{"id":3724,"date":"2017-09-23T07:30:00","date_gmt":"2017-09-23T07:30:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=3724"},"modified":"2022-12-07T07:40:41","modified_gmt":"2022-12-07T07:40:41","slug":"footnotes-on-official-narratives-asia-corridor-in-kyoto","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/","title":{"rendered":"Footnotes on Official Narratives: \u201cAsia Corridor\u201d in Kyoto"},"content":{"rendered":"\n

As an exhibition featuring works by artists from Northeast Asia, \u201cAsia Corridor Contemporary Art Exhibition<\/a>\u201d could have the potential to delve into some rather interesting and seldom-broached issues in this region. As a state-led cultural platform, it was perhaps unsurprising that the exhibition spoke in somewhat official tones\u2014promoting tourism, harmony in East Asia, and the cultural relevance of Kyoto\u2014with an abundance of crowd-pleasing works and a reliance on the usual A-list artists. Still, over the sound of the loudspeakers we could detect the whispers of artists and curators challenging the narrative within the exhibition narrative and showcasing the artists of the Kansai region.<\/p>\n\n\n\n

The exhibition \u201cAsia Corridor\u201d was itself spread between two very different venues: the stunning 17th-century Nijo Castle, ornately embellished with gold and once the symbol of the Tokugawa Shogunate\u2019s power, and Kyoto Art Centre, a former Meiji-era primary school. A number of works addressed the site-specificity of this latter space with varying degrees of sophistication. Horio Sadaharu + On-Site Art Squad KUKI produced the work \u201cAtarimae-no-koto-Paint Placement\u201d\u2014a collection of snipped-up art fliers which clad the walls much like a mosaic of bygone exhibitions, which spoke not only to the fleeting nature of contemporary art but also to the tradition of earlier works which may have graced the walls of this building when the halls were filled with the pitter-patter of primary school students.<\/p>\n\n\n\n

\"Installation<\/a>
Installation view of Horio Sadaharu + On-Site Art Squad KUKI, \u201cAtarimae-no-koto-Paint placement and so on\u201d, 2017 (Photo: Koroda Takeru)
\u5800\u5c3e\u8d1e\u6cbb\uff0b\u73b0\u573a\u827a\u672f\u96c6\u56e2\u201c\u7a7a\u6c14\u201d\u7684\u4f5c\u54c1\u300aAtarimae-no-koto-Paint placement and so on\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2017\uff08\u62cd\u6444\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"
Installation view of Horio Sadaharu + On-Site Art Squad KUKI, \u201cAtarimae-no-koto-Paint placement and so on\u201d, 2017 (Photo: Koroda Takeru)
\u5800\u5c3e\u8d1e\u6cbb\uff0b\u73b0\u573a\u827a\u672f\u96c6\u56e2\u201c\u7a7a\u6c14\u201d\u7684\u4f5c\u54c1\u300aAtarimae-no-koto-Paint placement and so on\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2017\uff08\u62cd\u6444\uff1aKoroda Takeru)<\/figcaption><\/figure>\n\n\n\n
\"\"
Nakahara Kodai, \u201cEducational\u201d, installation of works from around 1963\u20131977, 2016, 2017 (Photo: Koroda Takeru)
\u4e2d\u539f\u6d69\u5927\u300aEducational\u300b\uff0c\u5c55\u51fa\u4e861963-1977\u5e74\u30012016\u5e74\u30012017\u5e74\u7684\u4f5c\u54c1\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"
Nakahara Kodai, \u201cEducational\u201d, installation of works from around 1963\u20131977, 2016, 2017 (Photo: Koroda Takeru)
\u4e2d\u539f\u6d69\u5927\u300aEducational\u300b\uff0c\u5c55\u51fa\u4e861963-1977\u5e74\u30012016\u5e74\u30012017\u5e74\u7684\u4f5c\u54c1\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n

Nakahara Kodai\u2019s work also responded to the pedagogical setting with an installation which takes the development and creation of the artist as its subject. Adopting the role of the curator, Kodai mounted his own retrospective that featured works collected by his father before Kodai was anointed as \u201cartist\u201d. The work questions the arc of artistic careers: when is that exact moment when one is recognized as an artist, and what exactly makes work produced after this moment \u201cart\u201d as opposed to mere intellectual curiosity or a cultural pastime.<\/p>\n\n\n\n

\"Yayoi<\/a>
Yayoi Kusama, \u201cStatue of Venus Obliterated by Infinity Nets (Y),\u201d 1998 (TAKAHASHI Collection)
\u8349\u95f4\u5f25\u751f\u300aStatue of Venus Obliterated by Infinity Nets (Y)\u300b\uff0c1998\uff08\u9ad8\u6865\u7f8e\u672f\u9986 \uff09<\/figcaption><\/figure>\n\n\n\n

