marika Constantino (Philippines) Artist-Curator / Founder of KANTINA
Marika Constantino is an artist, cultural worker and independent curator who has participated in significant exhibitions, events, and projects in the Philippines and abroad. She is also a freelance writer who has contributed to a number of globally distributed publications. Her early exposure to art coupled with her boundless fascination for the creative process resulted in a degree from the UP College of Architecture to further studies at the UP College of Fine Arts, with Art History as her major. Her works and projects are centered on patterns, layers, textures, and materials, and its intersection with history, memory and culture. Constantino is continually striving to strike the balance between the cerebral, conceptual and experiential aspects of art with life in general, thus, fueling her fervent passions for artistic endeavors. In 2017, she was selected to be one of the Global Cultural Fellows of the Institute of International Cultural Relations at the University of Edinburgh, United Kingdom. That same year she was supported by the British Council, Manila to participate in a cultural leadership program at the King’s College in London, United Kingdom. As part of her art practice, she co-directed the programs and activities of 98B COLLABoratory (2012-2018), curated and coordinated the undertakings of the First United Building Museum (2015-2018) in Escolta, Manila and curated the Destileria Limtuaco Museum (2018) in Intramuros, Manila. She was awarded the New York Fellowship for 2018-2109 by the Asian Cultural Council. In February 2020, Constantino established KANTINA, an art space for co-learning and co-creation. She is currently based in both Manila and Roxas City, Capiz in the Philippines.
TRA-TRAVELと、台湾のTASA（Taiwan Art Space Alliance）、新竹市鐵道藝術村、Accton Arts Foundationとともに、日本のアート実践者1名を台湾へ招聘する公募を行いました。受賞者の鈴木は8月から台湾入りし、１００名以上の世界のアーティストインレジデンス関係者が集う国際カンファレンス「Res Artis TAIPEI 2024」や、共催団体TASAが主催するアニュアルミーティングへ参加してきました。
Beer with Artist vol.6では、鈴木の台湾での報告会をかね、大阪市西成区のEARTHを会場にトークイベントを行います。 本イベントは「アーティストに聞いてみる」をテーマに、気軽にアーティストとの交流を生むカジュアルなトークイベントです。アーティストと一緒に食事やお茶を楽しみ、会話を交わし、新たなつながりを築くことを目的とします。台湾の滞在についてだけでなく、登壇者に対する素朴な疑問や、拠点である山口での生活についてなど、自由な会話を楽しむ機会をもちたいと思います。皆様がふらりと立ち寄られることを心待ちにしております。
Beer with Artist vol.6 with Keijiro Suzuki “Artist Residencies at the Forefront? Reporting from Taiwan”
Keijiro Suzuki is an artist, curator, and art manager based in Yamaguchi. TRA-TRAVEL organized a residency program that brought a Japanese art practitioner to Taiwan in collaboration with the Taiwan Art Space Alliance (TASA), the Hsinchu City Railway Art Village, and the Accton Arts Foundation. As part of this initiative, Suzuki was sent to Taiwan. During his stay, he attended international conferences such as “Res Artis TAIPEI 2024,” where over 100 participants who are involved in artists-in-residence programs gathered globally and TASA’s annual meeting.
In this volume of “Beer with Artist”, Suzuki will give a report on his experiences, and a talk event will be held at [venue] in [district] Osaka.
This event aims to foster casual interaction with artists. It’s a laid-back talk event where you can enjoy food and drinks with the artist, have conversations, and build new connections.
We hope to create an opportunity for free discussions not only about art but also about personal curiosities, such as life in Yamaguchi, where the speaker is based. We warmly welcome everyone to drop by!
✅Beer with Artist vol.6 with Keijiro Suzuki / “Artist Residencies at the Forefront? Reporting from Taiwan”
Date: Friday, September 27 2024 / 18:00-20:00
Language: Japanese
Fee: free (donation required)
Venue: EARTH 3-26, Taishi 1-chome, Nishinari-ku, Osaka, 557-0002, Japan
*Capacity: 15 people (No reservation required, first come, first served)
Organized by: TRA-TRAVEL
Co-organized by: TASA
✅Keijiro Suzuki (Yamaguchi City, Japan)
Born in 1981 in Nagoya City, Aichi Prefecture. Graduated from Nagoya City University in 2004 and completed a Master’s in Sculpture from the University of Houston in 2010. Suzuki explores the practical application of art through various research and production methods. His notable activities include internships with “Earthship Biotecture” and “Adobe Alliance,” participation in “Project Row Houses,” and the establishment of the alternative space “the temporary space.” Major exhibitions include “Fotofest 2010”(USA) and “Jakarta Biennale #14”(Indonesia). He received the 10th Yamaguchi Emerging Artist Award in 2018. Recently, he has been involved in projects like “Hospital Arts” and the “Speculative Library.” www.keijirosuzuki.com
ドキュメンタリーアクター。山梨県在住。実在の人物を取材し、演じるという一連の行為を「ドキュメンタリーアクティング」と名付け、実践する。他方で、2022年から山梨県河口湖町にてアーティスト・ラン・レジデンス「6okken」を設立・運営する。近年の活動に、クマ財団ギャラリー「01.25.1997」、十和田市現代美術館「地上」、ANB Tokyo「全体の奉仕者」など。主な受賞に、第28回CGC最優秀賞、やまなしメディア芸術アワード山梨県賞など。Forbes Japan 30 under 30 2023選出。
Event Overview TRA-TRA-TALK (TTT), organized by TRA-TRAVEL, is a talk event centered around the theme of “Opening Research.” Creators and researchers often seek out experts and knowledgeable individuals to gain insights as they advance their projects and research. This event aims to turn such interactions between ‘Researchers’ (the questioners) and ‘Responders’ (the interviewees) into a public event, creating a “mutual learning space” where even the audience can participate in exchanging opinions.
In this talk, we welcome tsu-tsu, who operates the artist-run residence “6okken” in Kawaguchiko, Yamanashi Prefecture, as the ‘Researcher’ (the questioner), and Nobuhisa Shimoda, a member of C.A.P. (Conference on Art and Planning) established in Kobe in 1994, as the ‘Responder’ (the interviewee). Together, they will engage in a discussion and research session focusing on the “Future of Artist-Run Spaces.”
Talk Theme: “Where Do Artists Gather?”
Researcher: tsu-tsu
Responder: Nobuhisa Shimoda
Date: Monday, September 16, 2024, 16:00-18:00 (Reception starts at 15:45) *Admission: Free (Donations welcome) *Capacity: 30 people (No reservation required, first come, first served)
Venue: VisLab OSAKA, Grand Front Osaka North Building, Tower C, 9th Floor (3-1 Ofukacho, Kita-ku, Osaka 530-0011)
Organized by: TRA-TRAVEL Supported by: Osaka City, Housen Cultural Foundation In cooperation with: C.A.P. (Conference on Art and Planning), 6okken, VisLab OSAKA / Osaka Electro-Communication University
Event Details
This event will feature a discussion on the “Future of Artist-Run Spaces” between tsu-tsu, who operates the artist-run residence “6okken” in Kawaguchiko, Yamanashi Prefecture, and Nobuhisa Shimoda from C.A.P. (Conference on Art and Planning), an organization based in Kobe.
As a documentary actor, tsu-tsu has been practicing a unique process of interviewing and portraying real people, presenting his work at venues such as the Towada Art Center. Since 2022, he has established and managed “6okken.” On the other hand, Shimoda has been involved with C.A.P. since 1998, launching numerous projects, including international collaborations like the “See Saw Seeds” project with art groups abroad.
In this event, tsu-tsu will serve as the ‘Researcher’ (questioner), and Shimoda as the ‘Responder’ (interviewee), as they discuss the future of artist-run spaces. Artist-run spaces are places managed by artists themselves, and both 6okken and C.A.P. are organizations founded by artists. However, the times in which they were established are different: 6okken in 2022 and C.A.P. in 1994. As a result, their visions for the future, management methods, and interactions with external parties differ. At the same time, they share common ground, such as running residencies and studios, holding regular meetings, and responding to proposed projects — aspects unique to artist-run spaces.
6okken is an artist-run residence based in six houses in Kawaguchiko, Yamanashi, and consists of 14 members involved in contemporary art, music, architecture, theater, Vtubing, and other fields. The group integrates daily life, creative activities, and management. They also collaborate with external partners to organize art projects, such as the art festival “Dairokkann,” and invite artists from Japan and abroad.
C.A.P., which has been operating for 30 years with changing members, organizes exhibitions, symposia, and art fairs, such as “CAPARTY” in Kobe. Since 2016, they have actively engaged in international exchanges with art communities in Dubai, Hamburg, and Turku, including artist exchange programs under the “See Saw Seeds” initiative.
This talk event will explore the potential of artist-run spaces through the activities of 6okken and C.A.P. By imagining the future of artist-run spaces beyond 2020, the event aims to involve the audience in envisioning the possibilities. It is an event recommended for those interested in art, space management, and international exchange. We hope you will join us.
tsu-tsu Documentary actor based in Yamanashi Prefecture. He has named and practices the act of interviewing and portraying real individuals as “Documentary Acting.” Since 2022, he has also established and managed the artist-run residence “6okken” in Kawaguchiko, Yamanashi. Recent activities include exhibitions at Kuma Foundation Gallery (“01.25.1997”), Towada Art Center (“Chijou”), and ANB Tokyo (“Servant of the Whole”). His major awards include the 28th CGC Grand Prize and the Yamanashi Media Arts Award. He was selected for Forbes Japan’s 30 under 30 in 2023. https://6okken-org.studio.site/
Nobuhisa Shimoda Born in 1957 in Kawasaki. He made his record debut in 1979 with the album “Moon Dancer” from Alfa Records. In 1988, he participated in the establishment of Xebec Hall in Kobe Port Island and served as its producer until 2000. In 1998, he became a member of C.A.P. (Conference on Art and Planning) and served as its president from 2015 to 2023. In 2016, he launched the international collaborative project “See Saw Seeds” with overseas art groups, focusing on artist exchanges, a project that is still ongoing today. https://cap-kobe.com/
■日時: 2024年2月18日（日）14時ー17時30分（上映＋トーク）
■会場: JUU arts&stay 〒554-0013 大阪府大阪市此花区梅香1丁目17−20
■参加費：自由（ドネーション制）*定員30名(予約不要、先着順)
■ キュレーション: Mary Lou David
■ 企画・字幕翻訳: 池田昇太郎
■ トーク通訳: 柏本奈津
■ 主催: TRA-TRAVEL
■ 協力: FIGYA, San Art, 一般社団法人アラヤシキ
■ 助成: 大阪市、芳泉文化財団
■上映作品
<第1部>
「The most romantic walk」 監督：Phan Anh｜ベトナム｜2017｜カラー｜30分
「Journey of a Piece of Soil」監督：Trương Công Tùng｜ベトナム｜2015｜カラー｜33分
–休憩–
<第2部>
「On Amanda Heng: The Scent of Tam Đảo」監督：Veronika Radulovic｜ベトナム｜2022｜カラー｜10分
「Soap Bubbles」監督：Phạm Nguyễn Anh Tú｜ベトナム｜2021｜カラー｜7分
「Precious. Rare. For Sale.」監督：Lêna Bùi｜ベトナム｜2023｜カラー｜12分
「Becoming Alluvium」監督：Thảo Nguyên Phan｜ベトナム｜2019-ongoing｜カラー｜16分
「My Paradise」監督：Quỳnh Đông｜ベトナム｜2012｜カラー｜14分
■ マリー・ルー・ダヴィド／Mary Lou DAVID
パリ生まれ、ロンドン育ち。ホーチミンを拠点に活動。2014年ロンドン大学コートールド美術研究所美術史コース修了。 ベトナムのアートシーンを牽引する現代アートオーガナイゼーション「Sàn Art（サン・アート）」のキュレーター。
実験映画、ビデオ・アート、クィア・パフォーマンスへの継続的な関心に加え、同地のインディペンデントなアートスペースを支援し、コラボレーションするための新たなネットワークの構築を目指す。さまざまなレジデンスプロジェクトに携わる中で、コミュニティに焦点を当てたプログラムと国際的な芸術交流が地元のアートシーンを多様にし、活性化するためのプロジェクトを数多く実践している。
Sàn Artでの展覧会企画と並行して、「Saigon Experimental Film Festival’ editions III and IV (2020年、 2022年) 」の共同キュレーション、 A. Farm (2018-2020年)、Times & Realities (2021年)、Sàn Art Studio (2021年〜)、Ecologies of Water (2023-)といったレジデンシープロジェクトにも関わっている。
展覧会プログラム（2007年以来110以上）のほか、Sàn Artの過去のプロジェクトには、アーティスト・レジデンス「Sàn Art Laboratory」（2012-2015年）、出版物やイベントのシリーズ「Conscious Realities」（2013-2016年）などがあり、グローバル・サウスに焦点を当てた作家、アーティスト、思想家、文化関係者を招いている。2018年、Sàn Artはキュレーター養成学校「Uncommon Pursuits」と、ベトナムとこの地域の近現代美術の対話に焦点を当てた新しいギャラリーを立ち上げた。また同年、MoT+++およびNguyen Art Foundationと共同で設立した国際的なアーティスト・レジデンシー・プログラムであるA. Farm（2018-2020）を開始した。組織の歴史に新たな章を開いたSàn Artは、革新的で実験的な実践や視点を支援・育成するコミュニティ・ハブとして拡大している。
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Screening event + post-screening talk:
“in flux: revisiting media in Vietnam-based video art ”
■ Date: 2.00 – 5.30 pm Sunday, 18th February 2024
■ Venue: “JUU arts&stay” 1-17-20, Baika, Konohana-ku, Osaka
■ Admission: Free (donation required) * Capacity: 30 people (no reservation required)
■ Curation: Mary Lou David
■ Organizer: TRA-TRAVEL
■ Collaboration: FIGYA, San Art
■ Mediator & Subtitle translator: Shotaro Ikeda
■ Talk interpreter: Natsu Kashiwamoto
■ Support: Osaka city, Housen Cultural Foundation
■ Introduction:
Where to begin when tasked to curate a Vietnam-based moving image programme with an open-ended theme? While the medium of video art arrived much later into the country, in the 1990s and 2000s, and still struggles today to find its rightful place amongst other contemporary practices, there have been a wide range of artists pushing the medium forward and anchoring it within the making of Vietnamese art history. ‘In flux’ introduces works by Veronika Radulovic, Phạm Nguyễn Anh Tú, Phan Anh, Thảo Nguyên Phan, Quỳnh Đông, Lêna Bùi and Trương Công Tùng, inviting audiences to discover the world of moving image from a Vietnamese context. It doesn’t attempt to cover its broad spectrum but rather offer an entryway into the lesser known practices stemming from the region.
One connecting thread amongst these artists of diverse aesthetics and thematics is the idea of revisiting memory by reutilising and dissecting various forms of cultural heritage. If we consider how memory is a malleable force that can easily be shaped to form master narratives, then the present selection shows how each artist has revisited a plethora of other media – be it archives, film history, literary sources, news outlets, oral/folk history or video itself – to highlight how history and memory can be produced, reproduced, and ultimately challenge such one-sided perspectives.
The event will include a short introduction to the programme and selected works by curator Mary Lou David (Sàn Art, Ho Chi Minh City, Vietnam), and an open discussion with the audience following the screening.
■ Screening Program
“The most romantic walk” by Phan Anh | Vietnam| 2017 | Color | 30 minutes
“Journey of a Piece of Soil” by Trương Công Tùng | Vietnam | 2015 | Color | 33minutes
“On Amanda Heng: The Scent of Tam Đảo” by Veronika Radulovic | Vietnam | 2022 | Color | 10 minutes
“Soap Bubbles” by Phạm Nguyễn Anh Tú | Vietnam | 2021 | Color | 7 minutes
“Precious. Rare. For Sale.” by Lêna Bùi | Vietnam | 2023 | Color | 12 minutes
“Becoming Alluvium” by Thảo Nguyên Phan | Vietnam | 2019-ongoing | Color | 16 minutes
“My Paradise” by Quỳnh Đông | Vietnam | 2012 | Color | 14 minutes
■ Mary Lou David
Born in Paris, raised in London and now living in Ho Chi Minh City, Mary is one of the curators currently running Sàn Art, an leading contemporary arts organisation in Vietnam. In addition to her ongoing interests in experimental cinema, video art, and queer performance, Mary is interested in developing new networks of support and collaboration between independent art spaces in the region. Aside from her exhibition work, she has also co-curated ‘Saigon Experimental Film Festival’ editions III and IV (2020 and 2022) and been involved in a variety of residency projects including A. Farm (2018-2020), Times & Realities (2021), Sàn Art Studio (2021-), Ecologies of Water (2023-).
* Mary’s research and stay in Japan has been made possible through the generous support of the Ishibashi Foundation / The Japan Foundation Fellowship for Research on Japanese Art.
leading independent arts organisation in Vietnam and the region. Maintaining a commitment to grassroots support for local and international artists and cultural work, Sàn Art is also a site for critical discourse with regular educational initiatives.
Aside from our exhibition programmes, Sàn Art’s past projects include various residencies, international exchanges and educational projects: Sàn Art Laboratory (2012-2015), Conscious Realities (2013-2016), Uncommon Pursuits (2018-), A. Farm in collaboration with MoT and the Nguyen Art Foundation (2018-2020), Journey to the Southwest (2021), Sàn Art Studio (2022-), Saigon-Leipzig exchange (2023). With a new team and space since 2018, Sàn Art continues to expand as a community hub to support and foster innovative and experimental practices and perspectives.
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■作品概要（English follows Japanese in each artwork and artist)
「The most romantic walk（ふたりの小径）」
監督：Phạn Anh (ファン・アン)｜ベトナム｜2017｜カラー｜30分
近年のプロジェクトや展覧会に ‘Pixelating families: Photography as Material for Filmic (Re)Inquiries’, Sàn Art, Ho Chi Minh City, Vietnam (2023), ‘Glad we made it on time’, organised by Salt Beyoğlu in collaboration with the Asian Art Museum, programmed and curated by Naz Cuguoğlu and Vicky Do, Salt Beyoğlu, Istanbul, Turkey, and Sàn Art, Ho Chi Minh, Vietnam (2022), ‘Remnants’, Sàn Art, Ho Chi Minh City, Vietnam (2022), ‘Month of Arts Practice’ residency and showcase, Heritage Space, Hanoi, Vietnam (2020); ‘(re)imagined Chorography’ with Đường Chạy and Sàn Art, Ho Chi Minh City, Vietnam (2020); ‘Đường Chạy 3’ (co-curator with Vicky Do), Hanoi, Vietnam (2019); ‘Le Voyage dans L’imaginaire’, bottomspace, Guangzhou, China (2019); ‘Singing to the Choir?’, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam (2019); ‘The Foliage 3’, Vincom Center for Contemporary Art, Hanoi, Vietnam (2019); ‘Museum Of The Mind’, Ho Chi Minh City, Vietnam (2018); ‘ACC Arts Space Network Residency and Open Studio’, ACC Asia Culture Center, Gwangju, Republic of Korea (2018); ‘The Multiverse’, Heritage Space, Hanoi, Vietnam (2017); and ‘Dogma Prize 2017’, Ho Chi Minh City and Hanoi, Vietnam (2017).
This (semi-)biographical documentary is an attempt to make sense of the artist’s unconscious wanderings while awaiting news of his grandmother in the hospital room next door. In remembrance of her, following her passing, Phan Anh conducted a research on her personal history. Entitled ‘The Museum of the Mind’, the project – which this video is taken from – presents his personal archive of these memories. Found objects and artefacts interlink collective memory and personal anecdote to reflect the identities of two individuals whose beliefs and ideologies were influenced by differing geographical and historical contexts but whose mind, compassion, and humanity are a shared legacy.
— Source: edited from Vietnam Contemporary Art Database
Phan Anh is a multidisciplinary artist based in Saigon, Vietnam. He graduated from the Ho Chi Minh University of Fine Arts in 2013 and later received his M.A from Utrecht School of the Arts in the Netherlands in 2015. In 2017, he co-established a self-funded collective called Đường Chạy for practitioners who have not received much recognition and support from educational institutions or the general art community. That same year, he received the Grand Prize of the Dogma Prize for contemporary portraiture. Phan Anh’s works often involve videos and installations with the help of other archival methods such as drawing, writing, and assembling found objects and images. They contain intense experimentations on the image’s performative construction, aim to advocate freedom of thought, research and expression through the act of challenging established narratives, while exploring possible discourses of political, social and historical events.
Recent projects and exhibitions include ‘Pixelating families: Photography as Material for Filmic (Re)Inquiries’, Sàn Art, Ho Chi Minh City, Vietnam (2023), ‘Glad we made it on time’, organised by Salt Beyoğlu in collaboration with the Asian Art Museum, programmed and curated by Naz Cuguoğlu and Vicky Do, Salt Beyoğlu, Istanbul, Turkey, and Sàn Art, Ho Chi Minh, Vietnam (2022), ‘Remnants’, Sàn Art, Ho Chi Minh City, Vietnam (2022), ‘Month of Arts Practice’ residency and showcase, Heritage Space, Hanoi, Vietnam (2020); ‘(re)imagined Chorography’ with Đường Chạy and Sàn Art, Ho Chi Minh City, Vietnam (2020); ‘Đường Chạy 3’ (co-curator with Vicky Do), Hanoi, Vietnam (2019); ‘Le Voyage dans L’imaginaire’, bottomspace, Guangzhou, China (2019); ‘Singing to the Choir?’, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam (2019); ‘The Foliage 3’, Vincom Center for Contemporary Art, Hanoi, Vietnam (2019); ‘Museum Of The Mind’, Ho Chi Minh City, Vietnam (2018); ‘ACC Arts Space Network Residency and Open Studio’, ACC Asia Culture Center, Gwangju, Republic of Korea (2018); ‘The Multiverse’, Heritage Space, Hanoi, Vietnam (2017); and ‘Dogma Prize 2017’, Ho Chi Minh City and Hanoi, Vietnam (2017).
「Journey of a Piece of Soil（ジャーニー・オブ・ピース・オブ・ソイル）」
監督：Trương Công Tùng（チュオン・コン・トゥン）｜ベトナム｜2015｜カラー｜33分
大きな赤土のように見えるもの、実際にはシロアリの巣を運んでいる匿名の男を追った。 映像の中では何の説明も与えられないまま、男はどこへ行くにもそれを持ち歩き、細心の注意を払ってその物体を扱う。 ここではアーティストは、集団的な関与と文化的生産のより大きな様式における儀式の機能を考察している。 アーティストの活動は中央高原の複数の歴史、生活、民族性、神話に大きく影響され、関わってきたが、作品の中で描かれている農村のシャーマニズムは架空のもの。 なぜ男がシロアリの巣に惹かれるのかは明確には示されないが、だからこそ、献身についての作品『Journey of a Piece of Soil（ジャーニー・オブ・ピース・オブ・ソイル）』が作品として非常に魅力的なのである。さまざまな信仰が私たちに求める、堅実で妥協のない決意を力強く描いているのだ。
主な展覧会に「The Disowned Garden…A Breath of Dream」サンアート／ササアートスペース／ジム・トンプソン・アートセンター／プラメーヤ財団／ムゼイオン／釜山市立美術館で2023年〜2025年にかけて巡回｜「Trương Công Tùng」ICA、ロサンゼルス（2023）｜『O Quilombismo, Of Resisting and Insisting. Of Flight as Flight. Other Democratic Egalitarian Political Philosophies」世界文化の家、ベルリン(2023)｜「Signals…瞬息」パラサイト、香港（2023）｜「Is it morning for you yet?」第58回カーネギーインターナショナル、ピッツバーグ（2022）｜「A State of Absence…Words out there」 Manzi Art Space、ハノイ（2021）｜「The Sap Still Runs」Sàn Art、ホーチミン市（2019）｜ 「バンコク・アート・ビエンナーレ」バンコク（2018年）｜「Between Fragmentation and Wholeness」Galerie Quynh、ホーチミン市（2018年）｜「A Beast, a God, and a Line」パラサイト、香港／ワルシャワ近代美術館／ダッカアートサミット（2018年）「Cosmopolis, Collective Intelligence」ポンピドゥーセンター、パリ（2017年）。
truongcongtung.com
Trương Công Tùng, Journey of a Piece of Soil (2015) Duration: 33:35
We follow an unnamed man carrying what appears to be a large piece of red soil, in actuality a termite nest. Without any explanation provided in the film, the man brings it with him wherever he goes, devoting great care and attention to the object. Here, the artist considers the function of the ritual in larger modes of collective engagement and cultural production. While the artist’s practice has been largely influenced and engaged with the multiple histor(ies), lives, ethnicities and mythologies of the Central Highlands, the rural shamanism depicted in the work is a fictive one. There’s no clear indication why the man is drawn to the termite’s nest, and yet that is what makes Journey of a Piece of Soil so fascinating as a work about devotion: it powerfully depicts the steady and uncompromised determination our various faiths require of us.
— Source: edited from Kadist
Trương Công Tùng grew up in Dak Lak among various ethnic minorities in the Central Highlands of Vietnam. He graduated from the Ho Chi Minh Fine Arts University in 2010, majoring in lacquer painting. With research interests in science, cosmology, philosophy and the environment, Trương Công Tùng works with a range of media, including video, installation, painting and found objects, which reflect personal contemplations on the cultural and geopolitical shifts of modernization, as embodied in the morphing ecology, belief or mythology of a land. He is also a member of Art Labor (founded in 2012), a collective working between visual art and social/life sciences to produce alternative non-formal knowledge via artistic and cultural activities in various public contexts and locales. In 2023 he was awarded the Han Nefkens Foundation Southeast Asian Video Art Production Prize.
