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hongkongartman-mlee · 9 months

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‘Lamma IV’, A Tragic Maritime Disaster Dragging On For 11 Years In Hong Kong: Why Did The Court Of Appeal Decide, After Numerous Investigations And Hearings, That A Death Inquest Would Dig Out The Mysteries Of 39 Deaths? What Is The Legal Principle Of ‘Public Interest’?

On the night of 1st October 2012, the shocking maritime disaster took place when 2 passenger vessels the Sea Smooth (a public ferry) and the Lamma IV (a private boat) collided near Lamma Island. After the collision, the Sea Smooth remained afloat and nobody died. Horribly, Lamma IV sank within 118 seconds, killing 39 passengers including 8 young children. 97 other passengers on Lamma IV were injured, some seriously. The outpour of sorrow across the city was immediate and universal. Grave concerns about maritime safety in Hong Kong were raised. Both the victims’ families and the community as a whole expected, and rightly so, that thorough investigations were to be conducted to find out what had happened leading to many deaths; that those who were responsible should be held accountable; and that most importantly, appropriate measures should be taken to prevent the occurrence of similar incidents in the future.

One of such investigations, as one might reasonably expect from an appalling disaster of this scale, was a death inquest (死因研訊) under the Coroners Ordinance (死因裁判官條例) (‘the Ordinance’). In fact, this was exactly the recommendation in the death investigation reports prepared by the police and submitted to the Coroner in 2020. However, by a decision dated 19th November 2020, the Coroner David Ko decided that no death inquest was necessary. Having regard to all the materials before him, he simply concluded, without holding an inquest, that the victims were legally considered as ‘unlawfully killed’.

After the Coroner decided not to hold an inquest, 10 family members of the victims were very unhappy and wrote to the former Secretary for Justice Ms Teresa Cheng inviting her to invoke her power under the Ordinance requiring the Coroner to hold an inquest. By a letter dated 9th March 2021, the Secretary replied, declining to do so because she concurred with the Coroner’s view.

Some family members were very upset by such results and they pursued justice further by applying to the Court of First Instance under section 20(1)(a) of the Ordinance for an order that a death inquest was to be held.

By a judgement handed down on 24th November 2022, Coleman J refused the application because he was not persuaded that the ‘public interest’ (公眾利益) in this case would require a death inquest to be held.

Extremely disappointed, some family members turned to the Court of Appeal (上訴庭) to try to change the decision of the lower court.

Realizing that the court case involved a lot of fact-sensitive questions, the Court of Appeal examined the following facts and issues in great detail:

the 2 vessels;

the collision in 2012;

the COI (Commission of Inquiry) Report dated 19th April 2013 (Swiftly after the disaster, the Chief Executive in Council appointed a Commission of Inquiry to inquire into the facts and circumstances leading to and surrounding the collision of the 2 vessels);

the cause of the collision;

circumstances in which and as to why the Lamma IV sank rapidly;

why so many (39 persons) died? and

maritime safety and the system enforced by Marine Department (‘M Dept’).

The COI Report revealed, as a shock to the public, that there were possible mal-administration and dereliction of duty by some M Dept officers in connection with the safety issues of the Lamma IV. The Transport and Housing Bureau (‘TH Bureau’) followed up and conducted an internal investigation which was concluded in March 2014.

Since it was the government policy not to disclose report on internal investigation to the public, only a summary of the TH Bureau’s report was published on 28 April 2014. According to the summary. 17 M Dept officers, serving and retired, were prima facie found to have misconducted themselves. Disciplinary actions were subsequently taken against 13 serving officers but the details of such actions were never made public, despite repeated demands by the victims’ families.

Criminal proceedings also ensued after the COI Report. The Two coxswains of the Sea Smooth and the Lamma IV were prosecuted. The former was convicted of 39 counts of manslaughter and one count of endangering the safety of others at sea; the latter, one count of endangering the safety of others at sea. On 16 February 2015, they were sentenced to 8 years’ imprisonment and 9 months’ imprisonment respectively.

In addition to one M Dept officer Mr So Ping-chi, Mr Wong Kam Ching, as a M Dept officer, was in 2016 prosecuted and convicted of perjury for giving false evidence before the COI that he remembered counting enough children life jackets on the Lamma IV when he inspected the vessel on 8 May 2012 and was sentenced to 15 months’ imprisonment.

The convictions of the 2 coxswains were however related to the ways that 2 vessels were being controlled at the time of the accident. The convictions of the 2 M Dept officers were related only to the life jackets on the Lamma IV. The Court of Appeal thus examined some more fundamental un-resolved issues surrounding the causes of disaster. For example, due to the failure of the various parties involved in the construction of Lamma IV, the bulkhead was not made watertight. Only the immediate cause of collision was dealt with but how about the ‘structural’ causes rooted in the design and equipment on board of the vessel which could be traced back to as far as 1994 when the vessel was designed and constructed. Why were these problems, during the past many years, not discovered by the Marine Department when they inspected the vessel for the purpose of licensing? Were there any systemic deficiencies on the part of the Government that one could give recommendations as to the future improvements? This is why the deceased’s families had been thinking that some had not been brought to justice.

Upon the conclusion of all criminal proceedings, the Police finalized the ‘Death Investigation Reports’ after interviewing 91 witnesses and the reports were submitted to the Coroner in October 2020. The Police discovered some other problems such as an additional error in relation to the processing of designing, constructing and surveying the Lamma IV revealed by expert evidence and this aspect was not covered by the COI Report in 2013.

Very importantly, the Police’s Death Investigation Reports concluded that the trial of the 2 coxswains only dealt with the circumstances surrounding the collision. Though the COI shed some light upon the physical condition of the Lamma IV and how it was designed, built and approved for sailing, the in-depth investigation into the individual parties and M Dept was completed only after COI report. As a result, the regulatory body namely the Marine Department and the employers of the Lamma VI vessel crew relating to the incident have never carefully examined by any public tribunal. The Police thus recommended that Death Inquest should be held to ascertain the cause of the death of the deceased but such a recommendation was turned down by the Coroner.

In considering if a Death Inquest, because of the above analysis, should be held based on the principle of ‘public interest’. The meaning of ‘public interest’ was found being not defined in the Coroners Ordinance. The Court of Appeal agreed with the Law Reform Commission’s Report in 1988 that the primary role of a coroner in Hong Kong is to investigate the causes of the circumstances surrounding any death which:

is of uncertain cause;

is accidental;

is suspicious;

requires investigation in the public interest with a view to:-

enabling interested persons to ascertain the true facts surrounding a death;

making recommendations to prevent similar deaths;

clearing innocent persons of unjustified suspicion;

enabling early recognition of new hazards to life;

drawing official attention to preventable diseases causing death and to the misuse of drugs;

deterring persons who might otherwise be tempted to exercise insufficient care; and

uncovering cases of crime that would otherwise go undetected.

The above factors were what the ‘public interest’ in this case might be pertinent to.

The Court summarized 6 matters of concern in this scary accident relating to the above factors: especially those connected with the building of Lamma IV by the builder Cheoy Lee (財利) and inspection by the Marine Department and other professionals. There were also systemic questions for a court of public nature to rightly investigate so as to expose any found systemic deficiency in the Department concerning approval, certification and survey for passenger vessels not yet discovered by the COI.

The Court found a very strong case for the public examination of those responsible M Dept officers, who might or might not be the 17 officers identified in the TH Bureau internal investigation. Further, given the coroner hearing’s public nature and hence transparency, which differed from the confidential TH Bureau’s internal investigation, it might help enhance a great deal the accountability of and public confidence in the governance of the Marine Department.

For the reasons and other relevant points articulated in the judgement, the Court concluded that it is plainly in the ‘public interest’ to hold an inquest into the deaths of 39 victims of the Lamma IV, despite the lapse of 11 years.

A family member of the victims was interviewed outside the Court and she said, “This is the first time that I smiled in the public during the 11 years of torture!”

There is a famous saying that “justice must not only be done, but must also be seen to be done.” Judges in Hong Kong are independent and they are brave enough to make rulings according to the rule of law and judicial discretion, even if those decisions may not be liked by the government or powerful interests. Respect for the rule of law is about the faith of the public in the capacity of the law to dispense justice fairness and equality for all. Justice is not simply passed by legislations or legal principles; but they are passed in reality by the good judges in Hong Kong who can be neutral, fair and wise. The 11-year legal story about the alarming sea disaster is one of the great manifestations of justice and that Hong Kong is still a city outstanding for its Rule of Law (法治精神)! Bureaucracy is giving less than you need, but the principle of ‘public interest’ is giving us the due right that we deserve.

Maurice Lee

Chinese Version 中文版: https://www.patreon.com/posts/39tiao-ren-ming-89963621?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link

Lamma Ferry Crash in 2012

youtube

Acknowledgement-Movistory HK

News of Lamma Ferry Crash Appeal in 2023

youtube

Acknowledgement – TVB Kabayan

Court refused to order Lamma tragedy death inquest in 2022

Acknowledgement – RTHK

#Coroners Ordinance #Death Inquest #Court Of First Instance #Court of Appeal #Youtube

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toonoisland · 1 year

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Joke Parody -UnderCataclysm-

This is only a joke. Don't take it seriously.lol I love Cataclysm:Dark Days Ahead. I think This is NOT an AU.

--日本語訳 (translation for Japanese)-- ネタです。真面目に取らないでください。(笑) Cataclysm:Dark Days Aheadが好きなので作りました。AUといえるほどのものではないです。 ---- ----

The 2 worlds, human and monster, were separated. One day, the 2 worlds lost their boundary and fused. Because of the fusion of the 2 worlds which principle are different from one another, humans became zombies and monsters lost control of themselves. However, you should stay alive whatever dark days ahead.

