Bunka-cho Art Platform Japan Symposium The Globalisation of the Art World and “Japan”: What lies ahead for the advancement of contemporary art ⽂化庁アートプラットフォームシンポジウム「グローバル化する美術界と『⽇本』：現代アート振興の地平線」

逢坂恵理子と日展 — 前横浜美術館館長、国立新美術館館長逢坂恵理子氏@日展、令和元年11月1日

Bunka-cho Art Platform Japan Symposium
The Globalisation of the Art World and “Japan”: What lies ahead for the advancement of contemporary art

早起きして視聴させて頂きます。ありがたく、我が国のアート界では女性のトップが多いです。
A manifestation of Japanese Women’s Power. Finally. Now a revolution / reformation from inside, not foreign pressure 外圧, should be possible.

Nevertheless, you may notice again this galapagos thing: “Bunka-cho Art Platform…”
Do you, as a non-Japanese, understand the word “Bunka-cho”?!
The Ministry of Culture (Agency for Cultural Affairs) is called in Japanese language: “Bunka-cho” 文化庁.

More important, in my humble opinion…, – as long as respected Ms. Eriko OSAKA 逢坂恵理子 doesn’t stop endorsing the conservative, mediocre artists’ group NITTEN 日展 (directly related to the “Medal of Honor in the Arts” / “Order of Culture” 文化勲章) etc., nothing, absolutely NOTHING will change in the mind of the Japanese people!!! Sorry for my harsh words of frustration….

Among the many existing problems, let me just mention 5 topics, which are of structural character. Let’s first quote the Ministry of Culture:

“”The Agency for Cultural Affairs Art Platform Project” will provide opportunities to promote the appeal and quality of Japanese contemporary art to the general public, both in Japan and abroad, but we believe that the first step is to deepen the understanding of the art world.”

In this regard, please take note:
1) We don’t have any proper bilingual websites at the museums.
2) Media coverage by the most important newspaper Asahi Shimbun can be called a catastrophe, compare this ridiculous page about contemporary art ( = once a week in the Evening edition) with the New York Times, The Guardian, Frankfurter Allgemeine Zeitung, Neue Zürcher Zeitung, Le Monde, Corriere della Sera… a.o.
3) Media coverage by magazines also a disgrace.
4) Art coverage/reviews/critics by only 1 art web-magazine, called “Bijutsutecho” (BT) in Japan (population of 126 Mio), with only 3 web-editors/journalists being employed.
5) Mediocre coverage by government-owned NHK TV, a fiasco to be ashamed of.
You may call this situation in Japan a joke. I call it a disaster.

Let’s not forget, that the last Director General/Secretary of the Ministry of Culture, MIYATA Ryohei 前宮田亮平文化庁長官, is extremely conservative, and proclaimed, that “NITTEN-artists” should be promoted outside of Japan, see the pics below.

Following is a tiny part, showing the relationship between Bunka-cho and NITTEN.

文化勲章 Order of Culture. 天皇陛下 The Japanese Emperor himself presents the honor at the award ceremony, which takes place at the Imperial Palace on the Day of Culture (November 3)

引用：
「ご存知のように、平成26年から日展理事長としてお務めになっており、令和元年は、前横浜美術館館長逢坂恵理子氏と共に日展テープカット・オープニングセレモニーで姿を現されました。」

日展オープニングなう。テープカットを行う逢坂恵理子国立新美術館館長、奥田小由女日展理事長、宮田亮平文化庁長官（左より）

日展オープニングなう。開会の挨拶を行う宮田亮平文化庁長官。「来期は東京五輪で文化振興としても日本博があります。我が国の芸術のレベルの高い日展のような文化を海外に知らせたい」
Commissioner of the Agency for Cultural Affairs MIYATA Ryohei: A culture like “high level artists’ group NITTEN” should be known in foreign countries. (what ever that means…)

日本初、夫婦で文化勲章。日展理事長の奥田小由女先生におめでとうございます
For the First Time in Japan, Wife and Husband Received the Order of Culture. Congratulations to Chief Director of NITTEN: Maestra OKUDA Sayume
https://art-culture.world/articles/nitten-order-of-culture-日展-文化勲章/

Said that, let’s join the virtual symposium on the 23rd of October, see the youtube link, English and Japanese available. The chosen artists, MOHRI Yuko and YAMASHIRO Chikako, are my favourite ones. In this context, well done!
Following texts were taken from the youtube site and “Bunka-cho” site.