While there were some very strong individual works, the exhibition at times felt like a checklist of prominent Asian artists. This early Yayoi Kusama work, \u201cStatue of Venus Obliterated by Infinity Nets (Y)\u201d, stuck out as particularly odd, being somewhat dated and seeming not to dialogue with either the venue or the other works. And then we learned that it was \u201cthe only one they could get\u201d because the famously mercurial artist was simply not in the mood; one wonders why she was still included. This and the abundance of eye-popping Choi Jeonghua works bursting forth from the sober surroundings of Nijo Castle indicated the expectations for a popular appeal.<\/p>\n\n\n\n

\"Choi<\/a>
Choi Jeonghwa, \u201cNirvana\u201d, 2017 (Photo: Koroda Takeru)
\u5d14\u6b63\u5316\u300aNirvana\u300b\uff0c2017\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"
Choi Jeonghwa, \u201cFruit Tree\u201d, 2015 (Photo: Koroda Takeru)
\u5d14\u6b63\u5316\u300aFruit Tree\u300b\uff0c2015\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"
Mishima Ritsue, \u201cLight Is Always There\u201d, 2017 (Photo: Koroda Takeru)
\u4e09\u5c9b\u5f8b\u60e0\u300aLight Is Always There\u300b\uff0c2017\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n

More understated site-specific works included Mishima Ritsue\u2019s work, with glass bubbles floating on the surface of the moat like drops of mercury, and Kimsooja\u2019s \u201cEncounter\u2014A Mirror Woman\u201d. Known for her large-scale mirror installations, among others, Kimsooja presented another work in her \u201cMirror Woman\u201d series which echoes her earlier mirror installation in Palacio de Cristal, Madrid. Unlike previous, more monumental works, this one seemed understated to the point of invisibility, with most guests shuffling through the hall onto more attention-grabbing work.<\/p>\n\n\n\n

\"Kimsooja,<\/a>
Kimsooja, \u201cEncounter\u2014A Mirror Woman\u201d, site-specific installation consisting of mirror screen and mirror floor panels, dimensions variable, 2017 (Courtesy of Kimsooja Studio; photo: Koroda Takeru)
Kimsooja\u300aEncounter\u2014A Mirror Woman\u300b\uff0c\u7279\u5b9a\u573a\u57df\u7684\u88c5\u7f6e\u4f5c\u54c1\uff0c\u7531\u955c\u9762\u5c4f\u98ce\u548c\u955c\u9762\u5730\u677f\u6784\u6210\uff0c\u5c3a\u5bf8\u53ef\u53d8\uff0c2018\uff08\u56fe\u7247\u7531Kimsooja\u5de5\u4f5c\u5ba4\u63d0\u4f9b\uff0c\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n

Perhaps more effective as an architectural intervention was Hajime Imamura\u2019s \u201cIn a Way that a Thing Does Not Have\u201d. The rather awkward title still somehow encapsulates the concept of the work\u2014of surfaces, expectations, and discoveries. The piece extends some ideas seen in his earlier exhibition \u201cDissolving My Self like a Mushroom\u201d with its whimsical meddling of objects (in fact, playful alterations of objects seemed to be a common theme in Japanese art this season). A room in the Kyoto Art Centre (which acted as a classroom for \u201cmanners\u201d back in the primary school days) was \u201cmade strange\u201d by the artist who has altered its contents in almost imperceptible ways: a chest of drawers appearing to levitate, a coffee table with an oval cut out of its surface, a ceramic bowl perpetually spinning. Placed on a table beside a glass of water is a frog\u2014which appears to be real but is not\u2014juxtaposed with a pair of axolotl, an unearthly species of white salamander with translucent bodies and oversized neotenic heads, which appear to be toys but are in fact real.<\/p>\n\n\n\n

\"Imamura<\/a>
Imamura Hajime, \u201cIn a Way that a Thing Does Not Have\u201d, 2017 (Photo: Koroda Takeru)
\u4eca\u6751\u6e90\u300aIn a Way that a Thing Does Not Have\u300b\uff0c2017\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"
Imamura Hajime, \u201cIn a Way that a Thing Does Not Have\u201d, 2017 (Photo: Koroda Takeru)
\u4eca\u6751\u6e90\u300aIn a Way that a Thing Does Not Have\u300b\uff0c2017\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"
Imamura Hajime, \u201cIn a Way that a Thing Does Not Have\u201d, 2017 (Photo: Koroda Takeru)
\u4eca\u6751\u6e90\u300aIn a Way that a Thing Does Not Have\u300b\uff0c2017\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n