Frisk [Bottom of a Mine] Playing in the Mt. Ebott, Frisk fell down into a hole which appeared since the apocalypse. Fortunately, Frisk didn’t get any big injury and found a headlight for a miner. By the way, why is the owner of the headlight laying there? --日本語訳 (translation for Japanese)-- フリスク [鉱山] 　イビト山で遊んでいた所、大変動で生じた穴に落ちてしまいました。幸いな事に、大きな怪我はなく、真っ暗な中、鉱夫用のヘッドライトを発見しました。ところで、このヘルメットの持ち主はどうしてこんな所で死んでいるのでしょうか? ---- ----

Triel [The Next Summer] A little over a year has passed since the apocalypse started and shutting myself in the ruin, and I’m about to face your second summer in Hell. --日本語訳 (translation for Japanese)-- トリエル [2年目の夏] 　大変動が生じて、遺跡に引きこもってから約1年が過ぎました。2年目の夏が始まろうとしています。 ---- ----

Sans [Lab Technician] Thanks to years of study and hard work in the lab, I am familiar with the basics of scientific inquiry. Only one question remains: Might I undo the very Cataclysm my boss helped create? --日本語訳 (translation for Japanese)-- サンズ [研究所の技術者] 　研究所での研究と努力のおかげで、科学に関する基本的な疑問には答えられます。ここでひとつ疑問が浮かびました。上司が加担した大変動の発生により壊れた世界は、果たして元に戻るのでしょうか？ ---- ----

Papyrus [True Foodparson] I am the true real star. Some might think I am just a mascot, but I know better. My scarf is blowing in the wind, I am the real star, and the only thing standing between this world and oblivion am I. --日本語訳 (translation for Japanese)-- パピルス [真のフードパーソン] 　真のリアルスターです。ただのマスコットと思っている人もいますが、実は違います。リアルスターとは自分のことです。たなびくこのスカーフを見てください。この世界と希望の中間に立つ唯一の存在です。 ---- ----

Undyne [National Guard] The king activated the loyal guards to deal with the growing epidemics. Despite my best efforts, I was unable to form up before all communications ceased and I found myself alone amongst the dead. --日本語訳 (translation for Japanese)-- アンダイン [州兵] 　王様は蔓延する感染症に対処するため、ロイヤルガードを動員しました。死力を尽くしましたが、隊列を組む前から通信は途絶しており、いつの間にか死者の群れの中に一人、取り残されていました。 ---- ----

Burgerpants [The Last Delivery] While the world was falling apart someone called to order some of MTT’s delicious food and they sent me to do the delivery. I’m not sure about much, but one thing is certain: that delicious food is going to get delivered even if that’s the last thing I do! --日本語訳 (translation for Japanese)-- バガパン [最後の宅配] 　大変動時に何者かからＭTＴ社のデリシャスフードの注文が入りました。よく分かりませんが、これだけは確かです。このＭTＴデリシャスフードを届けたら仕事はもうありません! ---- ----

Alphys [Lab Staff] I am clumsy like a dojikko in anime and made to stay behind during the lab evacuation. Find a way to escape or starve to death. --日本語訳 (translation for Japanese)-- アルフィー [研究所職員] 　研究所からの脱出の際、普段のドジッこ属性が発動し取り残されてしまいました。脱出する方法を探しましょう。餓死するほうが楽かもしれませんが。 ---- ----

Asgore [Career Politician] I’ve spent my life appealing to the people, persuading many and promising much throughout my time in office. Now that my voting base wants to eat me alive, winning hearts and minds just got that much harder. --日本語訳 (translation for Japanese)-- アズゴア [大物政治家] 　住民に演説する日々を過ごし、たくさんのモンスターを説得し、オフィスにいる間は様々な約束を取り付け続けていました。投票基盤となる有権者たちは生きのいい人間を食べたがっており、心を掴むのは至難の業です。 ---- ----

#undertale #parody #this is a joke #sans #asgore #toriel dreemurr #alphys #undyne #frisk #burgerpants #papyrus

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bbnibini · 3 years

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Lost in Translation (Zhongli)

In which a certain archon scrambles about his feelings and forgets the most important thing--his beloved traveller is an outlander, unfamiliar with the ways of Liyue (aka idiots in love: the fanfic). AO3 vers

A lazy day for him, a busy day for you--no matter the contrast of your agenda, you and Zhongli made it a habit to meet in the food stalls by Liyue Harbour. His presence and calm extinguished the fatigue from the many commissions and personal commitments you promised others of doing. You haven't really questioned what kind of impact you had on him, or why he seemed so dedicated on meeting with you despite your conflicting schedules.

Was it the free meals?

That was what you thought--yet he only ever orders the same kind of tea or a slight variation of it every evening.

"That will be 5201 Mora." The waitress would say on typical days. You share idle conversation together and muse about plans for the distant future.

"I'm feeling extravagant tonight." He would sometimes joke (who knew he was capable of that?) when you had missed several dinners with him. Ten Mora added to his usual set for an extra spot of tea2. You would always point out that he didn't have the right to brag about spending “extravagantly” over a paltry sum which he didn't pay for anyway, but he would only smile at you and look contemplative.

"What's wrong?"

Zhongli would sigh in response, choosing not to answer you. He would instead marvel about the beauty of the moon3 in the dark, night sky.

Was it the view?

He always found something beautiful about the weather---waxing poetry even in unpleasant storms.

"Radishes? Why would I love radishes?4 I don't get it," you would answer honestly, and he would place his hand atop your head and let it rest there.

"Everything is beautiful if you choose to believe it is."

Huh. You never thought of that.

"Well, I suppose radishes are rather filling."

You liked the sound of his laughter---perhaps it was even the reason why you looked forward to thunderstorms.

Was it the (occasional )unexpected dinner guests?

"Comrade, you're here!♡"

"Childe! I can't breathe!"

Childe didn't make it a secret that he's interested in you. In fact, he was rather vocal with his affections.

Sickeningly sweet nicknames, embarrassing confessions after sparring matches, bouquets of flowers at every opportunity--he was your most relentless suitor. You voiced out your discomforts with his overzealous..."methods" but it all falls on deaf ears. You voiced out such discomforts to the attentive Zhongli on your shared dinners.

To show his support, the Geo Archon had a habit of spending more when the Snezhnayan were around. He would order the most expensive tea set, and would make it a point to sit on the other seat beside you, whispering,

"Won't you order more, Traveller?"

...as if asking you to conspire against the Fatui with him.

"What? This tiny portion for 52013145 Mora? I'd rather buy something else!"

Zhongli would shake his head and lean closer--almost a breath away with you.

"But you aren't the one paying tonight."

For a god who was thousands of years old, it was refreshing to see he still had a mischievous side to him.

Was he even enjoying your time together at all?

Something felt off today. He was a solemn man, but he felt more...serious right now. Childe wasn't around your usual spot yet he still ordered the shop's most expensive tea set.

"Good evening, Traveller."

You could feel tension in the way he brought the cup to his lips.

"What are you drinking tonight?" You tried to bring light conversation to the awkward vibe you both had, but as he brought his cup down and looked at you, you suddenly felt embarrassed. His amber eyes seemed...penetrating. Even the honeyed tone of his voice sounded dry.

"Vinegar6."

"Did something happen, Zhongli?" You cried. "Wai-- Vinegar?! Why are you drinking that?"

It worried you to see that he frowned even further at your inquiry.

"...this is unbecoming of me. I apologise. Shall we take a stroll outside?"

He didn't answer your questions again, but you relented. He wasn't the most direct person you knew. Unlike Childe who does not shy in voicing out his thoughts and his feelings, Zhongli was a lot more subdued. Sometimes, you wished he would speak out more. But given his disposition, you knew it would be impossible to ask of him.

"The moon is beautiful tonight as well, isn't it?3"

His remark made you look up at the dark, starless sky. Any indication of the glowing moon was absent. You squinted your eyes to look closer but never sighted the moon he sung praises to.

"It's an expression."

"Expression?" You turned to him with a frown on your face. You were speaking the same language, but you didn't understand him at all. "Zhongli--"

However his words confused you, the warmth of his lips on yours gave it clarity.

As he pulled away and held you close, the absence of his answer lingered--however, your pounding heart that grew bashful with his stares pestered you, as if saying that you would get your answer if you kissed him again.

"I'm not as honest as that person. I'm afraid I shy away from such bold declarations. Even now, I cannot seem to say it out loud."

"But you're talking to me just fine?"

You were relieved to hear him laugh again. The warmth of his embrace betrayed his beating heart that matched with the pace of your own.

"I wish I talked...more. I'm sorry for worrying you.

...envy brings the worst in me, I'm afraid."

"Envy?"

He sounded bashful. "Of...the Fatui Harbinger taking your attention."

...Realising its implications made you bury your head on his chest.

"Would it be presumptuous of me to assume that the feeling is mutual?"

"You're unfair, you know that?"

The answer you were seeking for had finally been found as you exchanged another kiss under the moonless night.

"Hey, Zhongli?"

"Yes, traveller?"

You responded to the silent words he couldn't seem to say...

"I can die happily7."

...but you could hear clearly in your heart.

Footnotes:

1 ) 520 in Chinese is (wǔ èr líng) = 我爱你 (wǒ ài nǐ) “I love you.”

2) 530 in Chinese is (wǔ sān líng) ＝我想你 (wǒ xiǎng nǐ) “I miss you.”

3) The moon is beautiful tonight is an indirect way of saying "I love you" in olden Japan--the expression being credited to Natsume Soseki, a famous Japanese novelist

4) 萝卜青菜，各有所爱。 (Luóbo qīngcài, gè yǒu suǒ ài. 'radishes greens, each have that-which loves') — Radishes and greens, each have those who love them. I.e. "one man's meat is another man's poison" or "each to his own". Tweet

5) 1314 (yī sān yī sì) = 一生一世 (yī shēng yī shì) “Always / forever.” Often combined with 520 so that it becomes 5201314, or “I’ll love you forever.”

6) to drink vinegar/chī cù (吃醋) : to feel jealous

7) According to this source, the phrase 死んでもいいわ | shindemo iiwa (I can die happy) is the best response to footnote 3, translated from the works of novelist Shimei Futabatei.

Sources: one two three four five

#genshin impact #zhongli #genshin zhongli #zhongli x reader #genshin impact fic #genshin fic #genshin imagines #Genshin impact Zhongli

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drwcn · 3 years

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continuing on the fem!lwj thought experiment. previous posts are here → [x] [x].

俗话说的好，寡妇门前是非多。Translation: as the old saying goes, troubles are aplenty upon the doorstep of the widow. Which really, is more of a reflection of society's bullshit than of widow's character because a) in a society where women aren't allowed means to financially support themselves, when their husbands kick the bucket, they'd have to rely on other men in their lives to survive. If these men aren't their immediate family like son, father, or brother, then they incite gossip/scorn from others; and b) fuck the fuckbois who try and take advantage of widows who they deem easy prey and fuck the busybodies who go around sniffing out a widow's secrets.

