#Aichi Triennale

[shreyaajmani]

How Curator Hoor Al-Qasimi Is Working to Redefine Representation

Her curatorial sensibility was inspired by a transformative visit to Documenta in Kassel, Germany. Despite her background as an artist, her thoughts turned toward the broader contributions she might make to her home biennial. “I was seeing works about Palestine, about Apartheid South Africa, in Germany—in a town nobody knows, unless you know Documenta,” Al-Qasimi told me. “So I wondered why you have to come to a place like this. What about the people who can��t afford to come to Germany? This was my first experience of that kind. It really transformed me as a visitor.”

Excerpt from Hoor Al-Qasimi's interview for Artnet.

Text by Shreya Ajmani

Photo Credits: Portrait of Sheikha Hoor Al-Qasimi. Photo by Chieska Fortune Smith. Courtesy of the Sharjah Art Foundation.

[shiyuanjq]

20220902 Aichi Triennale Tokoname 7 by Bong Grit Via Flickr: 尾花賢一さんのいちじく男。ここまで見に来る人は少なかった。 @Yakimono walk, Tokoname city, Aichi pref. （愛知県常滑市 やきもの散歩道 国際芸術祭あいち2022）

[kotarookazawa]

国際芸術祭「あいち2022」ラーニング・アーカイブ

Edit Design: Yoshihiro Ishii Publisher: Aichi Triennale Organizing Committee Out: 2023.3.27

[angkritgallery]

อภิชาติพงศ์ วีระเศรษฐกุล เกิดที่กรุงเทพฯ เมื่อปี พ.ศ. 2513 พำนักและทำงานอยู่ที่เชียงใหม่ . Apichatpong Weerasethakul Born in 1970, Bangkok. Lives and works in Chiang Mai. . Apichatpong Weerasethakul grew up in Khon Kaen, in northeast Thailand. He studied architecture before graduating in film at the School of the Art Institute of Chicago in 1997. Recognized as one of the most original voices in contemporary cinema, his non-linear works often revolve around light, time, dreams, personal and social memories. His works have won him widespread international recognition and numerous awards, including the Cannes Palme d’Or for Uncle Boonmee Who Can Recall His Past Lives (2010), the Cannes Competition Jury Prize for Tropical Malady (2004), and the Cannes Un Certain Regard Prize for Blissfully Yours (2002). His latest film, Memoria, featuring Tilda Swinton, won the Cannes Competition Jury Prize at Cannes Film Festival, 2021. Apichatpong has participated in numerous biennials, including Aichi Triennale (2022); Okayama Art Summit (2022); Sharjah Biennial (receiving the Sharjah Biennial Prize, 2013); Documenta 13 (2012); and Singapore Biennale (2008). He was the Principal Laureate of the 2016 Prince Claus Award, the Netherlands; the Tate Modern held a retrospective of his films the same year. In 2019, Apichatpong was awarded the Artes Mundi prize, the UK's most prestigious prize for international contemporary art. . #tbc2023 #thailandbiennalechiangrai #thailandbiennalechiangrai2023 #เชียงรายเมืองศิลปะ #ไทยแลนด์เบียนนาเล่ #สำนักงานศิลปวัฒนธรรมร่วมสมัย https://www.instagram.com/p/CqVkMd6P88h/?igshid=NGJjMDIxMWI=

[g00melo5-art-blog]

AKI INOMATA：国際芸術祭あいち2022 展示の様子/Aichi Triennale 2022, Exhibition View

[akikoyamane]

Aichi Triennale 2022

国際芸術祭あいち2022に演者として出演しました。

塩見 允枝子パフォーマンス作品 『〜音と詞と行為の時空〜』 「詞と概念を演奏する」 「ピアノ×パフォーマンス」

8月6日（土）10:30 / 15:00 8月6日（土）12:00 / 16:30 愛知県芸術劇場 大リハーサル室 （B2）

出演： 植松琢麿 大井卓也 上中あさみ 中村圭介 橋爪皓佐 橋本玲子 森本ゆり 山根明季子

Photo: Takayuki Imai ©Aichi Triennale 2022

[thecommaconstellation]

[nicolegh1]

Aichi Triennale 2019 - Taming Y/Our Passion

The Aichi Triennale is Japan’s largest international art fair. 

I visited two of the main venues (Aichi Arts Center and Nagoya City Museum of Art) and was impressed by the quality of the works on display. Every single piece dealt with a theme that is important in today’s life. The blurring of ethnic boundaries, the rewriting of history, the effect of technology and science on our lives, and social isolation are just some of the themes apparent in the works. To me, art should not just be a beautiful thing to look at (although that also has a place, and I am a big fan of many of those kinds of artworks myself) but should hold up a mirror to our society and world. All the works I saw at this exhibition did that very well.

The first photos are of “Vocabulary of Solitude” by Ugo Rondione. Yes, it’s a room full of clowns wearing masks and garish costumes. For a moment, when I first entered the room, I thought they were real people (they are life-sized) and was a little afraid to enter. (I soon realized that they’re statues and walked among them). The theme of this work is solitude; perhaps social isolation. 

The last photos are of a work called “The Clothesline” by Monica Mayer. This work has been re-created many times since 1978. Participants are asked to write the answers to 4 questions on a card. It is then hung on a line for all to read. This project aims to raise awareness about sexual violence. 

The last photo is of two letters. One is by an artist who claims her work, called “After Freedom of Expression?”  was removed from the exhibition as an act of censorship, and the other is a rebuttal from the Aichi Triennale Organizing Committee, who claims that the work was removed “to ensure a safe and secure setting for visitors to enjoy the Triennale.” The fact is that there has been a LOT of controversy over the exhibition this year. In particular, “After Freedom of Expression?” deals with the issue of South Korean “comfort women” (basically women forced to become sex slaves to the Japanese army before and during WWII). The mayor of Nagoya himself demanded it be removed. I think that fits the definition of censorship. 