Selected exhibitions include ‘The Disoriented Garden…A Breath of Dream’ (presented between 2023-2025 at Sàn Art, Sa Sa Art Space, the Jim Thompson Art Center, the Prameya Foundation, Museion, Busan Museum of Art); ‘Trương Công Tùng’, Institute of Contemporary Art, Los Angeles, USA (2023); ‘O Quilombismo, Of Resisting and Insisting. Of Flight as Flight. Other Democratic Egalitarian Political Philosophies’, Haus der Kulturen der Welt, Berlin, Germany (2023); ‘Signals…瞬息’, Para Site, Hong Kong (2023), ‘Is it morning for you yet?’, 58th Carnegie International, Pittsburgh, USA (2022), ‘A State of Absence…Words out there’, Manzi Art Space, Hanoi, Vietnam (2021), ‘The Sap Still Runs’, Sàn Art, Ho Chi Minh City, Vietnam (2019); The Bangkok Art Biennale, Bangkok, Thailand (2018); ‘Between Fragmentation and Wholeness’, Galerie Quynh, Ho Chi Minh City, Vietnam (2018); ‘A Beast, a God, and a Line’, Para Site, Hong Kong (2018), the Museum of Modern Art, Warsaw, Poland, (2018), the Dhaka Art Summit, Dhaka, Bangladesh (2018); ‘Cosmopolis, Collective Intelligence’, Centre Pompidou, Paris, France, (2017).
Veronika Radulovic, On Amanda Heng: The Scent of Tam Đảo (2022) Duration: 10:23
* The video-essay was part of ‘Collecting Entanglements and Embodied Histories’, a programme and initiative of the Goethe-Institut Jakarta, Indonesia.
In 1995, Veronika Radulovic brought Singaporean artist Amanda Heng and artist/lecturer Trương Tân to her classroom at University of Fine Arts Hanoi. Together with the students, they did an improvised performance workshop and made an unauthorised video recording out of it. Around that same time, the group of artists took their experiments out of the class, out of the city, and out of any scrutiny, into the nearing mountains and countryside where some of the first performance art pieces were trialled and documented. Over 26 years later, Radulovic uses this original material to reflect and comment on the unusual approach to performance art in Vietnam in the 1990s. She asks some of the participants about the situation at that time and provides an up-to-date view at the historical context in which these videos and the workshop were created.
— Source: edited from the Goethe-Institut
Veronika Radulovic first came to Hanoi in the early 1990s to study Vietnamese lacquer art. From 1994 to 2005 she was the first international lecturer at the Hanoi University of Fine Arts, sponsored by DAAD (German Academic Exchange Service). Working in cooperation with various institutions and museums in Germany, she served as an important link between German and Vietnamese contemporary art, and curated several major exhibitions, including: Lacquer, Earth, Stone at the Museum für Lackkunst Münster, Germany (sponsored by BASF, 1995); the Gap Vietnam Project at the House of the World Culture Berlin (1998); the project Ryllega Berlin at the Volksbühne Berlin (2008); and the exhibition at the ifa Gallery Berlin (Institut für Auslandsbeziehungen) Connect: Kunstszene Vietnam (2009/2010). Due to her many years of teaching and her extensive activities in Hanoi and Vietnam, Veronika Radulovic is considered one of the most important pioneers in the development of the contemporary art scene in Vietnam. http://www.radulovic.org/wordpress/
「Becoming Alluvium（漂砂になる）」
監督：Thảo Nguyên Phan (タオ・グエン・ファン)｜ベトナム｜2019-ongoing｜カラー｜16分
Fundaciò Joan Miró（ジョアン・ミロ・ファウンデーション）と共同で、Han Nefkens Foundation-LOOP Barcelona Video Art Production Award 2018を受賞。アーティストとしての活動に加え、専門分野を超えた実践を探求し、地域コミュニティに利益をもたらすアートプロジェクトを開発するコレクティヴ「Art Labor」の共同ファウンダーでもある。
http://www.thaoguyenphan.com/
主な国際展への参加：
Pirelli HangarBiccoca (Milan, Italy, 2023)、 Venice Art Biennial (Venice, Italy, 2022)、Tate St Ives (Cornwall, UK, 2022)、Chisenhale gallery (London, 2020)、WIELS (Brussels, 2020)、Rockbund Art Museum (Shanghai, 2019)、Lyon Biennale (Lyon, 2019)、Sharjah Biennial (Sharjah Art Foundation, 2019)、Dhaka Art Summit (2018)、Para Site (Hong Kong, 2018)、Factory Contemporary Art Centre (Ho Chi Minh City, 2017)、Nha San Collective (Hanoi, 2017)、and Bétonsalon (Paris, 2016)
Thảo Nguyên Phan, Becoming Alluvium(2019)
Duration: 16:40
‘Becoming Alluvium continues Thảo Nguyên Phan’s ongoing research into the Mekong River and the cultures that it nurtures. Through allegory it explores the environmental and social changes caused by the expansion of agriculture, overfishing and economic migration of farmers to urban areas. […] Although non-chronological in narrative and associative in logic, ‘Becoming Alluvium’ unfolds over three-chapters telling stories of destruction, reincarnation, and renewal. Bringing together a host of literary references from Khmer folktales, the poetry of Rabindranath Tagore, to The Lover by Marguerite Duras, and Italo Calvino’s Invisible Cities. History and mythology flow and ebb through this film, like the river it traces which snakes through Tibet, China, Burma, Thailand, Laos, Cambodia, and Vietnam.
— Source: The Institute of Modern Art
Trained as a painter, Thảo Nguyên Phan is a multimedia artist whose practice encompasses video, painting and installation. Drawing from literature, philosophy and daily life, Phan observes ambiguous issues in social conventions and history.
Phan exhibits internationally, with solo and group exhibitions including Pirelli HangarBiccoca (Milan, Italy, 2023); Venice Art Biennial (Venice, Italy, 2022); Tate St Ives, (Cornwall, UK, 2022); Chisenhale gallery (London, 2020); WIELS (Brussels, 2020); Rockbund Art Museum (Shanghai, 2019); Lyon Biennale (Lyon, 2019); Sharjah Biennial (Sharjah Art Foundation, 2019); Dhaka Art Summit (2018); Para Site (Hong Kong, 2018); Factory Contemporary Art Centre (Ho Chi Minh City, 2017); Nha San Collective (Hanoi, 2017); and Bétonsalon (Paris, 2016), among others. She was granted the Han Nefkens Foundation-LOOP Barcelona Video Art Production Award 2018, in collaboration with Fundaciò Joan Miró. In addition to her work as a multimedia artist, she is co-founder of the collective Art Labor, which explores cross disciplinary practices and develops art projects that benefit the local community.
Phạm Nguyễn Anh Tú, Soap Bubbles, 2021 Duration: 7:00 * Part of ‘Lưng Chừng’ supported by the Goethe-Institut’s Ignite Creativity Grant.
A gay superhero experiments with his first queer memory while navigating rumours that queerness could be potentially contagious in Vietnam. Assuming different humorous and irreverent roles and combining these with segments of an actual performance done in Ho Chi Minh City, the artist reexamines news outlets as one of the primary sources that generates and reifies stereotypes on the LGBTQIA+ community in Vietnam. By recreating scenes of memory, interweaving it with pop song fantasy and family anecdotes, the video contemplates on the role that memory and external forces play in formation of one’s identity. The work was produced and screened as part of ‘Lưng Chừng / In the Middle of Nowhere’, a screening project welcoming alternative narratives, conversation on queer identities, examining and deconstructing the stigmatisation on the Vietnamese queer community.
— Source: edited from the Goethe-Institut
Phạm Nguyễn Anh Tú is a visual artist born and raised in Sài Gòn, Việt Nam. He approaches video making through combinations of animated collages and chroma key compositing to recreate scenes of personal memories, fantasy and inner dialogues. He is interested in using art as a site for experimenting and critically reflecting, to grasp the systems of knowledge that structure our world in order to rethink and reimagine our engagement with the physical world.
He is the recipient of the Prince Claus Fund’s Seed Award, 9th International Biennial of University Visual Art Award, PULSE Award, Dogma Prize 2019 and 2021, and Ignite Creativity Grant 2021 from Goethe Institut. His works have been shown internationally at The British Museum, International Short Film Festival Oberhausen, 4th Thai Short Film and Video Festival, Stuttgart Film Winter, Kassel Dokfest, New Mexico Experiments in Cinema International Film Festival. He is also the founder of Nãi Cinema and the co-founder of Saigon Experimental Film Festival. He lives and works between Germany and Vietnam. https://www.instagram.com/naicinema/
「Precious. Rare. For Sale.（プレシャス・レア・フォーセール）」
監督：Lêna Bùi｜ベトナム｜2023｜カラー｜12分
Duration: 12:40 Commissioned by Asian Film Archive
‘Precious. Rare. For Sale.’ takes a broad sweep at the presentation of nature in Vietnamese moving images from the 1990s. From being an abode for majestic and magical beasts, to serving as a backdrop for war heroics and social realist tragedies, representations of nature have been shaped by Vietnam’s changing socio-political contexts.
Reflecting on how filmmakers have portrayed the environment, Bùi questions the ethics of exploiting nature for the camera. While early ethnographic films shot by the French depicted the Vietnamese jungle as an untouched, primitive landscape, today’s images of razed forests and neatly-partitioned land plots reveal how nature has become a commodity for a rising middle-class. Captured on screen by property developers and thrill-seeking vloggers alike, nature’s images shape-shift constantly, feeding into an endless loop of mediated consumption.
— Source: ‘Monograph 2023’, Asian Film Archive
Lêna Bùi produces works that are drawn sometimes from anecdotes, and at other times from in-depth articulations of human relationships to nature and the impact of rapid development on people’s lives. Working mainly through painting and video, she reflects on the ways in which tradition, faith, death and dreams influence our behaviour and perception.
Lêna holds a B.A in East Asian Studies from Wesleyan University. Her work has been shown in solo, group exhibitions and screening programmes such as Monograph 2023 by Asian Film Archive; 2022 Jeju Biennale, the Asia Culture Center, South Korea; Sharjah Art Foundation, UAE; Sàn Art and The Factory Contemporary Art Center, Vietnam; Haus der Kulturen der Welt, Germany; and the Wellcome Collection, London.
A sardonic commentary on the yearning for Eden, ‘My Paradise’ features Quynh Đông’s own parents as protagonists within a dreamlike and kitschy landscape of Vietnamese idealism. She references a myriad of cultural icons, motifs and settings including oriental-styled maquettes of a teahouse, pavilion and half-moon Chinese bridge made by the artist’s father, to reinforce an overblown nostalgia fed by mythic imagery. […] Marrying both traditional and pop imagery with a garish sensibility, Đông satirises the construct of ‘The Orient’ through the times.
— Source : Yeo Workshop.
Quỳnh Đông creates hyper-real video works to provide an innate platform upon which she deliberately challenges cultural stereotypes. Her practice extends to also include performance and sculpture. She studied Fine Arts at Bern University of the Arts, and completed her MA in Fine Arts at Zurich University of the Arts. Her work has been exhibited internationally, notably including the Kunsthalle Bern, Galerie Perotin in Paris, Rijksakademie van beeldende kunsten in Amsterdam, and Galerie Bernhard Bischoff & Partner in Bern. She has further performed her works at Institut de Recherche et Coordination Acoustique/Musique Paris; Museé cantonal des Beaux-Arts Lausanne in Switzerland ; LISTE 17, the Young Art Fair in Basel, Switzerland; the Emily Harvey Foundation in New York, USA; and YAP`15, The Twinkle World, Exco 1F, Deagu, in South Korea.
Beer with Artist vol.5では、西成区 EARTHを会場にトークイベントを行います。 本イベントは「アーティストに聞いてみる」をテーマに、気軽にアーティストとの交流を生むカジュアルなトークイベントです。来日したアーティストと一緒に食事やお茶を楽しみ、会話を交わし、新たなつながりを築くことを目的とします。作品の事だけでなく、登壇者に対する素朴な疑問や、フランスの生活についてなど、自由な会話を楽しむ機会をもちたいと思います。この機会に、一緒に時間を共にしながらアーティストの視点を介して、世界に足を踏み入れてみませんか？皆様がふらりと立ち寄られることを心待ちにしております。
「Beer with Artist vol.5」
with コランタン・ラプランシュ・ツツイ／Corentin Laplanche Tsutsui トークイベント『大阪スタヂアムという地層』
Beer with Artist vol.5 with Corentin Laplanche Tsutsui
”Beneath the Field: The Strata of Osaka Stadium”
Corentin Laplanche Tsutsui (https://corentinlaplanchetsutsui.cargo.site/) was born in southwestern France, near the Pyrenees Mountains. After graduating from Ecole nationale supérieure des Arts Décoratifs (Paris), he started a practice-based research program as a PhD candidate at École nationale supérieure de la Photographie (Arles) – due in 2024. From 2021 to 2023, he took part in the residency program at Artagon Marseille. He started a project related to the Osaka Stadium in 2022 and is currently doing a research residency in Osaka. His artistic practice mainly involves film, installation, text and photography. He is interested in how built environments affect perception and use, how it informs . Through a process of critical fascination, and with material narratives, his practice is trying to deconstruct how urbanism and architecture work, and focus on how those are lived and perceived. His most recent works are related to the development and transformation of global cities and metropoles.
Their talk session, Beer with Artist vol.5, is scheduled to take place at EARTH in Nishinari area in Osaka.
This event is designed as a casual talk session with “Frank Q&A.” It aims to foster casual interactions with the art practitioners, allowing attendees to enjoy meals and drinks, engage in spontaneous conversations, and forge new connections – a refreshing divergence from standard artist talks. We invite attendees to not only discuss the art itself but also to delve into candid inquiries about himself, his life experiences, among other topics. We eagerly anticipate your presence.
EVENT details Beer with Artist vol.5 with Corentin Laplanche Tsutsui
”Beneath the Field: The Strata of Osaka Stadium”
Date & Time: February 29, 2024 18:00-20:00, (Talk) 16:00-20:00 (screening/ 2works in a loop)
Language: English
Fee: free (donation)
Organized by: TRA-TRAVEL
Co-organized by: EARTH
■ OCAC（Open Contemporary Art Center） https://www.facebook.com/opencontemporary
2001年に台湾の板橋で設立されたOpen Contemporary Art Center（OCAC）は、バンコクや台北の様々な地区を拠点に進化を遂げてきたアーティストコレクティブ。初期にはアーティストスタジオ、ブッククラブ、展覧会などのプログラムを提供していましたが、現在では特にタイのアーティストとの国際的なつながりを深めるための「ThaiTaiプロジェクト」を通じて成長を遂げています。現在は9人のメンバー全員が活動中のアーティストで、OCACは現代アートシーンにおける多様な対話と芸術的可能性を促進するシンクタンクおよびプラットフォームとして機能しています。
■ Date: 3rd February 2024
■ Venue: “JUU” 1-17-20, Umeka, Konohana-ku, Osaka
■ Admission: Free (donation required) * Capacity: 30 people (no reservation required)
■ Curation: P.M.S.
■ Organizer: TRA-TRAVEL and OCAC (Open Contemporary Art Center)
■ Collaboration: FIGYA
■ Subtitle translator: Yuki Hosoya, Ryo Ryuzaki
■ Talk moderation: Moeka Tarumi
■ Talk interpreter: Rosaline Lu
■ Support: Osaka city, Housen Cultural Foundation, and National Culture and Arts Foundation, Department of Cultural Affairs, Taipei City Government
■ Introduction:
“Un/Uttered” is a Taiwanese video screening event by the team P.M.S.,based in Taiwan. This screening features video works by artists from different indigenous communities in Taiwan, focusing on works that delicately balance the concept of Un/Uttered to approach the essence of individual existence in complex modern society. Through these video works produced in Taiwan, our neighbouring country, the event will provide an opportunity to explore various boundaries such as urban and traditional cultures, human and nature, perceptions of gender, and complex identities in contemporary society. Following the screening, there will be a post screening talk event with the visiting directors and P.M.S., offering a deeper insight into the works. We warmly invite you to join us for this enlightening experience.
■ Screening Program (with a 20-minute break between Part One and Part Two)
Part One:
“Lost Days” by Kawah Umei | TW| 2019 | Color | 30 minutes
“Woman the Hunter” by Rngrang Hungul | TW | 2022 | Color | 17 minutes
“The mother’s voice” by Kagaw Omin | TW | 2023 | Color | 15 minutes
Part Two:
“Ugaljai” by Baru Madiljin | TW| 2016 | Color | 4 minutes
“Misafahiyan Transformation” by Posak Jodian | TW| 2022 | Color | 16 minutes
Note: “Ugaljai,” “I Am a Woman, I Am a Hunter,” and “Misafahiyan Transformation” are each recipients of the PULIMA Art Award(*).
(* The PULIMA Art Award, established by the Indigenous Peoples Cultural Foundation in 2012, is Taiwan’s first national art award dedicated to indigenous art. It honors contemporary Austronesian artistic creations, and embodies the creative spirit of indigenous peoples in Taiwan. )
■ About P.M.S.
P.M.S., established in 2022 by Posak Jodian, manman, and Sophie Chen, is a group that shares various interests related to video, including aesthetics, culture, and politics. They have organized multiple screening events, primarily focusing on themes of indigenous communities and the fluidity of gender. Following the screenings, they facilitate discussions to share diverse perspectives, enhance mutual understanding, and explore the dynamics between individuals and groups.
OCAC / Open Contemporary Art Center, founded in 2001 in Banqiao is an artist collective that has evolved through various locations, including Bangkok and different districts in Taipei. Initially offering programs like artist studios, book clubs, and exhibitions, OCAC has grown to foster international connections, notably with Thai artists through the ThaiTai Project. Now with nine members, all active artists, OCAC serves as a think-tank and platform, promoting diverse dialogues and artistic possibilities in the contemporary art scene.
Beer with Artist vol4では、北加賀屋を会場にトークイベントを行います。 本イベントは「アーティストに聞いてみる」をテーマに、気軽にアーティストとの交流を生むカジュアルなトークイベントです。来日したアーティストと一緒に食事やお茶を楽しみ、会話を交わし、新たなつながりを築くことを目的とします。作品の事だけでなく、登壇者に対する素朴な疑問や、タイの生活についてなど、自由な会話を楽しむ機会をもちたいと思います。この機会に、一緒に時間を共にしながらギャラリストの視点を介して、世界に足を踏み入れてみませんか？皆様がふらりと立ち寄られることを心待ちにしております。
イベント情報 「ギャラリスト・ジョンスワットに聞くタイのアート」
日時：2024年2月14日 18:00~20:00 要予約
言語：英語
料金：飲食割り勘制
主催：TRA-TRAVEL
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
Beer with Artist vol.4 with Jongsuwat Angsuvarnsiri ” Ask gallerist Jongsuwat Art in Thailand”
Jongsuwat Angsuvarnsiri is a co-founder of SAC Gallery based in Bangkok and Chiang Mai where he also runs a residency program. Having graduated from Sotheby’s Institute of Art in London, Jongsuwat’s interest is in art investment, art business development and art collecting. At the gallery, Jongsuwat focuses on working with emerging artists to connect between Thailand and the international art scene.
Their talk session, Beer with Artist vol.4, is scheduled to take place in Kitakagaya area in Osaka.
This event is designed as a casual talk session with “Frank Q&A.” It aims to foster casual interactions with the art practitioners, allowing attendees to enjoy meals and drinks, engage in spontaneous conversations, and forge new connections – a refreshing divergence from standard artist talks. We invite attendees to not only discuss the art itself but also to delve into candid inquiries about himself, his life experiences, among other topics. We eagerly anticipate your presence.
EVENT details Beer with Artist vol.4 with Jongsuwat Angsuvarnsiri ” Ask gallerist Jongsuwat Art in Thailand”
Venue: Inquiry required (up to 15 people)
Date & Time: February 14, 2024 18:00-20:00, reservation required
展覧会プログラム（2007年以来110以上）のほか、Sàn Artの過去のプロジェクトには、アーティスト・レジデンス「Sàn Art Laboratory」（2012-2015年）、出版物やイベントのシリーズ「Conscious Realities」（2013-2016年）などがあり、グローバル・サウスに焦点を当てた作家、アーティスト、思想家、文化関係者を招いている。2018年、Sàn Artはキュレーター養成学校「Uncommon Pursuits」と、ベトナムとこの地域の近現代美術の対話に焦点を当てた新しいギャラリーを立ち上げた。また同年、MoT+++およびNguyen Art Foundationと共同で設立した国際的なアーティスト・レジデンシー・プログラムであるA. Farm（2018-2020）を開始した。
2001年に台湾の板橋で設立されたOpen Contemporary Art Center（OCAC）は、バンコクや台北の様々な地区を拠点に進化を遂げてきたアーティストコレクティブ。初期にはアーティストスタジオ、ブッククラブ、展覧会などのプログラムを提供していましたが、現在では特にタイのアーティストとの国際的なつながりを深めるための「ThaiTaiプロジェクト」を通じて成長を遂げています。現在は9人のメンバー全員が活動中のアーティストで、OCACは現代アートシーンにおける多様な対話と芸術的可能性を促進するシンクタンクおよびプラットフォームとして機能しています。
■ Mediating Media Arts https://www.instagram.com/mediating_media_arts/
Mediating Media Artsはカールスルーエの文化施設ZKMのアートメディエイターBarbara Kiolbassa と Fanny Kranzが立ち上げたチーム。2022年にMMAは韓国、日本、インドネシアを訪れ、非ヨーロッパ的文脈におけるメディア・アートの媒介を探求し、多くのネットワークを築き、そして何よりもたくさんの食事を交わしました。
MMAは、韓国、日本、インドネシアで実践されているメディアアートの仲介（メディエイション）戦略について、また、メディアアート媒介の差し迫った課題は何なのかを、それぞれのローカルな文脈を踏まえて研究した。TTT vol.5では、彼らの経験を紹介する。
Sàn Artでの展覧会企画と並行して、「Saigon Experimental Film Festival’ editions III and IV (2020年、 2022年) 」の共同キュレーション、 A. Farm (2018-2020年)、Times & Realities (2021年)、Sàn Art Studio (2021年〜)、Ecologies of Water (2023-)といったレジデンシープロジェクトにも関わっている。
OCAC（Open Contemporary Art Center）の主要メンバーであるルオ・シードンの芸術実践は、個人としてのアート表現の追求と集団的な実践への関心という、二つの異なる磁場から形作られています。
2011年にはパリのポンピドゥー・センターで行われた「Rencontres Internationales Paris/Berlin/Madrid」や、フランスのリヨン・ビエンナーレ「Une terrible poetique」に参加しました。2014年には、国立文化芸術基金から海外芸術旅行プログラムの助成を受け、インドネシア、フィリピン、タイの芸術スペースやコレクティブのリサーチや交流を進めました。台湾と東南アジアの間で多数の共同プロジェクトを実施しており、例えば、Jiandyinとの共同での「ThaiTai: A Measure of Understanding」（2012-2014）、Lifepatchとの「CO-Temporary: Itu Apa Island」（2016）、PETAMUプロジェクト（2018）、そして「A Fly Enters. Immense Breath of the SEA」シリーズ（2020-2022）など。2022年には、Baan Noorg Collaborative Arts & Cultureと共にカッセルのDocumenta15に参加しました。
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TRA-TRA-TALK vol.5
9 Questions: Exploring the works of Art organizations and prospects for global collaboration – Insights from Taipei, Ho Chi Minh, and Karlsruhe
■ Introduction:
Researchers often engage in conversations with knowledgeable individuals who can provide insights and answers, helping to advance their projects and research. This event is designed to make such research processes public, creating a “space for mutual learning” where the audience can actively participate in exchanging opinions and ideas. In TTT vol.5, TRA-TRAVEL will take on the role of the “researcher,” while three art organisations from Taipei, Ho Chi Minh City, and Karlsruhe will serve as “responders.” The event will facilitate dialogue and research, centring on “Exploring the Activities of Art Organisations and Prospects for International Collaboration.”
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“TTT vol. 5” will commence with a series of nine questions and feature prominent participants: the Taipei artist collective “OCAC,” the Ho Chi Minh City-based artist initiative platform “Sàn Art,” and “Mediating Media Arts,” a project initiated by art mediators from the ZKM cultural instituion in Karlsruhe. This event aims to foster a dialogue on how art functions across different countries, regions, and time zones, and to explore current trends. We will delve into the diverse aspects of “art organisations, history, cultural funding, and international cooperation,” which vary significantly from one region to another. This gathering presents a unique opportunity to engage with contemporary art trends and to acquire fresh perspectives and inspiration. We eagerly anticipate your participation!
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*Associated Event Screenings:
In conjunction with TTT vol.5, we are excited to present two special screenings at the same venue: 1) A showcase of Taiwanese video works by P.M.S. from OCAC, Taipei, scheduled for Saturday, Feb. 3, and 2) A selection of Vietnamese video works curated by Mart Lou David of Sàn Art, Vietnam, set for Sunday, Feb. 18. These screenings promise to enrich the overall experience of the event.
■ Sàn Art https://san-art.org/
Sàn Art, founded in 2007 in Ho Chi Minh City as an artist-led platform, has since grown into a leading independent arts organization in Vietnam and the region. Maintaining a commitment to grassroots support for local and international artists and cultural work, Sàn Art is also a site for critical discourse with regular educational initiatives.
Sàn Art has hosted over 110 exhibitions since 2007, alongside projects like the Sàn Art Laboratory artist-residency and Conscious Realities, featuring publications and events with a Global South focus. In 2018, it launched Uncommon Pursuits, a curatorial school, and a new gallery for modern and contemporary art dialogues in Vietnam and the region. The same year saw the inception of A. Farm, an international artist residency program, in collaboration with MoT+++ and the Nguyen Art Foundation.
Opening a new chapter in the organization’s history, Sàn Art is expanding as a community hub to support and foster innovative and experimental practices and perspectives.
