ヨーロッパの海を渡る難民、米国への移民。2000年以降の作品をフィーチャー「現代アーティストが表現する移民・移住」

SUNDAY ART SCROLL -リアルタイムで芸術速報/世界の名画から新進気鋭クリエイター最新作まで、各地ギャラリーより「現在展示中(時々、ついこの前まで)」をお届け中。
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今回紹介する展覧会は、ニューヨーク近代美術館MoMAの姉妹美術館として1936年に創立したボストン現代美術館で開催中の「When Home Won’t Let You Stay: Migration through Contemporary Art」。テーマは、「コンテンポラリーアートを通して見る“移住”」。現代アーティストたちが、移住・移民・難民といったトピックを、彫刻、インスタレーション、絵画、ビデオ作品で表現する。

フィーチャーされているのは、キューバ、フランス、インド、イラク、メキシコ、モロッコ、ナイジェリア、パレスチナ、韓国など、12ヶ国以上から集められたアーティスト20人の作品。たとえば、アイルランド出身の写真家リチャード・モスの、ビデオインスタレーション作品『Incoming』。第二次世界大戦以降の世界が抱える難民・移民危機を捉えている。また、イギリス出身の現代美術家インカ・ショニバレは、米国移民の名前を綴った6000冊以上の本で部屋中を埋め尽くしたインスタレーション作品『The American Library』を発表。アルジェリア出身フランス在住のアーティスト、カデル・アッティアのインスタレーション作品『La Mer Morte』は、ヨーロッパへ亡命しようと海を渡るも途中で命を落とした難民を、床に無造作に置いた衣類で表現している。

展示作品のすべては2000年以降に制作されたもの。それから20年の月日が流れ、数年前の難民危機を経て、2020年を迎えたいま。さまざまな理由から移住を余儀なくされた世界中の移民、難民たちの姿を、現代アートが捉えようとしている。

Yto Barrada. Le Détroit de Gibraltar—Reproduction d’une photographie aerienne—Tanger 2003 [The Strait of Gibraltar—reproduction of an aerial photograph—Tangier 2003], 2003. From the series A Life Full of Holes: The Strait Project, 1998—2003. Chromogenic color print
23 5/8 × 23 5/8 inches (59.9 × 59.9 cm). Courtesy the artist and Galerie Polaris, Paris. Courtesy Pace Gallery; Sfeir-Semler Gallery, Hamburg, Beirut; and Galerie Polaris, Paris © Yto Barrada

Yto Barrada. Rue de la Liberté, Tanger 2000, 2000
From the series A Life Full of Holes: The Strait Project, 1998—2003. Chromogenic color print 49 3/16 x 49 3/16 inches (125 x 125 cm) Courtesy the artist and Galerie Polaris, Paris. Courtesy Pace Gallery; Sfeir-Semler Gallery, Hamburg, Beirut; and Galerie Polaris, Paris © Yto Barrada

Yto Barrada. Salon de première—Ferry de Tanger à Algesiras, Espagne—2002 [First class lounge—Ferry from Tangier to Algeciras, Spain—2002], 2002. From the series A Life Full of Holes: The Strait Project, 1998—2003. Chromogenic color print 33 x 33 inches (82.3 x 83.2 cm) Private collection, New York. Courtesy Pace Gallery; Sfeir-Semler Gallery, Hamburg, Beirut; and Galerie Polaris, Paris © Yto Barrada

Yto Barrada. Usine 1—Conditionnement de crevettes dans la zone franche, Tanger 1998 [Factory 1—Prawn Processing Plant in the Free Trade Zone, Tangier 1998], 1998. From the series A Life Full of Holes: The Strait Project, 1998—2003. Chromogenic color print 40 9/16 x 40 9/16 inches (103 x 103 cm) Courtesy the artist and Galerie Polaris, Paris. Courtesy Pace Gallery; Sfeir-Semler Gallery, Hamburg, Beirut; and Galerie Polaris, Paris © Yto Barrada

Rineke Dijkstra. Almerisa, Wormer, The Netherlands, June 23, 1996, 1996. From the series Almerisa, 1994—present, Chromogenic color print 14 15/16 x 11 13/16 inches (38 x 30 cm) Courtesy the artist and Marian Goodman Gallery, New York © Rineke Dijkstra

Rineke Dijkstra. Rineke Dijkstra, Almerisa, Leidschendam, The Netherlands, December 9, 2000, 2000. From the series Almerisa, 1994—present, Chromogenic color print 14 15/16 x 11 13/16 inches (38 x 30 cm) Courtesy the artist and Marian Goodman Gallery, New York © Rineke Dijkstra

Rineke Dijkstra. Almerisa, Zoetermeer, The Netherlands, March 24, 2007, 2007 From the series Almerisa, 1994—present. Chromogenic color print 14 15/16 x 11 13/16 inches (38 x 30 cm) Courtesy the artist and Marian Goodman Gallery, New York © Rineke Dijkstra.

