• 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

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 artistically changed 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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12 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

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.