Previously, I threw out the idea of Badass Rogue Cultivator Lan Wangji, going where the trouble is, helping people, a literal beacon of light, the renowned but mysterious Hanguang Sanren, accompanied by her sole disciple/son Sizhui — but now, consider this. For the first couple of years after she left Cloud Recesses, in order to avoid detection and to heal from her discipline lashes, Lan Wangji camouflaged herself and Sizhui and straight up became a peasant. A young, widowed peasant with "limited" means and a young son.

(here are some nice peasant aesthetics bc we don't really get those: [x] - the hair of this one; [x] [x] the outfit style of this one; [x] - a variation of a headscarf of this one.)

Lan Wangji found a mid-sized village and a small abandoned house with a modest yard that looked like it hadn't been inhabited for some time. The reason was rather obvious - the place was a haunted. But luckily it was an entry level ghost (and I mean really entry level, like this ghost isn't even getting paid, probably a ghost intern) and a short exorcism later, it was perfectly safe to settle down in. A-Yuan wasn't even fazed; boy grew up in the Burial Mount where ghosts probably read him bedtime stories.

LWJ: 阿苑，从今往后，如果有人问起你我的事，你该怎么回答? A-Yuan：嗯。。。阿爹死了，就剩下我和阿娘了。 LWJ：好，好孩子。

LWJ: A-Yuan, from now on, if someone asks about me and you, what should you tell them? A-Yuan: Hm...a-die died, only a-niang and I are left. LWJ: Good, good lad.

Literally the next day, the local Aunties™ arrived to sus her out. Early that morning, they had seen steam coming out of the chimney and thought it was local boys causing mischief again but was surprised to find a young woman and a small child. The fact that the young woman was the prettiest thing in a 500 mile radius was not lost on the village Aunties. Lan Wangji introduced herself as Qiu Er-Niang 邱二娘 (Qiu being her mother's last name, and #-niang being a fairly non-classy, peasant-esque way of referring to women) and A-Yuan as Jiang蒋 Yuan (not the same Jiang as Yunmeng Jiang but pronounced the same and still a very common last name, a nod to WWX without it being very explicit). She spun a very simple story of how her village was devastated by bad harvest and disease and that her family, including her husband, had all perished. She was not much of a liar, but the injuries she carried on her back was fresh, so she did appear genuinely fragile and gaunt.

The Aunties were suspicious but could not find a flaw in her story. One of them was nice enough to give her some rice and flour. Not that Lan Wangji really needed it; Lan Xichen had made sure she had plenty of funds for the road, which she was initially reluctant to accept. Leaving Cloud Recesses, she wanted no part of her clan in her new life, but her brother had convinced her after he reiterated and stressed on A-Yuan's needs as a growing boy.

Second day into her new life as a peasant, Lan Wangji realized her problem. For the first time in her life, she had noisy af neighbours who were all up in her busy. Pushing aside the obvious need to hide her cultivation, she could not be blatant with her finances either. The villagers saw a sickly widow with a child; they'd expect to see her struggle with food, with clothing, with keeping it all together. If she strolled up to the nearest town and bought all the things she needed...that would be way too suspicious. Besides, she'd have to do something to make a show of "earning" her living, at least for a little while. She did not plan to stay in this village forever. Once she was fully recovered, once Gusu Lan Sect's initial searching frenzy passed and they exhausted their means, she could leave and be free. For now...she'll just have to play her part.

One of the Aunties of the village told her that one of the richer households being to a landlord of some kind was looking for female staff to do the cleaning and washing and cloth-fending. The Auntie pulled some strings with the women working there and got her hired. Lan Second Jade of Gusu never washed a single sock in her life Wangji found herself faced with Laundry Duty, Jealous Landlady and Co-Workers, and Lecherous Overlord.

Fuckboi #25: How pretty you are, sweet thing. Poor you, working with those slender hands. If you marry me, you wouldn't have to slave away for money. I'll take care of you.

LWJ: *silently contemplating how to slit the man from nape to navel*

A couple times a week, Lan Wangji worked, and during her free time, she taught A-Yuan to read and write and began his training with the sword. Beyond that, Lan Wangji put every second of her free time not taking care of A-Yuan and not playing Farmer McPeasant into cultivation. For the first time in her life, her days were simple. There was nothing to distract her, no other bullshit or duty to family or clan to restrict her against her will. She left the headband in Jingshi, and Jingshi in the past.

And when the night is dark and A-Yuan is asleep, Lan Wangji seals the house with a barrier talisman and goes into the forest to play Inquiry.

Wei Ying never answers, but soon the village starts a rumour of a Lady Ghost haunting the woods with her song.

#cql #the untamed #lan wangji #wei wuxian #wangxian #corie fics #cql ficlet #lmao more of this bullshit #might write one or two more things before i call it quits #lwj fic #f!lwj

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todomitoukei · 4 years

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English vs. Japanese Mr. Compress (and Dabi) - A 294 Comparison

The past two weeks we have taken a look at the differences between the official English translation and the original Japanese version of Dabi in regards to the newest chapter. This week’s chapter mainly focused on Mr. Compress, so for this comparison, we will look at the two lines Dabi had as well as some of Mr. Compress’ lines and where/how they differ in the two versions.

Did Mr. Compress actually call them a band of egotists or was it another case of lost nuance?

One of the first things that stuck out to me when looking at the Japanese version is that there are six times during this chapter, where Mr. Compress mentions Shigaraki. While in the English translation for this chapter, he either calls him Shigaraki, Tomura, or boss, the Japanese version is pretty consistent.

There is one instance in the chapter, where it just says the Japanese word for boss - namely when he “addresses” Harima in his speech and saying that what Harima couldn’t do, Mr. Compress will “now hand off to my boss”

The Japanese line reads 「俺のボスに任せるよ」

「俺 ; ore 」-> I

「の ; no 」-> particle to indicate possession, works like an apostrophe

「ボス ; bosu 」-> boss

「に ; ni 」-> to

「任せる ; makaseru 」-> to entrust to another; to rely fully on one’s full strength/great ability to get something done

「よ; yo 」-> sentence ending particle for emphasis

= “I will hand entrust it to my boss.”

Meanwhile, the other five times he mentions Shigaraki it’s always done like here when he says that Shigaraki is the key:

The line reads 「死柄木(ボス)が。。。鍵だ。。。！」

「死柄木 ; shigaraki 」-> Shigaraki

「ボス ; bosu 」-> boss

「が ; ga 」-> subject marker particle

「鍵 ; kagi 」-> key

「だ ; da 」-> to be; is

= “Shigaraki is the key.”

You may have noticed, I put bosu in brackets. The reason for that is that the bosu is what the furigana say, even though the Kanji are read as Shigaraki.

As mentioned before, when the furigana differ from how the kanji are actually read, the furigana represent what the character says, whereas the kanji represent what the character actually means. In the case of Mr. Compress, he always says boss when talking about Shigaraki during this chapter, however, except for that one exception, we’re being shown that the meaning behind boss is Shigaraki. It’s interesting because he could just refer to him as boss all the time and we would know that he means Shigaraki, so there isn’t a need to specify the meaning with kanji. To me, this reads as a way to show that while he might use the term boss, Shigaraki he isn’t just his boss. First and foremost, he is Shigaraki, the person.

After first bringing up Shigaraki, Mr. Compress says:

“Told us to run amok, right?!”

The Japanese line reads「皆揃ってさァ暴れましょうってこったろ！？」

「皆 ; minna 」-> everyone

「揃って ; sorotte 」-> all together

「さァ ; saa 」-> expresses the speaker’s intent to get the listener to (like “come on”)

「暴れましょう ; abaremashou 」-> to act violently; to rage, to be riotous (polite volitional form of 暴れる, abareru)

「って ; tte 」-> you said (casual quoting particle)

「こったろ ; kottaro 」-> (casual form of ことだろう) indicates that the speaker is very emotional

= “You told everyone that we should all be riotous together!”

There are two key points in regards to that part. The first one being that nuance of kottaro. That expression conveys a sense of deep emotion, so for this sentence, it shows us that he isn’t simply recalling that Shigaraki brought them together and wanted them to be violent. Rather, his inner monologue is him being desperate - worried about Shigaraki and trying to remind himself that they are currently in the midst of what they set out to do. But they’re not finished, so this is no time to give up. In a way, it’s a way to remind and motivate himself to keep going despite their current situation.

The other point is the word abaremashou. The “to run amok” phrasing in the official translation is… not that great, in my opinion. The general definition of this is someone that behaves in a violent or uncontrolled way. And yes, in essence, they are being violent. But it’s not exactly uncontrolled. The word “riotous” captures their goals a lot better considering they all have a bigger goal they are trying to reach. It’s not just being violent for the sake of violence, but rioting against a system that has denied them thus far.

Shortly after, we get this line:

“It’s just as our associate Spinner says.”

I’ve briefly talked about this already in a separate post because that word associate bothered me right away when I read the official translation.

The Japanese line reads 「スピナーの仰る通りだまだ何も」

「スピナー ; supinaa 」-> Spinner

「の ; no 」-> particle to indicate possession, works like an apostrophe

「仰る通り」-> it is as someone says (honorific)

「だ」-> to be; is

「まだ ; mada 」-> yet

「何も ; nanimo 」-> nothing

= “It’s just as Spinner says; nothing yet.”

Notice how none of those words mean associate? Reading that in the official translation felt so stiff. We know - through various instances - that the League is close. Mr. Compress even later on in this chapter literally says that he loves the League. Associate feels like they are just business partners. I can kind of understand trying to make that capture Mr. Compress’ overall personality, but he literally just doesn’t say that, hence it just feels like another biased translation instead.

Just as a side note, I would also like to mention that this man really mixes the language as he pleases. Like most characters in manga/anime, he generally uses the casual way of speaking and yet he sometimes peppers in polite/honorific words, too? A real entertainer indeed...

Next, we got this line「俺。。。敵連っ。。。合好きだったぜ」

「俺 ; ore 」-> I

「敵連合 ; viran rengou 」-> League of Villains

「好きだった ; sukidatta」-> loved

「ぜ ; ze 」-> ending particle for emphasis (more casual/ruder version of yo)

= “I really loved the League!”

Yes, even the official translation got this one right. The main difference between the fan translation and the official translation is the “really” which I also included here. Although that word isn’t technically in the Japanese line, the ending particle does emphasize the line and with that, the word “really” captures that emphasis the best in English.

There isn’t much to say about this line other than that it’s nice to have him say this so directly and also how sad it is that he is saying this in the past tense and thus signaling to us that he does not expect himself to survive this.

