【アート講座】日比野克彦氏インタビュー『アートの可能性を広げ、社会の中でどう機能するかを提案・実践していく』
Summary
TLDR脚本は東京芸術大学の教授でアーティストである日比野克彦さんのアートに対する考え方を紹介しています。日比野さんは、アートが社会とどのように関わるのか、またどのようにアートを社会に提案するかを常に考えて活動しています。彼は、アートが物ではなく、経験や交流を通じて生み出されるものであると語り、アートの魅力を伝えるための多岐にわたるプロジェクトを展開しています。特に、朝顔プロジェクトでは、地域の人々と協力してアートを創り出し、その過程でアートの可能性を探求しています。
Takeaways
- 🎨 艺术应该更加身体化。艺术家和东京艺术大学教授樋野勝彦认为,艺术的魅力在于与作品的各种交流,即使这可能不被直接理解为作品本身。
- 👨🎓 樋野勝彦自1980年代初在东京艺术大学学习以来,使用纸板创作和展示作品,这些作品因其独特的媒介而受到广泛关注。
- 🌐 樋野勝彦跨越多个领域开展活动,包括与地区特色相结合的工作坊,旨在普及当代艺术并培养年轻一代。
- 🏛️ 樋野勝彦在艺术界扮演多重角色,包括大学教授、美术馆馆长和艺术家,他强调艺术与社会问题的联系。
- 🎭 樋野勝彦参与戏剧舞台制作,体验了从灯光、服装到导演的各个方面,并强调与观众的互动是艺术创作中的重要部分。
- 🌱 樋野勝彦通过“牵牛花项目”展示了艺术与自然的结合,强调了艺术作品随时间演变并与当地环境相适应的过程。
- 🌟 樋野勝彦认为艺术不仅仅是最终的成品,更重要的是创作过程中的体验和与观众的互动。
- 🌐 樋野勝彦提到艺术的全球性和多样性,强调了在全球化时代中,艺术创作和欣赏的无限可能性。
- 💡 樋野勝彦鼓励人们不要害怕不理解的事物,艺术是表达个体差异和文化多样性的一种方式。
- 🌱 樋野勝彦通过牵牛花项目,展示了艺术如何与社区和自然环境互动,以及如何通过艺术促进社区参与和文化传承。
Q & A
ヒビノカツヒコさんはどのような芸術家ですか?
-ヒビノカツヒコさんは東京芸術大学の教授であり、1980年代初頭から紙コレを用いた作品の制作と発表を行っている芸術家です。また、地域の特性を生かしたワークショップを開催し、現代アートの普及と若手世代の育成にも力を入れています。
ヒビノさんはなぜアートが物理的な要素を持ちたいと考えていますか?
-ヒビノさんはアートが物理的な要素を持つことで、作品との様々な交流を通じてアートの魅力を伝えられると考えるためです。
ヒビノさんが持つタイトルや役割は何ですか?
-ヒビノさんは「芸術家、大学教授、岐阜出身者」などと述べていますが、また岐阜県の美術館館長や熊本市の現代アートミュージアム館長なども務めており、多岐にわたる役割を担っています。
ヒビノさんがアート業界でどのような役割を果たしていると感じていますか?
-ヒビノさんは、アートが社会の中でどのように機能するかを提案し、アートの可能性を広げていくことが自分の役割であると感じています。
ヒビノさんがアート作品の制作において重要なと感じていることは何ですか?
-ヒビノさんは、アート作品の制作が単なる結果だけでなく、作者が作ったものとしての魅力を伝えることが重要だと感じています。
ヒビノさんが行うワークショップの特徴は何ですか?
-ヒビノさんが行うワークショップは、地域の特性を活かし、一般参加者と共同でアート作品を作成する形をしており、その過程や体験を通じてアートの魅力を伝えています。
「朝顔プロジェクト」とはどのようなプロジェクトですか?
-「朝顔プロジェクト」は、ヒビノさんが始めて2003年にスタートしたプロジェクトで、地域の人々と協力して校舎に朝顔を育て、アート作品を創造します。
ヒビノさんがアートを通じて伝えたいメッセージは何ですか?
-ヒビノさんは、アートを通じて社会的な問題に関心を持ち、アートが社会とどのように関わるのかを提案し、人々の心を動かす作品を創造することが重要だとメッセージを伝えています。
ヒビノさんがアート作品の展示において取り入れているアプローチは何ですか?
-ヒビノさんは、展示会での作品の変化を通じて、来場者が作品と繰り広げられる交流を通じてアートの魅力を伝えるアプローチをとっています。
ヒビノさんがアート業界での多岐にわたる活動を続ける動機は何ですか?
