The Man Who, An Ephemeral Archive preview
The event will involve special screening of Yuki Okamura's The Man Who and will be followed by a discussion with the artist.
13:00– Screening: The Man Who (2019
HD video | 116 minutes 15 seconds *
15:30– Discussion: “The Process of Doubles”
(Yuki Okumura x Yusuke Minami x Yohko Watanabe x Hitoshi Kubo) **
* Not on view during the discussion. Screened continuously on other exhibition days.
** Japanese only.
November 9 2019, 13: 00–
Keio University Art Space
Open to everyone.
Yuki Okumura (Artist)
Yusuke Minami (Director of Aichi Prefectural Museum of Art）
Yohko Watanabe (Professor & Curator, Keio University Art Center）
Hitoshi Kubo (Staff, Keio University Art Center）
A man who was born in Aomori, 1978, and now lives in Brussels and Maastricht. Artist. In many of his projects, Okumura Okumura inserts his own life and fantasy in a specific area of recent art history, reactivating it in the present timeframe as a site of uncertainty that develops through ever-changing interpersonal relations, driven by his belief in the essential parallelity of worlds and the ultimate interconnectedness between individuals. Recent “solo” exhibitions include “Hisachika Takahashi by Yuki Okumura (2016 | Maison Hermè Le Forum | Tokyo | Curated by Reiko Setsuda), “Na(me/am)” (2018 | Convent | Ghent | Organized by Jeroen Staes and Wouter De Vleeschouwer) and “29,771 days – 2,094,943 steps” (LA MAISON DE RENDEZ-VOUS | Brussels | Presented by MISAKO & ROSEN).
A man who was born in Tottori, 1959 and now lives in Yokohama and Nagoya. Curator. Director of Aichi Prefectural Museum of Art since April 2017, after working at Tokyo Metropolitan Art Museum, the Museum of Contemporary Art Tokyo (MOT), and the National Art Center, Tokyo (NACT). His curated exhibitions are mainly related to contemporary art and 20th century art. The former ones include solo exhibitions of Natsuyuki Nakanishi (1997), On Kawara (1998), Takashi Murakami (2001) and Tadanori Yokoo (2002) at MOT as well as Kazumi Nakamura (2014) and Yayoi Kusama (2017) at NACT, along with group exhibitions such as “MOT Annual 1999: Modest Radicalism” (1999) at MOT and “Artist File 2008” (2008), “The Light: MATSUMOTO Yoko / NOGUCHI Rika” (2009) and “Given Forms: TATSUNO Toeko / SHIBATA Toshio” (2012) at NACT. The latter ones include group shows such as “Living in the Material World: "Things" in Art of the 20th Century and Beyond” (2007), “Le Surrealisme: Exposition organisee par le Centre Pompidou a partir de sa Collection” (2011) and “American Pop Art From the John and Kimiko Powers Collection” (2013), as well as large-scale retrospectives of Picasso (2008), Man Ray (2010), Magritte (2010) and Dalí (2016), all at NACT.
Born in 1961. Professor, Keio University Art Center. Curator. As the Vice Director of Keio Museum Commons, she is engaged with establishing a new
vision of a university art museum. All of her organized exhibitions are characterized by a consistent curatorial attitude despite their smallness in scale and marked by her belief that working in tandem with an artist’s work in the real sense means looking at each piece sincerely and meeting the artist and encountering the profound depth of the artistic realm through such commitment. Her curated shows at Keio University Art Space includes the 2012–2015 series entitled “Contemporary Eyes” (iteration I being “Hamish Fulton: Five Walks,” II “from here: stanley brouwn and Daniel Buren,” III “Sunrise and Sunset: Bruce McLean, 1985 – 90,” IV “The Light Dwells: Imi Knoebel” and V “Blinky Palermo”) and a new series since 2017 called “Standing Point” (iteration I being “Yoko Terauchi” and II “Ana Mendieta”).
A man who was born in Tokyo, 1977 and now lives in Kanagawa. Archivist, among other activities. Departing from certain archives or specific referential materials and montaging various spatiotemporal perspectives that they encompass, many of his projects shed light on not only events that occurred but also those that could have occurred, fundamentally as a way for him to explore possibilities to redesign conditions of human experiences as variable circuits by means of observation, analysis, and construction of montages employed in films and other artistic works, driven by his trust to the world, which in his eyes essentially stands as a process of self-generation and flickering. Recent writings include Montaging Penumbra: on a Motif of Archive (report for JSPS Grants-in-Aid for Scientific Research 26580029 | 2017) and “A Case of a Studio: Shuzo Takiguchi and a Laboratory,” NACT Review, no. 5 (2018 | National Art Center Tokyo). At Keio University Art Center, he has directed a project to reconsider archives, called Pleating Machine (2018–).
Enquiries and bookings
Keio University Art Center (Homma, Shino)
Organiser: Keio University Art Center
Cooperation: MISAKO & ROSEN