You can read more about it here: http://www.artnews.com/2019/08/13/aichi-triennale-2019-work-removal/ 

and here: https://mainichi.jp/english/articles/20190803/p2a/00m/0na/005000c

[hi-technique]

[moznohayanie]

Miss Moonlight &  Fountain of Life

先週末は、国際芸術祭あいち2022 一宮エリアへ。奈良美智さんの展示があったせいか、他の会場より若い人が多かったような。今回はちょっと駆け足だったけど、楽しかった！　still alive.

[bonguri]

20220902 Aichi Triennale Tokoname 7 by Bong Grit 尾花賢一さんのいちじく男。ここまで見に来る人は少なかった。 @Yakimono walk, Tokoname city, Aichi pref. （愛知県常滑市 やきもの散歩道 国際芸術祭あいち2022） https://flic.kr/p/2nQg68g

[hatahataneko]

film0228 2016

[museumofcontemporaryartsb]

Jacob Kirkegaard

Testimonium, 2019

Video

Duration: 25:35 minutes

Courtesy the Artist, Fridman Gallery, and Galleri Tom Christoffersen

Testimonium is an audio-visual work created from recordings from waste, recycling, and wastewater facilities in Denmark and Latvia as well as from one of the world’s largest landfills: the Dandora dumping site in Nairobi, Kenya.

With vibration sensors placed inside endless piles of organic waste and on massive incinerators; hydrophones lowered in wastewater and heavily contaminated rivers; and high-fidelity microphones pointed at metal, glass, and plastic sorted by hand or machine, Testimonium listens beyond the immediate stench from discarded matter and into its physical core and industrialized journey. An acoustically detailed powerful and bittersweet homage to the midden of civilisation and a testimonium for the future.

Jacob Kirkegaard’s spatial installations, photography, and sound sculpture are created through field recordings that capture profound dimensions of the world around him. His works reveal unheard and unseen phenomena, and present listening (to both sound and imagery) as a means of experiencing the environment. Kirkegaard has recorded locations as different as empty rooms in Chernobyl, Arctic calving glaciers, vibrating border walls, and tones generated by the human inner ear itself.

Jacob Kirkegaard (b. 1975, lives and works in Copenhagen, Denmark) began exploring sound recordings at the age of six. He graduated from the Academy of Media Arts in Cologne in 2006 and has exhibited at numerous institutions throughout the world, including The Museum of Modern Art, The Hood Museum, ARoS, KW, The Menil Collection, Rothko Chapel, Aichi Triennale, and Mori Art Museum. Kirkegaard's work is in the collections of LOUISIANA Museum of Modern Art and ARoS Aarhus Art Museum in Denmark, and Bell Gallery at Brown University.

Testimonium es una obra audiovisual creada a partir de grabaciones de instalaciones de deshechos, materiales reciclados y aguas residuales en Dinamarca y Letonia, así como de uno de los basureros más grandes del mundo: el vertedero de Dandora en Nairobi, Kenia.

Con sensores de vibración colocados dentro de cúmulos interminables de desechos orgánicos y en incineradores masivos; hidrófonos sumergidos en aguas residuales y ríos muy contaminados; y micrófonos de alta fidelidad que apuntan al metal, el vidrio y el plástico clasificados a mano o con máquinas, Testimonium escucha más allá del hedor inmediato de la materia desechada, hacia su núcleo físico y viaje industrializado. Un homenaje potente y agridulce acústicamente detallado al basurero de la civilización y un testimonio para el futuro.

Las instalaciones espaciales, la fotografía y la escultura sonora de Jacob Kirkegaard se generan a través de grabaciones de ambientales que registran dimensiones profundas del mundo que lo rodea. Sus obras revelan fenómenos inauditos e invisibles, y presentan la escucha (tanto de sonido como de imágenes) como un medio para experimentar el entorno. Kirkegaard ha grabado lugares tan diferentes como habitaciones vacías en Chernobyl, glaciares árticos que se rompen, muros fronterizos que vibran y tonos generados por el propio oído interno humano.

Jacob Kirkegaard (n. 1975, vive y trabaja en Copenhague, Dinamarca) comenzó a explorar grabaciones de sonido a la edad de seis años. Se graduó de la Academy of Media Arts de Colonia en 2006 y ha expuesto en numerosas instituciones de todo el mundo, incluido el Museo de Arte Moderno, el Museo Hood, ARoS, KW, la Menil Collection, la Rothko Chapel, la Trienal de Aichi y el Museo Mori de Arte. El trabajo de Kirkegaard se encuentra en las colecciones del Museo de Arte Moderno de Louisiana, el Museo de Arte ARoS Aarhus en Dinamarca, y la Galería Bell en la Universidad de Brown.

[ssbprep]

The Politics of Hate and Artistic Expression in Japan

The Politics of Hate and Artistic Expression in Japan

It is a troubling sign of the times in Japan when the government fails to unequivocally condemn threats of violence that target freedom of expression while politicians grandstand on censoring art. Organizers of the 2019 Aichi Triennale, a sprawling showcase of contemporary art, got more publicity than they bargained for. In an exhibit entitled After ‘Freedom of Expression?’organizers displayed…

[euphonyfragrance]

個人の尊厳と人権を守るための抗い。めちゃくちゃ面白い！ #あいちトリエンナーレ #名古屋 #名古屋市美術館 #愛知 #art #japan #nagoya #aichi #triennale (名古屋市美術館) https://www.instagram.com/p/B1-NAzBHqOO/?igshid=1seuv9t4lea7z