• アート・プロジェクト KOBE 2019:TRANS-
  • グレゴール・シュナイダー
  • やなぎ みわ

Artists×Works

Gregor Schneider

Gregor Schneider

Born in Rheydt, Germany in 1969. At the age of 16, Schneider started working on Haus u r, a life-time project in which he renovated his own house by constructing a room within an existing room. At the 2001 Venice Biennale, he represented Germany and won the Golden Lion. Since then, he has been working on large-scale installations that induce unrealistic experiences of distorted time and space; for instance, by building a road standing straight up like a façade as an entrance of an Indian temple, or by stretching big water pipes in and out of the museum in Spain like a maze. He also participated in the Yokohama Triennale(2014), Skulptur Projekte Münster (2017), and many other international art festivals. Schneider is a professor at Kunstakadmie Düsseldorf and lives in Rheydt.

http://www.gregor-schneider.de  
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7 Trans-Stations Kobe 2019

The key medium of Gregor Schneider’s creative practice is the installation of rooms inside similar pre-existing rooms, the doubling of rooms, people and objects, the reconstruction of a building he cannot attain. His best-known work is the installation of 24 rooms of his Haus u r in the German Pavilion at the Venice Biennale of 2001.

Over the course of thirty years, Gregor Schneider has created a body of work that touches upon some of society’s most sensitive sore spots. In the beginning of his career, he developed the concept of an artistic practice that devours its own products, thereby questioning the subjection of art to economic necessity. Later, he saw parallels between the secret, antiseptic high-security detainee cells of the Guantánamo Bay detention camp with the ‘white cube’ of museums and galleries.

7 Stations takes the viewer on a largely city-tour with stops at the key stations of Schneider’s work. At the end of the journey, visitors find themselves in a rotting, mud-filled weather-exposed room, Schneider’s ideal museum space.

Experiences affect all the senses and are based on an unfathomable world.

Artworks

*All the information is confirmed up to May 15th, 2019. Please check out updates for the artworks to be shown.

アート・プロジェクト:TRANS-
1Between Fiction and Reality (working title), 2019
Between Fiction and Reality (working title)

Former Hyogo Prefectural Institute of Public Health and Consumer Sciences

This massive installation transforms an abandoned building with one underground and seven aboveground floors, established by Hyogo Prefecture in 1968 as a sanitary research institute. While wandering among laboratories and testing rooms for infectious diseases, food, and drinking water, visitors experience a sense of dread of the unseen. From the moment one walks through the dilapidated building’s entrance, actual rooms are replaced by fictional spaces, and viewers shuttle back and forth between reality and imagination, traversing many worlds before they return to their daily lives. This work, which distills the essence of Gregor Schneider’s art, will exist only while TRANS- is in session, as the building’s demolition thereafter is already scheduled.

Address
2-1-29 Arata-cho, Hyogo-ku, Kobe
アート・プロジェクト:TRANS-
2Bathroom, 2014
Metro Kobe

Metro Kobe

Installed in the Metro Kobe underground commercial district between Kosoku-Kobe and Shinkaichi stations, Bathroom is a large-scale installation that presents viewers with a seemingly never-ending space-time continuum synchronized with an underground passage over 100 meters long. The bathing room, usually a place where one unwinds and refreshes body and mind after a tiring day, in Schneider’s hands becomes something striking and unfamiliar. The ordinary and the extraordinary intersect and are transformed in a scene unlike anything witnessed before.

Address
3-2 Shinkaichi, Hyogo-ku, Kobe
アート・プロジェクト:TRANS-
3Disappearing Hyogo Hostel (working title), 2019
Hyogo Hostel

Hyogo Hostel

Hyogo Hostel opened in 1950, as a temporary residential facility for lowly paid male workers, near the shipyards of Kawasaki Heavy Industries and Mitsubishi Heavy Industries in a residential neighborhood home to many dockworkers. After nearly seven decades of housing laborers, it ceased operation last year. At first glance the building, with guest rooms each containing four bunkbeds, a large dining room, a leisure-time room, and a bathing room, resembles a student dormitory. However, on top of the beds, which were the only private spaces, empty sake bottles, horse-racing forms and other left-behind items remain to this day, giving a glimpse into the lives of workers who supported Japan’s rapid postwar economic growth. Schneider partially remodels the facility and prepares mechanisms to welcome TRANS- visitors. This installation will also only exist for a limited time, as the building is slated for demolition.