After this we got the lines that really didn’t sound great in the official translation:

“A collection of warped minds who never bothered prying into each other’s pasts. Just a band of egotists.”

The fan translation on the other hand had told us this line says: “No matter who it was, one’s past never came into question, we were just a group of deviants. This was quite the unruly bunch.”

So which one is more accurate?

The Japanese line says 「誰も過去を詮索したりしなかった。歪んだ奴ばかりで。手前勝手な集まりだった。」

「誰も ; daremo 」-> no one

「過去 ; kako 」-> past (i.e. a personal history one would prefer to remain a secret)

「を」-> direct object marker

「詮索」-> inquiry into; prying into

「したりしなかった ; sensakushitari shinakatta 」-> very strong never, kind of like “would never do that, no matter what” (attaches to the word that came before)

「歪んだ ; yuganda 」-> warped (past tense of 歪む, yugamu)

「奴 ; yatsu 」-> fellow (derogatory)

「ばかりで ; bakari de」-> only (in regards to the word that came before)

「手前勝手な ; temaegatte na 」-> self-centered; selfish (see explanation below)

「集まり ; atsumari 」-> gathering

「だった ; datta 」-> was

= “No one would ever pry into each other’s personal past. It was a selfish gathering of only warped fellows.”

I’ve seen a lot of people who voiced their dislike towards the use of the word selfish or egotists, when the fan translation was relatively harmless with the term “unruly bunch” and in a way, rightfully so. Yes, I translated it as selfish, too, but it’s a nuance that’s hard to put into a few words.

If you were to look up the word selfish in a dictionary, you would get many results, but temaegatte isn’t the top result. When you directly look up temaegatte you will see that it’s not considered a common word, either. So this word was chosen for a reason.

Temaegatte in itself is a combination of the words 手前 (temae) and 勝手 (katte), both of which have their own separate meanings.

Temae consists of the kanji hand + in front of and means before oneself; in front of one; nearby.

Katte consists of the kanji victory + hand and has two meanings: something convenient; to act in a way that is convenient for oneself, without considering others.

When you combine those two words together, you have a word that refers to behavior that is convenient only for oneself - “nearby convenience” if you want to be literal. This word can get used in the business world in response to being asked to do something when you want to decline. Instead of bluntly saying that you can’t do it, you would essentially apologize for being so selfish as to not accept the person’s request. It’s a soft way to decline something whilst simultaneously acknowledging the other person’s feelings etc. At the same time, the word can also be used when you are the one making a request and you want to apologize for being selfish for doing so.

Temaegatte is an adjective that connects to the word that follows, which is atsumari (gathering) - put together a “selfish gathering” but what does that mean?

Them getting together as the League of Villains was the result of them all having parted from society to put themselves first. They became villains for their own convenience, not necessarily out of selfishness, but rather because they are doing this for themselves, to put themselves first, without considering others. It might sound similar, but selfishness is more defined as being exclusively concerned with oneself. And an egotist is someone who talks too much about themselves or someone who has an exaggerated sense of self. There is a difference between being selfish/ an egotist and putting yourself first. Instead of just following society and suffering because of it, these people have decided to stand up for themselves and fight back against a system that has been against them for their entire lives.

So yes, you can translate it as selfish - but that only scratches the surfaces of what is actually being said.

This chapter felt a lot like Mr. Compress confirming that the League is actually close and caring about one another. Another panel that captures that, happens a little later in the chapter:

The Japanese line says 「解放戦線。。。敵連合の死柄木が」

「解放戦線 ; kaihousensen 」-> Liberation Front

「敵連合 ; viran rengou 」-> League of Villains

「の ; no 」-> particle to indicate possession, works like an apostrophe

「死柄木 ; shigaraki 」-> Shigaraki

「が ; ga 」-> subject marker particle

= “The Liberation Front’s… League of Villains’ Shigaraki.”

Funnily enough, the official translation did a really good job by translating this as “The Paranormal Liberation Front’s… the League of Villains’ Shigaraki…” -

which highlights it a lot more that Mr. Compress is correcting himself here. Though officially they still are the Paranormal Liberation Front, in their hearts they will always be the League. Interestingly, here, the furigana also say Shigaraki, so this time around he legitimately says Shigaraki instead of boss, which adds another nice, personal touch to the line and describes Shigaraki as a member - much like the rest of them - rather than dividing them by hierarchy. He might be their leader, but at the end of the day, they are all equals, too.

This chapter was definitely really good in showing that very real bond of the League and the fact they genuinely care about each other. Meanwhile, the official translation misses that nuance by just writing them off as egotists and associates, when they are actually a group of outcasts that have found a home with each other.

Before we end this comparison, I just want to quickly mention that short Dabi part of the chapter, too.

Starting with this panel:

which says「ごめん焦凍事情が変わった。」

「ごめん ; gomen 」-> I’m sorry

「焦凍 ; shouto 」-> Shouto

「事情 ; jijou 」-> circumstances

「が ; ga 」-> subject marker particle

「変わった ; kawatta 」-> changed

= “Sorry Shouto, the circumstances changed.”

And then this panel:

which says「轟炎司がまだ壊れてない上に気絶しちまったらこのショーの意味がないごめんな最高傑作」

「轟炎司 ; todoroki enji 」-> Todoroki Enji

「が ; ga 」-> subject marker particle

「まだ ; mada 」-> (not) yet

「壊れてない ; kowaretenai 」-> to not be broken

「上に ; ue ni」-> as well; in addition to; besides

「気絶 ; kizetsu 」-> faint

「しちまったら」-> combination of しちまった (to happen completely) + たら (when) = when something happened completely (focuses on the results that come from this first part)

「この ; kono 」-> this

「ショー ; shoo」-> show

「の ; no 」-> particle to indicate possession, works like an apostrophe

「意味 ; imi 」-> meaning

「が ; ga 」-> subject marker particle

「ない ; nai 」-> nonexistent

「ごめんな ; gomen na」-> I’m sorry

「最高傑作 ; saikoukessaku 」-> masterpiece

= “When Enji Todoroki is not yet completely broken and has fainted, this show has no meaning. Sorry, masterpiece.”

This isn’t exactly different from the official translation, but it’s once again emphasizing the fact that Dabi doesn’t care about killing Shouto, the person, he only cares about doing whatever it takes to ruin Endeavor. And killing his masterpiece seems like the perfect way to hit right where it hurts. I know there are a lot of people that are upset that Dabi is willing to hurt Shouto, and again I can only repeat myself in saying that there are years of psychological issues that have led some part of Dabi to view the idea of killing his own brother as okay. But it’s also a place he can’t just get out of himself, so instead of just blaming him for being at the point he is right now, we should hope that the story will let him heal.

What’s important is that he doesn’t hold a personal grudge against him. Sure, there might be jealousy involved, yet his reason for considering harming Shouto is purely because of Endeavor. With that, Shouto still stands a chance at somehow being able to get to Dabi and help him - after his arc, of course.

Anyway, to sum this up: I continue remaining hopeful in terms of Dabi and Shouto. The League cares about each other, even if that wasn’t their original reason for getting together. They are now at a point where they are willing to do whatever it takes to ensure each other’s safety. Hopefully, and I cannot stress enough how hopeful we have to be, they will all make it out of there now and not suffer any more deaths in their little group.

#bnha #bnha 294 #lov #mr compress #dabi #shouto #todoroki #translation #atsuhiro sako #touya #league of villains #mha #boku no hero academia #mine #meta #my hero academia #294

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tonyglowheart · 4 years

Text

I feel like I see a lot of EN fandom preferring Xianyun out of the three Wangxians, and often cite the “if I can use my entire life to wait for you, will you be willing to glance back at me once?” line (which I think isn’t... exactly how I’d translate it, either, I think gravitydefyingtears’ EN tls make more sense to me) but actually, I think for me, Xianyun works the least, because it’s more of a meta song - a song someone would write about Wangxian - vs a song that I feel like LWJ would write about it? Especially if we think about when LWJ would have written it in canon. To me, it’s a very “13 years of inquiry” song, and actually there’s that line about ‘Inquiry as an attempt to release me of the worries’ in the lyrics lol

I think Wuji works as a very nice, like, poetic song that describes Wangxian’s dynamic overall without being overtly 13 Years of Inquiry, and the 煮一壶生死悲欢祭少年郎 (oof this one is rough to translate.. I’ve seen this editorialized all sorts of ways, but I think the more “literal” tl of “Preparing a jar of happiness and sadness of life and death to mourn/memorialize a young man” helps get at the idea of it) line always hits me about it.

But I still find the chorus of wangxian.mp3 to be superior.

原来陈情俱是旧人撩动心事如何能避尘与你一曲吹彻欢同恨千帆过还天真

The translations I’ve seen of this have been. okay I guess.

“And so, this first love was all for you” I think is how I saw the first line translated. But what that doesn’t convey, is the 陈情 (Chenqing) embedded there, and also the complexity of meanings behind how chenqing can be interpreted. I think “old love” or “old feelings” is more accurate than “first love,” because I think if we are interpreting chenqing as old feelings, it’s more old as in of the past, no longer present, with maybe not necessarily any lingering sentiments. and “jiuren” at the end of the line here is “old acquaintance”? but can also mean old friend, ex-lover even. so I’d say it’s more saying “turns out these old feelings (chenqing) was my old friend” which. sounds terrible in English lmfao how do I explain the meanings and then actually get the words to cooperate non-terribly in a line... I guess my vibe here is more like “turns out what I’m identifying now as my old feelings, it was you all along” re: said old acquaintance? I love the wordplay here tho bc I’m still more convinced that WWX’s flute Chenqing is named for “to give a full account” and not for “old feelings” etc

the next line is line “How can I deny this burning desire?” from suibian subs’ tl. But again, I want to highlight that Bichen is embedded here, in its Daoist(?) usage of “avoiding worldly matters.” I think the line is more complex than just the short it, it’s more like “arousing the matters of the heart/with the matters of the heart aroused, how can I avoid worldly matters (bichen).”

