Symposium #2

Symposium #2

September 6th, 2018

NICA: Nihonbashi Institute of Contemporary Arts
〒103-0011 東京都中央区日本橋大伝馬町13-1
PUBLICUS × Nihonbashi B1F
13-1 Nihonbashi-Odenmacho, Chuo-ku, Tokyo 103-0011
Email : nica(at)
Tell / Fax: +81 (0) 3-3663-0518


13:00 – 13:10
Opening Address (Daisuke Takeya)開会挨拶
13:10 – 13:40
Speech I
Yoshiya Makita, “Historicizing FUKUSHIMA: Historical Entanglement of Art and Society”
13:40 – 15:10
Artist Talk (1)アーティスト・トーク (1)
15:00 – 15:20
​Coffee Break休憩
15:20 – 15:50
Speech II
Marc Schmitz, “The walking Museum without walls, a brief review on 10 years Land Art Mongolia”
マーク・シュミッツ「歩いて回る壁のない美術館 : Land Art Mongolia10年間の歩み」
15:50 – 17:20
Artist Talk (2)アーティスト・トーク (2)
17:20 – 17:40
Coffee Break休憩
17:40 – 18:10
Speech III
Daisuke Takeya, “Artists Calling: Ten beings, Ten responses? Ten issues. How many responses?”
武谷大介「アーティストたちに告ぐ:10の存在、10種の応答? 10種の課題、いくつの応答?」
18:10 – 19:40
Artist Talk (3)アーティスト・トーク (3)
19:40 – 20:00
Closing Remark and Practical Announcements閉会挨拶・連絡

Interpreters: Emiko Tokai 東海笑子; Osamu Adachi 安達修; Daisuke Takeya 武谷大介



Yoshiya Makita is a historian. His research is exploring transnational connections and network in the modern world. His current project focuses on the emergence of humanitarian network in the Asia Pacific in the early twentieth century. As the director of Network Trans-Section, he is now launching a new project on the contemporary politics of memory, history, and cultural heritage. He is also working as an assistant professor at the College of Policy Science, Ritsumeikan University in Osaka, Japan.


歴史家。立命館大学政策科学部助教。 一橋大学大学院社会学研究科博士後期課程単位取得退学、日本学術振興会特別研究員を経て、現職。 人・制度・思想の国境を越えたつながりに着目したグローバルヒストリーの視点から、人道支援と災害復興、 国際保健衛生事業の歴史を研究。近年は歴史遺産や文化財の調査を進め、歴史と記憶をめぐる現代社会 の政治力学について考察。主要論文に「広域圏・国際連関・越境空間」『歴史評論』792号(2016年)。


Marc Schmitz is a German artist based in Berlin. He explores the foundations of the different media that he uses by challenging its limits. His work conveys notions of sensuality and thought, and invites the viewer to enter into a mutually constructive dialogue, while addressing ideas of limitless space through the viewer’s basic senses. His works have been exhibited internationally, and have received several international awards. His work is held in both private and public collections. Schmitz is a conceptual artist and initiator of the Biennial Land Art Mongolia. He studied Philosophy and Fine Art in Munich and Berlin. Schmitz has participated in several Art Biennials including the 2004 Busan Biennial, the Beijing Biennale, the Sculpture Quadrennial in Latvia, the Trio Bienal of Rio de Janeiro, the Nakanojo Biennial in Japan, Marrakech Biennial 6, and the Venice Biennial. He has been honored with solo exhibitions at venues including TEDA Contemporary Art Museum, Tianjin; the Zendai MoMA in Shanghai; and the Concert Hall in Perth, Australia. Schmitz has been a resident artist on several occasions in South Korea, at the Peace Art Hotel, Shanghai and the Goethe Institute, Hong Kong. He has received several awards for his work, including the first prize for Art For Expo 2000 at the World EXPO in Hannover, Germany; and the Prize of the Jury for realized work at the 10th Cairo International Biennale, Egypt. His work is held in collections internationally; for instance, in the collections of the National Art Gallery Beijing, Swatch Shanghai and W.S.I. in N.Y.C.


