ARCUS Project 2013 Ibaraki: Artist Residency Program

ARCUS PROJECT 2013 IBARAKI Rodrigo Gonzalez Castillo Sybille Neumeyer Nandesha Shanthi Prakash ARTIST IN RESIDENCE PROGRAM

ARCUS PROJECT 2013 IBARAKI ΞʔΧεϓϩδΣΫτ2013͍͹Β͖ ARTIST IN RESIDENCE PROGRAM ΞʔςΟετɾΠϯɾϨδσϯεϓϩάϥϜ ʢ ೔ؒʣ 100 ೥ ݄ ೔ᴷ ݄ ೔ 2013 9 11 12 19 ʦΞʔςΟετʧ ʢϝΩγίʣ ϩυϦΰɾΰϯβϨεɾΧεςΟʔδϣ ʢυΠπʣ γϏϨɾϊΠϚΠϠʔ ʢΠϯυʣ φϯσγϟɾγϟϯςΟɾϓϥΧγϡ P.02-05 P.06-09 P.10-13 ʦήετΩϡϨʔλʔʧ ϩυϦΰɾΰϯβϨεɾ γϏϨɾϊΠϚΠϠʔ φϯσγϟɾγϟϯςΟɾ ງ಺ಸึࢠ ΧεςΟʔδϣ ϓϥΧγϡ Sybille Neumeyer ʦυΠπʗ ʧ Rodrigo González b.1982 Germany Nandesha Shanthi ʦબߟҕһʧ Castillo Prakash ʗΤΠτʧ ʦ ʢ ๏ਓΞʔπΠχγΞςΟϰτ΢Ωϣ΢ AIT ΩϡϨʔλʔʗ ೥౓ήετΩϡϨʔλʔʣ ʧ ʧ NPO 2013 ʦϝΩγίʗ ʦΠϯυʗ b.1984 Mexico b.1968 India ງ಺ಸึࢠ ʗ ʢΠϯσΟϖϯσϯτɾΩϡϨʔλʔ ೥౓টᡈࠃࡍ৹ࠪһʣ 2013 Ωʔεɾ΢Οτϧʪӳࠃʫ ʮ ʯ͸ɺֆ΍൛ըΛ௨͠ ࢲ͸ਓؒͱࣗવͷؔ܎ʹண໨ͨ͠ϓ ࢲ͸ݱ୅ͷੜ׆ͷ೔ʑʹͦͬͯɺ఻ Now&Then ΞʔΧεϓϩδΣΫτ࣮ߦҕһձ ͨक୩ࢢͷߴྸऀͱࢠͲ΋ͨͪͷࢹ ϩδΣΫτΛߦ͍ͬͯ·͢ɻ೔ຊ଺ ঝੈքΛݱ࣮Խ͍ͯ͘͜͠ͱΛ௨͠ ֮ݴޠؒͷൺֱʹண໨ͨ͠ϓϩδΣ ࡏதʹݱࡏͱະདྷͱ͕૚Λͳ͢ྺ ͯɺݱ࣮ੈքͱ఻ঝੈքͷਂ෵ʹͭ ΫτͰ͢ɻ͜ͷϓϩδΣΫτͷ໨త͸ɺ ࢙ʹ͍ͭͯௐ͍ࠪͯ͠·͢ɻ৯෺΍ ͍ͯͷ࡞඼Λ੍࡞͍ͯ͠·͢ɻ ೔ຊɺक୩ࢢͰͷ೔ৗੜ׆ɺݸਓత ౔৕ɺ؀ڥͱɺࢲͨͪͱͷͭͳ͕Γ͸ ͜ΕΒͷ࡞඼͸ɺ·ΔͰ࿉ۚज़Λश ͳ͋Γ͞·Λ௚઀తʹଞऀʹݟͤΔ ͲͷΑ͏ʹస׵͍ͯ͠Δͷ͔ɻ਎ۙ ಘ͠Α͏ͱ͢ΔΑ͏ͳɺ౴͑΋ແ͘ऴ ARCUS Project 2013 IBARAKI ͜ͱ΁ͷؔ৺ͱؔ܎͕͋Γ·͢ɻ෺ ͳ஍Ҭͷঢ়گΛ؍࡯͠ɺͳ͓͔ͭά ΘΓ΋ແ͍஌ࣝʹ͍ͭͯͷ୳ٻͰ͢ Artist-in-Residence Program ࣄΛ఻͑Δॳาతͳखஈͱͯ͠ɺֆ ϩʔόϧͳߏ଄ͷ࢓૊Έʹ͍ͭͯ࠶ ͕ɺਓؒͷଘࡏͷܦݧͷҰ෦ͱͳΔ September 11 – December 19, 2013 (100days) ΍൛ըΛ࢖͍ɺࢲ͸ಉ͡౎ࢢʹ฻Β ߟ͢Δ͜ͱͰɺݸਓతͳܦݧʹجͮ Α͏ͳཱྀͷաఔͰ͢ɻ ͢ߴྸऀͱࢠͲ΋͕ͨͪ෼͔ͪ߹͑ ͍ͨ஌ܙͱɺ਎ମײ֮Ͱ͸ܭΓ஌Ε ͜ͷࢼΈ͸ੈքͷதͰ͸ͱͯ΋ࠣࡉ ΔɺίϛϡχςΟ΍ΞΠσϯςΟςΟʹ ͳ͍ࢲͨͪΛͱΓ·͘؀ڥ΁ͷཧղ ͳৼΔ෣͍Ͱ͢ɻͨͩɺͻͱΓͷਓ ʦ ʧ Artists ର͢Δײ֮Λ఻͍͑ͨͱࢥ͍·͢ɻ ͱͷ͍͋ͩͰର࿩Λ੒ΓཱͨͤͯΈ ؒɺ͋ΔࠃՈʹଐ͢ΔࣾձͷҰһͱ Rodrigo González Castillo (Mexico)ɹ Sybille Neumeyer (Germany) ͜ͷϓϩδΣΫτͷࢀՃऀʹɺࢹ֮త Α͏ͱ͍ͯ͠·͢ɻ ͯ͠ɺ·ͨɺʠࢲͨͪͷੈքʡͱݺ͹Ε Nandesha Shanthi Prakash (India) ͳ૬ޓ࡞༻ΛҾ͖ى͜͢͜ͱͰɺ৽ ࢲ͸੩͔ͳ؍࡯ऀͱͳͬͯͦͬͱೖ Δେ͖ͳ૝૾ମͷҰ෦Ͱ͋Δࢲͷݱ ͍͠ҙຯͱؔ܎Λݟग़ͩͯ͠ཉ͍͠ ΓࠐΈɺ୯७Ͱখ͞ͳ΋ͷͨͪʹڵ ࣮Λ஌ΔͨΊͷඒֶతͳ࣮ફͰ͢ɻ ͱߟ͍͑ͯ·͢ɻ ຯΛ࣋ͭͷͰ͢ɻ ʦ ʧ Residence program guest curator 2013 Naoko Horiuchi Now&Then is a project that My project focuses on My works survive in the focuses in a comparison relations between human hinterland of myth and reality. between the visual language and nature. During the stay The personification of myth from ʦ ʧ Slection committee Naoko Horiuchi (Curator of Arts Initiative Tokyo[AIT] / Guest curator 2013) of the elder and the children of in Japan I investigate layers everyday, in the contemporary Moriya through drawing and of history, present and future: context. These