第7回アジア・アート・ビエンナーレが台湾の台中にある国立台湾美術館で開催中だ。今回のキュレーターはシュウ・ジャウェイとホー・ツーニェンという二人のアーティスト。ジャウェイは台湾出身、ツーニェンはシンガポール出身で、ともに映像インスタレーションを使いアジアの文化的・歴史的繋がりを提示するような作品を制作している。キュレーターではなくアーティストがキュレーション。「出展しているアーティストたちの、クリエイティブなプロセスの最初から対話をしていくことができた。全員の上に立ってまとめるというより、同僚やパートナーといった感じ」とジャウェイは語る。
今回のビエンナーレのテーマ、それは『The Strangers from Beyond the Mountain and the Sea（山と海を越えた異人）』。異人の定義はさまざまだが、遠国からの旅行者だけではなく、霊や神、シャーマン、スパイ、外国商人、移民、マイノリティから入植者まで多岐にわたる。「山」と「海」はそれぞれ東南アジア、西アジアを代表する山岳地帯であるゾミア、そして東南アジア近辺、西太平洋の海域であるスールー海をイメージしてキュレーションされた。ゾミアはその高地で起伏の激しい地形から、低地の州から支配されることなく独立した聖域。麻薬密売人から少数民族、国家から逃れようとする難民まで、さまざまな逃亡者がともに生活している。スールー海は豊かな海上貿易の一方で、海賊行為・奴隷襲撃など頻繁に起こる地域でもあり、近年ではテロ組織の温床となっている場所。この二つのイメージにくわえ、地球の対流圏である「雲」、地球の表面下である「鉱物」というさらに二つの非人間的スケールを加えることで、既存のシステムを越えた、鑑賞者の想像力と好奇心を刺激するような、そんな展示を目指した。
アーティストは16ヶ国から30人のアーティストが参加。日本からは田村友一郎がボディビルと戦後のアメリカ占領時の横浜を繋げた作品『裏切りの海/Milky Bay』を展示。シンガポールの若手アーティストホー・ルイアンは『Student Bodies』で戦中に捕まった交換留学生の写真を撮影し、東アジアの過激な文化や資本主義の歴史について紐解いていく。民族性にとらわれない抽象的なテーマだからこそ、アジア社会の多様性やグローバル化について、さまざまなアーティストの視点からじっくり考えることができる。「異人との出会いを通して、他の世界を知ることができたりもする。自分自身の輪郭や、社会の境界、または種の境界にさえも直面するかもしれない。それは“異人”からの贈り物なのだ」。
Korakrit ARUNANONDCHAI & Alex GVOJIC (with boychild), No History in a Room Filled with People with Funny Names 5, 2018, three-channel video installation, 30min44 sec, dimensions variable. Courtesy of the artists, C L E A R I N G New York / Brussels, Carlos / Ishikawa London, Bangkok CityCity Gallery Bangkok ©Roberto Marossi
Antariksa, Co-Prosperity #4 , 2019, UV-sensitive ink on paper. A4 size, copies (Amounts variable), UV light. Commissioned by 2019 Asian Art Biennial. Courtesy of the artist.
Zuleikha CHAUDHARI, Rehearsing Azaad Hind Radio, 2018, video, sound, mixed media, 40min12sec. Courtesy of the artist.
Charles LIM, SEASTATE SIX, 2015, video, sound, 8min58sec. Courtesy of the artist.
CHIU Chen-Hung, Shattered Romance, 2019, sail (thermo-modified wood: teak, douglas fir, Taiwan red pine, mahogany, white meranti. Metal, crane polyester, nephrite, meteorite mineral), marble sculpture (by Kan Tan). Dimensions variable. Commissioned by 2019 Asian Art Biennial. Courtesy of the artist.
CHIANG Kai-Chun, Fengtian Jade Garden, 2019, mixed media, Nephrite, Serpentine Jade, Formosa acacia (Taiwan acacia),
man-made silicate mineral, sound, photograph. Dimensions variable. Commissioned by 2019 Asian Art Biennial. Courtesy of the artist.
GUO Fengyi, Shaodian (Father of Yellow Emperor) , 2006, colored ink on ricepaper, 456×70 cm. Courtesy of Long March Space.
Shilpa GUPTA, Song of the Ground, 2017, mechanical installation with borderland river stones, 79×22×18 cm. Commissioned by Bi-elefelder Kunstverein, Centre d’Art Contemporain La Synagogue de Delme and KIOSK, Ghent. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana. Photo by Tom Callemin.
Shilpa GUPTA, Song of the Ground, 2017, mechanical installation with borderland river stones, 79×22×18 cm. Commissioned by Bi-elefelder Kunstverein, Centre d’Art Contemporain La Synagogue de Delme and KIOSK, Ghent. Courtesy of the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana. Photo by Tom Callemin.
HO Rui An, Student Bodies, 2019, HD video, 26min30sec. Courtesy of the artist.
Snow HUANG / Against Again Troupe, The First Dream, 2019, sound, audio devices, 40min. Commissioned by 2019 Asian Art Biennial. Courtesy of the artist.
