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UTUX, Pan-Spirit’s Men for Music and Dance - Her Silent Innermost (2012), installation view at the "11th Taishin Arts Award Exhibition," Museum of Contemporary Art, Taipei.


One of Taiwan's most prestigious honors in the field of arts and culture, the Taishin Arts Award has announced the winners of this year's 11th iteration. Artist Wu Mali and the Bamboo Curtain Studio took home the Annual Visual Arts Award, while in the Performing Arts category, Pisui Ciyo/UTUX, Pan-Spirit's Men for Music and Dance made history as both the first work addressing Taiwan's aboriginal peoples to win the prize, and the first inaugural work ever to win the prize. Additionally, the Jury's Special Award was presented to 1/2 Q Theatre.

Among a field of strong candidates, Wu Mali & Bamboo Curtain Studio were recognized for their project Art as Environment - A Cultural Action at Plum Creek. Proposing an ecology-focused planning for urban villages, the project brought together professionals from different fields - including those from local primary and secondary schools, as well as universities - and artists spanning a variety of media to initiate dialogue between local residents and the public sector and apply theoretical aspects of critical pedagogy to practical situations. Unanimously voting to award Art as Environment- A Cultural Action at Plum Creek the Annual Visual Arts Award, the jury stated, "[The project] demonstrates an outstanding example of the exploration of social issues through artistic practice, addressing sustainable development, environmental protection and encouraging community participation...giving rise to a new type of public art."

Pisui Ciyo/UTUX, Pan Spirit's Men for Music and Dance were recognized for their theatre project Her Silent Innermost, based on a year of fieldwork interviews and research with the Sbayen tribe in Nantou county, home to the Squliq linguistic cluster of the Tayal tribe. The work centers upon the personal narratives of five Tayal women over the age of 80, whose lives span from the late Japanese colonial period to the current era. The jury commented, "Pisui Ciyo's work stands at a cross point between anthropological research, contemporary life and sustainability. [...] The haunting melodies and the clear conflicts speak of the loss that modern society is experiencing. Loss of identity. Loss of connection to what is important. Yet, it is also a work of survival."

1/2 Q Theatre received special recognition for their project Peach Blossom Rain, which explores the modern vitality of kunqu theatre, one of the oldest forms of Chinese opera.

Additionally, this year's award ceremony was directed by Tainaner Ensemble's Tsai Pao-chang, who collaborated with composer Wang Xi-wen in organizing the program, and hosted the proceedings along with Tainaner Ensemble prima donna Clara Lee.

Sponsored by Taishin Financial Holdings, the Taishin Arts Awards confer prizes of NT $1 million to the winners of the performing and visual arts categories, with an additional NT $300,000 for the Jury's Special Award. The awards recognize performing arts productions and visual arts exhibitions that have premiered in the previous calendar year. Comprising leading international and local professionals, international jury members for the 11th edition included Korean curator Sunjung Kim and dean of the School of Fine Art, Royal College of Art, Ute Meta Bauer, in the visual arts category, and the artistic director of Singapore's TheatreWorks and founder of Arts Network Asia, Ong Keng Sen, the secretary general of the International Association of Theatre Critics, Michel Vais, and the co-director of American Dance Abroad, Carolelinda Dickey, in the performing arts category.

At this year's awards ceremony, the chairman of the Taishin Bank Foundation for Arts and Culture, Simon Cheng, announced that the prize will be revamping its selection system with next year's 12th iteration, with an eye toward expanding its inclusivity. The exhibition of this year's Taishin Arts Award finalists at the Museum of Contemporary Art, Taipei, continues through June 23.




Related:
Snapshots: The 11th Taishin Arts Award Exhibition...

Installation view, "The Encyclopedic Palace." Photo ART iT.


The 55th edition of the Venice Biennale opened to the public Jun 1, with 88 national participations and a centerpiece exhibition curated by this year's artistic director, Massmilioni Gioni.

Titled "The Encyclopedic Palace," Gioni's exhibition brings together 150 artists from 38 countries. The exhibition theme is inspired by the utopian vision of the Italian-born, US-based artist Marino Auriti, who in 1955 field a design with the US Patent Office for an imaginary museum meant to house all worldly knowledge. While the exhibition features familiar names to the international contemporary art circuit such as Carl Andre, Peter Fischli / David Weiss, Bruce Nauman and Rosemarie Trockel, it also expands the typical historical scope of the exhibition to artists like Hilma af Klint, born in 1862 in Solna, Sweden, and draws from a broad range of practices including Shaker gift drawings and anonymous Tantric paintings.