Also screened in a traditional room with tatami mats, Yang Fudong\u2019s \u201cMoving Mountains\u201d (Yu Gong Yi Shan\u00a0\u611a\u516c\u79fb\u5c71), which showed earlier this year at the Shanghai Center of Photography, played with surface and artifice, touching on how narratives are used to mold national consciousness. The film retells the classical Chinese fable of the \u201cfoolish\u201d old man who takes\u00a0on the\u00a0formidable task of moving a mountain despite being ridiculed by detractors; impressed by this man\u2019s gumption the gods decide to move the mountain for him. In Yang\u2019s film we see certain tableaus which literally mimic Xu Beihong\u2019s painting of the same subject, but with the same kind of stagey lighting and obvious use of sets as seen in Yang Fudong\u2019s \u201cNightman Cometh\u201d. In Yang\u2019s version of the fable we watch an impoverished family of farmers chipping away at the mountain while men in business suits stride around importantly. Hard work, as symbolized by the prominence of the ox plodding around the set, is no longer rewarded by miracles.<\/p>\n\n\n\n

\"\"
Yang Fudong, \u201cMoving Mountains\u201d, 2016 (Photo: Koroda Takeru)
\u6768\u798f\u4e1c\u300a\u611a\u516c\u79fb\u5c71\u300b\uff0c2016\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n
\"\"
Hisakado Tsuyoshi, \u201cGale\u201d, 2017 (Photo: Koroda Takeru)
\u4e45\u95e8\u521a\u53f2\u300aGale\u300b\uff0c2017\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n

Over at Nijo Castle\u2014a fairytale setting in its own right\u2014numerous moats and fortifications surround the inner courts (to which access was carefully guarded, with low-ranking visitors relegated to the outer chambers). Hisakado Tsuyoshi\u2019s installation \u201cGale\u201d used a castle watch tower to explore the politics of space and movement. Used in defense of the court, the tower sits on the boundary between the castle wall and the outlying world. Visitors enter the dark space to view light bulbs slowly swinging back and forth, and a wind howling in the stifling darkness of the hall while lights flicker over a staircase to the second floor. Periodically the lights dim as the storm waxes and wanes in a tangible metaphor of the effect of political actors on individual citizens.<\/p>\n\n\n\n

During the Edo period when the castle was built, Japan largely followed an ideal of sakoku or national seclusion, where maritime travel and trade were largely restricted (in fact, such policies were shared by both Korea and China at different points in time, to varying degrees). Displayed on the grounds of the castle, Cai Guoqiang\u2019s \u201cBonsai Ship\u201d explores the conflict between this isolationism (the bonsai was used as a meditation aid for the literati) and the impulse towards commerce and conquest in a globalized world.<\/p>\n\n\n\n

\"Cai<\/a>
Cai Guo-Qiang, \u201cBonsai Ship: Project for Kyoto Culture City of East Asia\u201d, 2017 (Photo: Koroda Takeru)
\u8521\u56fd\u5f3a\u300aBonsai Ship: Project for Kyoto Culture City of East Asia\u300b\uff0c2017\uff08\u6444\u5f71\uff1aKoroda Takeru\uff09<\/figcaption><\/figure>\n\n\n\n

Certainly, exchanges artistic or otherwise among East Asian states have been under much political strain of late. The artist group Xijing Men\u2014composed of the artists Ozawa Tsuyoshi, Chen Shaoxiong (who recently passed away), and Gimhongsok\u2014have been doing their part for East Asian unity . . .  while thoroughly skewering the nation-state as though it were a tasty yakitori. Their work looks at how the concept of nation is performed, and questions its validity and usefulness through a series of absurd, meaningless and\/or meaningful rituals. For \u201cAsia Corridor\u201d, the trio of artists from China, Japan, and Korea created something like a government office displaying videos and props from their performance\u2014pieces of Kleenex stamped with numbers to represent the currency of a fictitious country called \u201cXijing\u201d. In the video, we see three characters caving up a water melon (as one carves up land and influence) making various self-important pronouncements about the future of their still nascent country:<\/p>\n\n\n\n

\u201cThe design of Xijing Art Museum should take into consideration the creation of a Xijing Biennale.\u201d<\/p>\n\n\n\n

\u201cXijing Airport should become the world\u2019s smallest international airport.\u201d<\/p>\n\n\n\n

\u201cXijing Stadium must prepare to hold the Xijing Olympics.\u201d<\/p>\n\n\n\n

