WEKO3
アイテム
{"_buckets": {"deposit": "b5db833a-3e8d-4fde-a648-69e1367888a5"}, "_deposit": {"created_by": 3, "id": "6080", "owners": [3], "pid": {"revision_id": 0, "type": "depid", "value": "6080"}, "status": "published"}, "_oai": {"id": "oai:tobunken.repo.nii.ac.jp:00006080", "sets": ["961"]}, "author_link": ["27917", "27916"], "item_10001_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "2015-03-20", "bibliographicIssueDateType": "Issued"}, "bibliographicIssueNumber": "415", "bibliographicPageEnd": "31", "bibliographicPageStart": "22", "bibliographic_titles": [{"bibliographic_title": "美術研究"}, {"bibliographic_title": "The bijutsu kenkyu : the journal of art studies", "bibliographic_titleLang": "en"}]}]}, "item_10001_description_5": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": " This article examines whether or not we can discuss the katachi of biennial exhibitions. Katachi is a Japanese noun, which means apparition, figuration, figure, form, image, shape, and such. The English term biennial connotes the periodic exhibitions held on a biennial, triennial, and quinquennial basis, such as Documenta. Large numbers of these periodic exhibitions have been launched in Asian, African, European, and North and South American cities since the 1980s. They differ in many details as their intentions differ. Thus there is currently no overarching definition of the English term biennial. And yet, the term conjures some specific notions in our minds. Notionally it should have a physical shape. The English phrase “have a physical shape” is rendered in Japanese as katachi-wotoru. In modern Japanese usage, this katachi-wo-toru can mean “appear in one’s mind.” The earliest example of such implication dates back to 1928. The Japanese term katachi then expanded its linked connotations in its interaction with Western culture. The expanded forms of katachi -- namely Katachi = Bild, and Katachi = image (as pronounced in the French [imaʒ]) – can help explain our notion of the English term biennial.\n As seen in Dr. Shimomura Torajirô’s study on Jacob Burckhardt, a Katachi = Bild can be defined as a vision of an epoch, an aggregation of art works, and an historical philosophy in and of itself. Dr. Shimomura expounded that Burckhardt’s Bild consists of his intuition of history. We can borrow this concept of Bild to explain the ultimate aim of art historians. Namely, art historians see art works and we conceive their Katachi = Bild.\n The French philosopher Gilbert Simondon gave a unique explanation of the generation process of an image. Before an image can be conceived in its clear form, it should be in a metastable condition, in other words, a form before a form. Metastability of mind is key to this process. Metastability explains how our mind is stimulated to reach a saturation state and then surpass it to form a crystal. This crystal is an art work, an innovation, or a Katachi = Bild. The Katachi = image mentioned above signifies a form before a form, a mind in metastable condition.\n Using these newly coined terms: Katachi = Bild and Katachi = image, this article examines an exhibition, When Attitude Becomes Form Bern 1969 / Venice 2013, held in Venice at the Foundation Prada. This exhibition was a unique attempt to recreate a legendary exhibition curated by Harald Szeemann. The art critic Germano Celant, who had seen the original 1969 exhibition, supervised this 2013 recreation. Younger generations gained an important sympathy for Szeemann’s manner of living as an independent curator thanks to this Attitude exhibition. Attitude went on to become a topic of debate amongst even those who did not see the exhibition itself. A certain segment of society can be sorted into three groups with relation to Szeemann’s Attitude. Group 1 is composed of the curator (Szeemann) and his co-workers who have some Katachi = images of the 1969 Attitude. Group 2 consists of those who had seen the Attitude exhibition in 1969, such as Celant, who retain the Katachi = Bild that is rooted in their own experience of that exhibition. Group 3 consists of the people who had not seen the 1969 Attitude exhibition, and they form their own Katachi = Bild with the assistance of secondary documents. The paper goes on to analyze how similar groups of individuals related to the Attitude remake. Szeemann and his company can be categorized as G1-A (Group 1-A). Celant and his company can be categorized in G1-B. The people who saw both exhibitions can be called G2-A. The audience who saw only the Attitude remake can be called G2-B. Those who did not see the Attitude remake, but had seen the Attitude, are called G3-A. The audience who did not see either exhibition is called G3-B.\n Returning to the biennial concept, the imperfection, discontinuity and partiality of the audience’s accumulated knowledge is inevitable. For example, the history of the Venice Biennale exceeds one person’s entire life. No one individual can survey all biennials. Discussions of biennialtype exhibitions are usually conducted by those individuals who might belong to G2-B or G3-A. And yet we can have vague and infinite Katachi = images of biennial-type exhibitions. We can discuss the Katachi=Bild of biennialtype exhibitions, albeit non-conclusively.