third line is fairly straightforward. the suiban tl has it as “for you, I play a song of joy and regret,” but it’s more like... (tho the first one couple for, and not you, but if I weren’t overanalyzing it I’d assuming 与你 is with you, with 与 as a conjunction, not any other usage...) “with you, I blow/play a song which pierces through joy and hate/regret” which I think is very fitting for their relationship esp way back yonder in ye olde times of conflicted feelings and also the absolute thorniness that was between them pre-WWX death :’)

and the last line of the chorus. Always hecking gets me. bc “after a thousand crises, yet you remain innocent” does not BEGIN to cover the meaning of 天真 for me. tianzhen isn’t just “innocent” as in “okay turns out you’re not guilty of the crime,” but tianzhen is, like, the innocence of babes. that unimpugnible, unmarkable innocence of the absolute artless. It’s not...necessarily an idea imo that he hasn’t committed any crimes, but that he possesses that purity of heart and of spirit. “The world has turned a thousand times, and yet your heart remains pure.” And that always Gets Me

#roz speaks #mdzs #also listen: usually I find excessive namedrops to be tacky okay #I lowkey couldn't stand the choruses of wangxian.mp3 for the longest time #bc of the way they namedropped gusu and cr and pipa lmao #but somehow? the way it's woven into the chorus?#g od the layers of meaning and the WORDPLAY and the sheer EMOTION in it #like wuji is nice but it's like poetic melancholy #and xianyun is nice but it's like pining in mourning #but wangxian. wangxian is like the turbulence of emotion and of the conflictedness that must have gone through lwj's head during that time #mdzs in translation #I just feel like the xianyun lyrics don't really hit me in CN the same way the EN tl seems to hit ppl in EN #whereas for Wuji the chorus line definitely hits me in English #like the idea of 生死悲欢 and 祭少年郎 #just absolutely *hit me* lol

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inun4ki · 8 months

Note

📏 + 5'11" (if you're still accepting! )

i am not but i'll do it anyway kithkith <3

#死/// Inquiries.#/ now all of kaede's bratty nonsense just makes him look like he has little man syndrome skjdfhsdf #/ feel free to use that in the future actually it'll be so funny

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moyaci · 4 years

Photo

I'm sorry but I donot allow reposting my fanart on other social media. Please refrain from inquiry about reposting.

以下はプレゼンから省いた補足です。

補足

奥義の「アタック強化」はアタック威力が2倍になります（これは基本仕様で、誰がどの手段でアタック強化してもこうなる）。「攻撃力UP」は編成されてるラッシュの数に応じて10%～50%UP。

マスエフェクトは効果が2つあります。画像で紹介した「封印時アタック追加」の他にトルーパー枠は「単体攻撃ダメージ10%上昇」、ファイター枠は「連続攻撃ダメージ10%上昇」。

ベヒモス・Rアモンとのシナジーが高すぎるだけで、ラッシュで相性の悪いメギドはそんなに居ません。ラッシュなら編成するだけで攻バフUPに貢献できるし自分もバフの恩恵を受けるので、そこまで厳密に考えなくても強い。ただ、奥義が主体のアタッカーだと奥義が撃てなくなるわけで、アマゼロトと組むメリットが薄い、という事は言えるかもしれません。

画像に乗せていないメギドについてですが、専用オーブ「ユアーズ」の実装で急にパイモンと相性がよくなりました。攻略wikiにはアンドレアルフスと相性が良いと書かれていますが、お互いゲージ3で1T目にどちらかの奥義を諦める必要があり、大体2T長くて3Tで勝負が決まる超速攻PTの性質上、アンドレアルフスの奥義を挟むタイミングがありません。（アンドレアルフス奥義を優先して2T目に封印する想定なのだと思うんですけど、そしたら2Tで終わるところが3Tかかるじゃん？ていう）（せっかちすぎるのかもしれない）

ゲージ3が「重い」というのは、2T金冠クリアさもなくば死、っていう耐久力だからです。リーダー起用だとゲージ短縮も出来ないので、1T目に奥義撃ちたい時は結構な死活問題。要はスペックとの兼ね合いです。

#Megido72

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a-peaceful-world-blog · 4 years

Text

Inquiry of truth

From Japan Space Forum

I participated.

"Oh my God! (I think Abe)"

The truth of the book of the Takeuchi document (https://en.wikipedia.org/wiki/%E7%AB%B9%E5%86%85%E6%96%87%E6%9B%B8) is described in Japanese shaman `` 神人 = kAMIHITO "has been released. He told the audience that 80% were true and 20% were camouflage.

◯ The Planet x Anunnaki is a demon

Our lifespans and abilities were altered by DNA manipulation. Ruler, not ancestor.

DNA DNA manipulation by Anunnaki can restore its original ability by different dimension surgery or self-healing

To do so, we first need to know the reality and wish to "regain."

〇Christ is a Human of another star,

It was a shaman born as an earthling.

Christ was buried on the cross in a state of asphyxia, but was rescued by telepathically telling his disciples that he was alive. This is the resurrection of Christ

Later, moved to Pakistan and lived until 88 years old

Has wives and children, descendants of Christ

Reborn, present age.

◯ Humanity is a hybrid of alien DNA and terrestrial life forms, and the soul came from some star.

◯ The pyramid is an energy device and a transmitter.

Made by gravity conversion devices by aliens. Earthlings are also involved.

◯ The earth has repeatedly contracted and expanded, and there have been five catastrophes

〇The ancient common language was Japanese.

〇In ancient times, people lived with aliens.

　The snake god is a reptile alien Worshiped it

〇In the past, the emperor (Sumera Mikoto) was the emperor of the world (until halfway through the Ugaya Fukiyaez dynasty), and was traveling around the world on a sky floating boat 天空浮船(Amanomi Fune = ufo)

* 浮船(Floating ship = spaceship = ancient emperor's means of transportation)

About 80,000 years ago, mankind was created

About 70,000 years ago, It went to the world as a five-colored person

〇The sound of sound reacts somewhere in the spirit body

What has reached the spiritual body also affects the body

〇 If you use correct Japanese with good thoughts, you can link to the spirit body and cure the disease

Japanese syllabary comes from Pleiades (Subaru)

Actually 46 sounds, the same number as DNA (23 × 2).

Social evolution occurs through thoughts, speech and conducts.

Brainwashing is how to take away that energy.

The purpose of the devil is to self-destruction with negative thoughts!

Because it is not eschatological,

Don't turn your consciousness!

〇The current pole shift is starting slowly.The Ocean current is changing.

The ancient emperor divided the world into 16 cities. The governor is appointed by the emperor.

〇 As a means of activation

Increase spiritual awareness

Recognize yourself spiritually.

Recognize that you borrow your body.

It changes when dialogue and recognition with your team (guardian, guidance spirit) becomes commonplace.

You will take care of your body.

"Thank you" activates spiritual energy and the body.

Living with gratitude to your body, spirit, and your team.

Japanese

真理の探究

日本宇宙フォーラムより

参加しました。

"オーマイゴッド！（阿部は思う）"

竹内文書(https://ja.wikipedia.org/wiki/%E7%AB%B9%E5%86%85%E6%96%87%E6%9B%B8)の本の真実を日本のシャーマン「神人＝kAMIHITO」が公開しました。８割が真実で二割がカモフラージュであることを聴衆に述べた。

◯二ビル星系アヌンナキは悪魔である

彼等によって、寿命や能力をDNA操作によって作り変えられた。支配者であり、先祖ではない。

◯アヌンナキによるDNA操作は、異次元手術または自己治癒により、本来の能力を回復できる

そのためには、まず、現実を知り、「取り戻したい」と願うことである。

〇キリストは他の星の人であり、

地球人として生まれたシャーマンであった。

キリストは、仮死状態で十字架に架けられて埋められたが、生きていることをテレパシーで弟子8名に伝え、救出された。これがキリストの復活である

その後、パキスタン方面へ移動し、88歳まで生きた

妻子あり、キリストの子孫はいる

生まれ変わり、現代にいる。

◯人類は、他星人DNAと地球生命体の掛け合わせハイブリッド種であり、魂はどこかの星から来た。

◯ピラミッドはエネルギー装置であり、発信器である。

宇宙人により、重力変換装置で造られた。地球人も携わっている。

〇約8万年前、日本で人類が造られた。

〇約7万年前、五色人として日本から世界へ渡った。

◯地球は、収縮と膨張を繰り返し、天変地異が5回あった

〇古代の共通語は日本語であった。

〇古代は、宇宙人と共生していた。

◯ヘビの神は爬虫類系宇宙人である　それを拝まされた

〇かつて、天皇(スメラミコト)は(ウガヤフキヤエズ朝の途中まで)世界の天皇であり、天空浮船(あまのみふね＝ufo)で世界を巡幸していた

＊浮船＝宇宙船＝古代の天皇の移動手段

約8万年前、人類が造られた

約7万年前、五色人として世界へ渡った

〇音の響きは、霊体のどこかに反応する

霊体に及んだものは肉体にも影響する

〇正しい日本語を良い思いで使うと、霊体にもリンクして、病気も治すことができる

〇日本語の50音はプレアデス星(スバル)から与えられた

本当は46音、DNA(23×2)と同じ数。

〇思い+言動+行動で社会進化が起きる

その気力をいかに奪うかというのが洗脳である、

ネガティブな思考で、自滅させるのが魔の目的である！

それは、終末論にはならないので、

意識を向けてはいけない！

〇現在のポールシフトは緩やかに始まっている。

海流が変化しています。

古代の天皇は世界を16都市に分けた。統治者は、天皇が指名。

〇活性化の手段として

霊意識を高める

霊的自分を認識する。

肉体を借りていることを認識すること。

自分チーム（守護霊・指導霊）との対話や認識が当たり前になると変わる。

肉体を大切にするようになる。

「ありがとう」は霊エネルギーと肉体を活性化する。

肉体、霊体、自分チームに感謝の念で生きることである。

#future of the earth #universe #the spirits group of god of the universe #future #devil #sherman #soul #a meal methods to stop the war.#people

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voidplus-jp · 5 years

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Unknown Image Series no.8 #1 山元彩香「organ」 Ayaka Yamamoto "organ" 2019. 11. 1 (fri) - 11.30 (sat)

void+ではUnknown Image Series no.8 #1 山元彩香「organ」を11月1日より開催いたします。Unknown は、インディペンデント・キュレーターのカトウチカが企画するシリーズの展覧会で、2011年より開催。シリーズ8回目となる本展は、Unknown Imageというタイトルで、5名の作家による連続個展形式のグループ展としてHIGURE 17-15 casとvoid+にて開催する予定です。

