Exhibition “de-CONSCIENTIZATION / 脱 – 意識化”
Exhibition “in the era of Asia’s Post–LCC / ポストLCC時代の “
一方でアジア圏のLCCネットワークは、旅行者や移民に滞在や権利の制限があり、複雑に各国の利権が絡み合いながら移動の力学を発生させているなど、EUとは異なるポストLCC的状況を生み出し始めています。日本を例にとると、近年アジア諸国の旅行者や労働者の受入れ緩和を進めており、これまで以上に人や物や情報の流れが増し、結果として私たちは様々な移動によってもたらされる社会現象をより認知していくと予見されます。
アジア４カ国計７名のアーティストを招へいする本展は、観光、移民、コミュニケーションなどをテーマとするアーティストの視点を通して「国境を越える人や物や情報の移動がもたらす力学」を考察します。また、互いの国を訪れ、その社会／状況に対する共感を持つアーティストらが、作品プラン段階から意見交換や共同制作を行うなど、様々に協働して展覧会構成を行っています。
彼らの作品を通して近未来の社会状況を読み、それを現在の私たちの身振りと結ぶことから、展覧会タイトルである【ポストLCC時代の】に続く「空白」を想像する機会をもちます。
Mark Salvatus（フィリピン）、Mong-jane Wu（台湾）、Prapat Jiwarangsan（タイ）、Qenji Yoshida（日本）、Wantanee Siripattananuntakul（タイ）、Yukawa-Nakayasu（日本）、Yu-Hsin Su（台湾）
主催: TRA-TRAVEL、京都芸術センター
Mark Salvatus
Load na Dito代表。マニラを拠点に日用品や習慣から、都市化や社会経済的視点を顕在化させるインターメディアアーティスト。近年では、2018年「光州ビエンナーレ」（光州）、2017年「Sun Shower」（森美術館、東京）に参加。
www.cargocollective.com/marksalvatus
loadnaditoprojects.cargo.site/
Mong-jane Wu
台北在住。ボストン美術館芸術大学にてMFA取得。写真やパフォーマンスなどから文化風習や様式への介入、写真メディアの境界を思索する作品で知られている。近年では、2018年「台南国際フォトフェスティバル」（台南）に参加。
www.mongjanewu.com
Prapat Jiwarangsan
バンコク在住。ロイヤルカレッジ・オブ・アート（ロンドン）修了。特に移住・移民をテーマにタイの歴史と記憶、政治の関係性を表現する作家として知られている。近年では、2019年にシンガポールビエンナーレに参加。
www.prapat-jiwarangsan.com
Qenji Yoshida
TRA-TRAVEL共同代表。「言語」「翻訳」「対話」から、異言語間や異文化間におけるミスコミュニケーションを考察、探求する試みと実践を行っている。近年では、2017年「Delikado Peligroso」（マドリード）に参加など。
www.Qenjiyoshida.com
Wantanee Siripattananuntakul
シラバコーン大学（バンコク）講師。社会、政治、経済、文化などへ批判的な視線を扱うメディア越境型の作風で知られ、第53回ヴェネチア・ビエンナーレ・タイ館代表。近年では、2018年に個展「THE BROKEN LADDER」（バンコク）など。
www.wantaneesiri.com
Yukawa-Nakayasu
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
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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/