OCAC / Open Contemporary Art Center, founded in 2001 in Banqiao, is an artist collective that has evolved through various locations, including Bangkok and different districts in Taipei. Initially offering programs like artist studios, book clubs, and exhibitions, OCAC has grown to foster international connections, notably with Thai artists through the ThaiTai Project. Now with nine members, all active artists, OCAC serves as a think-tank and platform, promoting diverse dialogues and artistic possibilities in the contemporary art scene.
■ Mediating Media Arts https://www.instagram.com/mediating_media_arts/
In October 2022, Barbara and Fanny embarked on a research trip to Korea, Japan, and Indonesia. Their goal was to explore media art mediation in non-European contexts, establish numerous networks, and, importantly, share a variety of culinary experiences. MMA conducted research into the specific strategies used for media art mediation in these countries, focusing on the unique challenges and issues relevant to each local context. At TTT vol.5, they will present their findings and experiences.
■responder
Mary Lou David
Born in Paris, raised in London and now living in Ho Chi Minh City, Mary is one of the curators currently running Sàn Art, an leading contemporary arts organisation in Vietnam. In addition to her ongoing interests in experimental cinema, video art, and queer performance, Mary is interested in developing new networks of support and collaboration between independent art spaces in the region. Aside from her exhibition work, she has also co-curated ‘Saigon Experimental Film Festival’ editions III and IV (2020 and 2022) and been involved in a variety of residency projects including A. Farm (2018-2020), Times & Realities (2021), Sàn Art Studio (2021-), Ecologies of Water (2023-).
* Mary’s research and stay in Japan has been made possible through the generous support of the Ishibashi Foundation / The Japan Foundation Fellowship for Research on Japanese Art.
Lo Shih Tung
Lo Shih Tung’s practice orbits around two different gravities—of his personal artistic pursuit as well as of his interest in collective practice. As a leading member of Open Contemporary Art Center, Lo has been taking a very specific role in navigating potential interactions among cross-cultural perspectives and artistic practices, investigating the force of art that is Nmobilized and shaped by form, space, model and relation of collaborative process. His individual practice pays attention to fragmented narration and reflection of a contextual setting or environment, operation and composition of the world.
Lo has participated in the 2011 Rencontres Internationales Paris/Berlin/Madridat Centre Georges Pompidou, Paris/ France, and also Une terrible poetique, La Biennale de Lyon, France. In 2014 Lo received the grant Overseas Arts Travel Program from The National Culture and Arts Foundation (NCAF) and preceded his research and exchanges with art spaces and collectives in Indonesia, Philippines and Thailand. Lo also initiates and participates in numbers of collaborative projects between Taiwan and Southeast Asia. Such as ThaiTai: A Measure of Understanding in collaboration with Jiandyin (2012-2014), CO-Temporary: Itu Apa Island (2016) in collaboration with Lifepatch, PETAMU project (2018), A Fly Enters. Immense Breath of the SEA series (2020-2022). Participate in Documenta 15, Kassel with Baan Noorg Collaborative Arts & Culture in 2022.
ジャコモ・ザガネッリ（Giacomo Zaganelli）とシルビア・ピアンティーニ（Silvia Piantini）は、イタリア出身でベルリンを拠点とするアーティスト兼デザイナーのデュオです。彼らはアジア、特に台湾や日本で精力的に活動しており、土地の文脈や地元民と多文化的対話を通じて、空間、身体性、生物と素材の関連性を探求しています。
Beer with Artist vol.2では、西成区の居酒屋を併設するアートスペース「イチノジュウニのヨン」を会場にトークイベントを行います。
本イベントは「アーティストに聞いてみる」をテーマに、気軽にアーティストとの交流を生むカジュアルなトークイベントです。来日したアーティストと一緒に食事やお茶を楽しみ、会話を交わし、新たなつながりを築くことを目的とします。作品の事だけでなく、アーティストに対する素朴な疑問や、イタリアやベルリンの生活についてなど、自由な会話を楽しむ機会をもちたいと思います。この機会に、一緒にお茶を飲みながらアーティストの視点を介して、世界に足を踏み入れてみませんか？皆様がふらりと立ち寄られることを心待ちにしております。
“Beer with Artist”
Vol.2 Giacomo Zaganelli and Silvia Piantini
November 4, 2023, from 4 to 6 PM @ Ichinojuni no Yon
1-12-4 Sanno, Nishinari-ku, Osaka City
Giacomo Zaganelli and Silvia Piantini are an artist-designer duo from Italy, currently based in Berlin. United by a shared perspective on art and life, they delve into the intricate relationships between space, physicality, living entities, and materials. Their practice is deeply rooted in research and the discovery of diverse contexts, wherein they explore unique details and foster multicultural dialogues with local communities.
Their talk session, Beer with Artist vol.2, is scheduled to take place at “Ichinojuni no Yon,” an art space that also functions as an izakaya (Japanese-style pub), located in Nishinari.
This event is designed as a casual talk session with “Frank Q&A.” It aims to foster casual interactions with the artists, allowing attendees to enjoy meals and drinks, engage in spontaneous conversations, and forge new connections – a refreshing divergence from standard artist talks. We invite attendees to not only discuss the artworks but also to delve into candid inquiries about the artists, their life experiences in Italy and Berlin, among other topics. It’s a rare chance to explore global perspectives, all while sharing a cup of tea. We eagerly anticipate your presence.
“Beer with Artist”
Vol.2 Giacomo Zaganelli and Silvia Piantini
Date: November 4, 2023 (Saturday) from 4 to 6 PM
*Free entry and exit, no reservation
Venue: Ichinojuni no Yon
1-12-4 Sanno, Nishinari-ku, Osaka City
Language: English, Japanese
Fee: Free (One-drink order system)
Organizer: TRA-TRAVEL
In cooperation with: C-index, FIGYA, NART
■ Artist Profile
Giacomo Zaganelli and Silvia Piantini
Giacomo Zaganelli and Silvia Piantini are an artist+designer duo from Italy, based in Berlin. Working together and sharing the same approach towards art and life, the duo investigates the connection and the relationships between space and physicality, living things and materials.
The research and discovery of different contexts, exploring peculiar details and activating a multicultural dialogue with locals, are considered fundamental moments and integrant part of their practice. A participatory approach and an unconventional involvement of the local resources always influence the outcome of their collaboration, encompassing different types of languages that, from time to time, take the form of actions, interventions, installations, performances, case studies. Art as a medium to get in touch with local contexts.
The duo has been actively working in Asia for many years, mainly in Taiwan and Japan and recently also in Thailand. In 2021 Zaganelli participated in the Thailand Biennale in Korat and Piantini joined him as project coordinator.
TRA-TRAVELの新たな試み「Beer with Artist」は、”アーティストと共に飲む”をテーマにしたカジュアルなトークイベントです。来日したアーティストと一緒に食事やお酒を楽しみ、会話を交わし、新たなつながりを築くことが本イベントの目的です。一般的なアーティストトークとは異なり、気軽な交流が生まれる空間を作り出すことを目指しています。
第一回目は、オーストリア出身の現代アーティスト、ファニ・フッタークネヒト（Fanni Futterknecht）さんをゲストに迎えます。彼女の作品やアーティストとしての思考、そして現在の関心事について深く掘り下げながら、自由な会話を楽しむことができます。
Fanni Futterknecht（以下FF）：今回は招待ありがとう！ Beer with Artistというアイデアも好きだし、自分の作品について話したり、大阪で知らない人達と交流する機会がもてること楽しみです。私はウィーンを拠点に活動するビジュアルアーティストで、パフォーマンス、インスタレーション、ビデオ、テキストなど、主に物語性のあるさまざまなメディアを使って作品を作っていて、プロジェクトによってはパフォーマーやミュージシャンとコラボもよく行っています。最近は「kritzeln（落書き）」に関心があって、書き言葉や話し言葉の拡張形としてや、抗議運動のジェスチャーとして応用した制作も行っています。
QY：今回は「Beer with Artist」という名前の企画なので、オーストリアのお酒文化についても１つ質問していいですか？ 例えば 日本には「飲み会」という言葉があります。友人同士などで居酒屋などに集まって一緒に飲みながらお喋りを楽しむ会、みたいなものです。例えばビジネスシーンでは打ち合わせや会議ではなく「飲み会」で契約を取ったり、恋愛市場では合コンという「飲み会」があったり、いろいろ社会的な機能があったりします。オーストリアはいかがですか？
TRA-TRAVEL’s new venture, “Beer with Artist,” is a casual talk event themed around “drinking with the artist”. The aim of this event is to enjoy meals and drinks with artists visiting Japan, exchange conversations, and build new connections. Unlike typical artist talks, we aim to create a space where casual interactions can occur.
Our first guest is Fanni Futterknecht, a contemporary artist from Austria. You can enjoy free conversations while delving deeper into her works, thoughts as an artist, and current interests. Why not take this opportunity to step into the artist’s world while sipping on a drink or coffee together? We look forward to your participation.
Born in Vienna Fanni Futterknecht has been studying fine art, contextual painting and video at the Gerrit Rietveld Academy Amsterdam and the Academy of Fine Arts Vienna. She participated at CNDC in Angers in France researching live performance, space and the body.
Fanni Futterknecht’s works adopt a position that spans media, ranging between video, performance and installation. In her works she reflects on sociological and social questions, converting them into poetic interpretations. In spatial and plastic realizations and translations, and by means of language, the artist works on – in the form of performance, demonstrations, videos and installations – the construction and deconstruction of scenarios. Performance-installations are understood as processual sculptures, transforming creatively during their staging.Part of this investigation is a concern with processes of media translation and a questioning of the media employed in each context: the translation of the performance into a video. The video as an exhibition. The installation as a performance
■pre-interview with the artist
Qenji Yoshida (QY): We will be discussing this at our event, “Beer with Artist,” but could you briefly tell us about yourself as an artist and the kind of field/area you explore?
Fanni Futterknecht(FF): thank you so much for this invitation. I am really happy about this idea and to have the opportunity to exchange with you and other artists about my work.
So briefly, I am a Vienna based visual artist working with different media mainly of narrative nature such as performance, installation, video and text. I work a lot with different performers as well as musicians depending on the specific project. My last project was about the act of scribbling (in Austrian German kritzeln) as an extended form of writing and speaking and a performative gesture of protest. The work is based on an extensive exploration about rhetoric in public space.
QY: I’ve seen some of your projects, and I’m particularly interested in your performance. While you’re in Japan, what kind of project are you working on?
FF: I came to Japan this time in the frame of an ICA fellowship based on my current research around the theme of play culture and toys in its social and political dimensions. Main goal was to get a broad image, idea or even imagination of where play begins and where it ends in peoples everyday life.
QY: I believe Japan is rich in “play” cultures and would provide an excellent location for researching this topic.
FF: Definitely, Japan is the perfect ground for this exploration as it offer endless opportunities and inputs around the notion of play and game.
This time I found my stay in Japan, even though it was my third time already, challenging, mainly due to language barriers but also I found the artistic context of Kyoto more closed than other bigger cities in Japan such as Tokyo or Osaka . It might have to do with the fact that Kyoto is a very touristic place and emerging in this context as a foreigner can be harder than for example in Tokyo.
In Japan many relationships establish through being introduced through others, as a foreigner you kind of depend a bit on others taking care for you. That can be on the one hand something really beautiful as my experience in Japan has always been defined by meeting many warm and welcoming people, but sometimes this dependence can also become suffocating when you do need to sort things on your own.
QY: Since this event is titled “Beer with Artist”, I’d like to ask you about your own drinking culture or that of your country. In Japan, we have “Nomikai” (drinking parties). These are gatherings where friends come together at an izakaya (Japanese-style pub) to drink and chat. In business, contracts are often made at “Nomikai” instead of formal meetings or conferences, and in the dating scene, we have a special “Nomikai” called “Gokon”. So, “Nomikai” serves various social functions. What about Austria?
FF: I have had many Nomikais, I guess, in my previous stays in Tokyo, at least many social moments in bars with friends and colleagues.
In Austria we have a strong drinking culture too and we also have this saying that many contracts are made in the bars and not in the formal work environments. There is though quite a huge cultural difference. Despite the fact I consider austrians on a European scale rather shy, in comparison to Japan, they really are very direct in addressing issues that we disagree with or dislike. It is also something I personally always find challenging being in here: How to address a problem or discomfort in a non direct way and by all means avoiding an uncomfortable situation for the other? In Japanese culture you aim to avoid confrontation by all means but in Austria we do the opposite many times. As a consequence people argue much more, especially when they get drunk.
QY: Oh, it’s true that I don’t like confrontation either, and tend to think of a dialectic, or a third alternative if there is a conflict. Some people say that people in Japan don’t like confrontation because it is an island country, and they value harmony. Maybe there are political, social, or geopolitical influences… I’d like to talk more about this, but let’s talk more the bar!
It’s true, I also avoid confrontation, and when there’s a conflict, I tend to think dialectically or try to find a third alternative. Some people say that because Japan is an island country, there is a tendency to value harmony and avoid confrontation. Perhaps there are political, social, and geopolitical influences at play… I’d love to delve deeper about you and your practices as well as this topic, but let’s save that for the bar!
2004年公益財団法人福武財団に入社。2005年から「瀬戸内国際芸術祭」の準備に携わり、2011年まで直島、豊島、犬島の美術館の立ち上げやアートプロジェクトに携わる。2013年にディレクターとして文化事業会社ノエチカの創業に携わり、「KOGEI Art Fair Kanazawa」や「KUTANism」など石川県の地域文化である工芸のまちづくりやツーリズムなどに携わり、2021年に独立。artnessを創業し、アートプロジェクトのキュレーションやプロデュースを手掛けている。
In collaboration with: Mahasarakham Mid-field Artspace (Thailand) TRA-TRAVEL (Japan) Load na Dito (The Philippines)
Organizer: The Art Centre, Silpakorn University
Grants: Chishima Foundation for Creative Osaka
Partner : Kyoto Art Center
Exhibition Design and Installation Consultant: Kritsada Duchsadeevanich
Assistant Curator: Nat Setthana
Date: 16 December 2021 – 5 February 2022
Opening Reception 16 December 2021, 6.30 pm
At the Art Centre, Silpakorn University (Wang Thapra)
Participating Collective/Artist:
Mahasarakham Mid-field Artspace
– Adisak Phupa
– Sittikorn Khawsa-ad
– Chaiyapat Yachay
TRA-TRAVEL
– Yukawa-Nakayasu
– Qenji Yoshida
Load na Dito
– Mark Salvatus
– Mayumi Hirano
– Marian Barro
– Jad De Guzman
Exhibition statement
– Penwadee Nophaket Manont / curator
As we lament for social-injustice again and again, only persistence and unyielding to tyrannical power will allow us to unleash self-consciousness, dig into issues logically, accept and dare to face our own desires truthfully, to bring about the ripple effect of changes in our society.
It’s been two long years since the end of 2019, when people around the world have had to face the new coronavirus (COVID-19) epidemic which firstly took place at the largest wildlife market or Huanan seafood market in Wuhan, Hubei province, China. On January 12, 2020, the Ministry of Public Health, Thailand, announced the first case found outside China —a tourist from Wuhan. It became the beginning of the outbreak to spread across the country, affecting a wide range of people, particularly vulnerable populations with less social capital than others, such as the poor, informal laborers, migrant workers, homeless and disabled people. Limited access to treatment for the groups has reiterated social hiatus, public health inequality, and socio-political instability, under the Thai state’s ministration and visionless leader, with unjustified knowledge and notion.
“Conscientization” or the process of creating critical consciousness/awareness of an individual’s social reality through reflection and action, in changing the reality we are pressed against from the government, bourgeoisie, patronage system, feudalism, and authoritarian dictatorship. The attempt to critically reflect and act upon social issues as Paulo Freire —a former Professor of History and Philosophy of Education in the University of Recife, in Brazil— referred to and called it “Praxis” is the cornerstone of empowering the oppressed, generating the process of reform. According to Paulo Freire, “We all acquire social myths which have a dominant tendency, and so learning is a critical process which depends upon uncovering real problems and actual needs.”
de-CONSCIENTIZATION deliberately probes and challenges through enquiring the conscious and unconscious mind of people in society. When it’s time to battle with despair, even life and death, and the world’s one of humanity’s biggest crises, how does our ‘mind’ supposedly different from other creatures critically function, query, inspect, reflect upon the root of problems, to generate structural change? How can collective awareness create a rebellion wave among the oppressed?
TRA-TRAVEL共同代表。大阪を拠点に歴史や習俗や習慣をもとに、社会や身体、日常に内在している営為を視覚化する作品を制作発表している。近年では、2018年にThe 12th Arte Laguna Prize（ヴェネチア）大賞受賞。 www.yukawanakasu.net
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“Statement of the exhibition”
The rise of low-cost carriers (LCCs) brought a new perspective on geopolitics that closely connected cities beyond countries’ borders. For instance in Europe in 1993, the “Third Package” was adopted as the last stage of the step-by-step process of air transport liberalization, in order to fully open up airline markets. Since then, the EU’s “sense of community” actually started being cultivated beyond countries in accordance with the policy that “allows its people free movement of borders and guarantees them equal treatment with the citizens of the host country”.
Physical/psychological distances between cities have been reduced, and exchanges, intermingling, solidarities, or repulsions in multiple levels became normalized. Such situations could be described as a post-LCC era.
On the other hand, the network proposed by LCCs in Asia, unlike the EU, are subject to firm restrictions upon entry, such as the right to stay for both travelers and immigrants. The social movement dynamics are generated not freely, but formed by the intertwining interests of each country, which makes us imagine post-LCC situations in Asia distinct and diverse when compared with the one in the EU.
Japan, for instance, has started to ease the restrictions on travelers and workers coming from other Asian countries in recent years. The so-called “Inbound Travel Promotion Project (Visit Japan Project)” is part of the government’s measures to resolve the serious shortage of domestic labor. It has triggered more flows and movements of people, things and information, creating new dimensions of social phenomena that are becoming more visible and apparent. It would question, challenge and possibly alter traditional values and social conventions.
The exhibition, which invites a total of seven artists from four Asian countries, examines the “current dynamics brought about by the movement of people, things and information beyond borders”, through the artists’ perspectives on the themes such as tourism, immigration and communication.
The exhibition entails various processes and forms of collaboration, and cooperation, which embody current movement dynamics in Asia. By bringing together a series of excises and a collection of art works, the exhibition aims to trigger imaginations and reflections about a prospective time we call post-LCC.
TRA-TRAVEL
—–
Participating artists:
Mark Salvatus / PH, Mong-jane Wu / TW, Prapat Jiwarangsan / TH, Qenji Yoshida / JP,
Organizers: TRA-TRAVEL, Kyoto Art Center
Technical cooperation: Tomofumi Sanjo, Mami Matsumoto
Cooperation: エステート信, 株式会社応用芸術研究所, つづれ織工房おりこと, Load na Dito
Supported by Arts Support Kansai, Chishima Foundation
for Creative Osaka
—–
Mark Salvatus（Philippines）
Based in Manila, Philippines. Calling his overall artistic practice as salvage projects, Mark’s preoccupations are based in his constant movements and travels – coming from the countryside to the city and elsewhere, addressing and building new imaginations of the contemporary urban, the glocal migrant and the debris of vernacular historiographies. He also co-runs Load na Dito, a mobile research and artistic project initiated in 2016.
His recent exhibitions include Sharjah Biennale 2019 and Unfolding Fabric of our Life, Mill6 CHAT, Hong Kong 2019. www.cargocollective.com/marksalvatus https://loadnaditoprojects.cargo.site/
Mong-Jane Wu
Based in Taipei, Taiwan, received an MFA at the School of the Museum of Fine Arts, Boston. She incorporates photography, installation, sculpture, and performance in her practice, and explores ideas of form, formalities, and those of cultural and artistic conventions.
Her recent exhibitions included: “2018 Tainan International Foto Festival” (Tainan/TW, 2018) and “Snap Taking and Slow Thinking: Social Spectrum in the Age of Staged Photography” (Kaohsiung/TW, 2016) www.mongjanewu.com
Prapat Jiwarangsan
Based in Bangkok, Thailand, having a background in interdisciplinary art and research. His art works mianly investigate and represent the relationships between history, memory, and politics in Thailand—particularly in relation to the theme of migration.
His recent exhibitions included: “Singapore Biennale” (SG, 2019) and “Blackout, International Film Festival” (Rotterdam/NLD, 2019) www.prapat-jiwarangsan.com
Qenji Yoshida
Based in Osaka, Japan. His artistic practice explores in-betweenness through miscommunication between different languages, cultures, species in order to spin a new story or narrative.
He is a co-director of TRA-TRAVEL, initiated in 2019.
His recent exhibitions included: “Compiling behaviors, digesting actions” (Tokyo/JP, 2018) and “Delikado Peligroso” (Madrid/SP, 2017) www.Qenjiyoshida.com
Wantanee Siripattananuntakul
Based in Bangkok, Thailand. She is known for her critical approach towards socio-political, economical issues, etc, at the same time she continues Beuys project. She is also one of artists at Thai Pavilion, 53rd Venice Biennale, Venice in 2009.
Her recent exhibitions included: “The Broken Ladder” (Bangkok/TH, 2018) and Bremen, Kulturkirche St.Stephani, “Gruppen Bild” (Bremen/DE, 2018) www.wantaneesiri.com
Yukawa-Nakayasu (Japan)
Based in Osaka, Japan. Yukawa-Nakayasu confront aspects of human agency and its traces that span from the past until present from habits, history, to customs, as a means to create works that sculpturize diverse relationships through appropriation of their medium and context. He is a co-director of TRA-TRAVEL, initiated in 2019.
His recent exhibitions included: “The sweetness of life” (Tainan/TW, 2019) and “The 12th Arte Laguna Prize” (Venice/IT, 2018) www.yukawanakasu.net
Yu-Hsin Su
Based in Taiwan and Germany. An artist whose video essays investigate political ecology in planetary-scale, and politics and poetics inherent to expanded cinema praxis.
Her recent exhibitions included: “Taipei biennale” (Taipei/TW, 2020) and “Oozing Ecologies from an Upcoming Past” (Leipzig/DE, 2019) www.suyuhsin.net/
本映像作品は、南ロンドンのCamberwell周辺にあるキリスト教会の正面に複数設置されていた看板「PRIVATE PROPERTY / NO RIGHTS OF WAY（私有地立ち入り禁止）」を発見した場所から出発する。その建物が難民シェルターとして使用されていたことから、公共、宗教施設、私有地、支援と隔離が交錯する状況が浮かび上がった。救済のための共同体の開かれた場として想像されがちな教会の前で、立ち入り拒否の言葉が過剰に主張されていたことに、発見当初、作家は強い違和感を覚えた。そこで作家は、看板を移動させる行為によって、複数の「private」の領域が都市の中で立ち現れるのではないかと考えた。パフォーマンスでは、手書きの看板が作家自身の歩行に沿って都市のなかを反復的に移動していく過程で、境界そのものの不安定さが可視化されていく。
名古屋市在住。Minatomachi Art Table, Nagoya［MAT, Nagoya］共同ディレクター、アッセンブリッジ・ナゴヤ共同ディレクター／名古屋芸術大学准教授。2004-2008年BankART1929スタッフ。2009–2013年あいちトリエンナーレのアシスタントキュレーターとして、まちなか展示の会場を担当。アートプロジェクトやフェスティバル、アートセンターにおけるコーディネート、企画、運営を専門とする。
This moving-image anthology is a curated program organized by art directors working across various regions of Japan. Distinct from conventional selection processes led by specialists from film festivals or museums, the program recommends works from perspectives rooted in local contexts. The ways of seeing cultivated within regional communities shed light on distinctive expressions and experimental practices that are often overlooked within established professional frameworks of evaluation. By presenting not only the works themselves but also the viewpoints and judgments of the art directors involved in their selection, the program seeks to open multiple points of entry for engaging with contemporary moving-image practices.
The five selected works respond to the question of how one might assume responsibility for relationships with place and with others. Drawing upon characteristics specific to the moving image—such as its capacity to record time and the psychological and physical distance between camera and subject—these works articulate their positions with quiet intensity. Running throughout the program is a shared attitude: situating oneself within already existing relationships—whether family, local communities, national borders, or institutional frameworks—and confronting the tensions, frictions, and inexpressible subtleties that arise within them.
For those of us living in a chaotic contemporary society, the scenes these works present may appear as landscapes that feel somehow familiar. The temporality of cinema gradually shifts the events on screen from something belonging to others toward something closer to our own stories. This “screen”—a surface that allows us to pause and reconsider—holds the potential to open alternative perspectives.
Video Program
“Constructive Discussion” Shusuke NISHIMATSU｜Japan｜2019｜Color｜13 min
“I have something to talk to you about” Shun SASA｜Japan｜2016｜Color｜17 min
“Clipping Your Nails #03” Hayato ITAKURA｜Japan｜2025｜Color｜43 min
“Private Property No Rights of Way” Rika NAKASHIMA｜Japan｜2017｜Color｜12 min
— Intermission (10 min) —
“Call History” Yusuke SASAKI｜Japan｜2019｜Color｜89 min
Dates: March 21 (Sat) – March 27 (Fri), 2026 | 17:10–20:15
Venue: Cine Nouveau X (inside Cine Nouveau)
1-20-24 Kujo, Nishi-ku, Osaka, Japan
Admission: General ¥2,000 | Seniors / Students / Members ¥1,500
All seats reserved. Tickets available online and at the box office from 7 days prior to each screening. Capacity: 24 seats.
Tel: +81-6-6582-1416
Website: cinenouveau.com
Talk Event: March 22 (Sun), after the screening of The Screen Next Door
Guests: Rika Nakashima (Director of Private Property No Rights of Way) Shunsuke Nishimatsu (Director of Constructive Discussion) Yukawa-Nakayasu (Organizer of this program)
Director: Shusuke NISHIMATSU｜Japan｜2019｜Color｜13 min
On January 1, 2019, my family gathered at my paternal grandmother’s house for the first time in seven years. As we reunited after a long absence, I made a proposal to my family: “I want us all to try doing a group gymnastics routine together.”