English:
https://www.bunka.go.jp/english/policy/artplatform/index.html

Quotes:

The Agency for Cultural Affairs ( = “Bunka-cho”; I call it for better understanding: “The Ministry of Culture”) has been working on the “Agency for Cultural Affairs Art Platform Project” since fiscal year 2018, believing that the first step for Japanese contemporary art to gain appropriate recognition on a global scale is for the public and private sectors to work together to realize effective and international information dissemination and to build a strong network of related parties in Japan and abroad.
Specifically, the project aims to: (1) stimulate international research on Japanese contemporary art and make it accessible in English to people around the world; (2) develop a database that will enable interested people around the world to search the collections of museums in Japan in a cross-sectional manner; and (3) we have provided opportunities for both Japanese and foreign researchers and curators of contemporary art in Japan to cultivate a network, hence achieving some success.
The aim of this symposium is to raise awareness of Japanese contemporary art among those involved, and to make them aware of the ease with which they can conduct in-depth research and disseminate their work to the world.
In addition, we would like to provide an opportunity for participants and viewers to think about the best way to promote Japanese contemporary art in order to strengthen the communication and understanding of Japanese contemporary art to the art world, which is now entering a new era of globalization with the rapid progress of online and digitalization after the new coronavirus disaster that made physical travel difficult.
“The Agency for Cultural Affairs Art Platform Project” will provide opportunities to promote the appeal and quality of Japanese contemporary art to the general public, both in Japan and abroad, but we believe that the first step is to deepen the understanding of the art world.
The symposium is open to all, with no registration required.

https://www.bunka.go.jp/koho_hodo_oshirase/hodohappyo/93451301.html

https://www.bunka.go.jp/koho_hodo_oshirase/hodohappyo/pdf/93451301_01.pdf

Bunka-cho Art Platform Japan FY2021
Contemporary Art Committee Japan

(Japanese alphabetical order. Japanese names are in “family name, given name” order)

Committee

UEMATSU Yuka (Chief Curator, National Museum of Art, Osaka) Vice Chair
ODATE Natsuko (Arts Commons Tokyo, Yoshiko Isshiki Office)
OKABE Miki
KATAOKA Mami (Director, Mori Art Museum) Chair
KAJIYA Kenji (Professor, Graduate School of Arts and Sciences, The University of Tokyo)
KAMIYA Yukie (Japan Society New York)
KAWAGUCHI Masako (Head, Research Library, The National Museum of Western Art)
NARIAI Hajime (Curator, Department of Fine Arts, The National Museum of Modern Art, Tokyo)

Ad Hoc Committee
USUI Chizuru (Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture)
KOYAMA Tomio (Contemporary Art Dealers Association Nippon)
KONNO Mariko (Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture)
ISHII Takayuki, ISHIDA Katsuya, TAKAHASHI Sayaka (Fine-Art Photography Association Institute)

Collection Database Subcommittee
(Committee)
OHMUKAI Ikki (Associate Professor, Graduate School of Arts and Sciences, The University of Tokyo)
KAWAGUCHI Masako (Head, Research Library, The National Museum of Western Art) Vice Chair
NARIAI Hajime (Curator, Department of Fine Arts, The National Museum of Modern Art, Tokyo) Chair
(Ad Hoc Committee)
SHINOHARA Seiji (Ashikaga Museum of Art)
HANAI Hisaho (National Crafts Museum)
YAMAMINE Junya (Co-Representative, Tokyo Art Acceleration / ANB TOKYO)

The National Art Center, Tokyo
OSAKA Eriko (Director General)
NAGAYA Mitsue (Chief Curator)
MASUMI Takako (Curator)
HONDA Fumiko (Head, General Affairs Division)
KAMINAGA Hiroyuki (Chief Manager)
TAKEUCHI Takafumi (General Affairs Section)
NOZAKI Mari (Accounting Section)

(Bureau of Art Platform Japan)
IGARASHI Mie
OKUBO Renna
TEZEN Wakako
DOI Miho
MOCHIZUKI Mamiko

Art Platform Japan

2nd Bunka-cho Art Platform Japan Symposium
The Globalization of the Art World and “Japan”: What lies ahead for the advancement of contemporary art

Saturday, October 23, 2021, 2pm–4pm (JST)
Organizer: Bunka-cho Art Platform Japan

Program
2:00pm–2:05pm Opening words
Osaka Eriko (President, National Museum of Art & Director General, The National Art Center, Tokyo)