-ヒビノさんは、アートが持つ多様性と社会への貢献を通じて、人々の心を動かし、世界を変える力を持っていると信じ、その可能性を広げていくことが活動の動機です。
Outlines
🎨 現代アートと社会との関わり
現代アートの魅力を伝えるため、作品との様々な交流が重要であると述べた東京芸術大学の教授でアーティストの日比野克彦さん。1980年代初期から紙の作品を制作し、幅広く注目を集める活動を展開。地域の特性を生かしたワークショップを開催し、若い世代の育成にも力を注ぐ。アートの社会的な役割や大学での教育研究の変化について語り、アートが社会問題とどう関わるのかを探求。アート業界での自分の役割についても述べ、アートが社会にどのように作用するかを常に考えている。
🎭 舞台でのアートの表現
日比野さんは舞台でのアートの表現について語り、客との直接的な交流が豊かな空間を提供する。ギャラリーでは作品だけが展示されるが、舞台では照明、衣装、演出などから客との多様な反応が生まれる。彼は演劇の舞台に立つことで、アートの魅力を伝える新しい方法を見つけた。また、学生の時代に受けた影響や、自分自身がアートの形を広げる可能性についても語る。
🌿 アートの持続性と変化
アートが持続的で変化するものであると日比野さんは述べ、彼のプロジェクト「アサガオプロジェクト」を通じてその考えを示す。アサガオは土壌や気候に応じて変化し、その種は次の年に土地に応じて増やされる。アートは単なる物ではなく、場所や状況に応じて変化し続ける。彼はアートが記憶を持ち、それを伝える力があると感じており、アートは単に物的なものではなく、経験や過程を通じて生み出されるものであると語る。
🌐 アートのグローバルな可能性
アートはグローバルな可能性を秘めており、個々の文化や経験を通じて新たな価値が生まれる。日比野さんはアートが単に物的なものではなく、世界を変える提案の方法であり、個々の違いがアートを豊かにする。アートは理解し合えるものであり、異なる文化や個々の経験を尊重し、新しい世界を創造する力を持っていると語る。
Mindmap
Keywords
💡アート
💡東京芸術大学
💡紙コルク
💡ワークショップ
💡現代アート
💡パフォーマンスアート
💡アーティスト
💡アートの産業
💡アートと社会
💡アートフェスティバル
Highlights
艺术应该更具身体性。
Katsuhiko Hibino认为艺术的魅力在于与作品的各种交流,即使它本身不被理解为一件作品。
Hibino先生是东京艺术大学的艺术教授,自1980年代初以来,他使用纸板创作并宣布作品,引起了广泛关注。
Hibino先生在艺术界的角色不仅限于艺术家,还包括教育者和社区活动者。
他强调艺术是社会问题的一部分,艺术家应与社会同步呼吸。
Hibino先生在大学设计系学习,强调艺术与各种媒体的合作。
他提到艺术博物馆和大学教育研究的角色随着时间的推移而变化。
Hibino先生参与了多个项目,展示了艺术的多样性和跨领域活动。
他通过举办工作坊,利用各地区的特点,推广当代艺术并培养年轻一代。
Hibino先生认为艺术不仅仅是结果,更重要的是创作过程和作者的魅力。
他通过公共生产或现场绘画的方式,让观众参与艺术创作过程。
Hibino先生提到了与观众的直接互动,以及在剧院舞台上的体验。
他强调了艺术在社会中的作用,以及艺术家如何通过艺术对社会问题作出反应。
Hibino先生通过种植牵牛花的项目,展示了艺术与自然和社会的互动。
他讨论了艺术的物理性,以及如何通过艺术传达情感和记忆。
Hibino先生认为艺术是全球性的,不受地域限制,强调了艺术的普遍性和多样性。
他提倡接受和欣赏自己不理解的事物,认为这是艺术和文化发展的重要部分。
Hibino先生鼓励人们不要害怕艺术的模糊性,而是要欣赏其带来的人性和情感。
Transcripts
Art should be more physical.
Katsuhiko Hibino , who wants to convey the charm of art because there are various exchanges with the work
, accepts that it is not understood as a work in itself.
I think that is important
in the future, and the guest of this course is
Mr. Katsuhiko Hibino
, an artist and a professor at Tokyo University of the Arts . Thank
you.
Thank you.
I was enrolled at Tokyo University of the Arts. Since the early 1980s, he has produced and announced works using cardboard, which
has
attracted
a
great
deal of attention. He
is developing
a variety of activities that cross genres . He also
holds many
workshops with general participants that make use of the characteristics of each region.