初回の山元彩香は、京都精華大学芸術学部で絵画を専攻しましたが、米国への交換留学を機に写真の制作を始めました。近年は、自身の持つ知識、経験、言葉の通じない外国へ赴き、現地で知り合った少女たちのポートレート写真を撮り続けています。訪問先は、エストニア、ラトビア、ロシア、ウクライナ、ブルガリア、ルーマニア、ベラルーシなど東欧各国、今年は初のアフリカ大陸、マラウイを訪問し、精力的に制作活動をしています。

本展では新作となる映像作品と、その他旧作と新作で構成した写真作品を展示いたします。会期中にはDIC川村記念美術館学芸員の光田由里、愛知県美術館学芸員の中村史子をゲストに迎え、トークイベントを開催いたします。

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＜展覧会概要＞

■タイトル：Unknown Image Series no.8 #1 山元彩香「organ」 ■会期：2019 年11月1日（金）— 11月30（土）14:00-19:00 ・レセプション：11月1日（金）19:00-21:00 ・トークイベント：11月29日（金）19:00-20:30 山元彩香＋光田由里（DIC川村記念美術館学芸員）＋中村史子（愛知県美術館学芸員） ■会場：void+ 東京都港区南青山3-16-14, 1F ■定休日：日、月、祝日 ■入場無料 ■お問合せ：Tel: 03-5411-0080／メール: [email protected]

［主催］void＋委員会／Unknown実行委員会［企画］カトウチカ［助成］令和元年度港区文化芸術活動サポート事業助成［協力］Taka Ishii Gallery Photography / Film、YN Associates ［機材協力］ソニーマーケティング株式会社

・未就学児の入場可能／車椅子ご利用の方は事前にお申し出ください。

Starting on November 1, void+ will present Unknown Image Series no.8 #1 YAMAMOTO Ayaka “organ.”

The Unknown series of exhibitions, launched in 2011, are planned and coordinated by independent curator Kato Chika. This eighth exhibition takes the title “Unknown Image,” and will be staged as a group show by five artists in the format of consecutive solo exhibitions at HIGURE 17-15 cas and void+.

Featured in the first show is Yamamoto Ayaka, who majored in painting at Kyoto Seika University’s Faculty of Arts, but began producing photographs during a student exchange in the United States. Recent years have seen Yamamoto traveling to parts of the world where her own knowledge, experience and language do not apply, and shooting portraits of girls she meets there. She has thrown herself enthusiastically into the project, visiting Eastern European nations including Estonia, Latvia, Russia, Ukraine, Bulgaria, Romania, and Belarus, and this year traveling to Africa for the first time, to take photos in Malawi.

Unknown Image Series no.8 #1 YAMAMOTO Ayaka “organ” will present a new work on video by Yamamoto, along with a selection of photographic works. In conjunction with the exhibition, a talk event will also be held, featuring, in addition to the artist, guests Mitsuda Yuri, curator at Kawamura Memorial DIC Museum of Art, and Nakamura Fumiko, curator at Aichi Prefectural Museum of Art.

■Title: Unknown Image Series no. 8 #1 YAMAMOTO Ayaka ”organ” ■Dates/Hours: Friday, November 1 – Saturday, November 30, 2019 14:00–19:00 • Opening reception: Friday, November 1 19:00–21:00 •Talk event: Friday, November 29 19:00–20:30 YAMAMOTO Ayaka + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)+ NAKAMURA Fumiko (Curator, Aichi Prefectural Museum of Art) ■Venue: void+ 3-16-14, 1F Minami Aoyama, Minato-ku, Tokyo ■Closed: Sundays, Mondays, holidays ■Admission: free ■Inquires: Tel: 03-5411-0080 Email: [email protected]

Organized by: Unknown executive committee / void+ committee Conceived and planned by: KATO Chika Supported by: Minato City Cultural Arts Support Project With cooperation from: Taka Ishii Gallery Photography/Film, YN Associates Equipment provided by: Sony Marketing Inc.

*Preschoolers welcome. Wheelchair users please let us know in advance.

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「organ」について

2011年に初めてラトビアを訪れたとき、毎朝友人の鼻歌で目覚めた。

それは、言葉になる前の声の連続で、彼女の内部に無意識的に蓄積されている記憶が音のイメージとなって発せられているようにも思えた。

会話とはまた別のレベルで、彼女が辿ってきた時間そのものに触れているような感覚があった。

放たれた声は私の身体の一部となり、自らの声で再び発することで他者へと循環、連鎖してゆく。

organとは、容れ物としての器という意味を持ちながら、臓器や楽器の意味を成す。

遥か昔、儀式に使われていた鈴や鐸はその空洞に響く音によって、それを身につけた人間に見えざるものを憑依/循環させていたそうだ。

空の器としての身体に宿る音により、その奥底にかすかに在る未だ見ぬものに触れたいと願う。

（2019年10月　山元彩香）

About “organ”

When I first visited Latvia in 2011, I was woken every morning by my friend, humming. To me this felt like the continuation of a pre-verbal voice, the emission of memories unconsciously accumulating within her, in the form of sound images. The sensation was one of experiencing the very time she had traveled, at a different level from conversation. Her voice, released, become part of my body, and emitting it again in my own voice causes it to circulate and connect to others. An organ may be a body organ or a musical instrument; in Japanese the character (器) read as ki or utsuwa has these meanings, while also referring to a vessel. Back in the mists of time, the sound of a bell used in rituals, reverberating in the cavity of that bell, would apparently cause the wearer to be possessed by some invisible presence, or have such a presence circulating within them. Hopefully the sounds harbored by the body as empty vessel will put us in touch with glimmers of yet unseen things found in its depths.

(YAMAMOTO Ayaka, October 2019)

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organ

一見、古典的な絵画のように見えるその写真には、非現実なまでに美しい「いきもの」が写っている。彼女たちの表情は虚ろでどこか遠くを見つめているか、死者のごとく目を閉ざしている。あるいは仮面やベールをつけて、その表情すら見えないのだが、仮面をつけた身体やベールの奥にかすかに残っているものがある。果たしてそれはなんなのだろうか？

山元は、あえて言葉が通じない国に出かけ撮影する。言葉に頼らないコミュニケーションによって被写体と共同作業でイメージをつくり上げる。個人を形成している様々なレイヤーを剥ぎ取って新たな衣を纏わせていく過程において、最後には被写体の自意識が消えてしまう瞬間が生まれるのだという。今まで纏っていた衣服、名前、記憶、自意識、文字通りすべてを剥ぎ取り新たな姿を与える撮影は、写真が持つ本質的な暴力性を孕んでいる。しかし、作家が被写体の属性をいくら奪おうとしても奥底に残るものがあるのだという。彼女はそこに何を見出したのだろうか。異国の他者を撮影することで何を問い続けているのだろうか。その静謐なポートレートは、作家の問いであると同時に、イメージの謎そのものなのである。

今回の個展で、山元は映像作品（撮影地ラトビア、2019年制作）を展示する。organ＝空の器としての身体は、言葉ではない歌を歌う。映像＝時間の中に置かれた空の器は、いかなる音を宿すのか、さらなる問いを生じさせる。

カトウチカ（Unknown Series キュレーター）

organ

Yamamoto’s photographs, at first glance reminiscent of classical paintings, show “creatures” of almost unreal beauty. The girls appear either to be vacantly staring at some point in the distance, or have their eyes closed as if dead. Or they wear a mask or veil, making it impossible to even see their expression, although something remains in the body wearing the mask, or visible faintly behind the veil. What is it? Yamamoto deliberately sets out to take photographs in countries where she does not speak the language, constructing images in collaboration with her subjects via non-verbal communication. The process of peeling away the layers that go to make up an individual and clothing them in new garb apparently, in the end, creates a moment in which the subject sheds her self-consciousness. Photo shoots that strip away literally everything previous—the clothes the person was wearing, their name, memories, self-consciousness—to give them a totally new appearance, are filled with the intrinsic violence of photography. Yet the artist says that no matter how much she endeavors to denude her subjects of their attributes, deep down, something remains. What has Yamamoto identified there? By photographing strangers from other countries, what question does she continually ask? These tranquil portraits serve at once as inquiries on the part of the artist, and the very riddle of images. In this solo outing, Yamamoto will present a video work, shot in Latvia in 2019. The organ/body as empty vessel, sings a song without words. This generates further questions about what kind of sounds are harbored by the empty vessel placed in a video/time.

KATO Chika (Unknown Series curator)

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＜作家プロフィール＞　　

山元彩香| YAMAMOTO Ayaka

1983年兵庫県生まれ。2006年京都精華大学芸術学部造形学科洋画コース卒業。言語による意思疎通が難しい状況下での撮影は、写真というメディアが本質的に抱える性質以上に他者との様々な接点を作家にもたらし、以降、暴力的でありながらも魅力的なイメージ生成の場とも言えるポートレートの撮影を続ける。主な個展に「We are Made of Grass, Soil, and Trees」（タカ・イシイギャラリーフォトグラフィー/フィルム、2018）、「Nous n'irons plus au bois」（同、2014）など。主に東欧各地で撮影を行い、国内外で写真展やレジデンスに参加。2019年に写真集『We are Made of Grass, Soil, and Trees』（T&M Projects、2018）が「さがみはら写真新人奨励賞」を受賞。

YAMAMOTO Ayaka Born 1983 in Hyogo, Japan. BFA in painting, Kyoto Seika University, Faculty of Fine Art. In a situation in which communication through words was difficult, photography took on a value beyond its intrinsic nature, serving as a point of contact with others. Since then, Yamamoto has continued to take in a certain sense violent, yet alluring portraits. Solo exhibitions include ”We are Made of Grass, Soil, and Trees” (Taka Ishii Gallery Photography/Film, 2018) and “Nous n’irons plus au bois” (Taka Ishii Gallery Photography/Film, 2014). She photographs mainly in Eastern Europe, and has participated in photo exhibitions and residencies in Japan and overseas. She won the 19th Sagamihara Prize for Newcomer Professionals in 2019 for her photobook We are Made of Grass, Soil, and Trees(T&M Projects, 2018).