At first glance, the proposal seemed absurd. Yet, through observing how each family member hesitated, became involved, and discussed the idea, I believed that the process itself might reveal family relationships, dynamics, and senses of distance that are difficult to articulate in words.
This documentary film explores the nature of the family as a collective through an act that family members would not ordinarily perform together in everyday life.
Shunsuke NISHIMATSU
Born in Gifu Prefecture, Japan. Based in Oita Prefecture. After graduating in 2012 from the Faculty of Arts at Nagoya University of the Arts (Oil Painting Course), he continued his studies at the Braunschweig University of Art in Germany. Working with themes of layered time and memory, Nishimatsu creates poetic works that intertwine encounters with others and subtle inner emotions with historical and social events.
Selected exhibitions include Anytime (Yufuin Station Art Hall, Yufuin, 2025), A Breath of Time (Grand Huit, Nantes, France, 2024), and A New Place (Art Gallery Miyauchi, Hatsukaichi, Hiroshima, 2023), among others.
I have something to talk to you about
Director: Shun SASA ｜ Japan｜2016｜Color｜17 minThis work is the video component of the installation There Is Something I Want to Tell You, first presented in Shun Sasa’s solo exhibition A Life Where a Song Can Be Heard (Destinations and Fingertips) (2016, ARTZONE, Kyoto). The exhibition was planned as a graduation project by Yuriko Fujimoto, who was a student at Kyoto University of Art and Design at the time. The work was initiated after Sasa, who visited Kyoto for research, learned about Fujimoto’s family business and her anxieties about life after graduating from university.
The installation consists of a video work and a lyric sheet, in which the song lyrics featured in the video are printed on an official marriage registration form. In Sasa’s subsequent solo exhibition There Is Something I Want to Tell You (2017, Gallery TURNAROUND, Sendai), where the work was re-presented, seating made from tatami mats produced by Fujimoto Tatami Shop in Saga, Kyoto, was added to the exhibition space.
Yuriko FUJIMOTO Born in Kyoto in 1994. Graduated from Kyoto University of Art and Design and completed her master’s degree at Akita University of Art. Since 2019, she has been working in her current position, involved in the operations of the Akita City Cultural Creation Center since its opening. Projects she has planned and produced include PARK – A Garden for Living and Making (Akita City, 2022), among others.
Shun SASA
Born in Miyagi Prefecture in 1986. He graduated in 2009 from the Department of Fine Arts, Painting Course, at Tokyo Zokei University. Currently based in Sendai, Sasa focuses on the history of places and the memories of people, working across installation, video, and workshops. He has realized numerous locally rooted works and projects, and has participated in exhibitions both in Japan and internationally.
Clipping Your Nails #03
Director: Hayato ITAKURA｜ Japan｜2025｜Color｜43 min
Since 2023, Itakura has continuously documented the act of cutting his own nails. The repetitive gesture of trimming fingertips that grow back again and again, along with the ambient presence and sounds of the surrounding environment inadvertently captured during filming, and events occurring outside the frame, draw different layers of time and distance into a single act. These elements gradually emerge as experiences that overlap with the present body.
In Cutting Nails, the work departs from such personal records to explore how hesitation and intimacy—generated through prolonged physical contact between people—can be drawn back into one’s own body, and how the memories and temporalities evoked through that process might be rearticulated through moving images. The conversations and silences that arise while cutting each other’s nails, the movements of the gaze, and the sensations transmitted through the fingertips, reveal the act of touching not as a fleeting moment, but as an experience in which multiple temporalities flow and overlap. This experience opens the imagination not only toward the body of the other present before us, but also toward layered pasts and relationships with others yet to be encountered.
Hayato ITAKURA:
Within production processes where multiple elements overlap, Itakura intervenes from the perspectives of environmental arrangement and spatial composition, specializing in acts of design within zones of interference (/buffering/viewing). In recent years, his practice has increasingly focused on acts of recording, on events that are preserved or left behind, and on their temporal velocities. Through this interest, he develops works that critically engage with recording practices and media themselves.
Private Property No Rights of Way
Director: Rika NAKAJIMA｜ Japan｜2017｜Color｜12 min
Following Donald Trump’s first election in the United States in 2016, and amid the political turning point of the United Kingdom’s withdrawal from the EU (Brexit), the artist experienced these shifts firsthand while living in the UK as a migrant. As discourses surrounding borders, nationality, and belonging rapidly hardened, the artist was confronted with the question of what “private” means.
This video work begins from the discovery of multiple signs reading “PRIVATE PROPERTY / NO RIGHTS OF WAY” installed at the front of a Christian church in the Camberwell area of South London. Because the building was being used as a refugee shelter, a situation emerged in which notions of the public, religious institutions, private property, support, and exclusion intersected. At the time of the discovery, the artist felt a strong sense of unease at the excessive assertion of exclusionary language placed in front of a church—often imagined as an open communal space for care and salvation.
In response, the artist considered whether relocating the signs might cause multiple domains of “the private” to surface within the city. In the performance, as the hand-painted sign repeatedly moves through the urban space in tandem with the artist’s walking, the instability of boundaries themselves is gradually rendered visible.
Rika NAKAJIMA: Nakajima is interested in the boundaries between the public and the private as defined by rationalism and capitalist systems. Working primarily through site-specific spatial practices, she develops her work across multiple modes of expression, moving fluidly between different artistic fields.
Call History
Director: Yusuke SASAKI｜ Japan｜2019｜Color｜89 min
In parts of Fukushima Prefecture, there is an urban legend known as “the Voice.” At an unexpected moment, one is addressed by an unfamiliar someone and engages in a casual conversation. While speaking, nothing seems amiss, but only afterward does a realization strike: “The person I was just talking to was not human. I have heard ‘the Voice.’”
Captivated by an encounter with “the Voice” experienced in childhood, he searches for clues that might allow him to hear it a third time. The relationship between him and me, who has accompanied him in this search, begins to shift gradually yet decisively with the arrival of an “artist” who also takes an interest in “the Voice.”
Through the layering of narrated audio that gives voice to the inner landscapes of these three figures and images of landscapes they may have seen, director Yusuke Sasaki presents a cinematic meditation on landscape for the twenty-first century.
Yusuke SASAKI
Born in 1985 in Kobe, Hyogo Prefecture. Sasaki is a filmmaker and media researcher. Centering on film and documentary production, his practice spans writing and publishing as well as exhibition curation, working across multiple fields. His major feature-length films include Asphalt (2013), Call History (2019), The Present of Film Love trilogy (2020), and the two-part Phantom Riders (co-directed with Izumi Kishima, 2025). He is currently contributing an ongoing series titled Screen Practices of Landscape to “Kami no Tane,” the website of Film Art, Inc.
Art Directors Involved in the Selection
Jiro Murakami Artist; Founder of Amefurashi; Associate Professor, Department of Fine Arts, Tohoku University of Art & Design Born in 1983 in Yamagata Prefecture. Completed a master’s degree at Kyoto City University of Arts. Since 2013, he has been based in Nagai City, Yamagata Prefecture, where he was born and raised. In 2015, he founded Amefurashi. His activities include the kosyau project, which repurposes a former printing factory, as well as projects dedicated to preserving traditional industries such as straw sandals and brooms. In 2017, he established Nagai Brewery Craftsman, a craft beer company that utilizes local ingredients. Through brewing, he explores beer-making as a form of landscape painting rooted in regional culture. https://ame-furashi.com/
Jumpei Mori PARADISE AIR; Project Associate Professor, Tokyo University of the Arts Born in 1985. Completed a master’s degree in architecture at Tokyo University of the Arts. In 2013, he founded the artist-in-residence program PARADISE AIR in Matsudo, Chiba Prefecture, which has hosted more than 400 artist groups to date. In 2020, he established the company interrobang Inc. He currently serves as a Project Associate Professor at Tokyo University of the Arts. Major projects include MADLABO (2011–2021), Tono Off-Campus (2015–), Hachinohe Art Museum (with Tetsuo Nishizawa and Yoshihide Asako, 2017–), Taiken Bijutsu-ba VIVA (Design / Co-Director, 2019–), Yurakucho Art Urbanism YAU (2021–), and Soudansho SNZ.
Yuri Yoshida Associate Professor, Nagoya University of the Arts Based in Nagoya. Co-director of Minatomachi Art Table, Nagoya [MAT, Nagoya], and Co-director of Aichi Triennale–related project Assembridge Nagoya. Associate Professor at Nagoya University of the Arts. From 2004 to 2008, she worked as a staff member at BankART1929. From 2009 to 2013, she served as an Assistant Curator for the Aichi Triennale, overseeing venues for city-based exhibitions. She specializes in coordination, planning, and management of art projects, festivals, and art centers. https://www.mat-nagoya.jp/ https://assembridge.nagoya/
Yumi Suyama Director, Imabari Landscapes Born in 1986 in Imabari City, Ehime Prefecture. She works as an art coordinator and director in the field of contemporary art. Her major activities include serving on the administrative office for the Tokyo Contemporary Art Award selection process (2018, 2019, 2020), Ehime Sansan Story: Artist in Factory (Coordinator / Public Relations, 2018), and Okayama Art Summit (Production, 2019). Since 2018, she has planned and managed the art project Imabari Landscapes in Imabari City, Ehime Prefecture, based on the concept of “a life with art close at hand.” https://imabarilandscapes.com/
Kensei Ieiri Member, Art & Garden NEKOZE; Director, NPO BEPPU PROJECT Born in Kumamoto Prefecture. Graduated from Ritsumeikan Asia Pacific University. While a student, he was involved with BEPPU PROJECT, working on the international art festival Mixed Bathing World and artist-in-residence programs. From 2013, he served as a curator at the municipal museum Arts Maebashi, where he was responsible for community-based projects. He also co-founded and managed Maebashi Works, an art space integrating residences, studios, and a gallery, together with artists. Since 2018, he has held his current position at BEPPU PROJECT. His activities include Tetsuya Umeda in Beppu “O-tai” (2020) and AIR programs. He has been a managing member of the alternative space Art & Garden NEKOZE since 2022. www.beppuproject.com www.instagram.com/artandgarden_nekoze
Overall Review of the Selection Process
This moving-image program was launched as an initiative distinct from conventional film festivals or museum programs curated by established curators. Five art directors active in different regions of Japan—Yamagata, Matsudo, Nagoya, Imabari, and Beppu—each recommended three works from their own locally grounded perspectives. From a total of fifteen video works, five were ultimately selected.
By intentionally setting no predetermined theme, the program encompassed a wide range of expressive forms, including video essays, video performances, and works conceived for exhibition spaces such as video installations. Faced with works that fluidly crossed genres and reaffirmed the expansive potential of the moving image, the final selection process proved challenging.
Above all, the selection committee focused on the sense of “inevitability” inherent in each work—works that could only have emerged from circumstances unique to each artist. Long-term research spanning more than a decade, sustained dialogue with local residents, or subtle nuances embedded in everyday gestures—these elements gave rise to moving images shaped by artists responding sensitively to the realities of the “here and now” within contemporary society.
When administering public art programs through museums or universities, art directors are often required to remain attentive to social considerations, current affairs, and accessibility for audiences. In this project, however, by deliberately distancing itself from such expectations, it became possible to encounter works that transcend established genres and expand the possibilities of artistic expression. Rather than eliminating the noise or instability that arises when an artist’s narrative comes into contact with broader social realities, the program embraces and presents them as they are. It is in this approach that the program’s significance lies.
The five selected works each engage a contemporary question: how to assume responsibility for one’s relationship to land and to others. They make full use of qualities unique to the video medium—its durational nature and its capacity to modulate psychological and physical distance from its subjects. Within unavoidable preexisting relationships—family, community, national borders, or institutional systems—the artists situate themselves and confront the tensions, frictions, and ineffable subtleties that arise. In a chaotic contemporary society, these works hold the potential to function as punctuation marks—moments that invite us to pause and think more deeply rather than depart with easy understanding.
At the same time, the works that were not selected possessed an intensity equal to those chosen. The artists’ bold engagement with urban and local contexts, and their multifaceted attempts to connect with society through their practices, offered significant insight to the committee. Although the screening format required narrowing the selection to five works, the process served both as a reunion with artists whose practices will continue to draw attention and as a site of new encounters. We are confident that opportunities for collaboration with these artists will arise in other forms in the future.
The program is scheduled to tour not only within Japan but also to multiple art spaces overseas. Through this circulation, perspectives born in one region may intersect with viewers and artists elsewhere, generating new spaces for dialogue. It is hoped that this initiative will move beyond the screening of works alone, connecting people and places across borders, and become a meaningful step toward building a new international network of artistic co-creation.
artXtension vol.1
『 Un/Uttered』
image of artXtension vol.1 『Un/Uttered』at Kyu-Yokotaiin, Tottori Japan.
2001年に台北の板橋で設立されたOpen Contemporary Art Center（OCAC）は、バンコクや台北の様々な地区を拠点に進化を遂げてきたアーティストコレクティブ。初期にはアーティストスタジオ、ブッククラブ、展覧会などのプログラムを提供していましたが、現在では特にタイのアーティストとの国際的なつながりを深めるための「ThaiTaiプロジェクト」を通じて成長を遂げています。現在は9人のメンバー全員が活動中のアーティストで、OCACは現代アートシーンにおける多様な対話と芸術的可能性を促進するシンクタンクおよびプラットフォームとして機能しています。
ピンク色の外壁が特徴的なスタジオピンクハウスは、美術家・諫山元貴と画家・手嶋勇気によるシェアアトリエ。隣接するアートギャラリーミヤウチの倉庫だった旧民家の一画を2015年から活用しています。2020年のコロナ禍を機に一部を改装し、多目的スペースとしての活用を開始。2022年からは学生・キュレーター・アーティストの交流プログラム「Pink de Tea Time」を企画・実施、2023年からはアートギャラリーミヤウチの展示期間に合わせて、休憩・交流の場としてのカフェ「ピンク喫茶」を開いています。https://www.instagram.com/pinkhouse_hiroshima/
artXtension is a network based on the concept of “from locally rooted initiatives to traveling projects.” Its aim is to circulate projects originally organized by individual art spaces to other regions—both within Japan and abroad—so that they may reach new audiences and communities.
For its first edition, artXtension will tour “Un/Uttered,” a screening program originally organized in 2024 by TRA-TRAVEL (Osaka) and OCAC (Taiwan) in collaboration and curated by P.M.S. The program presents video works by artists from diverse Indigenous communities in Taiwan. Each work delicately explores the tension between what is uttered and unuttered, seeking the essence of personal existence within the complexities of contemporary society.
Through these films created in our neighboring country, Taiwan, the program invites audiences to reconsider the boundaries between cultures, humans and nature, perceptions of gender, and identity in the modern world.
The first stop of the tour will be Kyū-Yokota Clinic (Cotomeya annex building, Tottori City, Tottori Prefecture). We warmly invite you to join us.
＜Screening 1＞ Date & Time: Saturday, November 29, 2025, 13:30–16:00 Venue: Kyū-Yokota Clinic (Cotomeya annex building403 Sakae-machi, Tottori City, Tottori Prefecture) Admission: 500 yen No reservation required / Capacity: approx. 20 people Contact: TPlat (Tottori Creative Platform Association) takeuchi-k@tottori-u.ac.jp (Representative Director: Takeuchi)
＜Screening 2＞ Date & Time: Sunday, November 30, 2025, 14:00–16:30 Venue: Chiisai Ouchi (2-9-36 Kaike Onsen, Yonago City) Admission: 1,000 yen No reservation required / Capacity: approx. 10 people Contact: TPlat (Tottori Creative Platform Association) takeuchi-k@tottori-u.ac.jp (Representative Director: Takeuchi)
Screening Program
“Lost Days” Director: Kawah Umei｜Taiwan｜2019｜Color｜30 min
“I Am a Woman, I Am a Hunter” Director: Rngrang Hungul｜Taiwan｜2022｜Color｜17 min
“Ugaljai” Director: Baru Madiljin｜Taiwan｜2016｜Color｜4 min
“Misafahiyan Transformation” Director: Posak Jodian｜Taiwan｜2022｜Color｜16 min
Curated by: P.M.S. Organized by: TRA-TRAVEL Co-organized by: Art & Garden Nekoze, Seasun, AIR motomoto, Center / Alternative Space and Hostel, TPlat (Tottori Creative Platform Association), Studio PINKHOUSE + Art Gallery MIYAUCHI Supported by: Q SO-KO, Hospitale Project Executive Committee, Kodomo no Jinken Hiroba (Children’s Human Rights Plaza) Grant support: City of Osaka (Titles omitted; listed in no particular order)
This program was made possible with grants from the following organizations in 2024: City of Osaka, Housen Cultural Foundation (Japan), National Culture and Arts Foundation (Taiwan), and Taipei City Department of Cultural Affairs (Taiwan). Some program details have been modified from the 2024 version.
Nov 30, 2025 / 14:00–16:30 – Yonago City, Tottori Prefecture:Chiisai Ouchi Contact: TPlat (Tottori Creative Platform Association)
Dec 13, 2025 – Nagoya City, Aichi Prefecture: Q SO-KO Contact: Seasun
Dec 14, 2025 – Beppu City, Oita Prefecture:Art & Garden Nekoze
Jan 31, 2026 / 15:00–17:00 – Kanuma City, Tochigi Prefecture:Center / Alternative Space and Hostel
Mar 20 (Fri, national holiday) – Apr 5 (Sun), 2026 / 10:00–12:00, 13:00–15:00, 15:00–17:00 (Closed Tue & Wed) – Hatsukaichi City, Hiroshima Prefecture:Art Gallery Miyauchi
＜Schedule being arranged＞
Kumamoto Prefecture, Arao City: AIR motomoto Re-screening in Osaka is also under consideration.
■ P.M.S. Founded in 2022 by Posak Jodian, manman, and Sophie Chen, P.M.S. is a collective that shares diverse interests in aesthetics, culture, and politics related to moving images. The group has organized multiple screening events, mainly focusing on Indigenous communities and the fluidity of gender. After each screening, they hold discussions to share multiple perspectives, foster mutual understanding, and explore the dynamics between individuals and communities.
■ OCAC (Open Contemporary Art Center) https://www.facebook.com/opencontemporary Founded in 2001 in Banqiao, Taipei, the Open Contemporary Art Center (OCAC) is an artist collective that has evolved across different districts in Taipei and Bangkok. Initially offering artist studios, book clubs, and exhibitions, OCAC has since grown through international collaborations, particularly its ThaiTai Project, which connects artists from Thailand and Taiwan. Currently composed of nine active artist members, OCAC functions as both a think tank and a platform that fosters diverse dialogues and artistic possibilities in the contemporary art scene.
■ Participating Art Spaces (Organizers and Screening Venues)
Art & Garden Nekoze (Beppu, Oita) An alternative space combining a gallery, kitchen, gathering area, and garden. Located about a 5-minute walk from Beppu Station, it was renovated and opened in 2023. The space hosts exhibitions, artist residencies, talks, and screenings. Its café “Kissa Neko-jita,” open only during events, serves original menus inspired by each exhibition. With the motto “When we see someone’s NEKOZE, adjust our NEKOZE. But still, NEKOZE is comfortable” the space is collaboratively run by members utilizing their individual strengths. Website |Instagram
Seasun (Nagoya, Aichi) Established in Nagoya, SEASUN aims to be a hub where people can always engage with contemporary art and culture from Southeast Asia. It focuses on exchange between Southeast Asia and Japan through art and culture, organizing and managing projects such as artist residencies, community exchanges, academic collaborations, screenings, talks, and parties. https://seasun-art.com/
AIR motomoto (Arao, Kumamoto) A micro-residency facility located in Arao City, northern Kumamoto. Founded by contemporary artist Hanako Miyamoto, a native of Arao, who revitalized a local space for this purpose. The name “motomoto” comes from both Kumamoto and Miyamoto, and also from the Japanese phrase “dame de motomoto” (“nothing ventured, nothing gained”), carrying a positive nuance. Operated by Miyamoto and Valeria Reyes, the residency provides a relaxed environment for artists to focus on their own work, with participants personally invited by Miyamoto. https://www.motomoto-air.com/
Center / Alternative Space and Hostel (Kanuma, Tochigi) A multi-purpose, artist-run facility in Kanuma City that combines lodging and art programming. Founded in 2022 by sound artist Madoka Kawano and filmmaker Masahiro Tamaki, who left their corporate jobs in Tokyo to move back to Tochigi. They renovated an empty shop in a declining arcade, creating a one-of-a-kind venue centered on experimental film and music, open to both locals and visitors. Their motto, “Making tomorrow a bit more enjoyable,” reflects their vision to nurture alternative expressions and local community ties while raising children. In 2025, they officially launched an artist-in-residence program, Center AiR. https://center-kanuma.net/
TPlat (Tottori Creative Platform Association, Tottori) https://tplat.org/ TPlat was established in November 2024 as a platform connecting individuals and organizations engaged in creative activities within and beyond Tottori Prefecture, aiming to weave a richer daily life for local communities. Its origins trace back to the Tottori Geijusai Artist-in-Residence Project (2014–2015), which took place across 10 sites in the prefecture. In 2016, the participating groups formed the Tottori Geiju Executive Committee, launching the web magazine +○＋＋○ (Tott) in 2017. To further develop these initiatives, TPlat was incorporated in 2022 under Japan’s Dormant Deposit Utilization Project. Its mission is to sustain creative and autonomous activities that enrich local life, even amid population decline and reduced resources.
Studio Pink House + Art Gallery Miyauchi (Hatsukaichi, Hiroshima) Instagram – Pink House |Miyauchi Foundation Studio Pink House, recognizable by its pink exterior, is a shared studio founded by artist Motoki Isayama and painter Yuki Tejima in part of a former warehouse of Art Gallery Miyauchi, repurposed in 2015. During the pandemic in 2020, it was renovated into a multi-purpose space. Since 2022, they have organized the “Pink de Tea Time” program for student–curator–artist exchange, and since 2023 have opened “Pink Café” during exhibitions as a space for rest and conversation.
Art Gallery Miyauchi, established in 2013 by the Miyauchi Art Foundation, functions as a small museum since 2020. It hosts exhibitions related to Hiroshima, along with numerous workshops and lectures, and actively collaborates with artists on site-specific projects. Together with Studio Pink House, the gallery serves as a hub revitalizing the local art scene through a growing network of creative activities.
TRA-TRAVEL (Osaka) https://tra-travel.art/ Founded in 2019, TRA-TRAVEL has collaborated with over 50 creators from more than 15 countries through exhibitions, residencies, talks, and art tours. Operating without a permanent venue, TRA-TRAVEL focuses on designing and implementing flexible “mobile projects” in partnership with various art spaces, cinemas, and co-working hubs in Japan and abroad. Its projects promote sustainable forms of international artistic exchange. Collaborations include organizations such as the Osaka Chishima Foundation for Creative Arts, Japan Foundation Manila (Philippines), Sàn Art (Vietnam), and OCAC (Taiwan). Each year, TRA-TRAVEL expands its network through new regional collaborations that bridge local and global art communities.
TRA-PLAY vol.4 with LIR.
『 ノンクロンしながら作品を語ってみる』
View of the event ”TRA-PLAY vol.4” at Super Studio Kitakagaya. Photo by Yukawa-Nakayasu / TRA-TRAVEL.
彼はRAW Academie: CURAおよびIndependent Curators International（ICI）Intensives（2024）の修了生であり、2024年にはジョグジャカルタのCEMETI – Institute for Arts and Societyの新ディレクターの一人に就任した。 それ以前は、2020年から2024年までRuang MES56の共同ディレクターを務めていた。
LIR.
LIRは、ミラ・アスリニングティアス（Mira Asriningtyas）とディト・ユウォノ（Dito Yuwono）によって結成されたアート・インスティテューション／キュレーター・コレクティブ。2011年にインドネシア・ジョグジャカルタで設立されたLIR Spaceは、アーティストが互いに支え合い、前向きな環境を築くことを目的に活動を開始。二人は2019年、ダカールのRAW Material Companyによるプログラム「RAW Academie: CURA」のフェローに選出。LIRのプロジェクトは、学際的なコラボレーションとリサーチを基盤とする展覧会を特徴とし、知識や記憶、歴史を世代を超えて継承することを志向している。代表的なプロジェクトには、「Curated by LIR」展シリーズ（ジョグジャカルタ／ジャカルタ、2018〜2023）、「Transient Museum of a Thousand Conversations」（ISCPニューヨーク、2020年／OUR Museum台北、2023年）、「Pollination」第3版（2020–2021）などがあり、また故郷カリウランを舞台に地域住民の記憶をアーカイブ化する長期プロジェクト「900mdpl」（2017・2019・2022）にも取り組んでいる。
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About TRA-PLAY
TRA-PLAY is a project that reinterprets and re-stages workshops originally organized by art organizations in Japan and abroad, adapting them to the context of the host location.
For TRA-PLAY vol.4, the curator collective LIR. from Yogyakarta will participate, presenting a localized Osaka version of a project originally carried out in their home city. Through this workshop, we aim to share and re-enact practices that emerged from the specific systems, cultures, customs, and social conditions of a place.
By engaging with these practices together in Osaka, the program invites us to listen to contemporary voices while reflecting on our own culture, society, and institutional structures. We warmly welcome your participation.
TRA-PLAY vol.4 with LIR. “Reflecting Practice: Nongkrong and Portfolio Review”
Date: Wednesday, November 12, 2025 – (Doors open 15 minutes before the start)
Venue: SSK (Super Studio Kitakagaya)
Admission: Free (Reservation required — please contact TRA-TRAVEL via Instagram or Messenger by 1:00 p.m. on the day of the event)
Organized by: TRA-TRAVEL
Co-organized by: LIR.