Roslisham ISMAIL(a.k.a ISE), ChronoLOGICal, 2018, mixed media installation with video, drawing and participatory object, dimensions variable. Courtesy of the artist.
JIANDYIN (Jiradej MEEMALAI and Pornpilai MEEMALAI ), Friction Current: Magic Mountain Project, 2019, single-channel video, NaAlSi2O6 powder, C10H15N human urine, jadeite sphere water fountain, refrigerated cabinet, immersion sturgeon waterproof contact microphone, USB audio interface, controller, sound speakers, painting, documentation, 100 Yuan-1990 China banknote, mural paint. Commissioned by 2019 Asian Art Biennial. Courtesy of the artist.
Hiwa K, The Bell Project, 2007-2015, two channel HD video, color, sound, 35min25sec (Italy) / 25min29sec (Iraq). Courtesy of the artist, Prometeo gallery di Ida Pisani, Milan-Lucca and KOW, Berlin-Madrid.
LEE Ufan, Relatum, 2007/ 2019, iron (180×274×69 cm) and stone (73×73×72 cm). Courtesy of SCAI THE BATHHOUSE, Tokyo. Reference photo by Keizo Koku.
LIU Chuang, Bitcoin Mining and Field Recordings of Ethnic Minorities, 2018, three-channel videos, 4k, 5.1 sound, 40min. Commissioned for Cosmopolis #1.5: Enlarged Intelligence with the support of the Mao Jihong Arts Foundation. Courtesy of the artist and Antenna Space.
LIU Yu, Salvation Mountain, 2018, single channel sound/ video installation, color, stereo, 23min59sec. Courtesy of the artist.
LIU Yu, The Stone Player, 2018, single channel video installation, color, 4min22sec. Courtesy of the artist.
Open Contemporary Art Center (OCAC) × Lifepatch, Deposits of the Island, 2019, site-specific installation, workshop and activities, dimensions variable. Commissioned by 2019 Asian Art Biennial. Courtesy of the artists.
PARK Chan-Kyong, Kyoto School, 2017, two-channel photography projection, and book (The Philosophy of Japanese Wartime Resistance: A Reading, with Commentary, of the Complete Texts of the Kyoto School Discussions of “The Standpoint of World History and Japan” by David Williams). Dimensions variable. Courtesy of the artist.
Timur SI-QIN, East, South, West, North, 2018, mixed media installation with sculptures, lightboxes and VR. Dimensions variable. Courtesy of the artist and Magician Space.
Gilad RATMAN, The Workshop, 2013, three-channel video installation, 8min1sec. Courtesy of the artist.
Tcheu SIONG, Ghosts in Hell, 2018, embroidery and applique on cotton, 362×445 cm. Courtesy of the artist and Project Space．Pha Tad Ke.
Wukir SURYADI ( Senyawa ), Garu, 2012, musical instrument modified from old Javanese wooden rake, 325×158 cm. Courtesy of the artist.
TING Chaong-Wen, Virgin Land, 2019, tempered glass floor, ultraviolet light tube, neon lamp, raw material of cinchona tree, tonic water, multi-channel video, dimensions variable. Commissioned by 2019 Asian Art Biennial. Courtesy of the artist.
Ming WONG, Bloody Marys-Song of the South Seas, 2018, mixed media installation featuring a single channel HD video with stereo sound and archival material, 10min35sec. Courtesy of the artist.
Ming WONG, Tales of the Bamboo Spaceship, 2019, single channel HD video with audio. Courtesy of the artist.
Maya WATANABE, Earthquakes, 2017, two-channel video installation, 9min, loop. Courtesy of the 80m2 Livia Benavides and Tegenboschvanvreden. With the support of Kyoto Art Center, Amsterdams Fond voor de Kunst and Associação Cultural Videobrasil.
WANG Si-Shun, Apocalypse 16.9.1, 2016, aluminum, 340×60×310 cm. Courtesy of the artist.
Yuichiro TAMURA, Milky Bay, 2016, mixed media installation with videos, concrete sculptures, silkscreened billiard tables and found objects. Dimensions variable; various video durations. Courtesy of the artist and Yuka Tsuruno Gallery.
WANG Hong-Kai, This is no country music, 2019, workshop, multi-media installation, dimensions variable. Commissioned by 2019 Asian Art Biennial. Courtesy of the artist.
WANG Hong-Kai, This is no country music, 2019, workshop, multi-media installation, dimensions variable. Commissioned by 2019 Asian Art Biennial. Courtesy of the artist.
YEE I-Lann, Sulu Stories: Song of the Keris, 2005, digital c-type print, dimensions variable. Courtesy of the artist and Silverlens Galleries.
Sawangwongse YAWNGHWE, The Opium Parallax, 2019, oil on linen, 224×400 cm. Commissioned by 2019 Asian Art Biennial. Realised with the support of Rijksakademie van beeldende kunsten. Courtesy of the artist.
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Text by Haruka Shibata
Content Direction & Edit: HEAPS Magazine
