「SPACE FOR YOUR FUTURE」展

東京都現代美術館

poster for 「SPACE FOR YOUR FUTURE」展

このイベントは終了しました。

21世紀の特徴は、個人が情報化され、価値観も多様化し、一方では多様なネットワークが発達したことです。ここ数年のジャンルを横断するクロスオーバーや創造の動向は、バックミンスター・フラーに象徴されるようなユートピアを目指して諸学が融合した20世紀初頭を想起させます。ただ、大きく異なるのは、私たちの身体や世界が環境、政治問題を含めてより複雑な状況に直面しており、異ジャンルの横断、協働(シナジー)はこの状況を共に生き延びていくための切実な手段の一つとしてたちあがってきている点なのです。例えるなら、バイオテクノロジー、遺伝子組み替えなどの研究が生き延びるための一つの方法であるように。

本展覧会は、これらの表現の新たな動向をアート、建築、ファッション、デザインなど広い範囲のヴィジュアル・クリエイションから選んだ13カ国34アーティスト/クリエイターの作品を通して見せようとする企画展です。SPACE FOR YOUR FUTUREというタイトルにおいて、SPACEは、単なる物理的な空間でなく、自分の身体とその外部を入れ子状に含んだ、一つの環境としての空間を意味しています。領域横断の傾向は多くのクリエイティブな建築家、デザイナー、アーティストにみられ、彼らは一つのヴィジョンのもとに、複数のジャンルの表現手段や方法を自在に操りながら表現をおこなっています。それはDNAの自在なプログラミングに似ています。彼らがこの展覧会テーマに対して、身体や空間に関するさまざまな提案を行います。本展は、マルチ・ディシプリーナリーな創造を提案する都市、東京から発信する新たな文化的マニフェストとなることでしょう。

*ギャラリー・トーク、ワークショップなどの関連イベントの詳細はイベントHPをご覧下さい。

[画像:エルネスト・ネト 参考図版《Humanoids》(2001)Courtesy of Galeria Fortes Vilaca, San Paulo、Tanya Bonakdar、Tomio Koyama Gallery、Gallery Koyanagi、photo(c)Manfred Wegener]

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Reviews

Melaney Lee tablog review

Toto, I Don't Think We're in the 21st Century Anymore

Artists from around the world are challenged to present their visions of space in the future, resulting in a fantastical experience.

Makoto Hashimoto tablog review

SPACE FOR YOUR FUTURE

見る者の感性が試される空間

Fuyuko Sugiura tablog review

石上純也「四角いふうせん」

「SPACE FOR YOUR FUTURE」出品作品が話題を呼んでいる建築家・石上純也氏へのビデオインタビュー

donald_japantimes: (2007-11-13 at 10:11)

New MOT curator aims to do a lot with a little
By Edan Corkill
Japan Times Staff writer

On the lookout for other opportunities Yuko Hasegawa "wondered which museum it was in Tokyo that was fulfilling the role of the Pompidou Center in Paris or the Tate Modern in London — a museum with a collection, mind you. I decided that all we had was MOT. It was a question of responsibility to the public" ...

http://search.japantimes.co.jp/cgi-bin/fa20071108a1.html

bttgcm: (2007-11-24 at 19:11)

"Space for your future" I was expecting an exhibition somehow similar to the Wired Magazine issue co-edited by OMA/AMO in which 20 new spaces were proposed.
The exhibition presents different works dealing with space (even if I did not understand why some where there).
The curator idea is not clearly explain, at least not in english. Therefore the risk is to turn the museum into a funfair for adults with a university degree. In some moments I did have this feeling.
I would recommend to people not too much into art/architecture, many works are really well known.
My conclusion:
-Ishigami Junya will be the next big thing of japanese architecture
-video art needs to much time to be seen, maybe only 5% watch a 3min video so it should be communicated in a different way
-the work of Carsten Nicolai was a bit disappointing


voidchicken: (2007-12-12 at 12:12)

日本のクリエイター必見でしょ!!!
映像、デザイン、アートやってるなら行くべし。
http://voidchicke.exblog.jp/7579665/

voidchicken: (2007-12-12 at 12:12)

ひとりディスコから霧のインスタレーションまで
こちらに展覧会レビューあります!
http://voidchicke.exblog.jp/7814034/

yourboringandpatheticart: (2007-12-14 at 23:12)