Supported by: City of Osaka, Housen Cultural Founda
TRA-PLAY vol.4 with LIR. “Reflecting Practice: Nongkrong and Portfolio Review”
LIR. is a curator collective founded in 2011 in Yogyakarta, Indonesia. Alongside organizing international exhibitions and collaborations, they run educational platforms and engage in activities centered on “passing down local knowledge, memories, and histories across generations.”
In this workshop, we welcome Dito Yuwono, artist and co-founder of LIR., who will lead a portfolio review session in nongkrong—a casual Indonesian way of gathering to spend time and share conversations together.
By receiving direct advice from a practicing Indonesian curator, participants will have the opportunity to reflect on their art works and practices from a different perspective, and explore new directions for their future activities.
We hope this will be an inspiring and fruitful occasion not only for artists but also for participants from various fields. All are warmly invited to join.
Dito Yuwono
Dito Yuwono’s practice traverses between visual art making and curatorial practice. In his artistic practice, Dito is interested in how a space is interwoven with politics and history, and his research-based artistic practice often addresses socio-political-historical issues through the production of video, photography, and audio-visual installation.
Dito is an alumni of RAW Academie: CURA, and Independent Curators International/ICI Intensives (2024). In 2024, he was appointed as one of the new directors of CEMETI – Institute for Arts and Society in Yogyakarta, Indonesia. He comes to the position from Ruang MES56, where he has served as co-director from 2020-2024.
About LIR.
LIR is an art institution turn curator collective consisting of Mira Asriningtyas and Dito Yuwono. LIR Space was initially established in 2011 as an art space in Yogyakarta – Indonesia with an aim to build a supportive and positive environment for artists. Together they were a fellow of RAW Academie: CURA (RAW Material Company – Dakar, 2019).
LIR’s projects are characterised by the multi-disciplinary collaboration and research-based exhibition in order to foster continuous transgenerational transmission of knowledge, memory, and history. LIR’s recent project including “Curated by LIR” exhibition series (Yogyakarta & Jakarta, 2018 – 2023); “Transient Museum of a Thousand Conversations” (ISCP – New York, 2020 and OUR Museum – Taipei, 2023); 3rd edition of Pollination (2020‐2021)—a collaborative exercise between different institutions across Southeast Asia initiated by The Factory Contemporary Arts Centre co‐hosted by MAIIAM Contemporary Art Museum (Thailand), Selasar Sunaryo Art Space (Indonesia), with the support of SAM Funds for Arts and Ecology (Indonesia) and The Gray Centre for Art and Inquiry (Chicago); and “900mdpl” (Kaliurang, 2017, 2019, & 2022), a long-term site-specific project in their hometown Kaliurang, an ageing resort village under an active volcano Mt. Merapi in order to preserve the collective memories of the people and create a socially-engaged archive of the space.
TRA-PLAY vol.3
with c.95d8
『 Same but Different 』
View of the event ”TRA-PLAY vol.3” at LVDB BOOKS. Photo by Yukawa-Nakayasu / TRA-TRAVEL.
TRA-PLAY is a project that remakes and reinterprets workshops and other programs originally organized by art organizations in Japan and abroad, adapting them to the local context of the host city.
For TRA-PLAY vol.1–3, we will be joined by Hanoi’s art hub AiRViNe, Guangzhou’s artist collective Prickly Paper, and Hong Kong’s artist collective c.95d8.
Art projects cultivated in each of these regions will be adapted into an Osaka version, presented over three days through workshops and talk events. By sharing and practicing the approaches developed within the systems, cultures, customs, and social contexts of each group’s home region, we aim to create an opportunity not only to listen to diverse contemporary voices but also to reflect on our own culture, society, and systems.
Capacity｜10 participants (reservation required; please book via TRA-TRAVEL’s Instagram or Facebook by the day before)
Organizer｜TRA-TRAVEL
Co-organizer｜c.95d8
Support｜Osaka City, Housen Cultural Foundation
ワークショップ3 with c.95d8「Same but Different」
香港を拠点に活動するアーティスト・コレクティブ「c.95d8」を招聘し、パフォーマンス・ワークショップを体験・実践します。c.95d8は障害をもつ人々の経験を基盤とし、障害を創造的な資源かつ、熟考に値する主題として、パフォーマンスやワークショップを実施してきました。また、c.95d8が運営する「Crip Art Residency」では、障害のあるアーティストを受け入れを行ってきました。「Crip※」という言葉に込められているのは、障害者としての誇りや文化を積極的に受け入れる姿勢です。
We invite the Hong Kong–based artist collective c.95d8 to lead a participatory performance workshop. Rooted in the lived experiences of people with disabilities, c.95d8 has developed performances and workshops that treat disability as both a creative resource and a subject worthy of deep contemplation, which is understood as ‘crip’ to embrace the disability pride and culture.
In this Osaka event, participants will explore the relationship between bodily differences and the flow of time among people, while also engaging with the delicate interplay between the self, others, and the objects that shape these connections. Blending the formats of workshop and performance, the session offers a space to sense, reflect, and practice together.
またc.95d8が運営する「Crip Art Residency」では、障害のある人々の生活経験を基盤としたプログラム運営を行っています。
c.95d8
c.95d8 is a Hong Kong art and coliving space and collective founded in 2022. c.95d8 focuses on crip issues, and curated cultural events and artist residencies. Crip Art Residency is based on the lived experiences of disability. This program views disability as a creative resource and a subject worthy of contemplation, aiming to expand the spectrum of contemporary art while also re-presenting various dimensions of disability.
TRA-PLAY vol.2
with 刺紙
『もやもやを木版画にしてみる』
View of the event ”TRA-PLAY vol.2” at LVDB BOOKS. Photo by Yukawa-Nakayasu / TRA-TRAVEL.
TRA-PLAY is a project that remakes and reinterprets workshops and other programs originally organized by art organizations in Japan and abroad, adapting them to the local context of the host city.
For TRA-PLAY vol.1–3, we will be joined by Hanoi’s art hub AiRViNe, Guangzhou’s artist collective Prickly Paper, and Hong Kong’s artist collective c.95d8.
Art projects cultivated in each of these regions will be adapted into an Osaka version, presented over three days through workshops and talk events. By sharing and practicing the approaches developed within the systems, cultures, customs, and social contexts of each group’s home region, we aim to create an opportunity not only to listen to diverse contemporary voices but also to reflect on our own culture, society, and systems.
Workshop 2 with Prickly Paper — Moyamoya: Subtle Tensions in Everyday Life through Woodblock Printing
In this workshop, we invite Chen Yifei from Prickly Paper, an artist collective based in Guangzhou, China, to explore woodblock printing as a way to speak about society. Through creating woodblock prints together, participants will gain a deeper understanding of Prickly Paper’s practice and the social context behind their work, while also engaging in dialogue about how woodblock printing can function as a tool for communication and exchange.
Under the theme “Subtle Tensions in Everyday Life through Woodblock Printing”, we will start from the small, hard-to-define feelings of unease that arise at home, at work, on social media, or within society at large. Participants will be encouraged to give shape to these lingering, in-between emotions through the medium of woodblock printing, creating a space to share and reflect on the unspoken dissonances we all encounter.
Prickly Paper Prickly Paper is a booklet originally created by Chen Yifei and Ou Feihong for an exhibition at the Fei Art Museum in Guangzhou. The first issues were placed in the public toilets of a Guangzhou building, with its title being a Cantonese homonym for “toilet paper.”
Each issue features a woodblock-printed cover by different artists, while the inside pages are printed with a home printer. Submissions and layouts change with each theme, and the publication embraces a rough, handmade style. Produced in small quantities, Prickly Paper sustains itself through limited sales and serves as a way to connect with friends.
The Prickly Paper workshop aims to bring the practice of woodblock printing and zine-making to a broader and more diverse audience. To date, it has traveled to 17 cities and regions, hosted in art institutions, community centers, independent bookstores, and self-organized spaces.
In July 2023, the project relocated to a storefront in Shenjing Village, Huangpu District, establishing an independent space named Cigao Union.
TRA-PLAY vol.1
with AiRViNe
『ベトナム・アフタヌーンティー: In-Betweenness』
View of the event ”TRA-PLAY vol.1” at Ichinojuninoyon. Photo by Yukawa-Nakayasu / TRA-TRAVEL.
TRA-PLAY is a project that remakes and reinterprets workshops and other programs originally organized by art organizations in Japan and abroad, adapting them to the local context of the host city.
For TRA-PLAY vol.1–3, we will be joined by Hanoi’s art hub AiRViNe, Guangzhou’s artist collective Prickly Paper, and Hong Kong’s artist collective c.95d8.
Art projects cultivated in each of these regions will be adapted into an Osaka version, presented over three days through workshops and talk events. By sharing and practicing the approaches developed within the systems, cultures, customs, and social contexts of each group’s home region, we aim to create an opportunity not only to listen to diverse contemporary voices but also to reflect on our own culture, society, and systems.
We warmly invite you to join us.
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TRA-PLAY vol.1 with AiRViNe
「ベトナム・アフタヌーンティー: In-Betweenness」
日時｜8月16日（土）16:00–19:00（入出場自由）
会場｜イチノジュウニのヨン （大阪府大阪市西成区山王1-12-4）
参加費｜無料（1ドリンク制）
定員｜なし（お茶の提供は数に限りがございます）
主催｜TRA-TRAVEL
共催｜AiRViNe
協力｜C-index
助成｜大阪市、芳泉文化財団
本ワークショップは、ハノイのアートハブ AiRViNe（Artist-in-Residence Vietnam Network）によるシリーズ「Nature on the Roof」をリメイクしたものです。
Nature on the Roofは、ハノイの放置された屋上住宅にアーティストを招き、その空間や近隣住民との対話を通じて制作された本イベントは、レジャーをゲリラ的な実践として再構築する試みでした。
文化交流やキャリア支援、地域社会との関わり、そして持続可能なアートインフラの育成を目的に、アーティスト・イン・レジデンスを通じてベトナム現代美術シーンの発展の支援をおこなう。2024年以降、AiRViNeは On the Move（OTM） および Green Art Lab Alliance（GALA） の正式メンバーとなり、さらに 台湾アートスペースアライアンス（TASA）、台湾アジア交流基金会、黄金町エリアマネジメントセンター との提携を通じて、ベトナムと国際的なアーティスト・イン・レジデンスをつなぐ重要なハブとしての役割を担う活動を行う。また、ワークショップやトーク、メンタリングを通じ、ベトナムのアーティストが国際的なレジデンスの機会を見つけ繋げる橋渡しとして積極的に支援活動を行う。
TRA-PLAY vol.1 with AiRViNe Vietnam Afternoon Tea: In-Betweenness
Date & Time｜Saturday, August 16, 16:00–19:00 (free entry/exit) Venue｜Ichinojuuni no Yon (1-12-4 Sanno-cho, Nishinari-ku, Osaka) Admission｜Free (one drink required) Capacity｜No limit (please note the number of tea servings is limited) Organizer｜TRA-TRAVEL Co-organizer｜AiRViNe In cooperation with｜C-index Supported by｜Osaka City, Hosen Cultural Foundation
Workshop 1 with AiRViNe:
“Vietnamese Afternoon Tea: In-Betweenness”
This workshop reinterprets Nature on the Roof, a series organized by Hanoi’s art hub AiRViNe (Artist-in-Residence Vietnam Network).
Nature on the Roof invited artists into an abandoned rooftop house in Hanoi, where they created works in dialogue with the space and its neighbors. The event sought to reimagine leisure as a guerrilla practice.
Its inspiration came from Vietnam’s culture of trà đá vỉa hè—sidewalk iced tea. In contrast to the formality of the tea ceremony, trà đá emerged as a more casual and communal counter-culture. While traditional rituals often carry an air of elitism, trà đá transforms the act of drinking tea into an accessible, flexible, and shared cultural practice. It reflects the Vietnamese approach of adapting imported customs to local realities—relaxing rules, letting go of perfection, and embracing possibility.
In Osaka, we will adapt that spirit into Vietnam Afternoon Tea.
Following the workshop, we will hold a public discussion titled In-Betweenness. This conversation will explore how Vietnamese artists and art organizations move fluidly between roles—artist, organizer, curator, and institution—depending on the needs and contexts of their practices.
AiRViNe
Artist-in-Residence Vietnam Network (AiRViNe) – founded by Nguyen Tu Hang and Tran Thao Mien – aims to support the growth of Vietnam’s contemporary art scene through artist residencies that foster cultural exchange, professional development, community engagement, and sustainable art infrastructure. Since 2024, AiRViNe has become an official member of On the Move (OTM), the Green Art Lab Alliance (GALA), and partnered with Taiwan Art Spaces Alliance (TASA), Taiwan-Asia Exchange Foundation, Koganecho Management Area Center —affirming its growing role as a vital connector between Vietnam and the international art residency landscape.
AiRViNe has organized collaborative residency programs with partners in Vietnam, Taiwan, and Japan, and hosts visiting artists from Vietnam, Italy, Netherlands, UK and Philippines. Through workshops, talks, and mentorship, the network actively supports Vietnamese artists in navigating and applying to international residency opportunities.
Beer with Artist vol.９ with
楊健（Yang Jian）
『清潔な ～ 北京ー大阪ーNYでの制作を振り返って ～』
View of the event ”Beer with Artist vol.9 at EARTH. Photo by Yukawa-Nakayasu / TRA-TRAVEL.
1982年 中国福建省生まれのビデオとインスタレーションを主に制作するアーティスト。厦門大学芸術学院で学士号（2004年）と修士号（2007年）を取得後、2009年から2010年までStichting Niemeijer Fonds（NL）の助成を受けRijksakademie van Beeldende Kunsten（オランダ）に滞在。 2015年にHUAYU Youth Awardの審査委員会特別賞を受賞。2018年OCATヤング・メディア・アーティスツ・オブ・ザ・イヤー受賞。中国、ドイツ、アメリカ、オランダで個展及びグループ展を多数開催。
主な展示として、「個展：Geyser」（WHITE SPACE、北京、2023年）、「Motion is Action-35 years of Chinese Media Art」（BY ART MATTERS、Hangzhou、2023年 ）、「Three Rooms: Edge of Now」（ZKM、カールスルーエ、2019年／ナムジュンパイクアートセンター、2018年）など。
Looking back on the practices and projects from Beijing to Osaka to New York.
Yang Jian, an artist from Fujian Province, China, participated in the TRA-TRAVEL residency program “AIRΔ vol.8 with WHITE SPACE Beijing” in 2024, during which he held an exhibition titled The Octopus Garden in Osaka.
Since then, he has continued to base his practice in Osaka. From February to May in 2025, Yang participated in a residency program in New York, where he developed work exploring the relationship between “clean” and “censorship,” and how these concepts contribute to divisions rooted in race and ideology—affecting daily life and modes of thought.
In this upcoming Beer with Artist vol.9, we will hear directly from Yang about his residency experience in New York, his current life in Osaka, and his perspective on the Chinese contemporary art scene.
This event is designed as a casual and open space to “ask the artist,” allowing participants to freely engage in conversation, ask questions, and make new connections.
We hope this will be a space not only to discuss Chinese culture and local issues, but also to enjoy open dialogue informed by Yang’s experiences as an artist working across different countries and contexts.
Yang’s video works will also be presented as part of the event.
We warmly welcome your attendance!
✅ Event Information
Date & Time: Thursday, July 10, 2025 | 19:00–21:00
Language: Japanese & English
Admission: Free (donations welcome)
Venue: EARTH, 1-3-26 Taishi, Nishinari-ku, Osaka-shi, Osaka 557-0002, Japan
Organized by: TRA-TRAVEL
In cooperation with: EARTH
✅ Artist Information
Yang Jian
Artist
Born in 1982 in Fujian Province, China, Yang Jian is an artist primarily working with video and installation. He earned both his bachelor’s and master’s degrees from the Academy of Arts at Xiamen University in 2004 and 2007, respectively. From 2009 to 2010, he was a resident at the Rijksakademie van Beeldende Kunsten in the Netherlands, supported by the Stichting Niemeijer Fonds.
In 2015, he received the Jury Special Award at the HUAYU Youth Award, and in 2018 he was named OCAT Young Media Artist of the Year. He has presented solo and group exhibitions in China, Germany, the United States, and the Netherlands. Recent exhibitions include Geyser at WHITE SPACE Beijing (2023), Motion is Action – 35 Years of Chinese Media Art at BY ART MATTERS in Hangzhou (2023), and Three Rooms: Edge of Now at ZKM in Karlsruhe (2019) and the Nam June Paik Art Center (2018).
Yang is currently based in Nanjing, China, and Osaka, Japan.
シリパッタナーナンタクーンは、一緒に暮らすアフリカンパロット「ボイス（Beuys）」との共同制作や、人間と非人間の関係性、経済、所有、記憶、喪失といったテーマを鋭く掘り下げ、映像、彫刻、インスタレーションなど多様なメディアで表現しています。これまで第53回ヴェニスビエンナーレ・タイ館代表、FRIEZE London 2023、タイランドビエンナーレ2023など、世界各地で作品を発表してきました。
今回の「Beer with Artist vol.8」では、シリパッタナーナンタクーンとともに街を歩きながら、「空き家」や「家の記憶」について考えます。アーティストからの問いかけに、参加者が応える対話形式で進行し、日常のなかに潜む社会的なテーマを身近に感じるひとときを目指します。
2009年には、第53回ヴェニスビエンナーレ・タイ館に選出され、その後も、National Museum of Modern and Contemporary Art（ソウルl）、Museo MACRO（ローマ）、MAIIAM Contemporary Art Museum（チェンマイ）、Frieze Art Fair（ロンドン）など、国際的な美術館やビエンナーレ、アートフェアで作品を発表しています。
Beer with Artist vol.8 with Wantanee Siripattananuntakul
“Walking Through Osaka’s Quiet Spaces: Memory, Nature, and What Remains”
Wantanee Siripattananuntakul is a Bangkok-based artist working internationally. Since May 2025, she has been staying in Matsudo as part of the PARADISE AIR artist-in-residence long-stay program, where she is researching and creating new work around the theme of “vacant houses.” She is also spending a week in Osaka to further explore themes related to urban space and memory.
Siripattananuntakul’s multidisciplinary practice—spanning video, sculpture, and installation—explores complex themes such as the relationship between human and non-human beings, economic systems, ownership, memory, and loss. Often collaborating with her African parrot Beuys, she has exhibited globally, including representing Thailand at the 53rd Venice Biennale, and participating in Frieze London 2023 and the Thailand Biennale 2023.
In this edition of Beer with Artist vol.8, participants will join the artist on a walk through the city, engaging in conversations around vacant homes and the memories embedded in them. The event will unfold in a dialogue format, with participants responding to questions from the artist—creating an opportunity to reflect on the hidden social layers of our everyday surroundings.
This casual event aims to be a welcoming space for exchange and connection, based on the theme “Ask the Artist.”
We hope the event will offer room for free and open dialogue—whether about her experiences working across cultures and countries, her ongoing research in Matsudo, or her upcoming solo exhibition in June at the Art Centre of Silpakorn University. Questions about artistic practice, personal struggles, or creative concerns are all welcome.
We look forward to seeing you there!
✅ Event Information
Date & Time: Friday, May 30, 2025 | 15:00–17:00 * Cancelled if it rains
Language: Japanese & English
Admission: Free (donations welcome)
Venue: Konohana Ward, Osaka City
(For details, please contact TRA-TRAVEL via Instagram or Facebook by 1:00 PM on the day of the event.)
Organized by: TRA-TRAVEL
In cooperation with: PARADISE AIR
✅ Artist Information Wantanee Siripattananuntakul
Artist
Born in 1974 in Bangkok, Thailand, Wantanee Siripattananuntakul is a multidisciplinary artist whose practice spans video, sound, sculpture, and installation. Her work examines complex social, political, and economic systems, with a particular focus on inequality and the impact of ideological structures on everyday life.
She earned a B.F.A. from Silpakorn University and later studied under Prof. Jean-François Guiton at Hochschule für Künste Bremen, where she was awarded the Meisterschüler title in 2007.
In 2009, she represented Thailand at the 53rd Venice Biennale and has since exhibited
internationally at institutions such as the National Museum of Modern and Contemporary Art (Seoul), Museo MACRO (Rome), MAIIAM Contemporary Art Museum (Chiang Mai), and Frieze Art Fair (London). Recent highlights include the 7th Anyang Public Art Project in South Korea, the Thailand Biennale in Chiang Rai, and her participation in the Art Explora Residency at Cité internationale des arts in Paris (2024).
She is currently an artist-in-residence at Paradise Air in Matsudo, Japan, where she is developing new work that explores memory, ecology, and the quiet transformation of urban space.
Her works are part of several public collections in Thailand, including the Ministry of Culture and the MAIIAM Contemporary Art Museum. Through residencies and exhibitions across Asia and Europe, she continues to build a practice grounded in poetic inquiry and critical engagement with global structures.
■interview
Qenji Yoshida (hereafter QY):
You’ve been active in many different regions around the world in recent years, but to begin, could you briefly introduce yourself? What kind of artist are you, and what themes or questions are central to your practice?
Wantanee Siripattananuntakul (hereafter WS):
My practice moves between video, sound, sculpture, and installation — but I think of it less in terms of media, and more as a way of asking questions. I explore how political, economic, and emotional forces shape our lives, often through systems like class, property, inheritance, and species hierarchy.
Much of my work traces what disappears quietly: a fading memory, a displaced animal, an overlooked document. I’m interested in subtle resistance — gestures that seem small, but carry emotional and political weight. Whether through a misplaced feather, a shifted pedestal, or an echo in the image, I try to create spaces where meaning doesn’t declare itself, but arrives slowly, through tension, silence, or care.
I often work with material as memory—fragile, living, or unstable—and with a more-than-human presence, where animals, stones, and light are not symbols but witnesses and participants in unfolding histories.
QY: I haven’t been able to follow your recent work closely, so I’m really looking forward to hearing more from you this time.
I understand you’re currently participating in an artist-in-residence program at PARADISE AIR in Matsudo—could you tell us about the project or research you’re working on there?
WS: Yes, I’m here for a residency at PARADISE AIR.
My current project explores the layered stories within akiya — Japan’s vacant houses. I walk through neighbourhoods, photograph, collect fragments, and speak with people who live nearby or still feel attached to these places.
The reasons a house becomes akiya are never simple. It’s not only about legal systems or emotional distance—often, it’s tied to economic strain, local politics, and unspoken community concerns. In Matsudo, for example, I learned from a local official that the issue began less with the tax burden and more with neighbours’ anxiety about safety and the pressure to maintain appearances.
I’m drawn to this in-between space, where memory, care, and structural forces interact. These houses aren’t just abandoned; they are silent records of hesitation, pressure, and transition.
QY: So “akiya” (vacant houses) is a theme where many complex factors intersect—people, memory, ownership, economy, population… That’s really fascinating.
It also seems like a difficult topic to approach, not something that can be easily addressed. That’s why I’m very curious to see how your research in Matsudo and Osaka will develop moving forward.
Do you see similar issues related to vacant houses in Thailand as well?
WS: I’m not sure if we have the same kind of “akiya” issue in Thailand, but we definitely have many empty houses for different reasons.
In Thailand, the housing finance system is complicated for ordinary people. Buying a house is hard because the loan system isn’t built for us. The interest rates are very high — even when I purchased my home with a special promotion after the big floods years ago, I still had to pay at least 3% interest. Usually, people pay 5 or 6%, which becomes a huge burden over time.
Many people can’t keep up with payments, so the bank seizes the house and puts it back on the market as second-hand property. There are a lot of those cases.
There’s another issue — people may have to move away because they can’t find work in that area, so they leave the house and try renting it out. But renting in Thailand is risky. We don’t have strong laws to protect landlords, so if the tenants don’t take care of the property, you cannot do much.
So yes, we have many empty houses. But they don’t come from rural decline like in Japan. They come from economic pressure, insecure housing systems, and weak legal protections. I’m still considering whether we can call it “akiya,” but it’s a related kind of structural abandonment, shaped by different forces.
QY: For this event in Osaka, instead of holding a talk in a gallery setting, it will take place as a walk through the city.
You mentioned that you would actually prefer to ask questions to the participants about “akiya” (vacant houses) in Japan and Osaka, rather than just sharing your own perspective.
What kind of questions are you hoping to ask specifically?
WS: Yes, instead of giving a formal talk, I wanted this event to be a shared walk, where we observe the city together and exchange thoughts more naturally. Rather than presenting my own views right away, I’d like to ask participants a few quiet questions related to vacant houses (akiya)—and the memories, emotions, or meanings these spaces might carry. These questions aren’t meant to have “correct” answers. They’re gentle prompts to reflect on the places we often pass without noticing and open up personal or social layers of thinking. For this walk, I’m planning to ask four questions: 1.Have you ever passed by a house that felt like it was holding a memory? What did you feel? 2.What do you think happens inside these empty houses when no one is watching? 3.Have you ever had to let go of a place you didn’t want to leave? 4.What makes people give up a house, even when they don’t want to? These questions create a quiet space for personal memory, imagination, and reflection on larger social systems. I also hope to record some of the participants’ responses on video, as we walk, filming from behind to keep the focus on the surrounding environment and the voice, rather than on the person. These recordings may later become part of a broader work about care, absence, and the layered life of cities.
Beer with Artist vol.７ with マリカ・コンスタンティーノ（Marika Constantino）
『フィリピンで／ひとりで／集団で／アートするということ』
View of the event ”Beer with Artist vol.7 at SUCHSIZE. Photo by Yukawa-Nakayasu / TRA-TRAVEL.
