The Opening Ceremony Lecture
Tatsuo Miyajima, Sun Qidong, Mami Kataoka, Wang Jiajun
The nonstop stream—the current situation of the public and the individuals
Host: Su Rongkun
Guests: Tatsuo Miyajima, Sun Qidong, Kataoka Mami, Wang Jiajun
Date: May 17, 2019, 14:00-15:30
Venue: Shanghai Minsheng Art Museum (Building 3, Wenshui Road 210, Jing’an District)
The exhibition “Tatsuo Miyajima: Being Coming” host by Shanghai Minsheng Art Museum is going to open on May 17. The exhibition collectively displayed Miyajima’s art work of about 30 years, including his LED installation and performance art pieces of typical phases since 1988. This exhibition also displays massive LED installation “Time Waterfall” and performance art piece “Counter Skin.”
Ever since the industrial evolution, the updating technique has seemingly become the vital developing venation of human history. It is surprising to recall how technique has changed human’s living environment of both the public and the individuals, reshaping our perspectives and feelings towards our time and surrounding space. It also demands us to reconsider the relation between human and technique. Since he started his art career in the 1980s, Tatsuo Miyajima has witnessed how technique astonishingly transformed our environment, and captured the alienation happening during this procedure. All of these are what inspiration of Miyajima’s art concepts and what he has been clinging to in art creating.
With his three concepets: “Keep Changing,” “Connect with Everything,” “Continue Forever,” Tatsuo Miyajima created a series of remarkable art works with his unique style. The criticism on his earlier works mainly focuses on addressing the sense of technique of the appearance of the works, and Tastuo’s meditation about life and death. Such criticism spectacularized and flatten the understanding of Tatsuo Miyajima’s works, lacking proper supporting theories, which is a proof the stereotyping against Japanese contemporary art: abundant technique approaches but little thoughts.
Sun Qidong, the curator of this “Tatsuo Miyajima: Being Coming,” jumps out of the box which limits the explanation of Miyajima’s work, and re-explained Miyajima’s early LED installation and counting down performance on Tokyo streets. He puts forward a theory frame called “After Being Radical” that explores the meaning of Tatsuo Miyajima’s art practice with the perspectives of East Asian modernization history. On the opening day of the exhibition, Shanghai Minsheng Art Museum invites the artist Tatsuo Miyajima, the curator Sun Qidong, the Deputy Director of Mori Art Museum, Kataoka Mami, and the Associate Professor of Chinese Departmant of ECNU, Wang Jiajun to discuss about the artist’s art work. The discussion will be about the relation between the public spectacle and the private memory, and the relation between the philosophy and the technology.
The senior media professional, freelance writer, and culture film reviewer. Graduated from the MFA program of Film Producing from Academy of Art University. Active in film producing industry, new-media content planning, producing and marketing, etc. Runs a weibo account with more than a million followers: @艳光四射性冷淡
Born in Tokyo, Japan in 1957, now lives in Moryia in Ibaraki prefecture, Japan. His work frequently employs digital LED counters and is primarily concerned with the function and significance of time and space, especially within the context of Buddhist thought. His three concepts, “Keep Changing, Connect with Everything, Continue Forever” is widely received. Since the middle and late 1980s, he has been using LED as his main creating media. Typically, a block will display two digits in red or green, and count from 1 to 9, representing the journey from birth to death. The counters never register zero, because, for Miyajima, zero represents the end. As a famous Japanese contemporary artist, his solo show has been held at numerous famous contemporary art museums all over the world, including Fondation Cartier pour l’Art Contemporain, Paris, France, Tokyo Opera City Art Gallery, Kunstmuseum St.Gallen in Switzerland, UCCA (Beijing), MCA Australia, etc.
Since 2014, he has been the curator of Shanghai Minsheng Art Museum, an art museum established by the China Minsheng Bank in 2008 for the purpose of promoting contemporary art and culture. Master of Aesthetics of Université de Strasbourg. Since 2012, Sun has been writing art criticism for various magazines, focusing on the relation between art and economy, and politics. In terms of curating, he has curated numerous exhibitions in the past 5 years, including “SON SARA: Céleste Boursier-Mougenot”, “The Secret Garden: Nathalie Djuberg & Hans Berg”, “Do You Wanna Play with Me”, and “Nonfigurative”; he has also a co-launcher of program, and has published academic periodical ZAKA.
Mami Kataoka has been the chief curator at the Mori Art Museum (MAM) in Tokyo since 2003. Kataoka was appointed as the artistic director of the 21st Biennale of Sydney (2018). Also a writer, lecturer and professor, Exhibitions curated by her and shown at MAM include Follow Me!: Chinese Art at the Threshold of the New Millennium (2005) and Lee Bul: From Me, Belongs to You Only (2012). Other notable exhibitions curated by her include: Phantoms of Asia: Contemporary Awakens the Past (2012) at the Asian Art Museum, San Francisco; and Ai Weiwei: According to What? (2012) at the Hirshhorn Museum and Sculpture Garden, Washington DC. Prior to her position at the Mori, Kataoka was chief curator of the Tokyo Opera City Art Gallery. She currently serves as a board member of CIMAM (International Committee for Museums and Collections of Modern Art), a member of the Guggenheim Museum’s Asian Art Council and an advisory member for Ullens Center for Contemporary Art in Beijing.
PhD of literature. Associate Professor of Chinese Departmant, ECNU. Deputy Editor of Theoretical Studies in Literature and Art. Participated in the exchange PhD program at Regent College of University in Vancouver, Canada. Director of China’s Literature and Arts Theories Association. He mainly studies French contemporary literature theories, Judaism-Christian theology, and aesthetics. He is the author of Schopenhauer and Theory of Sublime, and he translated Emmanuel Levinas into Chinese. His articles have been published in Logos and Pneuma: Chinese Journal of Theology, Literature Review, Literature and Art Studies, etc. He hosts the Youth Project of National Social Science Foundation “Levinas and Literature Criticism,” the youth project of Shanghai philosoiphy and sociology program “Being, Exoticism, and the Other: Emmanuel Levinas and Contemporary French Literature Review.”