works are my ʪ ʫ Keith Whittle UK (Independent curator / Invited international curator 2013) print investigation of the Known- making. The main objective how do our connections ARCUS Project Administration Committee for working with these topics has to food, land, environment within the great metaphor of to do with an interest of showing shift? Observing the local alchemy there are no answers a direct and intimate panorama situation and rethinking global and no definite end,but of everyday life in Moriya, Japan. structures, I am trying enable the journey and process of Using drawing and printmaking a dialog between personal experience of our existence. as primary tools, I want to experience knowledge and This attempt is a tiny gesture transmit a feeling of community the understanding of our in the universe, an aesthetic and identity, shared between the environment beyond a natural involvement children and the elder people as bodily perception. Slipping in in the process of understanding members of the same city; and the role of a silent observer, my reality as an individual, a to activate a visual interaction I am interested in simple and citizen of a country and part in which the particip small materials. of the lager global imagination ants of the ʠ ʡ project could find new meanings called Our Universe . and relations.

ʛ Rodrigo González Castillo 02 03 ϝΩγίʹͯɺੴ൛΍໦൛ͳͲɺ͞·͟·ͳૉࡐ΍ٕ๏Λ࢖ͬͨ ϩυϦΰɾΰϯβϨεɾΧεςΟʔδϣ ൛ը੍࡞Λߦ͏ΧεςΟʔδϣ͸ɺࠓճͷ଺ࡏͰɺक୩ࢢͷࢠͲ ೥ϝΩγίɾΦΞϋΧੜ·Εɻ ೥ɺϝΩγ 1984 2009 ͷҟͳΔਓʑͷڠྗΛಘͯɺখֶߍ ΋ͨͪ΍ߴྸऀͳͲɺੈ୅ ίͷϕϥΫϧαʔφେֶଔۀɻେཧੴͷੴ൛ըΛத ΍ΞʔΧεελδΦʹͯϫʔΫγϣοϓΛߦ͍·ͨ͠ɻ ৺ʹɺੴփؠɺϙϦΤεςϧɾϓϨʔτɺ໦൛ըɺϦϊϦ ʮເʯ΍ʮ೔ຊʯʮɺѪʯʮɺ޷͖ͳ৯΂෺ʯʮɺ޷͖ͳϞϯελʔʯͳ ΢Ϝ൛ըͳͲɺଟذʹ౉Δૉࡐ΍ٕ๏Λ༻͍ͨ൛ը Ͳͷ࣭໰͕ॻ͔ΕͨΧεςΟʔδϣͷΞϯέʔτʹɺࢀՃऀ͕ ੍࡞Λߦ͏ɻ 2009೥͔Β2013೥·ͰϝΩγίͷओ υϩʔΠϯάͰฦ౴͢Δͱ͍͏ํ๏͕࠾ΒΕͨࠓճͷϫʔΫ ཁͳΞʔτɾηϯλʔͷ̍ͭͰ͋ΔLa Ceiba Gráfica ʹͯɺΞʔςΟετͷ൛ը੍࡞ิॿ΍ɺ࣮ݧతͳ൛ը γϣοϓͰ͸ɺ෋࢜ࢁ΍͓ण࢘ͳͲɺ࣌୅͕มΘͬͯ΋୭΋͕࿈ ϫʔΫγϣοϓΛख͕͚Δɻ ૝͢Δ೔ຊͷ࢟΋͋Γͳ͕ΒɺΞχϝͷΩϟϥΫλʔ΍ɺ࣌ʹΦϦ ΠϯλʔωοτͷൃలʹΑΓɺҟจԽͷΠϝʔδʹ؆ δφϦςΟҲΕΔฦ౴΋ݟΒΕ·ͨ͠ɻ๛͔ͳ૝૾ྗʹΑͬͯඳ ୯ʹΞΫηε͠ɺڞ༗Ͱ͖Δݱࡏʹ͓͍ͯɺϝΩγ ͔Εͨͦ͏ͨ͠ແ਺ͷυϩʔΠϯά͸ɺͦͷޙɺΧεςΟʔδϣ ί๺෦ͷ΢Ονϣʔϧ଒ͷຽܳ඼΍ɺ೔ຊʹ͓͚Δ ʹΑͬͯҰຕҰຕ൛ըʹ͞ΕɺࢀՃऀ͕࣋ͪؼΔ͜ͱ͕Ͱ͖Δ ໦൛ըͳͲɺಛఆͷ஍Ҭʹ͓͍ͯൃల͖ͯͨ͠ࢹ ֮ݴޠ΍ɺͦͷੜ࢈աఔʹؔ৺Λ࣋ͭɻओͳݸల ࡞඼ͱͯ͠లࣔ͞Ε·ͨ͠ɻ ʢϞϯςϨʔۙ୅ඒज़ؗɺϝΩγίɺ ʹɺʮ ʯ Local tótem ൛ըͷख๏Λ༻͍Δ͜ͱͰɺΠϝʔδ͸Կ౓Ͱ΋ෳ੡͕Մೳͱ ʣ 2012 ɺ·ͨɺओͳάϧʔϓలʹʮ ʯ La expendeduría ͳΓɺ͔ͭͯͷුੈֆͷΑ͏ʹɺ୭΋͕खʹೖΕΒΕΔ৘ใݯͱ ʢαϯɾϛήϧɾσɾΞδΣϯσɺϝΩγίɺ ʣ ʢϨ 2013 ɺʮ ʯ Sabor ͯ͠ػೳ͠·͢ɻΧεςΟʔδϣ͸ࠓճɺ೔ຊͰݹ͔͘Β༻͍Β