“Art Practices in the Philippines: Alone and Collectively”
Marika Constantino is an artist, curator, and cultural worker based in the Philippines. In 2012, she co-founded 98B COLLABoratory in the Escolta district of Manila, operating an experimental platform that connected art and the local community through a historical building. Currently, she runs KANTINA, an artist-in-residence program she founded in Roxas City, fostering spaces for learning and creativity in collaboration with local residents. In 2017, she was selected as a “Global Cultural Fellow” by the University of Edinburgh and received a New York Fellowship from the Asian Cultural Council. With a strong international presence, she continues to engage with society, history, and memory through her art-based practice.
At Beer with Artist vol.7, we will hold a casual talk event where we ask Constantino about her past activities. This series, themed “Ask the Artist,” aims to create relaxed opportunities for conversation and connection with artists. Participants are encouraged to enjoy food and drinks while exchanging thoughts with the artist. Not only will we talk about the Philippines, but also casually explore questions like how she has survived as an artist and cultural worker, and learn more about her current activities in Roxas. We warmly invite everyone to drop by and join the conversation!
✅ Event Information
Date and Time: Thursday, May 15, 2025, 19:00–20:30
✅ Artist Information Marika Constantino (Philippines) Artist-Curator / Founder of KANTINA
Marika Constantino is an artist, cultural worker and independent curator who has participated in significant exhibitions, events, and projects in the Philippines and abroad. She is also a freelance writer who has contributed to a number of globally distributed publications. Her early exposure to art coupled with her boundless fascination for the creative process resulted in a degree from the UP College of Architecture to further studies at the UP College of Fine Arts, with Art History as her major. Her works and projects are centered on patterns, layers, textures, and materials, and its intersection with history, memory and culture. Constantino is continually striving to strike the balance between the cerebral, conceptual and experiential aspects of art with life in general, thus, fueling her fervent passions for artistic endeavors. In 2017, she was selected to be one of the Global Cultural Fellows of the Institute of International Cultural Relations at the University of Edinburgh, United Kingdom. That same year she was supported by the British Council, Manila to participate in a cultural leadership program at the King’s College in London, United Kingdom. As part of her art practice, she co-directed the programs and activities of 98B COLLABoratory (2012-2018), curated and coordinated the undertakings of the First United Building Museum (2015-2018) in Escolta, Manila and curated the Destileria Limtuaco Museum (2018) in Intramuros, Manila. She was awarded the New York Fellowship for 2018-2109 by the Asian Cultural Council. In February 2020, Constantino established KANTINA, an art space for co-learning and co-creation. She is currently based in both Manila and Roxas City, Capiz in the Philippines.
Beer with Artist vol.6 with 鈴木啓二朗
『アーティスト・イン・レジデンスの最前線？ 台湾から』
View of the event ”Beer with Artist vol.6” at EARTH. Photo by Yukawa-Nakayasu / TRA-TRAVEL.
TRA-TRAVELと、台湾のTASA（Taiwan Art Space Alliance）、新竹市鐵道藝術村、Accton Arts Foundationとともに、日本のアート実践者1名を台湾へ招聘する公募を行いました。受賞者の鈴木は8月から台湾入りし、１００名以上の世界のアーティストインレジデンス関係者が集う国際カンファレンス「Res Artis TAIPEI 2024」や、共催団体TASAが主催するアニュアルミーティングへ参加してきました。
Beer with Artist vol.6では、鈴木の台湾での報告会をかね、大阪市西成区のEARTHを会場にトークイベントを行います。 本イベントは「アーティストに聞いてみる」をテーマに、気軽にアーティストとの交流を生むカジュアルなトークイベントです。アーティストと一緒に食事やお茶を楽しみ、会話を交わし、新たなつながりを築くことを目的とします。台湾の滞在についてだけでなく、登壇者に対する素朴な疑問や、拠点である山口での生活についてなど、自由な会話を楽しむ機会をもちたいと思います。皆様がふらりと立ち寄られることを心待ちにしております。
Beer with Artist vol.6 with Keijiro Suzuki “Artist Residencies at the Forefront? Reporting from Taiwan”
Keijiro Suzuki is an artist, curator, and art manager based in Yamaguchi. TRA-TRAVEL organized a residency program that brought a Japanese art practitioner to Taiwan in collaboration with the Taiwan Art Space Alliance (TASA), the Hsinchu City Railway Art Village, and the Accton Arts Foundation. As part of this initiative, Suzuki was sent to Taiwan. During his stay, he attended international conferences such as “Res Artis TAIPEI 2024,” where over 100 participants who are involved in artists-in-residence programs gathered globally and TASA’s annual meeting.
In this volume of “Beer with Artist”, Suzuki will give a report on his experiences, and a talk event will be held at [venue] in [district] Osaka.
This event aims to foster casual interaction with artists. It’s a laid-back talk event where you can enjoy food and drinks with the artist, have conversations, and build new connections.
We hope to create an opportunity for free discussions not only about art but also about personal curiosities, such as life in Yamaguchi, where the speaker is based. We warmly welcome everyone to drop by!
✅Beer with Artist vol.6 with Keijiro Suzuki / “Artist Residencies at the Forefront? Reporting from Taiwan”
Date: Friday, September 27 2024 / 18:00-20:00
Language: Japanese
Fee: free (donation required)
Venue: EARTH 3-26, Taishi 1-chome, Nishinari-ku, Osaka, 557-0002, Japan
*Capacity: 15 people (No reservation required, first come, first served)
Organized by: TRA-TRAVEL
Co-organized by: TASA
✅Keijiro Suzuki (Yamaguchi City, Japan)
Born in 1981 in Nagoya City, Aichi Prefecture. Graduated from Nagoya City University in 2004 and completed a Master’s in Sculpture from the University of Houston in 2010. Suzuki explores the practical application of art through various research and production methods. His notable activities include internships with “Earthship Biotecture” and “Adobe Alliance,” participation in “Project Row Houses,” and the establishment of the alternative space “the temporary space.” Major exhibitions include “Fotofest 2010”(USA) and “Jakarta Biennale #14”(Indonesia). He received the 10th Yamaguchi Emerging Artist Award in 2018. Recently, he has been involved in projects like “Hospital Arts” and the “Speculative Library.” www.keijirosuzuki.com
TRA-TRA-TALK vol.6 『アーティストはどこに集うのか』
View of the talk event ”TRA-TRA-TALK vol.6” at VisLab Osaka. Photo by Yukawa-Nakayasu / TRA-TRAVEL.
ドキュメンタリーアクター。山梨県在住。実在の人物を取材し、演じるという一連の行為を「ドキュメンタリーアクティング」と名付け、実践する。他方で、2022年から山梨県河口湖町にてアーティスト・ラン・レジデンス「6okken」を設立・運営する。近年の活動に、クマ財団ギャラリー「01.25.1997」、十和田市現代美術館「地上」、ANB Tokyo「全体の奉仕者」など。主な受賞に、第28回CGC最優秀賞、やまなしメディア芸術アワード山梨県賞など。Forbes Japan 30 under 30 2023選出。
Event Overview TRA-TRA-TALK (TTT), organized by TRA-TRAVEL, is a talk event centered around the theme of “Opening Research.” Creators and researchers often seek out experts and knowledgeable individuals to gain insights as they advance their projects and research. This event aims to turn such interactions between ‘Researchers’ (the questioners) and ‘Responders’ (the interviewees) into a public event, creating a “mutual learning space” where even the audience can participate in exchanging opinions.
In this talk, we welcome tsu-tsu, who operates the artist-run residence “6okken” in Kawaguchiko, Yamanashi Prefecture, as the ‘Researcher’ (the questioner), and Nobuhisa Shimoda, a member of C.A.P. (Conference on Art and Planning) established in Kobe in 1994, as the ‘Responder’ (the interviewee). Together, they will engage in a discussion and research session focusing on the “Future of Artist-Run Spaces.”
Talk Theme: “Where Do Artists Gather?”
Researcher: tsu-tsu
Responder: Nobuhisa Shimoda
Date: Monday, September 16, 2024, 16:00-18:00 (Reception starts at 15:45) *Admission: Free (Donations welcome) *Capacity: 30 people (No reservation required, first come, first served)
Venue: VisLab OSAKA, Grand Front Osaka North Building, Tower C, 9th Floor (3-1 Ofukacho, Kita-ku, Osaka 530-0011)
Organized by: TRA-TRAVEL Supported by: Osaka City, Housen Cultural Foundation In cooperation with: C.A.P. (Conference on Art and Planning), 6okken, VisLab OSAKA / Osaka Electro-Communication University
Event Details
This event will feature a discussion on the “Future of Artist-Run Spaces” between tsu-tsu, who operates the artist-run residence “6okken” in Kawaguchiko, Yamanashi Prefecture, and Nobuhisa Shimoda from C.A.P. (Conference on Art and Planning), an organization based in Kobe.
As a documentary actor, tsu-tsu has been practicing a unique process of interviewing and portraying real people, presenting his work at venues such as the Towada Art Center. Since 2022, he has established and managed “6okken.” On the other hand, Shimoda has been involved with C.A.P. since 1998, launching numerous projects, including international collaborations like the “See Saw Seeds” project with art groups abroad.
In this event, tsu-tsu will serve as the ‘Researcher’ (questioner), and Shimoda as the ‘Responder’ (interviewee), as they discuss the future of artist-run spaces. Artist-run spaces are places managed by artists themselves, and both 6okken and C.A.P. are organizations founded by artists. However, the times in which they were established are different: 6okken in 2022 and C.A.P. in 1994. As a result, their visions for the future, management methods, and interactions with external parties differ. At the same time, they share common ground, such as running residencies and studios, holding regular meetings, and responding to proposed projects — aspects unique to artist-run spaces.
6okken is an artist-run residence based in six houses in Kawaguchiko, Yamanashi, and consists of 14 members involved in contemporary art, music, architecture, theater, Vtubing, and other fields. The group integrates daily life, creative activities, and management. They also collaborate with external partners to organize art projects, such as the art festival “Dairokkann,” and invite artists from Japan and abroad.
C.A.P., which has been operating for 30 years with changing members, organizes exhibitions, symposia, and art fairs, such as “CAPARTY” in Kobe. Since 2016, they have actively engaged in international exchanges with art communities in Dubai, Hamburg, and Turku, including artist exchange programs under the “See Saw Seeds” initiative.
This talk event will explore the potential of artist-run spaces through the activities of 6okken and C.A.P. By imagining the future of artist-run spaces beyond 2020, the event aims to involve the audience in envisioning the possibilities. It is an event recommended for those interested in art, space management, and international exchange. We hope you will join us.
tsu-tsu Documentary actor based in Yamanashi Prefecture. He has named and practices the act of interviewing and portraying real individuals as “Documentary Acting.” Since 2022, he has also established and managed the artist-run residence “6okken” in Kawaguchiko, Yamanashi. Recent activities include exhibitions at Kuma Foundation Gallery (“01.25.1997”), Towada Art Center (“Chijou”), and ANB Tokyo (“Servant of the Whole”). His major awards include the 28th CGC Grand Prize and the Yamanashi Media Arts Award. He was selected for Forbes Japan’s 30 under 30 in 2023. https://6okken-org.studio.site/
Nobuhisa Shimoda Born in 1957 in Kawasaki. He made his record debut in 1979 with the album “Moon Dancer” from Alfa Records. In 1988, he participated in the establishment of Xebec Hall in Kobe Port Island and served as its producer until 2000. In 1998, he became a member of C.A.P. (Conference on Art and Planning) and served as its president from 2015 to 2023. In 2016, he launched the international collaborative project “See Saw Seeds” with overseas art groups, focusing on artist exchanges, a project that is still ongoing today. https://cap-kobe.com/
『in flux: ベトナムビデオアートの流れを振り返る』
ベトナム映像作品スクリーニング＋キュレータートーク
(TRA-TRA-TALK vol.5関連イベント)
image of screening event 『in flux: revisiting media in Vietnam-based video art』at Juu, Osaka Japan, photo by Yukawa-Nakayasu/ TRA-TRAVEL.
■日時: 2024年2月18日（日）14時ー17時30分（上映＋トーク）
■会場: JUU arts&stay 〒554-0013 大阪府大阪市此花区梅香1丁目17−20
■参加費：自由（ドネーション制）*定員30名(予約不要、先着順)
■ キュレーション: Mary Lou David
■ 企画・字幕翻訳: 池田昇太郎
■ トーク通訳: 柏本奈津
■ 主催: TRA-TRAVEL
■ 協力: FIGYA, San Art, 一般社団法人アラヤシキ
■ 助成: 大阪市、芳泉文化財団
■上映作品
<第1部>
「The most romantic walk」 監督：Phan Anh｜ベトナム｜2017｜カラー｜30分
「Journey of a Piece of Soil」監督：Trương Công Tùng｜ベトナム｜2015｜カラー｜33分
–休憩–
<第2部>
「On Amanda Heng: The Scent of Tam Đảo」監督：Veronika Radulovic｜ベトナム｜2022｜カラー｜10分
「Soap Bubbles」監督：Phạm Nguyễn Anh Tú｜ベトナム｜2021｜カラー｜7分
「Precious. Rare. For Sale.」監督：Lêna Bùi｜ベトナム｜2023｜カラー｜12分
「Becoming Alluvium」監督：Thảo Nguyên Phan｜ベトナム｜2019-ongoing｜カラー｜16分
「My Paradise」監督：Quỳnh Đông｜ベトナム｜2012｜カラー｜14分
■ マリー・ルー・ダヴィド／Mary Lou DAVID
パリ生まれ、ロンドン育ち。ホーチミンを拠点に活動。2014年ロンドン大学コートールド美術研究所美術史コース修了。 ベトナムのアートシーンを牽引する現代アートオーガナイゼーション「Sàn Art（サン・アート）」のキュレーター。
実験映画、ビデオ・アート、クィア・パフォーマンスへの継続的な関心に加え、同地のインディペンデントなアートスペースを支援し、コラボレーションするための新たなネットワークの構築を目指す。さまざまなレジデンスプロジェクトに携わる中で、コミュニティに焦点を当てたプログラムと国際的な芸術交流が地元のアートシーンを多様にし、活性化するためのプロジェクトを数多く実践している。
Sàn Artでの展覧会企画と並行して、「Saigon Experimental Film Festival’ editions III and IV (2020年、 2022年) 」の共同キュレーション、 A. Farm (2018-2020年)、Times & Realities (2021年)、Sàn Art Studio (2021年〜)、Ecologies of Water (2023-)といったレジデンシープロジェクトにも関わっている。
展覧会プログラム（2007年以来110以上）のほか、Sàn Artの過去のプロジェクトには、アーティスト・レジデンス「Sàn Art Laboratory」（2012-2015年）、出版物やイベントのシリーズ「Conscious Realities」（2013-2016年）などがあり、グローバル・サウスに焦点を当てた作家、アーティスト、思想家、文化関係者を招いている。2018年、Sàn Artはキュレーター養成学校「Uncommon Pursuits」と、ベトナムとこの地域の近現代美術の対話に焦点を当てた新しいギャラリーを立ち上げた。また同年、MoT+++およびNguyen Art Foundationと共同で設立した国際的なアーティスト・レジデンシー・プログラムであるA. Farm（2018-2020）を開始した。組織の歴史に新たな章を開いたSàn Artは、革新的で実験的な実践や視点を支援・育成するコミュニティ・ハブとして拡大している。
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Screening event + post-screening talk:
“in flux: revisiting media in Vietnam-based video art ”
■ Date: 2.00 – 5.30 pm Sunday, 18th February 2024
■ Venue: “JUU arts&stay” 1-17-20, Baika, Konohana-ku, Osaka
■ Admission: Free (donation required) * Capacity: 30 people (no reservation required)
■ Curation: Mary Lou David
■ Organizer: TRA-TRAVEL
■ Collaboration: FIGYA, San Art
■ Mediator & Subtitle translator: Shotaro Ikeda
■ Talk interpreter: Natsu Kashiwamoto
■ Support: Osaka city, Housen Cultural Foundation
■ Introduction:
Where to begin when tasked to curate a Vietnam-based moving image programme with an open-ended theme? While the medium of video art arrived much later into the country, in the 1990s and 2000s, and still struggles today to find its rightful place amongst other contemporary practices, there have been a wide range of artists pushing the medium forward and anchoring it within the making of Vietnamese art history. ‘In flux’ introduces works by Veronika Radulovic, Phạm Nguyễn Anh Tú, Phan Anh, Thảo Nguyên Phan, Quỳnh Đông, Lêna Bùi and Trương Công Tùng, inviting audiences to discover the world of moving image from a Vietnamese context. It doesn’t attempt to cover its broad spectrum but rather offer an entryway into the lesser known practices stemming from the region.
One connecting thread amongst these artists of diverse aesthetics and thematics is the idea of revisiting memory by reutilising and dissecting various forms of cultural heritage. If we consider how memory is a malleable force that can easily be shaped to form master narratives, then the present selection shows how each artist has revisited a plethora of other media – be it archives, film history, literary sources, news outlets, oral/folk history or video itself – to highlight how history and memory can be produced, reproduced, and ultimately challenge such one-sided perspectives.
The event will include a short introduction to the programme and selected works by curator Mary Lou David (Sàn Art, Ho Chi Minh City, Vietnam), and an open discussion with the audience following the screening.
■ Screening Program
“The most romantic walk” by Phan Anh | Vietnam| 2017 | Color | 30 minutes
“Journey of a Piece of Soil” by Trương Công Tùng | Vietnam | 2015 | Color | 33minutes
“On Amanda Heng: The Scent of Tam Đảo” by Veronika Radulovic | Vietnam | 2022 | Color | 10 minutes
“Soap Bubbles” by Phạm Nguyễn Anh Tú | Vietnam | 2021 | Color | 7 minutes
“Precious. Rare. For Sale.” by Lêna Bùi | Vietnam | 2023 | Color | 12 minutes
“Becoming Alluvium” by Thảo Nguyên Phan | Vietnam | 2019-ongoing | Color | 16 minutes
“My Paradise” by Quỳnh Đông | Vietnam | 2012 | Color | 14 minutes
■ Mary Lou David
Born in Paris, raised in London and now living in Ho Chi Minh City, Mary is one of the curators currently running Sàn Art, an leading contemporary arts organisation in Vietnam. In addition to her ongoing interests in experimental cinema, video art, and queer performance, Mary is interested in developing new networks of support and collaboration between independent art spaces in the region. Aside from her exhibition work, she has also co-curated ‘Saigon Experimental Film Festival’ editions III and IV (2020 and 2022) and been involved in a variety of residency projects including A. Farm (2018-2020), Times & Realities (2021), Sàn Art Studio (2021-), Ecologies of Water (2023-).
* Mary’s research and stay in Japan has been made possible through the generous support of the Ishibashi Foundation / The Japan Foundation Fellowship for Research on Japanese Art.
leading independent arts organisation in Vietnam and the region. Maintaining a commitment to grassroots support for local and international artists and cultural work, Sàn Art is also a site for critical discourse with regular educational initiatives.
Aside from our exhibition programmes, Sàn Art’s past projects include various residencies, international exchanges and educational projects: Sàn Art Laboratory (2012-2015), Conscious Realities (2013-2016), Uncommon Pursuits (2018-), A. Farm in collaboration with MoT and the Nguyen Art Foundation (2018-2020), Journey to the Southwest (2021), Sàn Art Studio (2022-), Saigon-Leipzig exchange (2023). With a new team and space since 2018, Sàn Art continues to expand as a community hub to support and foster innovative and experimental practices and perspectives.
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■作品概要（English follows Japanese in each artwork and artist)
「The most romantic walk（ふたりの小径）」
監督：Phạn Anh (ファン・アン)｜ベトナム｜2017｜カラー｜30分
近年のプロジェクトや展覧会に ‘Pixelating families: Photography as Material for Filmic (Re)Inquiries’, Sàn Art, Ho Chi Minh City, Vietnam (2023), ‘Glad we made it on time’, organised by Salt Beyoğlu in collaboration with the Asian Art Museum, programmed and curated by Naz Cuguoğlu and Vicky Do, Salt Beyoğlu, Istanbul, Turkey, and Sàn Art, Ho Chi Minh, Vietnam (2022), ‘Remnants’, Sàn Art, Ho Chi Minh City, Vietnam (2022), ‘Month of Arts Practice’ residency and showcase, Heritage Space, Hanoi, Vietnam (2020); ‘(re)imagined Chorography’ with Đường Chạy and Sàn Art, Ho Chi Minh City, Vietnam (2020); ‘Đường Chạy 3’ (co-curator with Vicky Do), Hanoi, Vietnam (2019); ‘Le Voyage dans L’imaginaire’, bottomspace, Guangzhou, China (2019); ‘Singing to the Choir?’, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam (2019); ‘The Foliage 3’, Vincom Center for Contemporary Art, Hanoi, Vietnam (2019); ‘Museum Of The Mind’, Ho Chi Minh City, Vietnam (2018); ‘ACC Arts Space Network Residency and Open Studio’, ACC Asia Culture Center, Gwangju, Republic of Korea (2018); ‘The Multiverse’, Heritage Space, Hanoi, Vietnam (2017); and ‘Dogma Prize 2017’, Ho Chi Minh City and Hanoi, Vietnam (2017).
This (semi-)biographical documentary is an attempt to make sense of the artist’s unconscious wanderings while awaiting news of his grandmother in the hospital room next door. In remembrance of her, following her passing, Phan Anh conducted a research on her personal history. Entitled ‘The Museum of the Mind’, the project – which this video is taken from – presents his personal archive of these memories. Found objects and artefacts interlink collective memory and personal anecdote to reflect the identities of two individuals whose beliefs and ideologies were influenced by differing geographical and historical contexts but whose mind, compassion, and humanity are a shared legacy.
— Source: edited from Vietnam Contemporary Art Database
Phan Anh is a multidisciplinary artist based in Saigon, Vietnam. He graduated from the Ho Chi Minh University of Fine Arts in 2013 and later received his M.A from Utrecht School of the Arts in the Netherlands in 2015. In 2017, he co-established a self-funded collective called Đường Chạy for practitioners who have not received much recognition and support from educational institutions or the general art community. That same year, he received the Grand Prize of the Dogma Prize for contemporary portraiture. Phan Anh’s works often involve videos and installations with the help of other archival methods such as drawing, writing, and assembling found objects and images. They contain intense experimentations on the image’s performative construction, aim to advocate freedom of thought, research and expression through the act of challenging established narratives, while exploring possible discourses of political, social and historical events.
Recent projects and exhibitions include ‘Pixelating families: Photography as Material for Filmic (Re)Inquiries’, Sàn Art, Ho Chi Minh City, Vietnam (2023), ‘Glad we made it on time’, organised by Salt Beyoğlu in collaboration with the Asian Art Museum, programmed and curated by Naz Cuguoğlu and Vicky Do, Salt Beyoğlu, Istanbul, Turkey, and Sàn Art, Ho Chi Minh, Vietnam (2022), ‘Remnants’, Sàn Art, Ho Chi Minh City, Vietnam (2022), ‘Month of Arts Practice’ residency and showcase, Heritage Space, Hanoi, Vietnam (2020); ‘(re)imagined Chorography’ with Đường Chạy and Sàn Art, Ho Chi Minh City, Vietnam (2020); ‘Đường Chạy 3’ (co-curator with Vicky Do), Hanoi, Vietnam (2019); ‘Le Voyage dans L’imaginaire’, bottomspace, Guangzhou, China (2019); ‘Singing to the Choir?’, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam (2019); ‘The Foliage 3’, Vincom Center for Contemporary Art, Hanoi, Vietnam (2019); ‘Museum Of The Mind’, Ho Chi Minh City, Vietnam (2018); ‘ACC Arts Space Network Residency and Open Studio’, ACC Asia Culture Center, Gwangju, Republic of Korea (2018); ‘The Multiverse’, Heritage Space, Hanoi, Vietnam (2017); and ‘Dogma Prize 2017’, Ho Chi Minh City and Hanoi, Vietnam (2017).
「Journey of a Piece of Soil（ジャーニー・オブ・ピース・オブ・ソイル）」
監督：Trương Công Tùng（チュオン・コン・トゥン）｜ベトナム｜2015｜カラー｜33分
大きな赤土のように見えるもの、実際にはシロアリの巣を運んでいる匿名の男を追った。 映像の中では何の説明も与えられないまま、男はどこへ行くにもそれを持ち歩き、細心の注意を払ってその物体を扱う。 ここではアーティストは、集団的な関与と文化的生産のより大きな様式における儀式の機能を考察している。 アーティストの活動は中央高原の複数の歴史、生活、民族性、神話に大きく影響され、関わってきたが、作品の中で描かれている農村のシャーマニズムは架空のもの。 なぜ男がシロアリの巣に惹かれるのかは明確には示されないが、だからこそ、献身についての作品『Journey of a Piece of Soil（ジャーニー・オブ・ピース・オブ・ソイル）』が作品として非常に魅力的なのである。さまざまな信仰が私たちに求める、堅実で妥協のない決意を力強く描いているのだ。
主な展覧会に「The Disowned Garden…A Breath of Dream」サンアート／ササアートスペース／ジム・トンプソン・アートセンター／プラメーヤ財団／ムゼイオン／釜山市立美術館で2023年〜2025年にかけて巡回｜「Trương Công Tùng」ICA、ロサンゼルス（2023）｜『O Quilombismo, Of Resisting and Insisting. Of Flight as Flight. Other Democratic Egalitarian Political Philosophies」世界文化の家、ベルリン(2023)｜「Signals…瞬息」パラサイト、香港（2023）｜「Is it morning for you yet?」第58回カーネギーインターナショナル、ピッツバーグ（2022）｜「A State of Absence…Words out there」 Manzi Art Space、ハノイ（2021）｜「The Sap Still Runs」Sàn Art、ホーチミン市（2019）｜ 「バンコク・アート・ビエンナーレ」バンコク（2018年）｜「Between Fragmentation and Wholeness」Galerie Quynh、ホーチミン市（2018年）｜「A Beast, a God, and a Line」パラサイト、香港／ワルシャワ近代美術館／ダッカアートサミット（2018年）「Cosmopolis, Collective Intelligence」ポンピドゥーセンター、パリ（2017年）。
truongcongtung.com
Trương Công Tùng, Journey of a Piece of Soil (2015) Duration: 33:35
We follow an unnamed man carrying what appears to be a large piece of red soil, in actuality a termite nest. Without any explanation provided in the film, the man brings it with him wherever he goes, devoting great care and attention to the object. Here, the artist considers the function of the ritual in larger modes of collective engagement and cultural production. While the artist’s practice has been largely influenced and engaged with the multiple histor(ies), lives, ethnicities and mythologies of the Central Highlands, the rural shamanism depicted in the work is a fictive one. There’s no clear indication why the man is drawn to the termite’s nest, and yet that is what makes Journey of a Piece of Soil so fascinating as a work about devotion: it powerfully depicts the steady and uncompromised determination our various faiths require of us.
