監修:井上隆邦 (元三重県立美術館館長・横浜トリエンナーレ2005事務局長)亀山トリエンナーレ2017に向けて


亀山トリエンナーレは、美術館での展覧会とは本質的に違います。美術館の展覧会は、いわゆるホワイト・キューブが展示会場であり、ある意味では、人工的に作られた空間です。一方、亀山トリエンナーレでの展示会場は民家や商店などです。こうした民家や商店は人々が生活の場として利用してきた空間であり、そこにはさまざまな歴史や思い出など沈潜しています。こうした空間に異質で、非日常的な作品を持ち込むことが事業の狙いです。予想もつかない「化学変化」がおこれば、事業としては成功でしょう。ただこうした民家や商店はいずれも個性的であり、力強いものがあります。作品に挑戦する力がなければ負けてしまいます。アーティストの力量が試される瞬間でもあります。 また美術館での展覧会では美術史的な観点が重視されますが、亀山トリエンナーレでは、こうした考え方はとりません。美術史に挑戦し、新た表現を模索することが狙いです。




Towards Kameyama Triennale 2017, Supervised by Takakuni Inoue

Almost ten years passed by since Kameyama Triennale started if we include the time of Art Kameyama that is the predecessor of Kameyama Triennale. In the meantime, as a member of concerned parties, I have been continually considering what should be in fundamental of the project. Among various ideas, what I realized as a core of the project was "Gateway to success for budding artists". Fortunately, this kind of mind is getting fixed. I expect that many budding artists will spread their wings around the society or around the world through Kameyama Triennale.

Kameyama Triennale is essentially different from exhibitions in museums. Exhibition in museum is exhibited in the place so-called white cube, and it is artificially created space in some ways. On the other hand, exhibition places for Kameyama Triennale are private houses and stores. Such private houses and stores are the spaces that people have been using as life places, and various histories and memories deposit there. The purpose of this project is to bring heterogeneous and extraordinary arts into such spaces. If an unexpected "chemical reaction" occurs, we can say that the project is successful. However, this type of private houses and stores are unique and powerful. If the piece of work has no power to challenge, it will lose to the space. It will be a moment for artists to be examined their ability.

Although art-historical perspective is emphasized in the museum exhibition, it's not applicable in Kameyama Triennale. The aim is to challenge art history and to seek new expressions.In other words saying in an exaggerated manner, it is a trial to create a new art history.

Japan has been creating world-class craft culture backed by technology. Users shall be always kept in mind in craft culture. Since users come first in any dish such as rice bowl, chopsticks or vessel, they will never oppose against users. Although this kind of art craft technical capabilities is incorporated into our Japanese DNA, you will not succeed in the artistic world if you just depend on the technical capabilities only. In addition to the technical capabilities, the creative world view is required. Participant artists shall bear this point in mind. As an essence of play, Hisashi Inoue who is a playwright delivered as follows: "Difficult things shall be made easy, easy things shall be made deep and deep things shall be made interesting." Taking into account these perspectives, we would like to embody Kameyama Triennale 2017.