Auriti's model for his "Encyclopedic Palace" is prominently displayed at the entrance to the Arsenale, with Gioni employing architect Annabelle Selldorf to give the massive exhibition space a stately, museum-like feel. Meanwhile, in the Central Pavilion of the Giardini, a performance by Tino Sehgal shares room with works by the sculptor René Iché, architect and artist Walter Pichler, and mystic philosopher and pedagogical theorist Rudulf Steiner.

From Japan, Gioni has invited Shinro Ohtake, whose Scrapbooks installation was also presented in Gioni's 8th Gwangju Biennale, "10,000 Lives," as well as voyeuristic photographer Kohei Yoshiyuki and the outsider artist Shinichi Sawada.

This year's national representations include 10 debut participants, Angola, the Bahamas, Bahrain, Ivory Coast, Kosovo, Kuwait, Maldives, Paraguay and Tuvalu, as well as the Holy See. Additionally, France and Germany tested the well-worn concept of national representation by swapping pavilion structures. Japan is represented this year by multimedia artist Koki Tanaka, whose "abstract speaking - sharing uncertainty and collective acts" orchestrates collaborative actions initiated under extraordinary conditions, such as asking a group of potters to sculpt a pot at the same time, which are then recorded on video.

Awards for the exhibition were also announced Jun 1. The Golden Lion for best national participation went to "Luanda, Encyclopedic City," by Angola's Edson Chagas; while Tino Sehgal was recognized as best artist in the international exhibition. Additionally, special mentions were awarded to Sharon Hayes and Robert Cuoghi, in the international exhibition, and the collaborative presentation by Cyprus and Lithuania, "Oo / oO," as well as Koki Tanaka's Japan Pavilion, which was cited for its "poignant reflection on issues of collaboration and failure." The special mention is the first prize Japan has won in its history of participating in the Biennale. A Silver Lion for promising young artist in the international exhibition was presented to Camille Henrot. The multinational jury was chaired by Jessica Morgan (UK) and comprised Sofia Hernández Chong Cuy (Mexico), Francesco Manacorda (Italy), Bisi Silva (Nigeria) and Ali Subotnick (US).

The Biennale remains on view through Nov 24.

At a press conference held May 21 by the organizers of the 2014 Yokohama Triennale, artistic director Yasumasa Morimura announced the theme of the exhibition, "ART Farhrenheit 451 : Sailing into the sea of oblivion." Making reference to Ray Bradbury's novel, Fahrenheit 451, set in a dystopian future in which books are outlawed, Morimura's exhibition theme explores not memory, but rather forgetting as an axis for exploring concepts of the fleeting and insignificant, the un-narratable, and other things that constantly escape memory. In his press statement, Morimura cited the "exiles" in Fahrenheit 451, who have each memorized entire books as a means to preserve literature for posterity, as an example of the forgotten, in that their actions have erased them from functioning society. According to Morimura, this tension between the remembered and the forgotten necessarily informs our lives and our relations to knowledge: "the world of memory is only a small island in the vast 'sea of oblivion'." As such, Morimura suggests that a radical new perspective might become possible in shifting the focus of attention from memory to the forgotten. Not limited to works of the past, and eschewing the simple unearthing of forgotten history, the exhibition will also address the memory of the future, and an artistic attitude of resistance, even if it has no practical benefit to the world at large and is perhaps destined to be forgotten.

Participating artists will be announced at a separate press conference to be held later this year.

© Odawara Art Foundation.

Japanese photographer Hiroshi Sugimoto's reinterpretation of the classic bunraku puppet play Sonezaki shinju (The Love Suicides at Sonezaki) will be touring Europe with support of the Japan Foundation and the Odawara Art Foundation, it was announced May 15.

First presented in August 2011 at the Kanagawa Arts Theatre Hall in Yokohama, the production Sugimoto Bunraku: Sonezaki shinju tsuketari Kannon meguri ("Kannon Pilgrimage" from the Love Suicides at Sonezaki) was met with wide acclaim in Japan. Incorporating new art and stage design as well as video elements conceived by Sugimoto, and a new score by Living National Treasure Seiji Tsurusawa, the production provides a uniquely contemporary take on the tragic love story scripted by the bunraku playwright Chikamatsu.

With its theme of the "impossible love" between the clerk of a soy sauce merchant and a courtesan being realized in the afterlife, Chikamatsu's play inspired a wave of suicides among young lovers when it debuted in the feudal Edo period. In 1723, the Tokugawa shogunate banned all performances of the production, which would not be revived until 1955. As a result, the original intonations of the lines and the handling of the puppets were almost entirely lost to history, save for the script by Chikamatsu and movement diagrams by the puppet master Tatsumatsu Hachirobei. While adding a contemporary sensibility, Sugimoto has worked as hard as possible to recreate the play's premiere production from 1703, including the use of one-man puppeteering, as opposed to the three-man puppeteering common to today's bunraku.