— Source: edited from Kadist
Trương Công Tùng grew up in Dak Lak among various ethnic minorities in the Central Highlands of Vietnam. He graduated from the Ho Chi Minh Fine Arts University in 2010, majoring in lacquer painting. With research interests in science, cosmology, philosophy and the environment, Trương Công Tùng works with a range of media, including video, installation, painting and found objects, which reflect personal contemplations on the cultural and geopolitical shifts of modernization, as embodied in the morphing ecology, belief or mythology of a land. He is also a member of Art Labor (founded in 2012), a collective working between visual art and social/life sciences to produce alternative non-formal knowledge via artistic and cultural activities in various public contexts and locales. In 2023 he was awarded the Han Nefkens Foundation Southeast Asian Video Art Production Prize.
Selected exhibitions include ‘The Disoriented Garden…A Breath of Dream’ (presented between 2023-2025 at Sàn Art, Sa Sa Art Space, the Jim Thompson Art Center, the Prameya Foundation, Museion, Busan Museum of Art); ‘Trương Công Tùng’, Institute of Contemporary Art, Los Angeles, USA (2023); ‘O Quilombismo, Of Resisting and Insisting. Of Flight as Flight. Other Democratic Egalitarian Political Philosophies’, Haus der Kulturen der Welt, Berlin, Germany (2023); ‘Signals…瞬息’, Para Site, Hong Kong (2023), ‘Is it morning for you yet?’, 58th Carnegie International, Pittsburgh, USA (2022), ‘A State of Absence…Words out there’, Manzi Art Space, Hanoi, Vietnam (2021), ‘The Sap Still Runs’, Sàn Art, Ho Chi Minh City, Vietnam (2019); The Bangkok Art Biennale, Bangkok, Thailand (2018); ‘Between Fragmentation and Wholeness’, Galerie Quynh, Ho Chi Minh City, Vietnam (2018); ‘A Beast, a God, and a Line’, Para Site, Hong Kong (2018), the Museum of Modern Art, Warsaw, Poland, (2018), the Dhaka Art Summit, Dhaka, Bangladesh (2018); ‘Cosmopolis, Collective Intelligence’, Centre Pompidou, Paris, France, (2017).
Veronika Radulovic, On Amanda Heng: The Scent of Tam Đảo (2022) Duration: 10:23
* The video-essay was part of ‘Collecting Entanglements and Embodied Histories’, a programme and initiative of the Goethe-Institut Jakarta, Indonesia.
In 1995, Veronika Radulovic brought Singaporean artist Amanda Heng and artist/lecturer Trương Tân to her classroom at University of Fine Arts Hanoi. Together with the students, they did an improvised performance workshop and made an unauthorised video recording out of it. Around that same time, the group of artists took their experiments out of the class, out of the city, and out of any scrutiny, into the nearing mountains and countryside where some of the first performance art pieces were trialled and documented. Over 26 years later, Radulovic uses this original material to reflect and comment on the unusual approach to performance art in Vietnam in the 1990s. She asks some of the participants about the situation at that time and provides an up-to-date view at the historical context in which these videos and the workshop were created.
— Source: edited from the Goethe-Institut
Veronika Radulovic first came to Hanoi in the early 1990s to study Vietnamese lacquer art. From 1994 to 2005 she was the first international lecturer at the Hanoi University of Fine Arts, sponsored by DAAD (German Academic Exchange Service). Working in cooperation with various institutions and museums in Germany, she served as an important link between German and Vietnamese contemporary art, and curated several major exhibitions, including: Lacquer, Earth, Stone at the Museum für Lackkunst Münster, Germany (sponsored by BASF, 1995); the Gap Vietnam Project at the House of the World Culture Berlin (1998); the project Ryllega Berlin at the Volksbühne Berlin (2008); and the exhibition at the ifa Gallery Berlin (Institut für Auslandsbeziehungen) Connect: Kunstszene Vietnam (2009/2010). Due to her many years of teaching and her extensive activities in Hanoi and Vietnam, Veronika Radulovic is considered one of the most important pioneers in the development of the contemporary art scene in Vietnam. http://www.radulovic.org/wordpress/
「Becoming Alluvium（漂砂になる）」
監督：Thảo Nguyên Phan (タオ・グエン・ファン)｜ベトナム｜2019-ongoing｜カラー｜16分
Fundaciò Joan Miró（ジョアン・ミロ・ファウンデーション）と共同で、Han Nefkens Foundation-LOOP Barcelona Video Art Production Award 2018を受賞。アーティストとしての活動に加え、専門分野を超えた実践を探求し、地域コミュニティに利益をもたらすアートプロジェクトを開発するコレクティヴ「Art Labor」の共同ファウンダーでもある。
http://www.thaoguyenphan.com/
主な国際展への参加：
Pirelli HangarBiccoca (Milan, Italy, 2023)、 Venice Art Biennial (Venice, Italy, 2022)、Tate St Ives (Cornwall, UK, 2022)、Chisenhale gallery (London, 2020)、WIELS (Brussels, 2020)、Rockbund Art Museum (Shanghai, 2019)、Lyon Biennale (Lyon, 2019)、Sharjah Biennial (Sharjah Art Foundation, 2019)、Dhaka Art Summit (2018)、Para Site (Hong Kong, 2018)、Factory Contemporary Art Centre (Ho Chi Minh City, 2017)、Nha San Collective (Hanoi, 2017)、and Bétonsalon (Paris, 2016)
Thảo Nguyên Phan, Becoming Alluvium(2019)
Duration: 16:40
‘Becoming Alluvium continues Thảo Nguyên Phan’s ongoing research into the Mekong River and the cultures that it nurtures. Through allegory it explores the environmental and social changes caused by the expansion of agriculture, overfishing and economic migration of farmers to urban areas. […] Although non-chronological in narrative and associative in logic, ‘Becoming Alluvium’ unfolds over three-chapters telling stories of destruction, reincarnation, and renewal. Bringing together a host of literary references from Khmer folktales, the poetry of Rabindranath Tagore, to The Lover by Marguerite Duras, and Italo Calvino’s Invisible Cities. History and mythology flow and ebb through this film, like the river it traces which snakes through Tibet, China, Burma, Thailand, Laos, Cambodia, and Vietnam.
— Source: The Institute of Modern Art
Trained as a painter, Thảo Nguyên Phan is a multimedia artist whose practice encompasses video, painting and installation. Drawing from literature, philosophy and daily life, Phan observes ambiguous issues in social conventions and history.
Phan exhibits internationally, with solo and group exhibitions including Pirelli HangarBiccoca (Milan, Italy, 2023); Venice Art Biennial (Venice, Italy, 2022); Tate St Ives, (Cornwall, UK, 2022); Chisenhale gallery (London, 2020); WIELS (Brussels, 2020); Rockbund Art Museum (Shanghai, 2019); Lyon Biennale (Lyon, 2019); Sharjah Biennial (Sharjah Art Foundation, 2019); Dhaka Art Summit (2018); Para Site (Hong Kong, 2018); Factory Contemporary Art Centre (Ho Chi Minh City, 2017); Nha San Collective (Hanoi, 2017); and Bétonsalon (Paris, 2016), among others. She was granted the Han Nefkens Foundation-LOOP Barcelona Video Art Production Award 2018, in collaboration with Fundaciò Joan Miró. In addition to her work as a multimedia artist, she is co-founder of the collective Art Labor, which explores cross disciplinary practices and develops art projects that benefit the local community.
Phạm Nguyễn Anh Tú, Soap Bubbles, 2021 Duration: 7:00 * Part of ‘Lưng Chừng’ supported by the Goethe-Institut’s Ignite Creativity Grant.
A gay superhero experiments with his first queer memory while navigating rumours that queerness could be potentially contagious in Vietnam. Assuming different humorous and irreverent roles and combining these with segments of an actual performance done in Ho Chi Minh City, the artist reexamines news outlets as one of the primary sources that generates and reifies stereotypes on the LGBTQIA+ community in Vietnam. By recreating scenes of memory, interweaving it with pop song fantasy and family anecdotes, the video contemplates on the role that memory and external forces play in formation of one’s identity. The work was produced and screened as part of ‘Lưng Chừng / In the Middle of Nowhere’, a screening project welcoming alternative narratives, conversation on queer identities, examining and deconstructing the stigmatisation on the Vietnamese queer community.
— Source: edited from the Goethe-Institut
Phạm Nguyễn Anh Tú is a visual artist born and raised in Sài Gòn, Việt Nam. He approaches video making through combinations of animated collages and chroma key compositing to recreate scenes of personal memories, fantasy and inner dialogues. He is interested in using art as a site for experimenting and critically reflecting, to grasp the systems of knowledge that structure our world in order to rethink and reimagine our engagement with the physical world.
He is the recipient of the Prince Claus Fund’s Seed Award, 9th International Biennial of University Visual Art Award, PULSE Award, Dogma Prize 2019 and 2021, and Ignite Creativity Grant 2021 from Goethe Institut. His works have been shown internationally at The British Museum, International Short Film Festival Oberhausen, 4th Thai Short Film and Video Festival, Stuttgart Film Winter, Kassel Dokfest, New Mexico Experiments in Cinema International Film Festival. He is also the founder of Nãi Cinema and the co-founder of Saigon Experimental Film Festival. He lives and works between Germany and Vietnam. https://www.instagram.com/naicinema/
「Precious. Rare. For Sale.（プレシャス・レア・フォーセール）」
監督：Lêna Bùi｜ベトナム｜2023｜カラー｜12分
Duration: 12:40 Commissioned by Asian Film Archive
‘Precious. Rare. For Sale.’ takes a broad sweep at the presentation of nature in Vietnamese moving images from the 1990s. From being an abode for majestic and magical beasts, to serving as a backdrop for war heroics and social realist tragedies, representations of nature have been shaped by Vietnam’s changing socio-political contexts.
Reflecting on how filmmakers have portrayed the environment, Bùi questions the ethics of exploiting nature for the camera. While early ethnographic films shot by the French depicted the Vietnamese jungle as an untouched, primitive landscape, today’s images of razed forests and neatly-partitioned land plots reveal how nature has become a commodity for a rising middle-class. Captured on screen by property developers and thrill-seeking vloggers alike, nature’s images shape-shift constantly, feeding into an endless loop of mediated consumption.
— Source: ‘Monograph 2023’, Asian Film Archive
Lêna Bùi produces works that are drawn sometimes from anecdotes, and at other times from in-depth articulations of human relationships to nature and the impact of rapid development on people’s lives. Working mainly through painting and video, she reflects on the ways in which tradition, faith, death and dreams influence our behaviour and perception.
Lêna holds a B.A in East Asian Studies from Wesleyan University. Her work has been shown in solo, group exhibitions and screening programmes such as Monograph 2023 by Asian Film Archive; 2022 Jeju Biennale, the Asia Culture Center, South Korea; Sharjah Art Foundation, UAE; Sàn Art and The Factory Contemporary Art Center, Vietnam; Haus der Kulturen der Welt, Germany; and the Wellcome Collection, London.
A sardonic commentary on the yearning for Eden, ‘My Paradise’ features Quynh Đông’s own parents as protagonists within a dreamlike and kitschy landscape of Vietnamese idealism. She references a myriad of cultural icons, motifs and settings including oriental-styled maquettes of a teahouse, pavilion and half-moon Chinese bridge made by the artist’s father, to reinforce an overblown nostalgia fed by mythic imagery. […] Marrying both traditional and pop imagery with a garish sensibility, Đông satirises the construct of ‘The Orient’ through the times.
— Source : Yeo Workshop.
Quỳnh Đông creates hyper-real video works to provide an innate platform upon which she deliberately challenges cultural stereotypes. Her practice extends to also include performance and sculpture. She studied Fine Arts at Bern University of the Arts, and completed her MA in Fine Arts at Zurich University of the Arts. Her work has been exhibited internationally, notably including the Kunsthalle Bern, Galerie Perotin in Paris, Rijksakademie van beeldende kunsten in Amsterdam, and Galerie Bernhard Bischoff & Partner in Bern. She has further performed her works at Institut de Recherche et Coordination Acoustique/Musique Paris; Museé cantonal des Beaux-Arts Lausanne in Switzerland ; LISTE 17, the Young Art Fair in Basel, Switzerland; the Emily Harvey Foundation in New York, USA; and YAP`15, The Twinkle World, Exco 1F, Deagu, in South Korea.
Beer with Artist vol.5では、西成区 EARTHを会場にトークイベントを行います。 本イベントは「アーティストに聞いてみる」をテーマに、気軽にアーティストとの交流を生むカジュアルなトークイベントです。来日したアーティストと一緒に食事やお茶を楽しみ、会話を交わし、新たなつながりを築くことを目的とします。作品の事だけでなく、登壇者に対する素朴な疑問や、フランスの生活についてなど、自由な会話を楽しむ機会をもちたいと思います。この機会に、一緒に時間を共にしながらアーティストの視点を介して、世界に足を踏み入れてみませんか？皆様がふらりと立ち寄られることを心待ちにしております。
「Beer with Artist vol.5」
with コランタン・ラプランシュ・ツツイ／Corentin Laplanche Tsutsui トークイベント『大阪スタヂアムという地層』
Beer with Artist vol.5 with Corentin Laplanche Tsutsui
”Beneath the Field: The Strata of Osaka Stadium”
Corentin Laplanche Tsutsui (https://corentinlaplanchetsutsui.cargo.site/) was born in southwestern France, near the Pyrenees Mountains. After graduating from Ecole nationale supérieure des Arts Décoratifs (Paris), he started a practice-based research program as a PhD candidate at École nationale supérieure de la Photographie (Arles) – due in 2024. From 2021 to 2023, he took part in the residency program at Artagon Marseille. He started a project related to the Osaka Stadium in 2022 and is currently doing a research residency in Osaka. His artistic practice mainly involves film, installation, text and photography. He is interested in how built environments affect perception and use, how it informs . Through a process of critical fascination, and with material narratives, his practice is trying to deconstruct how urbanism and architecture work, and focus on how those are lived and perceived. His most recent works are related to the development and transformation of global cities and metropoles.
Their talk session, Beer with Artist vol.5, is scheduled to take place at EARTH in Nishinari area in Osaka.
This event is designed as a casual talk session with “Frank Q&A.” It aims to foster casual interactions with the art practitioners, allowing attendees to enjoy meals and drinks, engage in spontaneous conversations, and forge new connections – a refreshing divergence from standard artist talks. We invite attendees to not only discuss the art itself but also to delve into candid inquiries about himself, his life experiences, among other topics. We eagerly anticipate your presence.
EVENT details Beer with Artist vol.5 with Corentin Laplanche Tsutsui
”Beneath the Field: The Strata of Osaka Stadium”
Date & Time: February 29, 2024 18:00-20:00, (Talk) 16:00-20:00 (screening/ 2works in a loop)
Language: English
Fee: free (donation)
Organized by: TRA-TRAVEL
Co-organized by: EARTH
■ OCAC（Open Contemporary Art Center） https://www.facebook.com/opencontemporary
2001年に台湾の板橋で設立されたOpen Contemporary Art Center（OCAC）は、バンコクや台北の様々な地区を拠点に進化を遂げてきたアーティストコレクティブ。初期にはアーティストスタジオ、ブッククラブ、展覧会などのプログラムを提供していましたが、現在では特にタイのアーティストとの国際的なつながりを深めるための「ThaiTaiプロジェクト」を通じて成長を遂げています。現在は9人のメンバー全員が活動中のアーティストで、OCACは現代アートシーンにおける多様な対話と芸術的可能性を促進するシンクタンクおよびプラットフォームとして機能しています。
■ Date: 3rd February 2024
■ Venue: “JUU” 1-17-20, Umeka, Konohana-ku, Osaka
■ Admission: Free (donation required) * Capacity: 30 people (no reservation required)
■ Curation: P.M.S.
■ Organizer: TRA-TRAVEL and OCAC (Open Contemporary Art Center)
■ Collaboration: FIGYA
■ Subtitle translator: Yuki Hosoya, Ryo Ryuzaki
■ Talk moderation: Moeka Tarumi
■ Talk interpreter: Rosaline Lu
■ Support: Osaka city, Housen Cultural Foundation, and National Culture and Arts Foundation, Department of Cultural Affairs, Taipei City Government
■ Introduction:
“Un/Uttered” is a Taiwanese video screening event by the team P.M.S.,based in Taiwan. This screening features video works by artists from different indigenous communities in Taiwan, focusing on works that delicately balance the concept of Un/Uttered to approach the essence of individual existence in complex modern society. Through these video works produced in Taiwan, our neighbouring country, the event will provide an opportunity to explore various boundaries such as urban and traditional cultures, human and nature, perceptions of gender, and complex identities in contemporary society. Following the screening, there will be a post screening talk event with the visiting directors and P.M.S., offering a deeper insight into the works. We warmly invite you to join us for this enlightening experience.
■ Screening Program (with a 20-minute break between Part One and Part Two)
Part One:
“Lost Days” by Kawah Umei | TW| 2019 | Color | 30 minutes
“Woman the Hunter” by Rngrang Hungul | TW | 2022 | Color | 17 minutes
“The mother’s voice” by Kagaw Omin | TW | 2023 | Color | 15 minutes
Part Two:
“Ugaljai” by Baru Madiljin | TW| 2016 | Color | 4 minutes
“Misafahiyan Transformation” by Posak Jodian | TW| 2022 | Color | 16 minutes
Note: “Ugaljai,” “I Am a Woman, I Am a Hunter,” and “Misafahiyan Transformation” are each recipients of the PULIMA Art Award(*).
(* The PULIMA Art Award, established by the Indigenous Peoples Cultural Foundation in 2012, is Taiwan’s first national art award dedicated to indigenous art. It honors contemporary Austronesian artistic creations, and embodies the creative spirit of indigenous peoples in Taiwan. )
■ About P.M.S.
P.M.S., established in 2022 by Posak Jodian, manman, and Sophie Chen, is a group that shares various interests related to video, including aesthetics, culture, and politics. They have organized multiple screening events, primarily focusing on themes of indigenous communities and the fluidity of gender. Following the screenings, they facilitate discussions to share diverse perspectives, enhance mutual understanding, and explore the dynamics between individuals and groups.
OCAC / Open Contemporary Art Center, founded in 2001 in Banqiao is an artist collective that has evolved through various locations, including Bangkok and different districts in Taipei. Initially offering programs like artist studios, book clubs, and exhibitions, OCAC has grown to foster international connections, notably with Thai artists through the ThaiTai Project. Now with nine members, all active artists, OCAC serves as a think-tank and platform, promoting diverse dialogues and artistic possibilities in the contemporary art scene.
Beer with Artist vol.4
ジョンスワット・アンスワーンシリ（Jongsuwat Angsuvarnsiri）
image of “Beer with Artist” Vol.4 Jomgsuwat Angsuvarnsiri Osaka, Japan
Beer with Artist vol4では、北加賀屋を会場にトークイベントを行います。 本イベントは「アーティストに聞いてみる」をテーマに、気軽にアーティストとの交流を生むカジュアルなトークイベントです。来日したアーティストと一緒に食事やお茶を楽しみ、会話を交わし、新たなつながりを築くことを目的とします。作品の事だけでなく、登壇者に対する素朴な疑問や、タイの生活についてなど、自由な会話を楽しむ機会をもちたいと思います。この機会に、一緒に時間を共にしながらギャラリストの視点を介して、世界に足を踏み入れてみませんか？皆様がふらりと立ち寄られることを心待ちにしております。
イベント情報 「ギャラリスト・ジョンスワットに聞くタイのアート」
日時：2024年2月14日 18:00~20:00 要予約
言語：英語
料金：飲食割り勘制
主催：TRA-TRAVEL
－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－－
Beer with Artist vol.4 with Jongsuwat Angsuvarnsiri ” Ask gallerist Jongsuwat Art in Thailand”
Jongsuwat Angsuvarnsiri is a co-founder of SAC Gallery based in Bangkok and Chiang Mai where he also runs a residency program. Having graduated from Sotheby’s Institute of Art in London, Jongsuwat’s interest is in art investment, art business development and art collecting. At the gallery, Jongsuwat focuses on working with emerging artists to connect between Thailand and the international art scene.
Their talk session, Beer with Artist vol.4, is scheduled to take place in Kitakagaya area in Osaka.
This event is designed as a casual talk session with “Frank Q&A.” It aims to foster casual interactions with the art practitioners, allowing attendees to enjoy meals and drinks, engage in spontaneous conversations, and forge new connections – a refreshing divergence from standard artist talks. We invite attendees to not only discuss the art itself but also to delve into candid inquiries about himself, his life experiences, among other topics. We eagerly anticipate your presence.
EVENT details Beer with Artist vol.4 with Jongsuwat Angsuvarnsiri ” Ask gallerist Jongsuwat Art in Thailand”
Venue: Inquiry required (up to 15 people)
Date & Time: February 14, 2024 18:00-20:00, reservation required
展覧会プログラム（2007年以来110以上）のほか、Sàn Artの過去のプロジェクトには、アーティスト・レジデンス「Sàn Art Laboratory」（2012-2015年）、出版物やイベントのシリーズ「Conscious Realities」（2013-2016年）などがあり、グローバル・サウスに焦点を当てた作家、アーティスト、思想家、文化関係者を招いている。2018年、Sàn Artはキュレーター養成学校「Uncommon Pursuits」と、ベトナムとこの地域の近現代美術の対話に焦点を当てた新しいギャラリーを立ち上げた。また同年、MoT+++およびNguyen Art Foundationと共同で設立した国際的なアーティスト・レジデンシー・プログラムであるA. Farm（2018-2020）を開始した。
2001年に台湾の板橋で設立されたOpen Contemporary Art Center（OCAC）は、バンコクや台北の様々な地区を拠点に進化を遂げてきたアーティストコレクティブ。初期にはアーティストスタジオ、ブッククラブ、展覧会などのプログラムを提供していましたが、現在では特にタイのアーティストとの国際的なつながりを深めるための「ThaiTaiプロジェクト」を通じて成長を遂げています。現在は9人のメンバー全員が活動中のアーティストで、OCACは現代アートシーンにおける多様な対話と芸術的可能性を促進するシンクタンクおよびプラットフォームとして機能しています。
■ Mediating Media Arts https://www.instagram.com/mediating_media_arts/
Mediating Media Artsはカールスルーエの文化施設ZKMのアートメディエイターBarbara Kiolbassa と Fanny Kranzが立ち上げたチーム。2022年にMMAは韓国、日本、インドネシアを訪れ、非ヨーロッパ的文脈におけるメディア・アートの媒介を探求し、多くのネットワークを築き、そして何よりもたくさんの食事を交わしました。
MMAは、韓国、日本、インドネシアで実践されているメディアアートの仲介（メディエイション）戦略について、また、メディアアート媒介の差し迫った課題は何なのかを、それぞれのローカルな文脈を踏まえて研究した。TTT vol.5では、彼らの経験を紹介する。
Sàn Artでの展覧会企画と並行して、「Saigon Experimental Film Festival’ editions III and IV (2020年、 2022年) 」の共同キュレーション、 A. Farm (2018-2020年)、Times & Realities (2021年)、Sàn Art Studio (2021年〜)、Ecologies of Water (2023-)といったレジデンシープロジェクトにも関わっている。
OCAC（Open Contemporary Art Center）の主要メンバーであるルオ・シードンの芸術実践は、個人としてのアート表現の追求と集団的な実践への関心という、二つの異なる磁場から形作られています。
2011年にはパリのポンピドゥー・センターで行われた「Rencontres Internationales Paris/Berlin/Madrid」や、フランスのリヨン・ビエンナーレ「Une terrible poetique」に参加しました。2014年には、国立文化芸術基金から海外芸術旅行プログラムの助成を受け、インドネシア、フィリピン、タイの芸術スペースやコレクティブのリサーチや交流を進めました。台湾と東南アジアの間で多数の共同プロジェクトを実施しており、例えば、Jiandyinとの共同での「ThaiTai: A Measure of Understanding」（2012-2014）、Lifepatchとの「CO-Temporary: Itu Apa Island」（2016）、PETAMUプロジェクト（2018）、そして「A Fly Enters. Immense Breath of the SEA」シリーズ（2020-2022）など。2022年には、Baan Noorg Collaborative Arts & Cultureと共にカッセルのDocumenta15に参加しました。
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TRA-TRA-TALK vol.5
9 Questions: Exploring the works of Art organizations and prospects for global collaboration – Insights from Taipei, Ho Chi Minh, and Karlsruhe
■ Introduction:
Researchers often engage in conversations with knowledgeable individuals who can provide insights and answers, helping to advance their projects and research. This event is designed to make such research processes public, creating a “space for mutual learning” where the audience can actively participate in exchanging opinions and ideas. In TTT vol.5, TRA-TRAVEL will take on the role of the “researcher,” while three art organisations from Taipei, Ho Chi Minh City, and Karlsruhe will serve as “responders.” The event will facilitate dialogue and research, centring on “Exploring the Activities of Art Organisations and Prospects for International Collaboration.”