ΦφϧυɾίσοΫεɾΞʔτɾΞοαϯϒϥʔδϡɺχϡʔϤʔΫɺ ΋ Ε͍ͯΔூࠁ౛΍όϨϯΛ༻͍Δ͜ͱͰɺૉࡐ΍ख๏ͷ্Ͱ ʣ ʢΨϨϦΞɾσɾΞϧ 2012 ɺʮ ʯ Lo continuo y lo discreto ৽ͨͳࢼΈΛߦ͍·ͨ͠ɻ ʣ ςɾίϯςϯϙϥʔωΦɾϋϥύɺϕϥΫϧεɺϝΩγίɺ 2010 ͳͲ͕͋Δɻ In Mexico, Castillo uses various plates and techniques Born in Oaxaca, Mexico in 1984. Graduated such as limestone and woodblock for his printmaking from Veracruzana University in Mexico. Castillo methods. During his residence this time, he held mainly uses lithograph as well as various plates workshops at elementary schools and the ARCUS and techniques such as limestone, polyester, Studio that brought children and elderly people in Moriya woodblock, and linocut for his printmaking together. methods. From 2009 to 2013, Castillo worked at Giving the participants questionnaires concerning the leading art center, La Ceiba Gráfica, assisting ʠ ʡʠ ʡʠ ʡ subjects such as A DREAM, JAPAN, LOVE, ʟ artists printmaking process and holding ʠ ʡ ʠ ʡ experimental printmaking workshops. FAVORITE FOOD, and FAVORITE MONSTER, he By the development of the age of Internet, we had them respond in drawings. Among the responses can easily access and share other cultures were images of things people always associate with images. He is interested in their unique visual Japan, such as Mt. Fuji and sushi, as well as anime cultures and its process how they have characters and sometimes highly original drawings. developed, such as crafts of Huichol tribe from Castillo then printed each of the many drawings Northern Mexico and Japanese wood block paintings. imaginatively rendered and displayed them as artworks Major solo show of Castillo includes Local totem, that participants could take home. Monterrey Museum of Modern Art, Mexico Use of the printmaking method enables the image to be 2012, also group shows, La expendeduría, reproduced endlessly, so that it functions, as in Ukiyo-e, San Miguel de Allende, Mexico, 2013, Sabor, as a commonly available information source. Using Leonardo Codex Art Assemblage, New York ʠ ʡ engraving knives, handheld baren burnishing tools, 2012, Lo continuo y lo discrete, Galeria de Arte and other tools long used in Japan, Castillo undertook an Contemporáneo de Xalapa, Veracruz, Mexico, 2010. endeavor that was new in both materials and technique. ໦൛ըɾΠϯελϨʔγϣϯ NOW&THEN NOW&THEN Woodcut, Installation