The Sugimoto production's European tour is being arranged as part of commemorations of the 400th anniversary of relations between Japan and Spain, and will premiere in Madrid on Sep 27-28 of this year. From there it will travel to Rome, Oct 4-5 at Teatro Argentina, and conclude in Paris, Oct 10-19, as part of the Festival d'Automne.


Related:
Hiroshi Sugimoto tries hand at puppetry

The philosopher and former president of Osaka University, Kiyokazu Washida has been appointed as the director of the Sendai Mediatheque in Sendai. Born in Kyoto in 1949, Washida specializes in clinical philosophy and ethics, but has also written about aesthetics as well. He joined Osaka University as an associate professor in 1992 and became the president of the same in 2007. In September 2011 he joined the philosophy faculty of Otani University. Major works include "Kiku" koto no chikara - Rinshou tetsugaku shiron (The Power of Listening: An Essay on Clinical Philosophy), awarded the Kuwabara Takeo Prize in 2000, and Modo no meikyu (The Labyrinth of Fashion), which received the Suntory Prize for Social Sciences and Humanities, History and Civilization in 1989.

On April 29, a talk event with Sendai mayor Emiko Okuyama will be held on the occasion of Washida assuming his new position. Addressing the theme "The Age of Followership," the pair will discuss social issues, the possibilities for dialogue and collaboration, and youth participation in society after the earthquake, tsunami and nuclear disaster of March 11, 2011.

For more information:
http://www.smt.city.sendai.jp/

Toyo Ito has been awarded the 2013 Pritzker Architecture Prize, it was announced Mar 17. Ito is the sixth Japanese architect to win the prize, after Kenzo Tange, Fumihiko Maki, Tadao Ando and Kazuyo Sejima and Ryue Nishizawa of SANAA.
In its citation, the Pritzker jury praised Ito for developing and perfecting "a personal architectural syntax, which combines structural and technical ingenuity with formal clarity." Projects mentioned in the jury citation include the commercial TOD's building in Tokyo, the multipurpose public facility Sendai Mediatheque, and the "Home-for-All" project to build communal spaces for those affected by the Tohoku earthquake and tsunami of 2011 - a collaborative project with other architects that was awarded the Golden Lion for best national pavilion at the 2012 Venice Architecture Biennale.
This is just the latest recognition for Ito, who was also honored with the Praemium Imperiale in 2010, the Royal Gold Medal of the Royal Institute of British Architects in 2006, and the Golden Lion for Lifetime Achievement at the 8th Venice Architecture Biennale in 2002. He will receive USD 100,000 and a bronze medalion at an award ceremony to be held May 29. Members of the jury included the architects Alejandro Aravena, Yung Ho Chang, Glenn Murcott and Juhani Pallasmaa.


Related:
Feature: Toyo Ito: Architecture of Involvement

Photo Report: Architecture. Possible Here? Home-for-All

Serpentine Gallery Pavilion 2013, designed by Sou Fujimoto / Indicative CGI. © Sou Fujimoto Architects, courtesy Serpentine Gallery, London.


Architect Sou Fujimoto will design this year's Serpentine Gallery Pavilion in London's Kensington Gardens, it was announced Feb 14.
At 41, Fujimoto is the youngest architect to accept the prestigious commission from one of the UK's premier contemporary art institutions. He joins the ranks of previous participants including Zaha Hadid (2000), Toyo Ito (2002), Oscar Niemeyer (2003), Frank Gehry (2008) and Kazuyo Sejima & Ryue Nishizawa of SANAA (2009). Fujimoto has proposed a cloud-like, latticed structure made of 20mm steel poles, such that it blends into the surrounding landscape. Forming an irregular ring shape, the structure will have a footprint of 350 square-meters.
In a statement, Fujimoto explained, "I propose an architectural landscape: a transparent terrain that encourages people to interact with and explore the site in diverse ways. Within the pastoral context of Kensington Gardens, I envisage the vivid greenery of the surrounding plant life woven together with a constructed geometry. A new form of environment will be created, where the natural and the man-made merge; not solely architectural nor solely natural, but a unique meeting of the two."
Known for exploring organic structures such as the forest, nest and cave, Fujimoto envisions that the pavilion "will create a geometric, cloud-like form, as if it were mist rising from the undulations of the park."