＜ゲストプロフィール＞

光田由里｜MITSUDA Yuri

DIC川村記念美術館学芸員。専門は近現代美術史と写真史。近年の主な企画に、「描く、そして現れる―画家が彫刻を作るとき」（DIC川村記念美術館、2019）、「美術は語られる―評論家・中原佑介の眼―」（同、2016）、「鏡と穴－彫刻と写真の界面」（ギャラリーαM、2017）、「ハイレッド・センター直接行動の軌跡」（松濤美術館、2008）など。主な著書に、『高松次郎言葉ともの』（水声社、2011）、『写真、「芸術」との界面に』（青弓社、2006、日本写真協会学芸賞）、『安井仲治写真集』（共同通信社、2004、倫雅賞）など。

MITSUDA Yuri Curator, Kawamura Memorial DIC Museum of Art, specializing in modern/contemporary art history and history of photography. Recent exhibitions include ”Painting into Sculpture – Embodiment in Form” (Kawamura Memorial DIC Museum of Art, 2019), “Talking about Art – The Viewpoint of Yusuke Nakahara” (also at KMDMA, 2016), “Mirror Behind Hole: Photography into Sculpture“ (gallery αM, 2017), and “Hi-Red Center: "The Documents of ‘Direct Action’” (Shoto Museum of Art, 2008). Among her published writings are Words and Things: Jiro Takamatsu’s issue(Suiseisha, 2011),Shashin, “geijutsu” to no kaimen ni[Photography, in its interface with “art”] (Seikyusha, 2006; winner of the Photographic Society of Japan AwardsScholastic Achievement Award), and Nakaji Yasui photographer 1903–1942(Kyodo News, 2014, Ringa Prize).

中村史子｜NAKAMURA Fumiko

愛知県美術館学芸員。専門は視覚文化、写真、コンテンポラリーアート。担当した主な展覧会に「これからの写真」（2014）、「魔術/美術」（2012）、「放課後のはらっぱ」（2009）など。また、若手作家を個展形式で紹介する「APMoA Project, ARCH」を企画し、伊東宣明（2015）、飯山由貴（2015）、梅津庸一（2017）、万代洋輔（2017）を紹介。2017年にはタイでグループ展「Play in the Flow」を企画、実施。

NAKAMURA Fumiko Curator, Aichi Prefectural Museum of Art, specializing in visual culture, photography and contemporary art. Responsible for exhibitions including “Photography Will Be” (2014), “Art as Magic” (2012) and “In the Little Playground” (2009), as well as for planning “APMoA Project, ARCH” presenting young artists in a solo show format, which to date has featuredItohNobuaki (2015), Iiyama Yuki (2015), Umetsu Yoichi (2017) and Bandai Yosuke (2017). In 2017, she planned and implemented the group show “Play in the Flow” in Thailand.

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＜Unknown Image Series no.8 展覧会＞

未知のイメージを創出する

イメージが持つ力と本質を探り、未知のイメージを創出する。

この世界においては、日々膨大なイメージが生まれては消えていくが、ときに稀有なイメージが出現する。今回の参加アーティストは、三田村光土里、横山奈美、鈴木のぞみ、山元彩香、庄司朝美の５名。連続する個展の形式をとる。各回のトークイベントとテキストのゲストには、光田由里、梅津元、飯田志保子、中村史子、中尾拓哉らを招く。シリーズの終了後にはバイリンガルの記録集を制作し、本というメディアにおいても新たな表現の展開をはかっていく。

女性たちがつくるイメージ

Unknown Imageのシリーズは、イメージをテーマに、今、注目すべきアーティスト一人一人の作品とその世界を深く掘り下げ、その可能性をさらに見出していく場でもある。今回は、はからずも全員が女性アーティストとなった。

初回の山元彩香は、言葉の通じない国で神秘的なまでの美しさと暴力性をもつポートレートを撮影する。被写体の名前や意識すら剥ぎ取り、空の器にしようとしても残るものとはなんなのか。鈴木のぞみは、写真や時間の原理の静かな探求者である。生命なき事物に「視線」と「記憶」を出現させ、写真に身体のようなものを与える。横山奈美は、絵画の大きな歴史と私的な小さな歴史を交錯させ、日常の取るに足らないものたちの美しさや、明るく輝くものの背後にある存在を描き出す。庄司朝美の描線は、舞台のように見る人を引き込む物語性と、生命と死のエネルギーに満ちた身体的絵画空間をつくり出す。三田村光土里は、このシリーズではもっともキャリアの長いアーティストである。ごく私的なイメージや言葉の数々は、写真、映像、オブジェ、ドローイング、インスタレーションとなるが、それらは個人の物語やアートの枠組みを越えて普遍性を帯び、見る人の心を捉えて離さない。そして、ゲストは性別や年代は幅広いが、いずれも芸術の発生の現場において、極めて優れた批評の言葉を紡いできた方々である。

美術史において、かつて周縁の存在であった女性アーティストたちは、今、最先端にいる。彼女たちがつくるイメージはどのようなものなのか。なぜそれを生み出さねばならなかったのか。参加者の出自やキャリア、テーマ、歴史や現在の状況との向き合い方、その目指すところも様々である。だが、彼女たちの存在と彼女たちがつくるイメージは、それぞれに強く鮮やかだ。その未知のイメージは見る人を深く静かに揺るがし、世界に多様な変化を生み出す力ともなっていくだろう。

＜Unknown Image Series no.8 exhibitions＞

Creating unknown images

Exploring the power and essence possessed by images, to create unknown images.

A vast number of images are generated every day in this world, only to vanish, but just occasionally, some extraordinary images do emerge. The artists in this eighth Unknown exhibition are Mitamura Midori, Yokoyama Nami, Suzuki Nozomi, Yamamoto Ayaka, and Shoji Asami, who will stage consecutive solo shows. Those serving as guests for the talk events for each of these shows, and providing the texts, will include Mitsuda Yuri, Umezu Gen, Iida Shihoko, Nakamura Fumiko, and Nakao Takuya. After the series is finished a bilingual document will be produced, thus extending the exhibition into another form of expression, that of the book.

Images made by women

The Unknown Image series is also an opportunity to delve deeply into the individual work of some of today’s most noteworthy artists and their worlds, identifying further possibilities for each. This time, albeit not by design, all the artists are female.

Yamamoto Ayaka, featured in the first of the exhibitions, travels to countries where she does not speak the language, and takes portrait photographs suffused with a beauty and violence verging on the mystical. What is it that remains even when everything is stripped from her subjects, down to their names and consciousness, in an attempt to turn them into empty vessels? Suzuki Nozomi is a quiet explorer of the principles of photography and time. Endowing non-living things with a “gaze” and “memory” she gives her photos something like a physical body. Yokoyama Nami blends the vast history of painting and small personal histories to depict the beauty of everyday, insignificant things and what lies behind the bright and shiny. Shoji Asami’s lines create a narrative quality that draws the viewer in like a stage, and a corporeal painterly space suffused with the energy of life and death. Mitamura Midori is the artist in this series with the longest career. Her many very personal images and words are presented in photographs, videos, objects, drawings and installations, that go beyond individual stories or the confines of art, taking on a universal quality that irrevocably captures the heart of the viewer. The guests, meanwhile, are a varied lineup in terms of age and gender, but all individuals on the frontlines of art creation, of superb critical talent.

Once a marginal presence in art history, female artists are now at its cutting edge. What kind of images do these artists make? Why have they felt the need to produce them? The artists participating in these exhibitions have different origins and career trajectories, different ways of engaging with their themes, with history and current circumstances, and different aims. Yet their presence, and the images they create, are without exception strong and vibrant. Their unknown images will quietly shake the viewer to the core, and likely serve as a force for many types of change in the world.

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＜Unknown Image Seriesno.8個展スケジュール＞

#1｜山元彩香［会場］void+ 2019年11月1日（金）―30日（土）トークイベント：11月29日（金）19:00-20:30 山元彩香＋光田由里（DIC川村記念美術館学芸員）＋中村史子（愛知県美術館学芸員）

YAMAMOTO Ayaka @void+ Friday, November 1 – Saturday, November 30, 2019 Talk event: Friday, November 29 19:00–20:30 YAMAMOTO Aya + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)+ NAKAMURA Fumiko (Curator, Aichi Prefectural Museum of Art)

#2｜鈴木のぞみ　［会場］void+ 2020年夏（予定）トークイベント：鈴木のぞみ＋梅津元（埼玉県立近代美術館学芸主幹／芸術学）参加予定テキスト執筆：梅津元

SUZUKI Nozomi @ void+ Summer 2020 (TBD) Talk event:SUZUKI Nozomi + UMEZU Gen (Curator, The Museum of Modern Art, Saitama / Art Studies) TBC Text: UMEZU Gen

#3｜庄司朝美［会場］HIGURE 17-15 cas 2020年9月（予定）トークイベント：庄司朝美＋光田由里（DIC川村記念美術館学芸員）

SHOJI Asami @ HIGURE 17-15 cas September 2020 (TBD) Talk event:SHOJI Asami + MITSUDA Yuri (Curator, Kawamura Memorial DIC Museum of Art)

庄司朝美《18.10.23》2018 アクリル板に油彩　画像提供：損保ジャパン日本興亜美術館

#4｜横山奈美　［会場］void+ 2021年5月（予定）トークイベント：横山奈美＋飯田志保子（キュレーター）

YOKOYAMA Nami　@ void+ May 2021 (TBD) Talk event:YOKOYAMA Nami + IIDA Shihoko (Curator)

横山奈美《Cross》2019 麻布に油彩　Photo by WAKABAYASHI Hayato

#5｜三田村光土里［会場］HIGURE 17-15 cas 2021年（予定）トークイベント：三田村光土里＋中尾拓哉（美術評論家）

MITAMURA Midori @ HIGURE 17-15 cas 2021 (TBD) Talk event:MITAMURA Midori + NAKAO Takuya (Art critic)

＜その他参加作家プロフィール＞

鈴木のぞみ| SUZUKI Nozomi

1983年埼玉県生まれ。東京藝術大学大学院美術研究科博士後期課程在学中。何気ない日常の事物に潜む潜像のような記憶の可視化を、写真の原理を通して試みている。現前しているが不在であるという性質を持つ写真を事物に直接定着することで、写真に触覚的な身体のようなものが付与され、過ぎ去りゆく時をいまここに宙づりにする。近年の主な展示に「あしたときのうのまんなかで」（はじまりの美術館、2019）、「MOTサテライト2018 秋うごきだす物語」（清澄白河、2018）、「無垢と経験の写真日本の新進作家vol.14」（東京都写真美術館、2017）、「NEW VISION SAITAMA 5 迫り出す身体」（埼玉県立近代美術館、2016）など。受賞歴多数。現在、ポーラ美術振興財団在外研修員としてイギリスにて研修中。

SUZUKI Nozomi Born 1983 in Saitama, Japan.Currently in the doctorate course of Intermedia Art at Tokyo University of the Arts.Attempts to visualize, through the principles of photography, the memories resembling latent images submerged in innocuous everyday objects. Fixing photographs, which have the characteristic of being present yet absent, directly to objects, assigns photographs something like a tactile body, suspending passing time in the now. Recent group exhibitions include “In the middle of tomorrow and yesterday” (Hajimari Art Center, 2019), “MOT Satellite 2018 Fall: To Become a Narrative” (Kiyosumi-Shirakawa, 2018), “Photographs of Innocence and of Experience: Contemporary Japanese Photography vol.14” (Tokyo Photographic Art Museum, 2017), and “New Vision Saitama 5: The Emerging Body” (The Museum of Modern Art, Saitama, 2016). Among her many awards, she was recipient of the POLA Art Foundation Grant for Overseas Research in 2018, under which she is currently studying in the UK.