\n An analysis of the statement made by Massimiliano Gioni, an artistic director of the 55th Venice Biennale held in 2013, indicates that his Katachi = image of the 55th Biennale was based on his Katachi = Bild of the past biennials formed as a G2 and G3 type audience member. He had seen the Venice Biennale from 1993 onwards, and reflects back on the biennials in the 1970s and 80s.\n The simplest example of a Katachi = Bild of a biennial can be found in the installation Museumuseu by Mabe Bethônico. He made a bookshelf containing the catalogues of the Venice Biennale and the São Paulo Biennial. Each of these two different biennial series had different colored catalogue covers, namely blue for Venice and orange for São Paulo. He arranged the catalogues in chronological order.\n The appearance of the shelf hints at many features of the histories of both biennial series.\nThe discussions on the katachi of biennial-type exhibitions are possible and would be useful. The katachi of the biennial is one way to describe a current fluid situation. These biennial katachi must be described for those who do not have a chance to see those specific exhibitions. And indeed, most of that targeted audience has not yet been born.\n We conclude with a hope for a more open discussion. We can enrich the meanings of katachi through communication and comparison across the global linguistic environment. We believe that Katachi = Bild, an ultimate aim of art historians, can be shared across geographical regions and handed on through generations.", "subitem_description_type": "Abstract"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "藤川, 哲"}], "nameIdentifiers": [{"nameIdentifier": "27916", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Fujikawa, Satoshi", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "27917", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-10-05"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "415_22_Fujikawa_Redacted.pdf", "filesize": [{"value": "1.3 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_11", "mimetype": "application/pdf", "size": 1300000.0, "url": {"label": "415_22_Fujikawa_Redacted.pdf", "url": "https://tobunken.repo.nii.ac.jp/record/6080/files/415_22_Fujikawa_Redacted.pdf"}, "version_id": "1fff8c99-b3b0-409a-9c90-ec6713c754df"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "journal article", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "ビエンナーレの「かたち」―かたち=ビルト、かたち=イマージュ―", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "ビエンナーレの「かたち」―かたち=ビルト、かたち=イマージュ―"}, {"subitem_title": "The Katachi of Biennial: Katachi = Bild, Katachi = Image", "subitem_title_language": "en"}]}, "item_type_id": "10001", "owner": "3", "path": ["961"], "permalink_uri": "https://tobunken.repo.nii.ac.jp/records/6080", "pubdate": {"attribute_name": "公開日", "attribute_value": "2017-10-05"}, "publish_date": "2017-10-05", "publish_status": "0", "recid": "6080", "relation": {}, "relation_version_is_last": true, "title": ["ビエンナーレの「かたち」―かたち=ビルト、かたち=イマージュ―"], "weko_shared_id": 3}
ビエンナーレの「かたち」―かたち=ビルト、かたち=イマージュ―
https://tobunken.repo.nii.ac.jp/records/6080
https://tobunken.repo.nii.ac.jp/records/60803b20bedf-91af-45a5-b6a3-8f84c06ad6ca
名前 / ファイル | ライセンス | アクション |
---|---|---|
415_22_Fujikawa_Redacted.pdf (1.3 MB)
|
Item type | 学術雑誌論文 / Journal Article(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2017-10-05 | |||||
タイトル | ||||||
タイトル | ビエンナーレの「かたち」―かたち=ビルト、かたち=イマージュ― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | The Katachi of Biennial: Katachi = Bild, Katachi = Image | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
資源タイプ | journal article | |||||
著者 |
藤川, 哲
× 藤川, 哲× Fujikawa, Satoshi |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | This article examines whether or not we can discuss the katachi of biennial exhibitions. Katachi is a Japanese noun, which means apparition, figuration, figure, form, image, shape, and such. The English term biennial connotes the periodic exhibitions held on a biennial, triennial, and quinquennial basis, such as Documenta. Large numbers of these periodic exhibitions have been launched in Asian, African, European, and North and South American cities since the 1980s. They differ in many details as their intentions differ. Thus there is currently no overarching definition of the English term biennial. And yet, the term conjures some specific notions in our minds. Notionally it should have a physical shape. The English phrase “have a physical shape” is rendered in Japanese as katachi-wotoru. In modern Japanese usage, this katachi-wo-toru can mean “appear in one’s mind.” The earliest example of such implication dates back to 1928. The Japanese term katachi then expanded its linked connotations in its interaction with Western culture. The expanded