I'm also focusing on popularizing contemporary art and nurturing
younger generations. What do you think about the title
? I'm
an artist, a professor at a university, and a
Gifu person. I'm from Gifu.
However, there is also the
director of the museum in Gifu prefecture from which I was born, and the contemporary art museum in Kumamoto City, but the
director there has been the director of the
Japan Football Association
since June 2022
.
Basically,
I was an artist who expressed myself as an artist, and when I was in
college
, I was in the design department.
There
is design in collaboration with various media.
When I change from the 80's, 90's, 20th century to the 21st century, there are various roles, of
course , the role of art museums and the role of university education and research.
That's because college students are changing generations, so when the
university itself has to change,
how
to breathe with society as an artist,
art is for social issues. What should I do
as my own artist ?
There are many artists. I saw this program and I on youtube for
a while, but among the various people involved,
what is your role in the art industry? Rather,
art is
possible If there is an art industry that expands its abilities and
proposes how art works in society,
that role
has been around for a long time.
It's an educational research institution at a university,
or what to do in a community where such people are gathered.
The museum has really changed a lot in the last 20 years, so the
role is
the action that Hibino is doing. However, since
I was asked to do it, the
number of positions has increased a little with the years, but the things I'm
doing haven't changed so much in myself, and I can't change it, and there
are
three Hibino people. That's the
problem because there are n't four people, isn't it?
Even a little research on Mr. Hibino's activities makes
it look like it 's very diverse,
and there are many
projects . I think it's very impressive how
many years it started and what year it is now, and I
use that word to mean that
I live in the world with the title of artist .
I think that I imagined that Katsuhiko Hibino
would be a person who travels all over Japan and around the world with the
feeling that it is a work in itself .
It started from something like the production of the work of, but
from
that point on, is that kind of production still being done? I
'm
doing it.
I also like the time to do
it by myself . At the same time
, I started the project myself and continued
it all the time, and I was
involved in the theater stage, such as Miki-san, and the opportunity for
me to move in a large group in the current workshop in art
is the stage.
Shuji Terayama, a ceiling pier, died when he was in the first year of graduate school, and
there was a memorial performance a year
later
. After all,
that experience is so great that I drew a picture by myself and only the work
went to the gallery, and the person who drew it said that there was no place in the gallery and I
can
not hear the voice of the customer directly now There
is nothing like that,
so when I go out on stage, there are various things from lighting to costumes to
directing, of
course there is a book and there are actors
The reaction with customers is amazing. I thought
the stage was in an amazingly luxurious space. Sometimes I
have to pay a separate fee to enter the gallery,
but it's basically not free. If you
don't like it, you can go out immediately, but
in the case of the stage, you pay 2,000 yen, 3,000 yen, 5,000 yen, and
you can sit there for 2 hours. It's
a very luxurious space. I thought
, please look at
me there, and I did the performing arts for the first time, so I showed half my exhibition . There
was a scenario of Mr. Terayama and there was an actor, so
I was there too. Since it was out, the impact was so great that it
spread to various fields more and more,
but the
other one is, according to Mr. Terayama
, when I was in the 4th grade of a student, there was a video lesson and various experimental videos and
videos . When you look at the work, Mr.
Terayama answers various questions in quick succession, such as an interview with Mr. Terayama
. Your gender is a man. Where are you from? Where are
you
? There
was a question in it about what your profession was,
and I thought it would be interesting to hear it during class, so
Mr. Terayama is the director of the theater company, writes poetry, and
criticizes horse racing.
I also do the director, and
sometimes I go in a slightly dangerous direction, and then
I
answered Mr. Terayama.
My
profession is Shuji Terayama.
When
I was
asked what my title was , I could
say
that my profession was Katsuhiko Hibino. Then,
what
is pop art,
art collectors
, and
so
on ? I think there are more possibilities for art
without solidifying it .
That
's what sports are. In terms of physical
parts,
sports are entertainment and
art is more physical. It 's not just the result
that it should be a thing, but
the author who made it, so it's good to
convey the charm of that. I'm thinking about it, and if this is an atelier, I would draw it in the atelier
. It
's
a work that is completed in a place where there is nothing more and more at
a certain moment.
It's completed by putting in a cushion, and when
you carry it out, you can
only see the result of carrying it out, so I wonder if
this
is okay
.
I was a type of writer,
so if that wasn't the case, there would be
more events happening in the gallery,
and there were various exchanges with the work, and
I wanted to convey its appeal, so it was called public production or live painting
. I'm also actively doing it around that time. That 's because there are spectators who are doing
early
public production in
the late 80's and 90's
. If it's an
exhibition, it's hard to come to see it once, isn't it? If it's
a public production, the work will change steadily,
so I wonder what will happen tomorrow. When
there are repeaters who come to see it again, it became familiar to
me, and
I
was there yesterday.