The artists presented previous works riffing on the Beijing Olympics\u2014which is timely again as Japan gears to host its own Tokyo 2020 Olympics (residents are surely bracing for their own wave of slogans and hot air). In another video \u201cThe Life of the Xijing Presidents\u201d we see other snippets of dialogue which recall heady discussions, evocative of some kind of heated politburo session: \u201cHypothetically mass ignorance turns into knowledge by the intervention of an intellectual who practices the theories in real life.\u201d This last line, though grammatically stilted,  quite strongly parodies the kind of self-crafted political mythologies, where intellectuals are cast as the guardians of the people, as the only ones capable of whittling down the views of the masses into something coherent, actionable, and enforceable.<\/p>\n\n\n\n

\"Xijing<\/a>
Xijing Men, \u201cChapter 4: I Love Xijing \u2013 The Daily Life of Xijing Presidents\u201d, 2009, photo: KorodaTakeru
\u897f\u4eac\u4eba\u300a\u7b2c\u56db\u7ae0\uff1a\u6211\u7231\u897f\u4eac\u2014\u2014\u897f\u4eac\u603b\u7edf\u7684\u65e5\u5e38\u751f\u6d3b\u300b\uff0c2009\uff0c\u6444\u5f71\uff1aKoroda Takeru<\/figcaption><\/figure>\n\n\n\n
\"\"
Xijing Men, \u201cChapter 4: I Love Xijing \u2013 The Daily Life of Xijing Presidents\u201d, 2009, photo: KorodaTakeru
\u897f\u4eac\u4eba\u300a\u7b2c\u56db\u7ae0\uff1a\u6211\u7231\u897f\u4eac\u2014\u2014\u897f\u4eac\u603b\u7edf\u7684\u65e5\u5e38\u751f\u6d3b\u300b\uff0c2009\uff0c\u6444\u5f71\uff1aKoroda Takeru<\/figcaption><\/figure>\n\n\n\n

Most comical was the \u201cNational Defense of Xijing\u201d which featured two characters protecting a storefront with garden tools which they got from an invader with a paper bag over his head: \u201cThis is absolutely needed to protect the lives and properties of all our nationals,\u201d the subtitles proclaim.<\/p>\n\n\n\n

After a sweaty afternoon standing under the baking sun, guests with T-shirts glued to torsos were politely corralled towards the stage for the opening ceremony. With thimbles of sake in hand, we expected the usual kimonos and yukatas, group photos, and interminable speeches\u2014and our expectations were fully met. But then before the ribbon was cut, Xijing Men burst forth with their own bit of pageantry, a performance complete with a brass band and a flag-raising ceremony\u2014like some of the best works in this exhibition, their ironic intervention blended right in.<\/p>\n\n\n\n

\"Credit<\/a>
Credit top three photos: Xijing Men performance and opening ceremony, photo: Rebecca Catching
\u897f\u4eac\u4eba\u8868\u6f14\u548c\u5f00\u5e55\u4eea\u5f0f\uff0c\u6444\u5f71\uff1a\u6797\u67cf\u4e3d<\/figcaption><\/figure>\n\n\n\n
\"\"
Credit top three photos: Xijing Men performance and opening ceremony, photo: Rebecca Catching
\u897f\u4eac\u4eba\u8868\u6f14\u548c\u5f00\u5e55\u4eea\u5f0f\uff0c\u6444\u5f71\uff1a\u6797\u67cf\u4e3d<\/figcaption><\/figure>\n\n\n\n
\"\"
Credit top three photos: Xijing Men performance and opening ceremony, photo: Rebecca Catching
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As an exhibition featuring works by arti … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":3761,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[102,1500,1499,374,260,646,1501,1502,859,1503,210,460,1498],"yoast_head":"\nFootnotes on Official Narratives: \u201cAsia Corridor\u201d in Kyoto - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Footnotes on Official Narratives: \u201cAsia Corridor\u201d in Kyoto - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"As an exhibition featuring works by arti … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2017-09-23T07:30:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-07T07:40:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/main_01_809a0784_1.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"630\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Footnotes on Official Narratives: \u201cAsia Corridor\u201d in Kyoto\",\"datePublished\":\"2017-09-23T07:30:00+00:00\",\"dateModified\":\"2022-12-07T07:40:41+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/\"},\"wordCount\":1934,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"exhibition\",\"Japan\",\"Kyoto\",\"randian\",\"Rebecca Catching\",\"\u4e2d\u56fd\",\"\u4e9a\u6d32\u56de\u5eca\u73b0\u4ee3\u7f8e\u672f\u5c55\",\"\u4eac\u90fd\",\"\u5c55\u89c8\",\"\u65e5\u672c\",\"\u71c3\u70b9\",\"\u827a\u672f+\",\"\u97e9\u56fd\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/\",\"url\":\"http:\/\/www.randian.art\/footnotes-on-official-narratives-asia-corridor-in-kyoto\/\",\"name\":\"Footnotes on Official Narratives: \u201cAsia Corridor\u201d in Kyoto - 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