ʛ Rodrigo González Castillo ARTIST IN RESIDENCE PROGRAM 2013 04 05 ໦൛ըɾΠϯελϨʔγϣϯ NOW&THEN NOW&THEN Woodcut, Installation

ʛ Sybille Neumeyer ARTIST IN RESIDENCE PROGRAM 2013 06 07 ಈ২෺ͷੜଶܥͷมԽ΍ؾީมಈͳͲΛϞνʔϑʹɺஸೡͳ γϏϨɾϊΠϚΠϠʔ ϑΟʔϧυϫʔΫΛ௨ͯ͠ө૾࡞඼΍ΠϯελϨʔγϣϯΛ੍࡞ 1982೥υΠπɾϊΠϚϧΫτੜ·Εɻίϛϡχέʔγϣ ͢ΔϊΠϚΠϠʔ͸ɺक୩Ͱ΋ɺ৿ྛͷࢄࡦ΍ʮक୩ϛπόνϓ ϯɾσβΠφʔɺΞʔςΟετɺϦαʔνϟʔͳͲɺଟ ϩδΣΫτʯͷݟֶɺΦΦεζϝόνͷ࠾औʹऔΓ૊ΉͳͲɺੵۃ ༷ͳ׆ಈΛߦ͏ɻϰϡϧπϒϧΫେֶʹͯݴޠՊ తʹ؀ڥͷϦαʔνΛߦ͍·ͨ͠ɻͦ͏ͨ͠தͰ΋ɺࠓճͷ଺ࡏ ֶɺඒज़࢙ɺຽ଒ֶΛֶΜͩޙɺ ೥ɺϰϡϧπ 2011 Ͱ͸ಛʹɺશͯͷੜ໋ͷࠜݯΛࢧ͍͑ͯΔͱ΋͍͑Δʮ౔ʯʹண ϒϧΫԠ༻ԽֶେֶίϛϡχέʔγϣϯɾσβΠϯՊ ճ໨ͷΦʔϓϯελδΦͰϊΠϚΠϠʔ͸ɺελδ ໨͠·ͨ͠ɻ 1 ଔۀɻಉ೥ɺϕϧϯܳज़େֶେֶӃʹͯ৘ใɾίϛϡ χέʔγϣϯՊमྃɻߟݹֶɺ২෺ֶɺ஍ཧֶͳͲɺ Φͷςʔϒϧʹ౔Λஔ͖ɺͦΕΛ౔஍ʹݟཱͯʮݐஙՈʯʮɺࢠ ͞·͟·ͳֶ໰෼໺ʹؔ৺Λ࣋ͪɺͦͷϦαʔν΍ Ͳ΋ʯɺʮ೶Ոʯɺʮ౎ࢢ։ൃऀʯɺʮࣗવʯͳͲͷ໾ׂΛ༩͑ΒΕͨ ϑΟʔϧυϫʔΫΛݩʹɺؾީ΍ࣗવݱ৅ͳͲΛϞ ʑ͕౔ʹ৮Εͳ͕Βɺ࣌ʹڠྗ͠ɺ࣌ʹഁյΛ܁Γฦͦ͠Εͧ ਓ νʔϑʹͨ͠ө૾࡞඼΍ΠϯελϨʔγϣϯΛ੍࡞ Εͷ໾໨Λ਱ߦ͢Δͱ͍͏ϫʔΫγϣοϓΛߦ͍·ͨ͠ɻͦΕ͸ɺ ͍ͯ͠Δɻ͜Ε·ͰʹɺϞϯΰϧ΍υΠπɺεΠεɺΫ ౔ͷ೏͍Λײ͡ͳ͕ΒɺͦΕʹ৮Δײ֮ΛऔΓ໭͢ͱͱ΋ʹɺࢲ ϩΞνΞͳͲɺଟ͘ͷࠃʹ଺ࡏͨ͠ܦݧΛ࣋ͭɻओ ͳݸలʹɺʮ ʯ silence of nature/nature of silence ཱ͕͍ͨͪͬͯΔେ஍ͦͷ΋ͷʹ૝૾ΛدͤΔ࣌ؒͱͯ͠ػೳ ʢΞΧσϛʔɾγϡϩεɾιϦνϡʔυɺγϡτΡοτΨϧτɺυΠπɺ ͠·ͨ͠ɻ·ͨɺͦͷޙ΋౔΍༿ΛϞνʔϑʹɺීஈ͸ݟա͝͠ ʣ 2013 ɺʮ past present, presence absent – urban ͯ͠·͍͕ͪͳͦΕΒͷখ͞ͳݺٵ΍ಈ͖ɺͦ͜ʹू·Δੜ໋Λ ʢ ɺβάϨϒɺΫϩΞνΞɺ ʣ POGON 2013 ʯ ɺओͳά aspects ࠶ೝࣝͤ͞Δ࡞඼Λ੍࡞͠·ͨ͠ɻ ʢϕϧΫγϟ΢ ʗϗʔ ϧʔϓలʹʮ ʯ In Our Backyards ελδΦʹ͸ɺ౔Λମݧ͢ΔϏσΦɾΠϯελϨʔγϣϯΛɺͦ͠ ϧ ϥΠϓπΟώɺυΠπɺ ʣ 12, 2012 ɺʮ x:1 – the invisible ͯɺผࣨʹͯɺֻ͚࣠ͳͲʹ࢖༻͞Ε͍ͯͨ࿨ࢴΛεΫϦʔϯʹ ʢΞΧσϛʔɾγϡϩεɾιϦνϡʔυɺ ʯ part of the iceberg By conducting careful fieldwork, Neumeyer creates video ʣ γϡτΡοτΨϧτɺυΠπɺ 2011 ͳͲ͕͋ΔɻϨΫνϟʔ΍ ༻͍ͨ༿ͬͺͷө૾Λൃද͠·ͨ͠ɻ works and installations taking climate change and plant ϫʔΫγϣοϓ΋ଟ਺ߦ͏ɻ ecology as motifs. In Moriya, she has accordingly taken ʠ ʡ forest walks, observed the Moriya Honeybee Project, Born in Neumarkt, Germany in 1982. Neumeyer has been active in various careers such as researched the Asian giant hornet, and actively conducted communication designer, artist, and visual environmental research. In her research this time, she was researcher. After she studied linguistic, art history particularly attentive to soil, the source of all life. In her and ethnology at University of Würzburg, Neumeyer first open studio, Neumeyer placed soil on the studio table received diploma in Communication design at ʠ ʡ and assigned roles to participants, such as architect , University of Applied Sciences Würzburg. In ʠ ʡʠ ʡʠ ʡ ʠ ʡ child , farmer , city planner , and nature . In acting 