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“TTT vol. 5” will commence with a series of nine questions and feature prominent participants: the Taipei artist collective “OCAC,” the Ho Chi Minh City-based artist initiative platform “Sàn Art,” and “Mediating Media Arts,” a project initiated by art mediators from the ZKM cultural instituion in Karlsruhe. This event aims to foster a dialogue on how art functions across different countries, regions, and time zones, and to explore current trends. We will delve into the diverse aspects of “art organisations, history, cultural funding, and international cooperation,” which vary significantly from one region to another. This gathering presents a unique opportunity to engage with contemporary art trends and to acquire fresh perspectives and inspiration. We eagerly anticipate your participation!
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*Associated Event Screenings:
In conjunction with TTT vol.5, we are excited to present two special screenings at the same venue: 1) A showcase of Taiwanese video works by P.M.S. from OCAC, Taipei, scheduled for Saturday, Feb. 3, and 2) A selection of Vietnamese video works curated by Mart Lou David of Sàn Art, Vietnam, set for Sunday, Feb. 18. These screenings promise to enrich the overall experience of the event.
■ Sàn Art https://san-art.org/
Sàn Art, founded in 2007 in Ho Chi Minh City as an artist-led platform, has since grown into a leading independent arts organization in Vietnam and the region. Maintaining a commitment to grassroots support for local and international artists and cultural work, Sàn Art is also a site for critical discourse with regular educational initiatives.
Sàn Art has hosted over 110 exhibitions since 2007, alongside projects like the Sàn Art Laboratory artist-residency and Conscious Realities, featuring publications and events with a Global South focus. In 2018, it launched Uncommon Pursuits, a curatorial school, and a new gallery for modern and contemporary art dialogues in Vietnam and the region. The same year saw the inception of A. Farm, an international artist residency program, in collaboration with MoT+++ and the Nguyen Art Foundation.
Opening a new chapter in the organization’s history, Sàn Art is expanding as a community hub to support and foster innovative and experimental practices and perspectives.
OCAC / Open Contemporary Art Center, founded in 2001 in Banqiao, is an artist collective that has evolved through various locations, including Bangkok and different districts in Taipei. Initially offering programs like artist studios, book clubs, and exhibitions, OCAC has grown to foster international connections, notably with Thai artists through the ThaiTai Project. Now with nine members, all active artists, OCAC serves as a think-tank and platform, promoting diverse dialogues and artistic possibilities in the contemporary art scene.
■ Mediating Media Arts https://www.instagram.com/mediating_media_arts/
In October 2022, Barbara and Fanny embarked on a research trip to Korea, Japan, and Indonesia. Their goal was to explore media art mediation in non-European contexts, establish numerous networks, and, importantly, share a variety of culinary experiences. MMA conducted research into the specific strategies used for media art mediation in these countries, focusing on the unique challenges and issues relevant to each local context. At TTT vol.5, they will present their findings and experiences.
■responder
Mary Lou David
Born in Paris, raised in London and now living in Ho Chi Minh City, Mary is one of the curators currently running Sàn Art, an leading contemporary arts organisation in Vietnam. In addition to her ongoing interests in experimental cinema, video art, and queer performance, Mary is interested in developing new networks of support and collaboration between independent art spaces in the region. Aside from her exhibition work, she has also co-curated ‘Saigon Experimental Film Festival’ editions III and IV (2020 and 2022) and been involved in a variety of residency projects including A. Farm (2018-2020), Times & Realities (2021), Sàn Art Studio (2021-), Ecologies of Water (2023-).
* Mary’s research and stay in Japan has been made possible through the generous support of the Ishibashi Foundation / The Japan Foundation Fellowship for Research on Japanese Art.
Lo Shih Tung
Lo Shih Tung’s practice orbits around two different gravities—of his personal artistic pursuit as well as of his interest in collective practice. As a leading member of Open Contemporary Art Center, Lo has been taking a very specific role in navigating potential interactions among cross-cultural perspectives and artistic practices, investigating the force of art that is Nmobilized and shaped by form, space, model and relation of collaborative process. His individual practice pays attention to fragmented narration and reflection of a contextual setting or environment, operation and composition of the world.
Lo has participated in the 2011 Rencontres Internationales Paris/Berlin/Madridat Centre Georges Pompidou, Paris/ France, and also Une terrible poetique, La Biennale de Lyon, France. In 2014 Lo received the grant Overseas Arts Travel Program from The National Culture and Arts Foundation (NCAF) and preceded his research and exchanges with art spaces and collectives in Indonesia, Philippines and Thailand. Lo also initiates and participates in numbers of collaborative projects between Taiwan and Southeast Asia. Such as ThaiTai: A Measure of Understanding in collaboration with Jiandyin (2012-2014), CO-Temporary: Itu Apa Island (2016) in collaboration with Lifepatch, PETAMU project (2018), A Fly Enters. Immense Breath of the SEA series (2020-2022). Participate in Documenta 15, Kassel with Baan Noorg Collaborative Arts & Culture in 2022.
Beer with Artist vol.2
ジャコモ・ザガネッリ／シルビア・ピアンティーニ （Giacomo Zaganelli and Silvia Piantini）
image of “Beer with Artist” Vol.2 Giacomo Zaganelli and Silvia Piantini at Ichinojuni no Yon, Osaka, Japan
ジャコモ・ザガネッリ（Giacomo Zaganelli）とシルビア・ピアンティーニ（Silvia Piantini）は、イタリア出身でベルリンを拠点とするアーティスト兼デザイナーのデュオです。彼らはアジア、特に台湾や日本で精力的に活動しており、土地の文脈や地元民と多文化的対話を通じて、空間、身体性、生物と素材の関連性を探求しています。
Beer with Artist vol.2では、西成区の居酒屋を併設するアートスペース「イチノジュウニのヨン」を会場にトークイベントを行います。
本イベントは「アーティストに聞いてみる」をテーマに、気軽にアーティストとの交流を生むカジュアルなトークイベントです。来日したアーティストと一緒に食事やお茶を楽しみ、会話を交わし、新たなつながりを築くことを目的とします。作品の事だけでなく、アーティストに対する素朴な疑問や、イタリアやベルリンの生活についてなど、自由な会話を楽しむ機会をもちたいと思います。この機会に、一緒にお茶を飲みながらアーティストの視点を介して、世界に足を踏み入れてみませんか？皆様がふらりと立ち寄られることを心待ちにしております。
“Beer with Artist”
Vol.2 Giacomo Zaganelli and Silvia Piantini
November 4, 2023, from 4 to 6 PM @ Ichinojuni no Yon
1-12-4 Sanno, Nishinari-ku, Osaka City
Giacomo Zaganelli and Silvia Piantini are an artist-designer duo from Italy, currently based in Berlin. United by a shared perspective on art and life, they delve into the intricate relationships between space, physicality, living entities, and materials. Their practice is deeply rooted in research and the discovery of diverse contexts, wherein they explore unique details and foster multicultural dialogues with local communities.
Their talk session, Beer with Artist vol.2, is scheduled to take place at “Ichinojuni no Yon,” an art space that also functions as an izakaya (Japanese-style pub), located in Nishinari.
This event is designed as a casual talk session with “Frank Q&A.” It aims to foster casual interactions with the artists, allowing attendees to enjoy meals and drinks, engage in spontaneous conversations, and forge new connections – a refreshing divergence from standard artist talks. We invite attendees to not only discuss the artworks but also to delve into candid inquiries about the artists, their life experiences in Italy and Berlin, among other topics. It’s a rare chance to explore global perspectives, all while sharing a cup of tea. We eagerly anticipate your presence.
“Beer with Artist”
Vol.2 Giacomo Zaganelli and Silvia Piantini
Date: November 4, 2023 (Saturday) from 4 to 6 PM
*Free entry and exit, no reservation
Venue: Ichinojuni no Yon
1-12-4 Sanno, Nishinari-ku, Osaka City
Language: English, Japanese
Fee: Free (One-drink order system)
Organizer: TRA-TRAVEL
In cooperation with: C-index, FIGYA, NART
■ Artist Profile
Giacomo Zaganelli and Silvia Piantini
Giacomo Zaganelli and Silvia Piantini are an artist+designer duo from Italy, based in Berlin. Working together and sharing the same approach towards art and life, the duo investigates the connection and the relationships between space and physicality, living things and materials.
The research and discovery of different contexts, exploring peculiar details and activating a multicultural dialogue with locals, are considered fundamental moments and integrant part of their practice. A participatory approach and an unconventional involvement of the local resources always influence the outcome of their collaboration, encompassing different types of languages that, from time to time, take the form of actions, interventions, installations, performances, case studies. Art as a medium to get in touch with local contexts.
The duo has been actively working in Asia for many years, mainly in Taiwan and Japan and recently also in Thailand. In 2021 Zaganelli participated in the Thailand Biennale in Korat and Piantini joined him as project coordinator.
Beer with Artist vol.1
ファニ・フッタークネヒト（Fanni Futterknecht）
image of “Beer with Artist” Vol.1 Fanni Futterknecht at Hoffma, Osaka, Japan
TRA-TRAVELの新たな試み「Beer with Artist」は、”アーティストと共に飲む”をテーマにしたカジュアルなトークイベントです。来日したアーティストと一緒に食事やお酒を楽しみ、会話を交わし、新たなつながりを築くことが本イベントの目的です。一般的なアーティストトークとは異なり、気軽な交流が生まれる空間を作り出すことを目指しています。
第一回目は、オーストリア出身の現代アーティスト、ファニ・フッタークネヒト（Fanni Futterknecht）さんをゲストに迎えます。彼女の作品やアーティストとしての思考、そして現在の関心事について深く掘り下げながら、自由な会話を楽しむことができます。
Fanni Futterknecht（以下FF）：今回は招待ありがとう！ Beer with Artistというアイデアも好きだし、自分の作品について話したり、大阪で知らない人達と交流する機会がもてること楽しみです。私はウィーンを拠点に活動するビジュアルアーティストで、パフォーマンス、インスタレーション、ビデオ、テキストなど、主に物語性のあるさまざまなメディアを使って作品を作っていて、プロジェクトによってはパフォーマーやミュージシャンとコラボもよく行っています。最近は「kritzeln（落書き）」に関心があって、書き言葉や話し言葉の拡張形としてや、抗議運動のジェスチャーとして応用した制作も行っています。
QY：今回は「Beer with Artist」という名前の企画なので、オーストリアのお酒文化についても１つ質問していいですか？ 例えば 日本には「飲み会」という言葉があります。友人同士などで居酒屋などに集まって一緒に飲みながらお喋りを楽しむ会、みたいなものです。例えばビジネスシーンでは打ち合わせや会議ではなく「飲み会」で契約を取ったり、恋愛市場では合コンという「飲み会」があったり、いろいろ社会的な機能があったりします。オーストリアはいかがですか？
TRA-TRAVEL’s new venture, “Beer with Artist,” is a casual talk event themed around “drinking with the artist”. The aim of this event is to enjoy meals and drinks with artists visiting Japan, exchange conversations, and build new connections. Unlike typical artist talks, we aim to create a space where casual interactions can occur.
Our first guest is Fanni Futterknecht, a contemporary artist from Austria. You can enjoy free conversations while delving deeper into her works, thoughts as an artist, and current interests. Why not take this opportunity to step into the artist’s world while sipping on a drink or coffee together? We look forward to your participation.
Born in Vienna Fanni Futterknecht has been studying fine art, contextual painting and video at the Gerrit Rietveld Academy Amsterdam and the Academy of Fine Arts Vienna. She participated at CNDC in Angers in France researching live performance, space and the body.
Fanni Futterknecht’s works adopt a position that spans media, ranging between video, performance and installation. In her works she reflects on sociological and social questions, converting them into poetic interpretations. In spatial and plastic realizations and translations, and by means of language, the artist works on – in the form of performance, demonstrations, videos and installations – the construction and deconstruction of scenarios. Performance-installations are understood as processual sculptures, transforming creatively during their staging.Part of this investigation is a concern with processes of media translation and a questioning of the media employed in each context: the translation of the performance into a video. The video as an exhibition. The installation as a performance
■pre-interview with the artist
Qenji Yoshida (QY): We will be discussing this at our event, “Beer with Artist,” but could you briefly tell us about yourself as an artist and the kind of field/area you explore?
Fanni Futterknecht(FF): thank you so much for this invitation. I am really happy about this idea and to have the opportunity to exchange with you and other artists about my work.
So briefly, I am a Vienna based visual artist working with different media mainly of narrative nature such as performance, installation, video and text. I work a lot with different performers as well as musicians depending on the specific project. My last project was about the act of scribbling (in Austrian German kritzeln) as an extended form of writing and speaking and a performative gesture of protest. The work is based on an extensive exploration about rhetoric in public space.
QY: I’ve seen some of your projects, and I’m particularly interested in your performance. While you’re in Japan, what kind of project are you working on?
FF: I came to Japan this time in the frame of an ICA fellowship based on my current research around the theme of play culture and toys in its social and political dimensions. Main goal was to get a broad image, idea or even imagination of where play begins and where it ends in peoples everyday life.
QY: I believe Japan is rich in “play” cultures and would provide an excellent location for researching this topic.
FF: Definitely, Japan is the perfect ground for this exploration as it offer endless opportunities and inputs around the notion of play and game.
This time I found my stay in Japan, even though it was my third time already, challenging, mainly due to language barriers but also I found the artistic context of Kyoto more closed than other bigger cities in Japan such as Tokyo or Osaka . It might have to do with the fact that Kyoto is a very touristic place and emerging in this context as a foreigner can be harder than for example in Tokyo.
In Japan many relationships establish through being introduced through others, as a foreigner you kind of depend a bit on others taking care for you. That can be on the one hand something really beautiful as my experience in Japan has always been defined by meeting many warm and welcoming people, but sometimes this dependence can also become suffocating when you do need to sort things on your own.
QY: Since this event is titled “Beer with Artist”, I’d like to ask you about your own drinking culture or that of your country. In Japan, we have “Nomikai” (drinking parties). These are gatherings where friends come together at an izakaya (Japanese-style pub) to drink and chat. In business, contracts are often made at “Nomikai” instead of formal meetings or conferences, and in the dating scene, we have a special “Nomikai” called “Gokon”. So, “Nomikai” serves various social functions. What about Austria?
FF: I have had many Nomikais, I guess, in my previous stays in Tokyo, at least many social moments in bars with friends and colleagues.
In Austria we have a strong drinking culture too and we also have this saying that many contracts are made in the bars and not in the formal work environments. There is though quite a huge cultural difference. Despite the fact I consider austrians on a European scale rather shy, in comparison to Japan, they really are very direct in addressing issues that we disagree with or dislike. It is also something I personally always find challenging being in here: How to address a problem or discomfort in a non direct way and by all means avoiding an uncomfortable situation for the other? In Japanese culture you aim to avoid confrontation by all means but in Austria we do the opposite many times. As a consequence people argue much more, especially when they get drunk.
QY: Oh, it’s true that I don’t like confrontation either, and tend to think of a dialectic, or a third alternative if there is a conflict. Some people say that people in Japan don’t like confrontation because it is an island country, and they value harmony. Maybe there are political, social, or geopolitical influences… I’d like to talk more about this, but let’s talk more the bar!
It’s true, I also avoid confrontation, and when there’s a conflict, I tend to think dialectically or try to find a third alternative. Some people say that because Japan is an island country, there is a tendency to value harmony and avoid confrontation. Perhaps there are political, social, and geopolitical influences at play… I’d love to delve deeper about you and your practices as well as this topic, but let’s save that for the bar!
TRA-TRA-TALK
“アートと隣人 vol.1 ／ インドネシアの文化芸術、その創造環境“
We Don’t Have Any Message Today. P_A_U_S_E, 4th Gwangju Biennale, South Korea courtesy of ruangrupa
Gudang Sarinah Ekosistem Courtesy of Gudskul Ekosistem
Illustration excerpt from Gudskul Collective Study Batch 1, 2019 Credit_ Angga Cipta Courtesy of Gudskul Ekosistem
Kurikulab discussion at YCAM 撮影：ヨシガカズマ 写真提供：山口情報芸術センター［YCAM］
ruangrupa documenta fifteen members courtesy of Panji Purnama Putra
People hanging out at the artist-run-coffeeshop in Gudskul space courtesy of Gudskul Ekosistem
image of TRA-TRA-TALK “アートと隣人 vol.1 ／ インドネシアの文化芸術、その創造環境” at コクリワーク, Osaka, Japan
2004年公益財団法人福武財団に入社。2005年から「瀬戸内国際芸術祭」の準備に携わり、2011年まで直島、豊島、犬島の美術館の立ち上げやアートプロジェクトに携わる。2013年にディレクターとして文化事業会社ノエチカの創業に携わり、「KOGEI Art Fair Kanazawa」や「KUTANism」など石川県の地域文化である工芸のまちづくりやツーリズムなどに携わり、2021年に独立。artnessを創業し、アートプロジェクトのキュレーションやプロデュースを手掛けている。
In collaboration with: Mahasarakham Mid-field Artspace (Thailand) TRA-TRAVEL (Japan) Load na Dito (The Philippines)
Organizer: The Art Centre, Silpakorn University
Grants: Chishima Foundation for Creative Osaka
Partner : Kyoto Art Center
Exhibition Design and Installation Consultant: Kritsada Duchsadeevanich
Assistant Curator: Nat Setthana
Date: 16 December 2021 – 5 February 2022
Opening Reception 16 December 2021, 6.30 pm
At the Art Centre, Silpakorn University (Wang Thapra)
Participating Collective/Artist:
Mahasarakham Mid-field Artspace
– Adisak Phupa
– Sittikorn Khawsa-ad
– Chaiyapat Yachay
TRA-TRAVEL
– Yukawa-Nakayasu
– Qenji Yoshida
Load na Dito
– Mark Salvatus
– Mayumi Hirano
– Marian Barro
– Jad De Guzman
Exhibition statement
– Penwadee Nophaket Manont / curator
As we lament for social-injustice again and again, only persistence and unyielding to tyrannical power will allow us to unleash self-consciousness, dig into issues logically, accept and dare to face our own desires truthfully, to bring about the ripple effect of changes in our society.
It’s been two long years since the end of 2019, when people around the world have had to face the new coronavirus (COVID-19) epidemic which firstly took place at the largest wildlife market or Huanan seafood market in Wuhan, Hubei province, China. On January 12, 2020, the Ministry of Public Health, Thailand, announced the first case found outside China —a tourist from Wuhan. It became the beginning of the outbreak to spread across the country, affecting a wide range of people, particularly vulnerable populations with less social capital than others, such as the poor, informal laborers, migrant workers, homeless and disabled people. Limited access to treatment for the groups has reiterated social hiatus, public health inequality, and socio-political instability, under the Thai state’s ministration and visionless leader, with unjustified knowledge and notion.
“Conscientization” or the process of creating critical consciousness/awareness of an individual’s social reality through reflection and action, in changing the reality we are pressed against from the government, bourgeoisie, patronage system, feudalism, and authoritarian dictatorship. The attempt to critically reflect and act upon social issues as Paulo Freire —a former Professor of History and Philosophy of Education in the University of Recife, in Brazil— referred to and called it “Praxis” is the cornerstone of empowering the oppressed, generating the process of reform. According to Paulo Freire, “We all acquire social myths which have a dominant tendency, and so learning is a critical process which depends upon uncovering real problems and actual needs.”
de-CONSCIENTIZATION deliberately probes and challenges through enquiring the conscious and unconscious mind of people in society. When it’s time to battle with despair, even life and death, and the world’s one of humanity’s biggest crises, how does our ‘mind’ supposedly different from other creatures critically function, query, inspect, reflect upon the root of problems, to generate structural change? How can collective awareness create a rebellion wave among the oppressed?
Exhibition “in the era of Asia’s Post–LCC / ポストLCC時代の “
images of exhibition “in the era of Asia’s Post-LCC / ポストLCC時代の ” at Kyoto Art center, Kyoto, Japan
TRA-TRAVEL共同代表。大阪を拠点に歴史や習俗や習慣をもとに、社会や身体、日常に内在している営為を視覚化する作品を制作発表している。近年では、2018年にThe 12th Arte Laguna Prize（ヴェネチア）大賞受賞。 www.yukawanakasu.net
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“Statement of the exhibition”
The rise of low-cost carriers (LCCs) brought a new perspective on geopolitics that closely connected cities beyond countries’ borders. For instance in Europe in 1993, the “Third Package” was adopted as the last stage of the step-by-step process of air transport liberalization, in order to fully open up airline markets. Since then, the EU’s “sense of community” actually started being cultivated beyond countries in accordance with the policy that “allows its people free movement of borders and guarantees them equal treatment with the citizens of the host country”.
Physical/psychological distances between cities have been reduced, and exchanges, intermingling, solidarities, or repulsions in multiple levels became normalized. Such situations could be described as a post-LCC era.
On the other hand, the network proposed by LCCs in Asia, unlike the EU, are subject to firm restrictions upon entry, such as the right to stay for both travelers and immigrants. The social movement dynamics are generated not freely, but formed by the intertwining interests of each country, which makes us imagine post-LCC situations in Asia distinct and diverse when compared with the one in the EU.
Japan, for instance, has started to ease the restrictions on travelers and workers coming from other Asian countries in recent years. The so-called “Inbound Travel Promotion Project (Visit Japan Project)” is part of the government’s measures to resolve the serious shortage of domestic labor. It has triggered more flows and movements of people, things and information, creating new dimensions of social phenomena that are becoming more visible and apparent. It would question, challenge and possibly alter traditional values and social conventions.
The exhibition, which invites a total of seven artists from four Asian countries, examines the “current dynamics brought about by the movement of people, things and information beyond borders”, through the artists’ perspectives on the themes such as tourism, immigration and communication.
The exhibition entails various processes and forms of collaboration, and cooperation, which embody current movement dynamics in Asia. By bringing together a series of excises and a collection of art works, the exhibition aims to trigger imaginations and reflections about a prospective time we call post-LCC.
TRA-TRAVEL
—–
Participating artists:
Mark Salvatus / PH, Mong-jane Wu / TW, Prapat Jiwarangsan / TH, Qenji Yoshida / JP,
Organizers: TRA-TRAVEL, Kyoto Art Center
Technical cooperation: Tomofumi Sanjo, Mami Matsumoto
Cooperation: エステート信, 株式会社応用芸術研究所, つづれ織工房おりこと, Load na Dito
Supported by Arts Support Kansai, Chishima Foundation
for Creative Osaka
—–
Mark Salvatus（Philippines）
Based in Manila, Philippines. Calling his overall artistic practice as salvage projects, Mark’s preoccupations are based in his constant movements and travels – coming from the countryside to the city and elsewhere, addressing and building new imaginations of the contemporary urban, the glocal migrant and the debris of vernacular historiographies. He also co-runs Load na Dito, a mobile research and artistic project initiated in 2016.
His recent exhibitions include Sharjah Biennale 2019 and Unfolding Fabric of our Life, Mill6 CHAT, Hong Kong 2019. www.cargocollective.com/marksalvatus https://loadnaditoprojects.cargo.site/
Mong-Jane Wu
Based in Taipei, Taiwan, received an MFA at the School of the Museum of Fine Arts, Boston. She incorporates photography, installation, sculpture, and performance in her practice, and explores ideas of form, formalities, and those of cultural and artistic conventions.
Her recent exhibitions included: “2018 Tainan International Foto Festival” (Tainan/TW, 2018) and “Snap Taking and Slow Thinking: Social Spectrum in the Age of Staged Photography” (Kaohsiung/TW, 2016) www.mongjanewu.com
Prapat Jiwarangsan
Based in Bangkok, Thailand, having a background in interdisciplinary art and research. His art works mianly investigate and represent the relationships between history, memory, and politics in Thailand—particularly in relation to the theme of migration.
His recent exhibitions included: “Singapore Biennale” (SG, 2019) and “Blackout, International Film Festival” (Rotterdam/NLD, 2019) www.prapat-jiwarangsan.com
Qenji Yoshida
Based in Osaka, Japan. His artistic practice explores in-betweenness through miscommunication between different languages, cultures, species in order to spin a new story or narrative.
He is a co-director of TRA-TRAVEL, initiated in 2019.
His recent exhibitions included: “Compiling behaviors, digesting actions” (Tokyo/JP, 2018) and “Delikado Peligroso” (Madrid/SP, 2017) www.Qenjiyoshida.com
Wantanee Siripattananuntakul
Based in Bangkok, Thailand. She is known for her critical approach towards socio-political, economical issues, etc, at the same time she continues Beuys project. She is also one of artists at Thai Pavilion, 53rd Venice Biennale, Venice in 2009.
Her recent exhibitions included: “The Broken Ladder” (Bangkok/TH, 2018) and Bremen, Kulturkirche St.Stephani, “Gruppen Bild” (Bremen/DE, 2018) www.wantaneesiri.com
Yukawa-Nakayasu (Japan)
Based in Osaka, Japan. Yukawa-Nakayasu confront aspects of human agency and its traces that span from the past until present from habits, history, to customs, as a means to create works that sculpturize diverse relationships through appropriation of their medium and context. He is a co-director of TRA-TRAVEL, initiated in 2019.
His recent exhibitions included: “The sweetness of life” (Tainan/TW, 2019) and “The 12th Arte Laguna Prize” (Venice/IT, 2018) www.yukawanakasu.net
Yu-Hsin Su
Based in Taiwan and Germany. An artist whose video essays investigate political ecology in planetary-scale, and politics and poetics inherent to expanded cinema praxis.
Her recent exhibitions included: “Taipei biennale” (Taipei/TW, 2020) and “Oozing Ecologies from an Upcoming Past” (Leipzig/DE, 2019) www.suyuhsin.net/
