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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2017.12
- 수록면
- 163 - 181 (19page)
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There has been a boom in art festivals in various parts of Japan. Its starting point can be traced back to Christo & Jeanne-Claude’s 〈Umbrella Project〉 (1991) in which artwork was displayed in a rural area. The Art Front Gallery led by Kitagawa FRAM supported the 〈Umbrella Project〉, which served as a precedent to the Echigo Tsumari Art Triennale and the Seto Inland Sea International Art Festival. These art festivals taking place in the empty houses or abandoned schools after renovation provided a common platform for both art and architecture. In conjunction with the opening of the Triennale, new buildings, such as Matsudai Yukiguni Agricultural Culture Village Center and Kyororo, was erected. Benesse Art Site Naoshima sponsored by Fukutake Foundation played a role in transforming the Seto Inland Sea into the center of art by commissioning the world renowned architects including Ando Tadao and SANAA to create wonderful artistic sites. In particular, architect Nishizawa Ryue and artist Naito Rei worked together to realize a miraculous art museum in Teshima.
In the post bubble era, as the number of architectural projects decreased, young architects born in the 1960s, such as Atelier Bow Wow and Mikan Gumi, try to find a new venue in the international Biennials or Triennales and the realm of exhibition display. The reason why art festivals have flourished is because they were easy to maintain and cost efficient compared with building new museums and galleries.
I would like to discuss the relationship between art and architecture by tracing exhibitions in which I have been involved. From 2002 to 2006, I served as a committee member at the KPO Kirin Gallery in Osaka and staged exhibitions featuring works by Atelier Bow Wow, Yamamoto Katsuhiro, Endo Souhei, and Fujimoto Sosuke, with an intention to impress ordinary people. Since I organized architectural shows at the art gallery, I could not help but comparing how these two disciplines used the same space differently. If art exhibitions feature original works as a commodity, architectural exhibitions feature only replaceable models or drawings. Yet, Ishigami Junya’s work was an exception to this distinction in that his design of a table could be literally displayed in the gallery space like an art object and at the same time it was an architectural work that included complicate structural concern. In 2008, when I undertook the commissioner of the Venice Biennale, I put Ishigami’s life-size green house on display.
In 2013, as an art director, I dedicated myself to the Aichi Triennale whose main theme was 3.11. I raised the issue of how architecture could engage in art festivals by renovating exhibition buildings and creating experimental spaces. In 2017, I got involved in two artistic events, Mayfly Cluster and Ten Year Anniversary of Windowology. In hindsight. the intersection between art and architecture has offered a new venue for both disciplines.
In the post bubble era, as the number of architectural projects decreased, young architects born in the 1960s, such as Atelier Bow Wow and Mikan Gumi, try to find a new venue in the international Biennials or Triennales and the realm of exhibition display. The reason why art festivals have flourished is because they were easy to maintain and cost efficient compared with building new museums and galleries.
I would like to discuss the relationship between art and architecture by tracing exhibitions in which I have been involved. From 2002 to 2006, I served as a committee member at the KPO Kirin Gallery in Osaka and staged exhibitions featuring works by Atelier Bow Wow, Yamamoto Katsuhiro, Endo Souhei, and Fujimoto Sosuke, with an intention to impress ordinary people. Since I organized architectural shows at the art gallery, I could not help but comparing how these two disciplines used the same space differently. If art exhibitions feature original works as a commodity, architectural exhibitions feature only replaceable models or drawings. Yet, Ishigami Junya’s work was an exception to this distinction in that his design of a table could be literally displayed in the gallery space like an art object and at the same time it was an architectural work that included complicate structural concern. In 2008, when I undertook the commissioner of the Venice Biennale, I put Ishigami’s life-size green house on display.
In 2013, as an art director, I dedicated myself to the Aichi Triennale whose main theme was 3.11. I raised the issue of how architecture could engage in art festivals by renovating exhibition buildings and creating experimental spaces. In 2017, I got involved in two artistic events, Mayfly Cluster and Ten Year Anniversary of Windowology. In hindsight. the intersection between art and architecture has offered a new venue for both disciplines.
목차
Ⅰ. 시작하며-‘우산 프로젝트’에서 ‘에치고쓰마리’로
Ⅱ. 베네세에 의한 건축과 현대 미술
Ⅲ. 포스트버블 시대의 건축가
Ⅳ. 왜 예술제가 늘어나는가
Ⅴ. KPO 기린아트플라자의 전람회
Ⅵ. 리스본에서 베네치아로
Ⅶ. 《아이치 트리엔날레 2013》의 시도
참고문헌
Abstract
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