This was perhaps the worst exhibition yet shown. the title should be called "Tokyo Takes Over Chinatown Fakes; The Future is Theft." One pathetic soul had the audacity to copy Ernesto Neto on the way to seeing Ernesto's work! imagine that the chutzpah! Then there was the poorly illustrated Thomas Demand escalator work (concurrently with his exhibition at Taka Iishi Gallery) as ell as a complete rip off of Tomoko Sawada's work; let's see what else was there? hmmm, oh there was the architecture materials 101 course o the skeletal framework that we did in our first course with balloons and concrete to the effect of not breaking and being sloppily glued together as if it really worked. Then there was Andrew Krep's artist, Ricci Albenda who was combined to Frank Gehry's titanium shingles to produce a space altering balloon, PULEEZE. Where was this curator scraping these hacks from? Does she think adding 2-3 legitimate artists makes the show beyond reproach? Did the curator send in 2 cereal boxtops and 100yen for her license? What fools does she take her public for? And they charged money to see this drek? It was a very insulting experience. The "New York" team ultra vivid dumbasses was predictablly mundane.

kusagauma: (2007-12-16 at 21:12)

I have to agree with yourboringandpatheticart that this was a dreadful show, and charging 1300 yen for it is offensive. While I too found most of the work second-rate, that is OK. If the curator's taste does not agree with mine, then so be it. The problem was the sloppy way in which it was presented. For example, Olafur Eliason's lamp which was positively dazzling at Koyanagi last year was just wasted here.
Even worse was the attitude of the staff: I was harshly reprimanded when my toes apparently crossed some line on the floor (and this in front of a piece that if it wasn't interactive was just a pile of junk!), but when I asked them something about the works they were utterly clueless.
And then it got really silly. Somebody has had the bright idea to lay a carpet beneath the huge balloon, and in order to enter the huge atrium where it hangs, you have to take off your shoes. However, once you have done so, you discover that you are only allowed to proceed about one meter or so - you are not allowed to get remotely close to the piece, or heaven forbid beneath it. So what's the point of having people taking off their shoes? Worse, due to what I can only assume is a planning mistake, the carpet covers the entire passageway to an inner room, with a regular wooden floor, where an intriguing video by the Thai director Apichatpong Weerasethakul was shown. In Thai, without subtitles! Give me a break! What the hell was going on here? The shoe-collector had no idea, of course. But I can see several possibilities here: either the curators had forgotten about the need for subtitles altogether or just couldn't be arsed (or couldn't get them ready in time, or couldn't pay for the translation, or whatever). But given the general lack of attention to detail, it is also quite possible that there actually WERE subtitles on the DVD, but the staff had forgotten to turn them on because they couldn't operate the DVD player - or weren't allowed to touch it.
My money back, please!

ramarama: (2007-12-17 at 15:12)

石上純也 「四角いふうせん」、1トンの重さのふうせん!
ふうせん使いのおとこのひとが棒をもって立っていて、
星の王子さまに出てくるガス灯の係を思い出しました。

http://ramarama.cocolog-nifty.com/ramarama/2007/12/space_for_your_.html

rogermc: (2008-01-05 at 17:01)

Roger McDonald on Space For Your Future in his weblog, The Tactical Museum.
SANAA soared.....much of the rest remained decidedly bound by the box.....SEE
http://rogermc.blogs.com/tactical/2008/01/space-for-your.html

moppy: (2008-01-06 at 01:01)

みたことのないものがつぎからつぎへとあらわれて、
ぜーんぶが刺激的で、たのしかった!

吹き抜けいっぱいいっぱいに漂う「四角い風船」
生きてるみたいで不思議だった。

いとおしくなる作品たちがいっぱいでした。

sayadct: (2008-01-15 at 01:01)

単純に気持ちよく見られるものが揃っていた。
若者がたくさんいた。「おもしろれー」といってるカップルが。
でも、すでに感動する体験をしてしまい、仕掛けを知っていた作品が多く(特にオラファーエリアソン、エルネストネトなど)心をえぐられる作品はなかった。
1回300円くらいならあの銀のふうせんと金魚を見に何回も行ったかもしれないのにな。
http://d.hatena.ne.jp/saya_fujitani/20080114

oishi: (2008-01-16 at 12:01)

四角い風船、SANAAほか、見て楽しい面白い作品が沢山
・・・なんですが、心にグッと来る作品が少なかったのは残念。

それよりも、常設展示でスゥドゥーホの作品に再会できたのに感動しました。
メゾンエルメス以来!
もう少し上から日差しが入る時間帯に見に行きたかったなあ。

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