I 'm sorry, so I
'll change it
from a place where I'd
like to have the water in the bucket changed a little. Then, I'd like to ask you to help
me
paint a little black here , right?
The workshop-like thing starts from there. When I started with the
desire to convey that there is something more attractive about art in the
time, body, process, and process, I
have a plan for what will happen in 3 or 5 years .
I don't have it, but I
have the feeling that it will be transformed by encounters.
What I learned the most is that
I have the morning glory project the day after tomorrow, but the
plants are amazing. Because the
morning glory is an annual plant depending on the soil and climate, it will
be
noticeable
. It's blooming,
but the seeds harvested there will be released next year according to the land,
and
the number of seeds will be increased.
Specifically, the Earth Art Festival is an art that is being held in the new Tokamachi City. The festival started
in a village where there are only about 100 people in the area, but I
started the morning glory as a work that I can do with those people. That's right, if you
stretch a rope to a two-story wooden school building
and grow the morning glory there, a landscape where the school building is covered with the morning glory will
be created, but
it was also started in 2003
with young artists in Tokyo. The
Earth Art Festival ends at the end of September, but
the morning glory is still blooming at the end of
September
. There is a rice harvest festival, so
if you cut the morning glory and remove the rope and take seeds, you can get
so many seeds like rice with rice. It's a
triennale, so I intended to do it once every three years
. I got it, I'll do it next year, so I said I'll do it next year, and at
that moment I got the seeds, so I'm sure that I'll get the seeds next year
, so I think it may not end again
next year . It's easy to
carry the
seeds
that are connected now because it's easy to bring them with you
. It's a species that has a
history of where and where it goes,
so
when I got that species, it started in 2003 in Niigata, and
then I went to Mito in Ibaraki, Fukuoka,
Okinawa, and so on. When I think about it,
I think it
's quite interesting to see the seeds,
and it's evolving by adapting to the local environment every time.
There's so much to learn from that
. The concept of being full of memories and
carrying it again is
very important, so I have to talk about it properly
. It's easy to convey, but
I have to convey
something properly . If
you think of
art as simple, I think that there are many people who
think that the
morning glory project tomorrow that Mr. Hibino is doing now is as simple as thinking about art, but
maybe Mr. Hibino is doing it. I feel like it's all about the whole thing, but
what does that concept look like in terms of words?
Who is the creator of the morning glory the day after tomorrow
in the context of art ? The art of being
able to collect is
not a thing. When you see a so-called thing,
a carving that gives you the opportunity to move your heart as an art thing. Whether it's
a carving or a painting,
looking at the canvas on which the paint is attached, I'm surprised at the balance of the colors, and
I think
it's a story that you're amazing, so
I need an artist to create
that art . Where is
art? Art is not a thing , but art is in
this place, so that thing can be a morning glory
or
a seed
. I'm wondering if I can do it,
but even if it doesn't have the name so-called artist art,
for example, there are attractive things or things that inspire me to
take action and
something different . However, I think there are encounters
like that when the world looks different
. I feel that there is something like being an
artist and being an art as a way to propose to the world .
What is it for Hibino-san?
Art is good at things that are moody.
Well, it's easier to get involved in
art when you do
n't know what to
do . Even if it makes me feel like
that, let's make the world really clear now
. Everyone knows that there is a limit to making it clear even if the
times
continue for a long time
. I can already imagine that there
is something ambiguous in the meantime, and that
there is humanity. Everyone has art there, and there is a place where art can be transmitted
.
Don't be afraid of what you don't understand, and
all the
others are others. I
understand that you understand what you say and that you can
sympathize
with this picture.
I think it's very important in the future to accept things that
I don't understand , and when that happens, I
'm constantly sick, right?
I don't understand why.
The difference between the individual and the individual is the expression. If
there is a place for art there, it wo n't disappear indefinitely . I
think it's
becoming more and more familiar
.
I really think
Europe . Isn't it something like art or Asian?
It's just that, and
more specifically, it's Asian. There are various countries in
Japan There are various regions in Japan, and there are various individuals in one region. When that happens
,
culture used to be Asian-European
or
African art.
There may have been a time when we were able to categorize what we were doing, and that
's fine, but now we are in an
era where we can understand the
culture of each person, and then
the opportunities for art to occur will increase explosively. I
think it's going to be a story about
globalism, where the world goes around and cuts off, and
it feels like it's
going to rise again
. Thank you for the really interesting story.
So today's guest was Katsuhiko Hibino
Thank you.
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