Isaac Julien. Western Union: Small Boats 2007. Three-channel video installation, 35mm film transferred to HD video (color, 5.1 surround sound; 18:22 minutes) Dimensions variable. Courtesy the artist, Victoria Miro, London/Venice and Metro Pictures, New York. Installation view, Galería Helga de Alvear, Madrid, 2008. Courtesy the artist, Victoria Miro, London/Venice and Metro Pictures, New York. Photo: Joaquín Cortés © Isaac Julien

Richard Mosse. Incoming, 2014—17 Three-channel HD video (black-and-white, 7.3 surround sound; 52:10 minutes) Overall dimensions variable. Produced in Europe, the Middle East, and North Africa. Director / Producer: Richard Mosse, Cinematographer / Editor: Trevor Tweeten, Composer / Sound Designer: Ben Frost, Colorist: Jerome Thelia, Production Assistants: Marta Giaccone, John Holten, and Daphne Tolis, Co-commissioned by the National Gallery of Victoria, Melbourne and Barbican Art Gallery, London. Courtesy the artist; Jack Shainman Gallery, New York; and carlier | gebauer, Berlin. Installation view, Richard Mosse: Incoming, The Curve, Barbican Centre, London, 2017. Courtesy the artist; Jack Shainman Gallery, New York; and carlier | gebauer, Berlin. Photo: Tristan Fewings © Richard Mosse

Richard Mosse. Incoming (still), 2014—17 Three-channel HD video (black-and-white, 7.3 surround sound; 52:10 minutes) Overall dimensions variable. Produced in Europe, the Middle East, and North Africa. Director / Producer: Richard Mosse, Cinematographer / Editor: Trevor Tweeten, Composer / Sound Designer: Ben Frost, Colorist: Jerome Thelia, Production Assistants: Marta Giaccone, John Holten, and Daphne Tolis, Co-commissioned by the National Gallery of Victoria, Melbourne and Barbican Art Gallery, London. Courtesy the artist; Jack Shainman Gallery, New York; and carlier | gebauer, Berlin © Richard Mosse

Carlos Motta. The Crossing, 2017 Video (color, sound) Courtesy the artist; Galeria Filomena Soares, Lisbon; Galeria Vermelho, São Paulo; mor charpentier, Paris; and P∙P∙O∙W Gallery, New York. Installation view, Carlos Motta: The Crossing, Stedelijk Museum, Amsterdam, 2017–18 © Carlos Motta

Aliza Nisenbaum. La Talaverita, Sunday Morning NY Times 2016. Oil on linen 68 x 88 inches (172.7 x 223.5 cm) Collection of Jackson Tang, New York
Courtesy the artist and Anton Kern Gallery, New York © Aliza Nisenbaum

Aliza Nisenbaum. Las Talaveritas 2015. Oil on linen 64 x 57 inches (162.6 x 144.8 cm) Valeria and Gregorio Napoleone Collection, London. Courtesy the artist and Anton Kern Gallery, New York © Aliza Nisenbaum

Aliza Nisenbaum. Marissa 2014. Oil on linen 16 x 16 inches (40.6 x 40.6 cm) Private collection, New York. Courtesy the artist and Anton Kern Gallery, New York © Aliza Nisenbaum

Aliza Nisenbaum Veronica, Marissa, and Gustavo 2013. Oil on linen 51 x 33 inches (129.5 x 83.8 cm) Collection of Josh Lilley, London. Courtesy the artist and Anton Kern Gallery, New York © Aliza Nisenbaum

Camilo Ontiveros. Temporary Storage: The Belongings of Juan Manuel Montes, 2017. Personal belongings of Juan Manuel Montes, rope, metal sawhorse, aluminum base, and wood
Approximately 72 × 72 x 18 inches (182.9 × 182.9 x 45.7 cm) The Museum of Fine Arts, Houston. Museum purchase funded by the 2017 Latin American Experience Gala and Auction. Photo © Museum Associates/LACMA © Camilo Ontiveros

Yinka Shonibare CBE. The American Library (detail), 2018. Hardback books, Dutch wax printed cotton textile, gold foiled names, and website Dimensions variable
Courtesy the artist and James Cohan Gallery, New York and FRONT International: Cleveland Triennial for Contemporary Art with funds from VIA Art Fund, Cleveland Public Library and The City of Cleveland Cable television Minority Arts and Education Fund. Installation view, FRONT International, Cleveland, Ohio, 2018 Photo: Field Studio © Yinka Shonibare CBE

Xaviera Simmons. Sundown (Number Twelve), 2018 Chromogenic color print 60 x 45 inches (152.4 x 114.3 cm) Jeanne L. Wasserman Art Acquisition Fund and Anonymous Acquisition Fund © Xaviera Simmons

Xaviera Simmons. Found the Sea Like the River, 2018. Acrylic on wood panel 72 x 96 inches (182.9 x 243.8 cm) Courtesy the artist and David Castillo Gallery, Miami © Xaviera Simmons

Do Ho Suh. Hub-1, Entrance, 260-7, Sungbook-Dong, Sungboo-Ku, Seoul, Korea, 2018. Polyester fabric and stainless steel 97 3/16 inches x 12 ft 6 1/4 inches x 11 feet 5/8 inches (246.9 x 381.6 x 336.9 cm) Courtesy the artist and Lehmann Maupin, New York, Hong Kong and Seoul © Do Ho Suh

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Text by Ayano Mori
Content Direction & Edit: HEAPS Magazine

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