For more on Fujimoto, see ART iT's interview with him on the occasion of his participation in the 2010 Venice Architecture Biennale:

Sou Fujimoto: Ideas from the Body

The Tokyo-based Singaporean photographer Leslie Kee has been arrested in Tokyo on obscenity charges, it was reported Feb 4. Internationally known for his celebrity portraits of music icons like Yumi Matsutoya, Lady Gaga and Beyoncé, as well as for sexually charged photographs of male models, Kee is currently holding an exhibition of photographs at the gallery hiromiyoshii roppongi. Along with the gallery director, Hiromi Yoshii, and another member of the gallery staff, Kee is accused of selling books that violate Japan's obscenity laws against the distribution, sale or public display of obscene writings, pictures or other materials. According to reports, Yoshii admits to having sold the books but denies that they are in violation of the obscenity laws. The books in question reportedly feature more than 50 pages of exposed male genitalia. Typically in Japan, images of genitalia are pixelated or otherwise obscured in order for pornographic content to circumvent the obscenity laws.

A co-founder of the post-war avant-garde group, the Gutai Art Association, the artist Shozo Shimamoto died Jan 25 of sudden heart failure at hospital in Nishinomiya, Hyogo Prefecture, it has been reported. He was 85.
Shimamoto was born in Osaka in 1928, and graduated from the Kwansei Gakuin University. He was among the artists who founded the Gutai Art Association in 1954, and is credited with proposing the group's name. Stretching the boundaries between painting and performance, he became known for paintings made by projecting paint onto the canvas from a handmade canon. He was also president of Able Art Japan, the Japanese Association for Disabled Artists.
Shimamoto's passing comes on the heels of a comprehensive survey of the Gutai group held in 2012 at the National Art Center, Tokyo, and just weeks before the Feb 15 opening of "Gutai: Splendid Playground," a large-scale survey at the Guggenheim Museum in New York.

One of the leading voices of Japanese post-war avant-garde cinema, the film director Nagisa Oshima, died Dec 15 at hospital in Fujisawa, Kanagawa Prefecture, due to complications arising from pneumonia. He was 80 years old.

Oshima was born in Kyoto in 1932. He first became involved in theatre while studying at Kyoto University, where he was also chairman of the leftist Kyoto Prefecture Federation of Student Self-Governing Associations. After graduating from university, he was hired in 1954 by the film company Shochiku-Ofuna, where he completed his first films, the short Ashita no taiyou (Tomorrow's Sun) and the feature Ai to kibou no machi (A Town of Love and Hope), in 1959.

From the start Oshima's films explored a heady mix of disaffected youth culture, radical politics, sex, violence and Japanese identity. In 1960, Seishun zankoku monogatari (Cruel Story of Youth) was Oshima's first hit, earning him newcomer of the year honors from the Directors Guild of Japan. However, that same year Oshima's critical appraisal of his experiences in the Kyoto student movement, Nihon no yoru to kiri (Night and Fog in Japan), was pulled from circulation by Shochiku after only four days of screenings over concerns about the film's sensitivity in the wake of the assassination of Japanese Socialist Party leader Inejiro Asanuma by a young right-wing extremist during a live, televised political debate in Tokyo. The suppression of his film prompted Oshima to leave Shochiku and start his own production company.

This was followed with a turn by Oshima toward television production, which continued until the mid-1960s, when he released a series of films reflecting on the nature of democratic governance and society in Japan, including Etsuraku (The Pleasures of the Flesh, 1965), Hakuchu no tourima (Violence at High Noon, 1966) and Nihon shunka-kou (Sing a Song of Sex: A Treatise on Japanese Bawdy Songs, 1967). Working with the pioneering Art Theatre Guild, Oshima also made films such as Koushikei (Death by Hanging, 1968), Shonen (Boy, 1969) and Gishiki (The Ceremony, 1971).

After this flurry of creativity, Oshima slowed in his pace of production, although the works made between 1970 and 1999 include some of his most internationally recognized, namely the French-Japanese co-production Ai no corrida (In the Realm of the Senses, 1976), notable for its use of explicit sex in depicting the events around the 1936 Sada Abe incident, and the loose sequel Ai no bourei (Empire of Passion, 1978). The latter earned Oshima the award for Best Director at the 1978 Cannes Film Festival. Released in 1983, the British-Japanese co-production Senjou no meri Kurisumasu (Merry Christmas, Mr Lawrence), starring the musicians David Bowie and Ryuichi Sakamoto, and the comedian Takeshi Kitano, in a story of cross-cultural, homoerotic and hierarchical tensions set in a Japanese-run prisoner of war camp during World War II, has also become a cult classic.

Suffering a stroke in 1996, Oshima directed his final film, Gohatto (Taboo, 1999), from a wheelchair. In 2000 he was conferred the Purple Ribbon Medal of Honor for academic and artistic achievement. He is survived by his wife, the actress Akiko Koyama, who appeared in some of his most memorable films.