2011, she received a master degree in Visual out their roles, the participants worked with the soil, some Communication at Bern University of the Arts (Hochschule der Künste Bern). Interested in multi of them by cooperating together and others using acts of disciplinary fields such as archeology, botany and destruction. The workshop allowed people to touch and geography, Neumeyer produces installation and smell the soil, and along with this contact, encouraged video work using motifs of climate and natural them to think about the ground under their feet. She phenomenona based on research and fieldwork. also created artworks taking soil and leaves as motifs: Major solo shows of Neumeyer include Silence of artworks looked closely at the breath and movement of nature/nature of silence, Akademie Schloss Solitude, soil and leavesŠthings we normally overlookŠand the Stuttgart, Germany, 2013, past present, presence life forms gathering in them. absent – urban aspects, POGON, Zagreb, Croatia, 2013, major group shows, In Our Backyards, In the studio, she created a video installation around Werkschau/Halle 12, Leipzig Germany, 2012, x:1 – this experience of soil, while in another room, she the invisible part of the iceberg, Akademie Schloss displayed a video of one leaf on a screen of Japanese Solitude, Stuttgart, Germany, 2011. She also holds paper, a material traditionally used in hanging scrolls. various workshops and lectures. ʢ2νϟϯωϧʣ ʢγϯάϧνϟϯωϧʣ ର࿩ ϏσΦɾΠϯελϨʔγϣϯ ᴹ पล؍࡯ɿඪຊ ϏσΦɾΠϯελϨʔγϣϯ ᴹ P.6 P.7 01 P.6 dialogue 2-channel video installation P.7 peripheral observations: specimen 01 Single-channel video installation

ʛ Sybille Neumeyer ARTIST IN RESIDENCE PROGRAM 2013 08 09 ʢ2νϟϯωϧʣ ର࿩ ϏσΦɾΠϯελϨʔγϣϯ dialogue 2-channel video installation

ʛ Nandesha Shanthi Prakash 10 11 ϓϥΧγϡͷग़਎஍Ͱ͋ΔΠϯυ͸ɺۙ೥ͷٸܹͳܦࡁൃలʹ φϯσγϟɾγϟϯςΟɾϓϥΧγϡ ΑΓɺߴ૚Ϗϧͷݐઃϥογϡͷ΄͔ɺେܕγϣοϐϯάηϯλʔ 1968೥ΠϯυɾόϯΨϩʔϧੜ·ΕɻόϯΨϩʔϧ ͷཚཱʹΑͬͯେྔੜ࢈ɾফඅ͞ΕΔ঎඼΍৯඼ͳͲɺࣾձγ ͷΧϨοδɾΦϒɾϑΝΠϯɾΞʔπC.K.P.ͰԠ༻ඒज़ εςϜʹ͓͍ͯେ͖ͳมԽΛܴ͍͑ͯ·͢ɻͦ͏ͨ͠ෳࡶͳݱ ΛֶΜͩޙɺϋʔτɾΞχϝʔγϣϯɾΞΧσϛʔɾϋΠ ୅ࣾձͷ͋ΓํΛΠϯυͷ఻౷΍ਆ࿩ΛҾ༻͠ͳ͕Β࡞඼Խ͠ σϥόʔυʹͯΞχϝʔγϣϯΛɺόϯΨϩʔϧେֶ ɺਓʑ͕ରቂ͍ͯ͠Δʮม ͍ͯΔϓϥΧγϡ͸ɺक୩ʹ͓͍ͯ΋ ʹͯ൛ըΛֶͿɻ ೥ɺόϯΨϩʔϧɾΞʔςΟ 2006 Խʯʹண໨͠ɺϦαʔνΛߦ͍·ͨ͠ɻ επɾηϯλʔɺΞʔςΟετɾΠϯɾϨδσϯεɾϓϩ ʢ ʣ BAC άϥϜ Λઃཱɻ޻ܳ඼΍ط੡඼ͱڞʹɺ޿ࠂ 1ճ໨ͷΦʔϓϯελδΦͰߦͬͨϫʔΫγϣοϓͰ͸ɺ๚Εͨ ΍ϓϩύΨϯμͱ͍ͬͨਓʑʹ఻ୡ͞Ε΍͍͢දݱ ͞·͟·ͳਓʑʹɺ൴Β͕ܴ͍͑ͯΔʮมԽʯʹ͍ͭͯճ౴ͯ͠ Λ૊Έ߹Θͤɺෳࡶͳݱ୅ࣾձͷ͋Γํ΍ɺಛʹΠ ΋Β͍·ͨ͠ɻͦ͜ͰಘΒΕͨݴ༿͸ɺϓϥΧγϡ͕क୩͔Β౦ ϯυʹ͓͚Δ੓࣏ҙࣝʹ໰͍Λ౤͔͚͛Δூࠁ΍Π ژ·ͰंͰҠಈͨ͠ө૾ͱͱ΋ʹө͠ग़͞Ε·͢ɻӍͷ೔ͷं ϯελϨʔγϣϯΛ੍࡞͍ͯ͠Δɻ͜Ε·Ͱͷओͳ ૭͔Β֗ΛோΊΔ༷ࢠ͕ࡱӨ͞Εͨͦͷө૾͸ɺϫΠύʔ͕ࠨ లཡձʹɺʮGive Me The Thumb of Your Right ʢεϜΧɾΪϟϥϦʔɺόϯΨϩʔϧɺΠϯυɺ ʣ 2013 ʯ ɺ Hand ӈʹಈ͘౓ʹɺ৺ཧతͳมԽ͕౤Ө͞Ε͍ͯΔΑ͏ʹ΋ݟ͑ͯ ʢΞύϥΦɾΪϟϥϦʔɺνΣϯ ʮ ʯ Chennai Art Festival ͖·͢ɻͦΕ͸ɺ೔ຊॳ଺ࡏͱͳΔϓϥΧγϡࣗ਎͕ମݧͨ͠Π ʣ φΠɺΠϯυɺ 2011 ɺʮTRIAD Contemporary Art of ϯυ͔Β೔ຊɺͦͯ͠ɺक୩͔Β౦ژͱ͍͏෺ཧతͳҠಈ΍ม ʢϥϒϥϯυɾϛϡʔδΞϜɺίϩϥυɺถࠃɺ ʣ 2010 ʯ ɺ India Խɺ·ͨɺ଺ࡏதʹݟֶͨ͠஛ྛͷޫܠ΍༗ػ೶๏ʹΑΔஸೡ ʢνοτϥΧ ʮ ʯ Video Art Festival at Chitra Santhe ͳ໺ࡊͮ͘ΓͱɺεʔύʔϚʔέοτͳͲͰݟΔۉ࣭తͳ໺ࡊʹ ʣ ϥɾύϦογϟʔεɺόϯΨϩʔϧɺΠϯυɺ 2009 ͳͲ͕͋Δɻ ײͨ͡ҧ࿨ײͳͲɺ൴ࣗ਎͕ରቂͨ͠͞·͟·ͳมԽͱ΋ݺԠ͠ Born in Bangalore, India in 1968. After studied ͍ͯΔͱ͍͑ΔͰ͠ΐ͏ɻ applied arts at Collage of Fine Arts at Bangalore, Prakash learned animation at Heart Animation Academy Hyderabad and printmaking at Bangalore University. In 2006, he established Bangalore Artists Center, artist in residence program (BAC). Prakash produces installation and sculptures by mixing crafts/ready-made objects and advertisements/propaganda that are communicable to people expressing how complicated contemporary society is, especially questioning Indian political consciousness. ʟ Prakash s major exhibitions include Give Me The Due to rapid economic development in recent years, video imagery taken while driving by car from Moriya to Thumb of Your Right Hand, Gallery Sumukha, ʟ Prakashs homeland of India has seen a proliferation of Tokyo. The video shows scenes of towns taken from the e, India, 2013, Chennai Art Festival, Bangalor new high-rise buildings and shopping centers. Accordingly, car window on a rainy day, with the windshield wipers Apparao Galleries, Chennai, India, 2011, TRIAD new mass-produced products and foods are becoming moving back and forth. As we watch, each movement of Contemporary Art of India, Loveland Museum, Colorado, USA, 2010, Video Art Festival at available, and society is quickly changing. As an artist the wipers seems to herald psychological change. The Chitra Santhe, Chitrakala Parishath, Bangalore, who explores the character of complex modern society in sense of change we feel in the video perhaps resonates India, 2009. India while quoting Indian traditions and myths, Prakash with the varying change Prakash himself has experienced, ʠ ʡ researched and examined the change confronting