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Announcement of the winners for the 7th Emerging Artist Support Program | Exhibition Proposals 2012!

Open Call for Exhibition Proposals "What is Curation?"

  • Date:
    2012.12.01(Sat) - 2013.01.14(Mon)
    11:00 - 19:00
    Tokyo Metropolitan Foundation for History and Culture, Tokyo Wonder Site
    TWS Hongo

Opening Reception:2012.12.01(Sat) 17:00-19:00

*Please feel free to come!

Thank you very much for your interest in the International Creator Residency Program 2012!We have selected the following 4 plans as the result of the impartial screening by juries.

・「upDate 2011111111111s」
    (Organizer: Eglantine Nine Yamamoto-Masson and Mirak Jamal)

・「From the "lleca" to the "cohue" : Photography in penitentiary centers.」
    (Organizer: Helena Acosta)

・「But Fresh」
    (Organizer: Hiroyuki Yoshizawa)
Extra Award
・「TOC[toasters city / country / cosmos]」
  (Organizer: Kana Takahashi)


Judges review

I couldn't help but notice the difference in quality between the submissions from Japan and those from overseas. Many of the Japanese proposals were inspired by personal interests, but unfortunately didn't reflect much awareness of social, political and economic factors and contexts surrounding art today. The submissions from outside Japan were mostly at a high level, and many of them shared the same general theme, whereas here on the other hand - and much in contrast to the projects submitted from within Japan - I would have liked to see a little more appreciation of uniquely local character. The proposals that were eventually selected all reflected a solid problem consciousness and vision. The two applicants from overseas submitted plans that were obviously worked out carefully based on a very modern idea of tackling problems, and that seemed quite intriguing as indicators of the present state of art. The Japanese submissions were ambitious efforts that showed a clear curational direction and intent. Especially the plans entered in the new Seminar section that was added to the program this year showed clear and determined progress during the time leading up to the presentation. I'm looking forward to seeing these plans develop by trial-and-error, before each of them eventually arrives at its final shape.  


Yoshitaka Mouri
(Sociologist, Associate Professor of Media Department of Musical Creativity and the Environment, Tokyo University of the Arts,)


In exhibitions these days, talk shows, workshops and other items that used to be considered as "related events" have become just as meaningful as the actual displays of artworks. Against this backdrop, I was curious to see how much flexibility the term "curation" allows for its interpretation, just to find out that it seems to be largely dominated by ideas of curation as something rather static. Furthermore, different from the proposals from overseas that mostly complied with the grammar of application materials, many entries from Japan reflected a rather alarming lack of education in this respect. In addition to that, an attitude almost as if locking oneself up in art was another thing that bothered me about many of the proposals from within Japan, which showed remarkably little consideration of social and political issues. The ones we eventually selected didn't really meet these conditions, but while getting just as bogged down in such matters as other proposals, they managed to convince with elements we somehow couldn't ignore.

Atsushi Sugita
(Art Critic, Professor of Joshibi University of Art and Design)

Many submissions - and this goes especially for those from within Japan - proposed exhibition contents that were exclusively inspired by the curators' own personal tastes, and that lacked an objective position in terms of "reasons for doing this project at this time". One more thing I noticed was a lack of willingness to commit themselves to society and audience through their exhibitions.
The selected proposals suggested approaches in which the actual exhibitions would reflect things felt by way of experiences during the realization process, so that development on the curator's side after the realization seemed likely.
Be it because the public offering system is losing its appeal, or because staging self-produced exhibitions without having to bother with hosts is simply much less of a hassle, there were only few submissions from those aspiring to work as curators. For the job of a curator, however, empirical values can only begathered by actually planning and staging exhibitions. I am hoping for more aggressive participation from aspiring curators in a program like this that offers generous support in terms of venues and budgets.


Mizuki Takahashi
(Senior curator, Contemporary Art Center, Art Tower Mito)