2:05pm–2:20pm On Bunka-cho’s policy for the advancement of contemporary art
Hirayama Naoko (Director, Planning and Coordination Division of the Agency for Cultural Affairs)

2:20pm–2:30pm On Art Platform Project
Kataoka Mami (Director, Mori Art Museum & Chair, Japan Contemporary Art Committee)

2:30pm–2:50pm Presentations by exhibition grantees in FY 2021
Mohri Yuko (Artist in Sao Paolo Biennale 2021)
Yamashiro Chikako (Artist in Seoul Media City Biennale 2021)

2:50pm–4:00pm Discussion/Q&A
Moderator: Kataoka Mami (Director, Mori Art Museum & Chair, Japan Contemporary Art Committee)
Speakers:
Uematsu Yuka (Chief Curator, The National Museum of Art, Osaka & Vice Chair, Japan Contemporary Art Committee)
Kajiya Kenji (Professor, Graduate School of Arts and Sciences, The University of Tokyo)
Nariai Hajime (Curator, Department of Fine Arts, The National Museum of Modern Art, Tokyo)
Kawaguchi Masako (Head, Research Library, The National Museum of Western Art)
Odate Natsuko (Arts Commons Tokyo & Yoshiko Isshiki Office)
Mohri Yuko (Artist in Sao Paolo Biennale 2021)
Yamashiro Chikako (Artist in Seoul Media City Biennale 2021)

– The stream will go live at 1:45pm (JST).
– The stream will be archived and made available for post-event playback.
– No recordings and screen captures may be made during the event.
– The event may run over the scheduled time.
– Due to the live nature of the event, the video and audio quality may be compromised by network-related issues. We ask you for your understanding.
– Please submit questions to the speakers via the form below:
https://forms.office.com/r/tt3CHjwpjp
We will also be accepting questions during the symposium via the YouTube chat function. (Please note that you will need to log in to your YouTube/Google account to do so.)

文化庁：文化庁アートプラットフォームシンポジウム「グローバル化する美術界と「日本」：現代アート振興の地平線」
10月23日（土）開催
出演：逢坂恵理子（独立行政法人国立美術館理事長，国立新美術館長）　平山直子（文化庁企画調整課長）　片岡真実（森美術館館長，日本現代アート委員会座長）　毛利悠子（アーティスト）　山城知佳子（アーティスト）　植松由佳（国立国際美術館学芸課長，日本現代アート委員会副座長）　加治屋健司（東京大学大学院総合文化研究科教授）　成相肇（東京国立近代美術館美術課主任研究員）　川口雅子（国立西洋美術館情報資料室長）　大舘奈津子（芸術公社／一色事務所）

プログラム内容(敬称略・発表順):
14:00-14:05
開会,ご挨拶
逢坂恵理子(独立行政法人国立美術館理事長,国立新美術館長)
14:05-14:20
基調講演「現代アート振興の地平線 -アート新世紀を創造する-」
平山直子(文化庁企画調整課長)
14:20-14:30
[セッション1 ~アートプラットフォーム -日本の現代アートと世界をつなぐ-]
片岡真実(森美術館館長,日本現代アート委員会座長)
14:30-14:50
[セッション2 ~ゲストプレゼンテーション]
「世界に響く国際展 -アーティストの国際的な活動の場を支援する-」毛利悠子(アーティスト,サンパウロ・ビエンナーレ 2021 招へい作家) 山城知佳子(アーティスト,ソウル・メディアシティビエンナーレ 2021 招へい作家)
14:50-16:00
[セッション3 ~パネルディスカッション,質疑応答]
モデレーター:
片岡真実(森美術館館長,日本現代アート委員会座長)
登壇者:
植松由佳(国立国際美術館学芸課長,日本現代アート委員会副座長)
加治屋健司(東京大学大学院総合文化研究科教授)
成相肇(東京国立近代美術館美術課主任研究員)
川口雅子(国立西洋美術館情報資料室長)
大舘奈津子(芸術公社/一色事務所)
毛利悠子(アーティスト,サンパウロ・ビエンナーレ 2021 招へい作家)
山城知佳子(アーティスト,ソウル・メディアシティビエンナーレ 2021 招へい作家)

(参考)アートプラットフォーム事業の主たる内容:
美術関係者のネットワーク形成(ワークショップ):ワークショップを通じてキュレーターや研究者等専門家同士の国際的な相互ネットワークを形成し,展覧会や共同研究などの事業連携を促進