forms of katachi -- namely Katachi = Bild, and Katachi = image (as pronounced in the French [imaʒ]) – can help explain our notion of the English term biennial. As seen in Dr. Shimomura Torajirô’s study on Jacob Burckhardt, a Katachi = Bild can be defined as a vision of an epoch, an aggregation of art works, and an historical philosophy in and of itself. Dr. Shimomura expounded that Burckhardt’s Bild consists of his intuition of history. We can borrow this concept of Bild to explain the ultimate aim of art historians. Namely, art historians see art works and we conceive their Katachi = Bild. The French philosopher Gilbert Simondon gave a unique explanation of the generation process of an image. Before an image can be conceived in its clear form, it should be in a metastable condition, in other words, a form before a form. Metastability of mind is key to this process. Metastability explains how our mind is stimulated to reach a saturation state and then surpass it to form a crystal. This crystal is an art work, an innovation, or a Katachi = Bild. The Katachi = image mentioned above signifies a form before a form, a mind in metastable condition. Using these newly coined terms: Katachi = Bild and Katachi = image, this article examines an exhibition, When Attitude Becomes Form Bern 1969 / Venice 2013, held in Venice at the Foundation Prada. This exhibition was a unique attempt to recreate a legendary exhibition curated by Harald Szeemann. The art critic Germano Celant, who had seen the original 1969 exhibition, supervised this 2013 recreation. Younger generations gained an important sympathy for Szeemann’s manner of living as an independent curator thanks to this Attitude exhibition. Attitude went on to become a topic of debate amongst even those who did not see the exhibition itself. A certain segment of society can be sorted into three groups with relation to Szeemann’s Attitude. Group 1 is composed of the curator (Szeemann) and his co-workers who have some Katachi = images of the 1969 Attitude. Group 2 consists of those who had seen the Attitude exhibition in 1969, such as Celant, who retain the Katachi = Bild that is rooted in their own experience of that exhibition. Group 3 consists of the people who had not seen the 1969 Attitude exhibition, and they form their own Katachi = Bild with the assistance of secondary documents. The paper goes on to analyze how similar groups of individuals related to the Attitude remake. Szeemann and his company can be categorized as G1-A (Group 1-A). Celant and his company can be categorized in G1-B. The people who saw both exhibitions can be called G2-A. The audience who saw only the Attitude remake can be called G2-B. Those who did not see the Attitude remake, but had seen the Attitude, are called G3-A. The audience who did not see either exhibition is called G3-B. Returning to the biennial concept, the imperfection, discontinuity and partiality of the audience’s accumulated knowledge is inevitable. For example, the history of the Venice Biennale exceeds one person’s entire life. No one individual can survey all biennials. Discussions of biennialtype exhibitions are usually conducted by those individuals who might belong to G2-B or G3-A. And yet we can have vague and infinite Katachi = images of biennial-type exhibitions. We can discuss the Katachi=Bild of biennialtype exhibitions, albeit non-conclusively. An analysis of the statement made by Massimiliano Gioni, an artistic director of the 55th Venice Biennale held in 2013, indicates that his Katachi = image of the 55th Biennale was based on his Katachi = Bild of the past biennials formed as a G2 and G3 type audience member. He had seen the Venice Biennale from 1993 onwards, and reflects back on the biennials in the 1970s and 80s. The simplest example of a Katachi = Bild of a biennial can be found in the installation Museumuseu by Mabe Bethônico. He made a bookshelf containing the catalogues of the Venice Biennale and the São Paulo Biennial. Each of these two different biennial series had different colored catalogue covers, namely blue for Venice and orange for São Paulo. He arranged the catalogues in chronological order. The appearance of the shelf hints at many features of the histories of both biennial series. The discussions on the katachi of biennial-type exhibitions are possible and would be useful. The katachi of the biennial is one way to describe a current fluid situation. These biennial katachi must be described for those who do not have a chance to see those specific exhibitions. And indeed, most of that targeted audience has not yet been born. We conclude with a hope for a more open discussion. We can enrich the meanings of katachi through communication and comparison across the global linguistic environment. We believe that Katachi = Bild, an ultimate aim of art historians, can be shared across geographical regions and handed on through generations. |
|||||
書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 415, p. 22-31, 発行日 2015-03-20 |