people not only through physical movement from India to Japan in Moriya as well. for his first Japanese residency and then by car from For his first workshop, held in the first open studio, Prakash Moriya to Tokyo, but also in the strangeness of going from had the many different people visiting the workshop bamboo groves and carefully tended, organically grown ʠ ʡ respond to questions about change in their lives. He then vegetables in Moriya to urban scenes of homogenous presented the verbal responses thus received together with looking vegetables on display in supermarkets. δʔόφᴷੜ໋ʗଘࡏϏσΦʗ ෼ 6 Jivana – The Life / Existence Video / 6min

ʛ Nandesha Shanthi Prakash ARTIST IN RESIDENCE PROGRAM 2013 12 13 ϋϯΪϯάɾΨʔσϯ ΠϯελϨʔγϣϯ Hanging Garden Installation

ΞʔΧεϓϩδΣΫτ2013͍͹Β͖ ARCUS Project 2013 IBARAKI ँࣙᴹAcknowledgement Artist in Residence Program ΞʔςΟετɾΠϯɾϨδσϯεϓϩάϥϜ Χλϩά Catalog ʦEdited byʧ ʦฤूʧ Ryota Tomoshige, Mizuho Ishii, Yumiko Fujimoto ேॏཾଠɺੴҪਸ਼ึɺ౻ຊ༟ඒࢠ ʦTextʧ ʦςΩετʧ Naoko Horiuchi ຊϓϩάϥϜΛ։࠵͢Δʹ͋ͨΓɺ͝ڠྗ͍͖ͨͩ·ͨ͢͠΂ͯͷํʹް͘ޚྱਃ্͛͠·͢ɻ ງ಺ಸึࢠ ʢܟশུɺ Իॱʣ 50 ·ͨɺ͜͜ʹ໊͓લΛه͢͜ͱͷͰ͖ͳ͔ͬͨํʑʹ΋վΊͯײँਃ্͛͠·͢ɻ ʦ ʧ Translation Kanako Sasaki / Brian Amstutz / ARCUS Studio We would like to express our sincere gratitude to those mentioned below for their generous cooperation and contribution. ʦ຋༁ʧ ʗϒϥΠΞϯɾΞϜελοπʗΞʔΧεελδΦ ࠤʑ໦Ճಸࢠ ʦDesignʧ Toshimasa Kimura ʦσβΠϯʧ ੺৓म࢘ Shuji Akagi ࡾڮҁࢠ Ayako Mitsuhashi ໦ଜູক ʦPrinted byʧ ϛϠλϢΩ ΞφɾϓλοΫ Anna Ptak Yuki Miyata YAMADA PHOTO PROCESS CO., LTD ৿߂࣏ ߥҪ߂উ Hirokatsu Arai Hiroharu Mori ʦҹ࡮ʧ ໼໺ਔ໵ ༗஍޷ొ Yoshito Arichi Yoshinari Yano ʦPhotographyʧ גࣜձࣾࢁాࣸਅ੡൛ॴ ࢁ໺Ҫরݦ ൧ాઍস Chie Iida Teruaki Yamanoi Hajime Kato, Akira Yasuda, Sybille Neumeyer ࢁຊ঑ ൧ాஐ߂ Tomohiro Iida Sho Yamamoto ʦࣸਅࡱӨʧ ʦPublished byʧ एྛᔨᠳ ൧পᏻ Akira Iinuma Hiroto Wakabayashi Ճ౻ำɺ҆ాڿɺγϏϨɾϊΠϚΠϠʔ ARCUS Project Administration Committee, ஑ా఩ Satoshi Ikeda Conference for creation of Gateway to the Arts ࢢ઒ॕળ Noriyoshi Ichikawa ʦൃߦʧ in Ibaraki Prefecture Southern Area Ξϛϡθദ Ҵ༿༄ࡾ Ryuzo Inaba ΞʔΧεϓϩδΣΫτ࣮ߦҕһձ ஡๪͔΍ͷ໦ ϚσϦϯɾ΢ΥʔϨϯ Madalyn Warren Published in March 2015 ҵ৓ݝೆܳज़ͷ໳૑଄ձٞ δʔόφ೶Ԃ ڂ઒ໜҰ Shigekazu Oikawa ্໺Ӻ εςʔγϣϯΪϟϥϦʔ খ઒Ұ੒ Issei Ogawa JR Break ʦൃߦ೔ʧ ARCUS Project 2013 IBARAKI ৗ૯؀ڥηϯλʔ َ௩߁ଠ࿠ Kotaro Onizuka 2015೥3݄ ᴷ ౦ژ᥁ज़େֶඒज़ֶ෦ઌ୺ܳज़දݱՊ َ௩಼ࠫ Nagisa Onizuka ʦ ʧ ARCUS Project Administration Committee দࢬҹ࡮גࣜձࣾ খ໺রߦ Teruyuki