国際的な研究を喚起する文献の英訳:日本現代アートに関する文献を専門家が選定・英訳し,日本現代アートに関する基礎情報・知識としての国際的な発信・流通を促進するとともに,英訳スタイルシートなど,美術分野における英訳に役立つ基礎情報の整備

全国美術館収蔵品サーチ「SHŪZŌ」の公開:全国の美術館の収蔵品情報を横断的に検索できるデータベース(「SHŪZŌ」)を公開し,作家研究や展覧会企画時の検索作業へ貢献(2021 年 10 月中旬に,データベースを美術館:115 館,収蔵品:約 11 万件,作家:1,248 名に更新予定)

展覧会・画廊調査の公開:過去に日本現代アートを扱った国内外の展覧会に関する情報や,国内で現代アートを取り扱う画廊に関する調査の結果を整理・公開し,将来的に「SHŪZŌ」と連携することで日本の現代アート研究に貢献する

国際展出展支援:国際的に重要な国際展に招へいされたアーティスト等の出展を支援

文化庁のサイトより、引用：

日本の現代アートがグローバルに適切な評価を受けるよう基盤整備を推進する「文化庁アートプラットフォーム事業（事務局：国立新美術館）」は，日本の現代アートの今後の飛躍に向けて，「グローバル化する美術界と「日本」：現代アート振興の地平線」と題するシンポジウムを10月23日（土）14:00-16:00 にオンラインライブ配信にて開催し，振興策の現状と今後の見通しを展望いたします。
文化庁は，日本の現代アートがグローバルに適切な評価を得るためには，官民が一体となって効果的・国際的な情報発信を実現するとともに，国内外の関係者の強固なネットワークを構築することが第一歩と考え，平成30（2018）年度より，「文化庁アートプラットフォーム事業」に取り組んできました。
具体的には，①日本の現代アートに関する国際的な研究を喚起するような文献を英訳し，世界の関係者が身近なものとして知ることができるようにすること，②関心を持った世界の関係者が，日本国内の美術館の収蔵品情報を横断的に検索できるデータベース・の開発，③日本人・外国人を問わず，日本の現代アートの研究者やキュレーターのネットワーク化につながる機会の提供等を進め，一定の成果を収めてきました。
本シンポジウムは，主として国内外の美術関係者を念頭に，上記①～③を中心とする取組や取組を通じた成果（物）を紹介することで，関係者の間で日本の現代アートについての認知を高めて頂くとともに，より深い研究や，世界への発信が容易になっていることを知って頂くことを目指しています。
また，物理的な往来が困難となった新型コロナウイルス禍を経て，急激なオンライン化・デジタル化の進展など，新たなグローバル化の時代を迎えつつある世界の美術界に向けて，日本の現代アートの発信を強化し，理解を高めるための今後の振興策のあり方について，参加者・視聴者とともに考える機会としたいと思います。
「文化庁アートプラットフォーム事業」では，今後，国内外の一般の方々にも日本の現代アートの魅力や質の高さを広く発信する機会を持つ予定ですが，まずは美術関係者を中心に理解を深めて頂くことが，第一歩になるものと考えています。
本シンポジウムには，参加費不要，事前登録なしで，どなたでもご参加いただけます。

Japanese:

English:

up-date 2021/10/24

Up-dating with an appetiser, to get you involved into the topics, which had been explained during yesterday’s valuable, praiseworthy symposium, moderated by highly motivated, brilliant KATAOKA Mami.
Strongly recommending to watch this symposium on youtube, available also in English. The following pics are only a hint for you to get a quick overview.

My comment: The numbers per se are misleading, as the domestic art market of sales of paintings or sculptures does NOT reflect the whole spectrum of contemporary art practice with different sales opportunities. A very much outdated, wrong research.

My comment: セカンダリー should be translated into “Secondary”. A more polite explanation would be: “primary art market” vs. “secondary art market” …
Further, the term “art dealer”　アートディーラー should be used, too.
A curator should normally NOT be involved in commercially designed art fairs.
An art work can be directly sold or purchased via a museum and sold via a biennale/triennale; – through art advisors, art dealers, artists.
Auction houses are directly, or via proxy, buying art works from artists, too.

My comment: FIAC (Paris) and Art Cologne (Köln) should be listed up, too.

My comment: Wrong perspective. Sales of paintings or sculptures do NOT reflect the whole spectrum of contemporary art practice (with different sales opportunities through public, private or company’s foundations, NPOs etc.)

Mr. NAKAO Koji 中尾浩治

Ms. Takahashi