Address
1-17-9 Hamanaka-cho, Hyogo-ku, Kobe
アート・プロジェクト:TRANS-
4White Torture, 2005〜
Komagabayashi Station

Komagabayashi Station
(on the Kaigan Line of the Kobe Municipal Subway)

White Torture is an installation by Schneider that reproduces a facility inside the Guantanamo Bay detention camp operated by the US military in Cuba. It was first presented at the Havana Biennial in 2005, immediately following the release of news about American soldiers’ abuses of inmates suspected of terrorism. In this white, sterile space that shows no trace of such horrors, the very absence of people or things evokes universal human emotions of fear of death, guilt, and absurdity.

Address
4 Shoda-cho, Nagata-ku, Kobe

Miwa Yanagi

やなぎ みわ

Born in Hyogo ward, Kobe in 1967. Yanagi completed a postgraduate course in fine art at the Kyoto City University of Arts. With her photographic series of works employing computer graphics and specialeffect makeup, such as Elevator Girls and My Grandmothers, she strives to provide insight into issues surrounding women such as youth and aging. She represented Japan at the 2009 Venice Biennale. Since 2011, she has begun undertaking projects in theatre and has staged a theatrical production of Zero Hour: Tokyo Rose's Tape both in Japan and oversea. At the Port City Kobe Art Festival in 2017, she presented a stage trailer, a vehicle that tows a container that turns into a stage, used for an openair-performance of the play Nichirin no Tsubasa (The Wings of the Sun). Lives in Kyoto.

http://www.yanagimiwa.net  
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An Encounter on the Sea

Outdoor theatre has the power to reassemble things that have been scattered in pieces by the passage of history. After a momentary encounter at the festival, everything separates again. And just as we feed off the power of nature on stage, we are also subject to natural phenomena. There are storms that cannot be driven away by the power of human will, but there are also tranquil nights when the moon is full. Since ancient times, people have built boats, crossed the sea, migrated, and traded. Imagining a place somewhere beyond the horizon and pricking up our ears to hear the voices of those who descended into the ocean directly beneath us creates a spontaneous link between the past and the future.

A stage performance on the sea will undoubtedly transcend time and space.

A festival in which everything becomes one and contemporary art in which individual things exist separately are polar opposites. At first glance, this state of coming and going – this “trans” – might seem contradictory, but I believe that this enriches art.

Outdoor theater performance

*All the information is confirmed up to May 15th, 2019. Please check out updates for the artworks to be shown.

1Wings of the Sun, 2019

The outdoor play Wings of the Sun, which Yanagi Miwa has been presenting since 2016, is a traveling theater performance based on a novel by Nakagami Kenji, staged on and around an unfolding trailer made in Taiwan. The story of seven old women and young men traveling around Japan in a trailer and visiting sacred sites is presented through acting, singing, rock music, circus performance, and pole dancing, and has thus far been staged at five sites, at Yokohama Red Brick Warehouse; on a beach in Nakagami’s hometown of Shingu, Wakayama; at a port in Takamatsu during the Setouchi Triennale; at Creative Center Osaka, the former Namura shipyard at Nanko Port, Osaka; and in a parking lot at the Hanshin Expressway exit in Higashi-Jujo, Kyoto. For TRANS-, the venue is a pier inside the Kobe Central Wholesale Market near Yanagi’s birthplace. How will the fantastic world that unfolds around the old women and performers cross-pollinate with the gritty site, where fish are unloaded nearby fish cutting?

Wings of the Sun, 2019