ベルリンとウランバートルを拠点に活動するドイツのアーティスト。素材として使用する様々なメディアの根源を探求、それらの限界点を探る。彼の作品は、観客の基本的な感覚のすべてと無限の空間に対処しながら、観客が相互に建設的な対話に入るように、官能と思考を伝える。主な展覧会に、ジェジュ・ビエンナーレ(‘17、韓国)、木下企画(‘17、銀座)、マラッカ・ビエンナーレ(‘16、モロッ コ)、天津ビエンナーレ(‘16、中国)、第三回壁画パブ リックアート国際ビエンナーレ(‘16、カリ、コロンビ ア)、第56回ベネチア・ビエンナーレ(‘15、イタリア)、トリオ・ビエンナーレ(‘15、リオデジャネイロ、ブラジ ル)、中之条ビエンナーレ(‘15、群馬)、ジェット・ビ エンナーレ(‘15、ポート・プリンス、ハイチ)など。LandartMongolia360(モンゴル)ディレクター。 ​​


Daisuke Takeya is a Toronto-Tokyo based interdisciplinary artist, and ofttimes curator, collector, art educator and community advocator. Takeya’s praxis is comprised of the exploration of nature and plausibility in contemporary society, and hinges on all kinds of double meanings. He has participated in numerous solo and group exhibitions in Canada and internationally, including shows at the Museum of Contemporary Art, Toronto; the Japan Foundation, Toronto; Scotia Bank Nuit Blanche, Toronto; SVA Gallery, New York, US; Wagner College Gallery, New York, US; and the Chongqing Changjiang Museum of Contemporary Art, China. Takeya has had work exhibited across Japan, including at the Fukushima Contemporary Art Biennial; the Saison Art Program, Saison Museum of Modern Art, Tokyo; Roppongi Art Night, Tokyo; and the Prince Takamado Gallery, Embassy of Canada, Tokyo. He is the representative and the curator of Field Trip Project/ Field Trip Project Asia, POWER TO THE PEOPLE, Fukushima NO ALICE, Multi Layered Surfaces, and DAICHI Projects. In 2018, he will have solo exhibitions at Xu Space, Chongqing, China; Yamagata Retro-kan (Formerly the Yamadera Hotel). This year Takeya will also participate in the Yamagata Biennale, Yamagata, Japan; Ubud Writers and Readers Festival, Bali, Indonesia; SIPAF (Solidarity in Peace Performance Art Festival), Manila, Philippines; ZERO PLATFORM: A FESTIVAL OF PERFORMANCE ART 2018 (Myanmar); Canon New Cosmos of Photography 2018 (Honorary Mention Award Winner), Tokyo Photographic Museum; and will direct the inaugural Responding: International Performance Art Festival and Meeting.


武谷大介は、トロント−東京を拠点とする学際的なアーティストであり、時にキュレーター、コレクター、アート教育者、コミュニティ代弁者。現代社会の成り立ちと妥当性の検証を制作動機とし、その二元性について作品を制作。主な展覧会に、カナダ現代美術館(トロント)、国際交流基金トロント日本文化センター、スコティアバンクニュイブランシュ(トロント)、SVAギャラリー(ニューヨーク)、ワーグナー大学ギャラリー(ニューヨーク)、重慶長江現代美術館(中国)、福島ビエンナーレ、セゾンアートプログラム、六本木アートナイト、在日本カナダ大使館高円宮記念ギャラリーなど。また、彼は、遠足プロジェクト及びに遠足プロジェクトアジア、POWER TO THE PEOPLE、福島のアリス、Multi Layered Surfaces、大地プロジェクトの代表兼キュレーター。著書に『こどもの絵』(一莖書房、2005)。2018年には、Xu Space(中国)及びに山形レトロ館(旧山寺ホテル)にて個展開催、山形ビエンナーレ、Ubud Writers and Readers Festival(インドネシア)、SIPAF(フィリピン)、ZERO PLATFORM: A FESTIVAL OF PERFORMANCE ART 2018(ミャンマー)、キャノン写真新世紀2018展(東京都写真美術館:佳作)などに参加し、第一回 Responding:国際パフォーマンス・アート・フェスティバル及びにシンポジウムの総合ディレクターを務める。