庄司朝美| SHOJI Asami

1988年福島県生まれ。2012年多摩美術大学大学院美術研究科絵画専攻版画領域修了。「線が引かれる。それは必ずしも天と地を分割するような境界線ではなくて、地を這う生き物が砂／泥へ残した痕跡のような、動くことで開かれていく空間がある。私たちは誰かの想像した世界を連綿と引き継いで生きている。」庄司の絵画には特定の物語がないにも関わらず、見る人はそこに様々な物語を見出す。また、絵画の空間的体験によって、自由な身体感覚が循環する生きた絵画空間が誕生する。主な個展に「明日のまみえない神話」（gallery21yo-j、2019）、「泥のダイアグラム」（Cale、2018）、「劇場の画家」（gallery21yo-j、2017）、「夜のうちに」（トーキョーワンダーサイト渋谷、2017）などがある。「FACE2019」損保ジャパン日本興亜美術賞で大賞受賞。

SHOJI Asami Born 1988 in Fukushima, Japan. Earned her MFA in printmaking in 2012 from Tama Art University (Tokyo). ”A line is drawn. It is not necessarily a borderline of the kind dividing heaven and earth, but perhaps a space that opens up through movement, like that of a creature that crawls along the ground, leaving a track in sand or mud. In our lives we are continuously inheriting a world imagined by someone.” Despite not having a specific narrative, Shoji’s paintings reveal various stories to the viewer. They also spawn a living painterly space of circulating free physical sensation, through the spatial experience of painting. Solo shows include”Tomorrow’s Unseen Mythologies” (gallery21yo-j, 2019), “Diagram of the Mud”(Cale, 2018), “A Painter in the Theater” (gallery21yo-j, 2017), and “During the Night” (Tokyo Wonder Site, Shibuya,2017). Grand Prix winner at the “FACE 2019” Sompo Japan Nipponkoa Art Awards.

横山奈美 | YOKOYAMA Nami

1986年岐阜県生まれ。2012年愛知県立芸術大学大学院美術研究科油画版画領域修了。捨てられる寸前の身の回りの物や、ネオン管の裏側に隠された器具や配線といった主役にはならないものに光を当てることで、そのものが持つ役割の枠を取り払い、すべてのものに備わる根源的な美しさと存在意義を表現する。近年は、「LOVE」の意味を問いかける油画とドローイングを続けて発表している。主な展示に、アペルト10「LOVEと私のメモリーズ」（金沢21世紀美術館、2019）、「日産アートアワード2017」（BankART Studio NYK）、「手探りのリアリズム」（豊田市美術館、2014）、「Draw the World-世界を描く」（アートラボあいち、2013）など。主な受賞に「日産アートアワード2017オーディエンス賞」などがある。

YOKOYAMA Nami Born 1986 in Gifu, Japan. Earned her MFA in painting in 2012 from Aichi Prefectural University of Fine Arts and Music. By shining a light on things that never take center stage, such as familiar objects in the moment before their discarding, and the fittings and wiring hidden behind neon signs, Yokoyama does away with the parameters of the roles played by these things to express the fundamental beauty and raison d’etre possessed by all things. Her recent drawings and paintings continue to question the meaning of love. Solo and group exhibitions include “Aperto 10: Memories of Love and Me” (21st Century Museum of Contemporary Art, Kanazawa, 2019), “Nissan Art Award 2017” (BankART Studio NYK), “Reaching for the Real” (Toyota Municipal Museum of Art, 2014),and “Draw the World” (Art Lab Aichi, 2013). Recipient of the Nissan Art Award 2017 Audience Award.

三田村光土里| MITAMURA Midori

1964年愛知県生まれ。1994年現代写真研究所基礎科修了。「人が足を踏み入れられるドラマ」をテーマに、日常の記憶や追憶のモチーフを、写真や映像、日用品、言語など様々なメディアと組み合わせ、私小説の挿話のような空間作品を国内外で発表。近年の主な個展に、グラン・カナリア（スペイン）での「If not here, then I'm somewhere else」（Galeria Manuel Ojeda、2018）、「Art & Breakfast」（CAAM – Atlantic Center of Modern Art、2017）がある。展覧会ではイギリスの「フォークストン・トリエンナーレ2017」関連企画「Leaving Language」、国内では、「あいちトリエンナーレ 2016」（愛知芸術文化センター）など。2019年にはウィーンで、日本−オーストリア国交150周年記念展「Japan Unlimited」に参加。

MITAMURA Midori Born 1964 in Aichi, Japan. Completed the fundamentals course at The Institute of Contemporary Photographyin 1994. Taking as her theme “dramas that people can step into,” Mitamura combines motifs of everyday memories and reminiscences with various media such as photography and video, household goods and language, presenting in Japan and further afield spatial works that resemble an episode of an autobiographical novel. Recent solo exhibitions include ”If not here, then I'm somewhere else.” (Galeria Manuel Ojeda, 2018) and “Art & Breakfast” (CAAM – Atlantic Center of Modern Art, 2017）both in Gran Canaria, Spain. Among her group show participations are “Leaving Language,” a collateral program of the Folkestone Triennial 2017in the UK, and Aichi Triennale 2016 (Aichi Arts Center) in Japan. In 2019, she will participate in “Japan Unlimited,” an exhibition staged in Vienna commemorating 150 years of friendship between Austria and Japan.

＜その他ゲストプロフィール＞

梅津元｜UMEZU Gen

埼玉県立近代美術館学芸主幹。専門は芸術学。同館での主な企画（共同企画を含む）に「DECODE/出来事と記録ーポスト工業化社会の美術」（2019）、「版画の景色　現代版画センターの軌跡」（2018）、「生誕100年記念　瑛九展」（2011）、「アーティスト・プロジェクト：関根伸夫《位相ー大地》が生まれるまで」（2005）、「ドナルド・ジャッド1960-1991」（1999）、「＜うつすこと＞と＜見ること＞ー意識拡大装置」（1994）など。ギャラリーαMでの企画に「トランス／リアルー非実体的美術の可能性」（2016-17）がある。美術手帖や展覧会カタログなどに寄稿多数。

UMEZU Gen Curator, The Museum of Modern Art, Saitama, specializing in art studies. Exhibitions he has organized/co-organized at MOMAS include ”DECODE / Events & Materials: The Work of Art in the Age of Post-Industrial Society” (2019), “A View of Prints: Trajectory of the Gendai Hanga Center” (2018), “100th Birth Anniversary, Q Ei” (2011), “Artist Project: Toward the Emergence of Sekine Nobuo’s Phase – Mother Earth” (2005), “Donald Judd 1960–1991” (1999), and “Visualization in the End of the 20th Century” (1994), as well as “Trans / Real: The Potential of Intangible Art” (2016-17,Gallery αM). He has contributed a great number of essays to the art magazine Bijutsu Techo, as well as to art catalogues and books.

飯田志保子｜IIDA Shihoko

キュレーター。1998年の開館準備期から2009年まで東京オペラシティアートギャラリーに務める。主な企画に「ヴォルフガング・ティルマンス―Freischwimmer」（2004）、「トレース・エレメンツ―日豪の写真メディアにおける精神と記憶」（東京オペラシティアートギャラリー、2008／パフォーマンス・スペース、シドニー、2009）など。2009-2011年クイーンズランド州立美術館／現代美術館で客員キュレーター。その後、国際展のキュレーターを歴任。2014年度から17年度まで、東京藝術大学美術学部准教授。「あいちトリエンナーレ2019」ではチーフ・キュレーターを務める。

IIDA Shihoko Curator. Worked at Tokyo Opera City Art Gallery from 1998, when it was preparing for inauguration, until 2009, where her major exhibitions included “Wolfgang Tillmans: Freischwimmer” (2004) and “Trace Elements: Spirit and Memory in Japanese and Australian Photomedia” (2008/Performance Space, Sydney, 2009). She was a visiting curator at Queensland Art Gallery/Gallery of Modern Art in Brisbane from 2009 through 2011, and has since co-curated successive international art exhibitions. Associate professor at Tokyo University of the Arts for the academic years 2014–2017. She was Chief Curator (Head of Curatorial Team) of Aichi Triennale 2019.

中尾拓哉｜NAKAO Takuya

美術評論家。博士（芸術）。近現代芸術に関する評論を執筆。特に、マルセル・デュシャンが没頭したチェスをテーマに、生活（あるいは非芸術）と制作の結びつきについて探求している。2014年に論考「造形、その消失においてーマルセル・デュシャンのチェスをたよりに」で『美術手帖』通巻1000号記念第15回芸術評論募集佳作入選。2017年に単著『マルセル・デュシャンとチェス』を平凡社より出版。主な論考に「50年あるいは100年後の鑑賞者ー日本・マルセル・デュシャン論再考」（『美術手帖』2019年2月号）など。

NAKAO Takuya Art critic. PhD in art. Writes criticism on modern and contemporary art. In particular, has been exploring the connections between living (or non-art) and creative practice from the perspective of chess, in which Marcel Duchamp was also engrossed. His 2014 essay, “The Plastic, in Disappearance: From Marcel Duchamp’s Chess” received honorable mention in the 15th (1000th Issue Commermorative) Bijutsu TechoArt Writing Competition. His book Marcel Duchamp and Chesswas published by Heibonsha in 2017. Recent published writings include “One’s Public, Fifty or One Hundred Years Later: Reconsidering Marcel Duchamp Studies in Japan”(Bijutsu Techo, February 2019).

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photo: Ayaka Yamamoto, “organ”, 2019

#Unknown #Unknown Image #Unknown Series no.8 #Ayaka Yamamoto #void+#exhibition #山元彩香 #展覧会

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