Ono Chairman ೥ ૊ क୩ࢢཱদέٰখֶߍ ਆࢁߊ Akira Kamiyama 6 3 ΞʔΧεϓϩδΣΫτ ͍͹Β͖ 2013 Masaru Hashimoto, Governor, Ibaraki Prefecture ϛϡʔδΞϜύʔΫҵ৓ݝࣗવത෺ؗ খྛ͋͢Έ Asumi Kobayashi ᴷ Vice Chairman ࢢ಺ͷ೶Ոͷօ༷ খྛ༏ࢠ Yuko Kobayashi Shinichi Aida, Mayor, Moriya City ʦΞʔΧεϓϩδΣΫτ࣮ߦҕһձʧ ϫʔΫγϣοϓʹࢀՃ͍͍ͨͩͨօ༷ ۚ໺ಓষ Michiaki Konno Hitoshi Komatsubara, Director General, Department ʢҵ৓ݝ஌ࣄʣ ձ௕ɿڮຊণ of Planning, Ibaraki Prefecture ܓࡾ ᴷ ࡈ౻ Keizo Saito ʢक୩ࢢ௕ʣ ෭ձ௕ɿձాਅҰ Inspector ࡈ౻ߒ࢜࿕ Koshiro Saito Amuser Kashiwa ʢҵ৓ݝاը෦௕ʣ ɹɹɹɹখদݪਔ Katsuyoshi Kawamata, Chairman of the Board, ࡈ౻ਅཬಸ Marina Saito Sabo Kaya-no-ki ʢެӹࡒஂ๏ਓҵ৓ݝࠃࡍަྲྀڠձཧࣄ௕ʣ ؂ࣄɿ઒ມউܚ Ibaraki International Association ࡫Ҫ༞ࢠ Yuko Sasai Jiibana Farm ʢҵ৓ݝاը෦஍Ҭܭը՝௕ʣ ࣄ຿ہ௕ɿࠜຊതจ Secretary General ௣໊ౙथ Fuyuki Shiina Break Station Gallery, Ueno ʢ৿ඒज़ؗؗ௕ʣ ΞυόΠβʔɿೆᑍ࢙ੜ Hirofumi Nemoto, Director, Area Planning Division, ᖂ୩ѥل Aki Shibuya Joso Enviromental Center Department of Planning, Ibaraki Prefecture νʔϑίʔσΟωʔλʔɿேॏཾଠ ਗ਼ਫ஧ߊ Tadaaki Shimizu Department of Intermedia Art, Tokyo University of the Arts Adviser ίʔσΟωʔλʔɿੴҪਸ਼ึʗ౻ຊ༟ඒࢠ ৓ࢁ๖ʑ Momo Shiroyama Matsueda Printing Inc. Fumio Nanjo, Director of Mori Art Museum ᴷ ਿݪརত Toshiaki Sugihara Matsugaoka Elementary School, Moriya Chief Coordinator ʦࣄ຿ہʧ ߴ୔೔ඒࢠ Himiko Takasawa IBARAKI NATURE MUSEUM Ryota Tomoshige ˟ 310-8555 ҵ৓ݝਫށࢢּݪொ978-6 Coordinators ߴڮཁ Kaname Takahashi Some unknown farmers ҵ৓ݝاը෦஍Ҭܭը՝಺ Mizuho Ishii / Yumiko Fujimoto ߴڮ๕ඒ Yoshimi Takahashi Workshop participants tel: 029-301-2735ᴹfax: 029-301-2739 ᴷ ஛೭಺ྤՆ Ruka Takenouchi ʦ ʧ Administration Committee Office ᴷ ஛೭಺ྤᣦ Ruri Takenouchi Area Planning Division, Department of Planning, ʦΞʔΧεελδΦʧ ాݪஐඒ Satomi Tahara Ibaraki Prefectural Government ˟ 302-0101 ҵ৓ݝक୩ࢢ൘ށҪ2418 औग़উ඙ Katsuhiko Toride 978-6 Kasaharacho, Mito, Ibaraki, 301-8555 Japan ΋Γ΍ֶͼͷཬ಺ औग़ਖ਼ࢬ Masae Toride tel: +81-29-301-2735 | fax: +81-29-301-2739 tel: 0297-46-2600 ӬҪਅཧࢠ Mariko Nagai ᴷ http://www.arcus-project.com ੢ඌఓ୅ Sachiyo Nishio ʦ ʧ ARCUS Studio ౻ాढ़࡞ Shunsaku Fujita 2418 Itatoi, Moriya, Ibaraki, 302-0101 Japan tel: +81-297-46-2600 ݹ୩തࢠ Hiroko Furuya http://www.arcus-project.com ຊాঘࢠ Takako Honda ©2015 ARCUS Project Administration Committee. All rights reserved.ᴹຊࢽͷҰ෦·ͨ͸શ෦ͷແஅసࡌΛې͡·͢ɻ

ΞʔΧεϓϩδΣΫτ ͍͹Β͖ ΞʔςΟετɾΠϯɾϨδσϯεϓϩάϥϜ 2013 ARCUS PROJECT RESIDENCY FOR ARTISTS, EXPERIMENTS FOR LOCALS, MORIYA, IBARAKI