Art + Culture

Intention of censorship by Nagoya’s Mayor KAWAMURA Takashi at the Aichi Triennale 2019 名古屋河村市長 あいちトリエンナーレ 2019の「少女像」展示中止求める意向

Nagoya Mayor KAWAMURA Takashi, today via NHK TV
Nagoya Mayor KAWAMURA Takashi, today via NHK TV

Aichi Triennale 2019 just started yesterday and it seems that one work will be removed because it’s too controversial for the Mayor of Nagoya, Mr. KAWAMURA Takashi.
The work in question is called “Statue of a Girl of Peace”, created by South Korean artists KIM Seo-kyung and KIM Eun-Sung.
The artist couple executed various, similar statues with the same message to “remember the painful memory of former comfort women”. In other media, like the New York Times, the word “sex slaves” instead of “comfort women” is being used.
I will up-date this article from time to time, as we are handling a delicate, sensitive topic, – and actually remains top news at the NHK TV website, see the cover pic on the right side.

Compare with:
Bloomberg: South Korea Lawmaker Seeks Imperial Apology for Japan Sex Slaves

Quote by the mayor in front of the press: 「どう考えても日本国民の心を踏みにじるものだ。税金を使ってやるべきものではない」.
My rough translation, no responsibility is accepted for the accuracy of this information:
“Obviously, (this work) tramples on the feelings of the Japanese people. (This exhibition work) shouldn’t be supported with taxpayer’s money.”

pic courtesy facebook, Mayor Kawamura looking at Statue of a Girl of Peace
pic courtesy facebook, Mayor Kawamura looking at “Statue of a Girl of Peace”

up-date 2019/8/4 16:54
If you go to youtube in Japan, this video footage doesn’t work properly.
The news shows the Nagoya Mayor KAWAMURA Takashi talking about trying to close down the exhibition. Comments aren’t allowed.
This can be interpreted as one sort of censorship.

アート巡り市長と“バトル” 発端は「少女像」(19/08/02)
Published on Aug 2, 2019
政治色が強いなどの批判でかつて美術館から撤去されるなどした作品を集め、来場者に「表現の自由」を問い掛けるアート展が物議を醸している。発端はこの「少女像」だ。 我々は一つのパフォーマンスアートが完成する瞬間を目撃しているのかもしれない。名古屋市の河村たかし市長が訪れたのは、1日から始まった国際芸術祭「あいちトリエンナーレ」。目的はそのなかの企画展「表現の不自由展・その後」だ。そこに展示されている少女像。主催者側はこの企画意図をこう説明している。「組織的検閲や忖度(そんたく)によって表現の機会を奪われてしまった作品を集め、いかにして排除されたのか展示不許可になった理由とともに展示する」。この像、かつて都内の美術館でミニチュアの展示が撤去された過去がある。 そして2日、河村市長は撤去の歴史に新たなページを加えようとしている。表現する側の自由に対する見たくないという側の自由。展示は、まさにそこに行政や公的機関が介入すべきか否かを問うている。芸術祭全体の芸術監督を務める津田大介さんは・・・。 芸術監督・津田大介さん:「また一つ、日本の表現の自由が後退したかもしれない。

Comments are disabled for this video.

screenshots from the video footage:

Nagoya Mayor Kawamura says that his heart had been trampled by the Statue of a Girl of Peace
Nagoya Mayor Kawamura says that his heart had been trampled by the “Statue of a Girl of Peace”
Nagoya Mayor Kawamura says he doesn’t know if this is art or not
Nagoya Mayor Kawamura says he doesn’t know if this is art or not
Nagoya Mayor Kawamura wants to shut down the exhibition
Nagoya Mayor Kawamura wants to shut down the exhibition

up-date 2019/8/20
The “ANN News” footage with Nagoya mayor KAWAMURA Takashi’s proclamations had been removed, which translates into censorship, because of its necessary historical archive classification. See the screenshot of today’s google research.

アート巡り市長と“バトル” 発端は「少女像」(2019/08/02) ANN NEWS footage had been censored 検閲された
アート巡り市長と“バトル” 発端は「少女像」(2019/08/02) ANN NEWS footage had been censored 検閲された


NHK TV, today, 2019/8/2 17:50





In another political context, the Japanese government seems to be aware of the works in question and its media attention. The press conference this morning with Chief Cabinet Secretary SUGA Yoshihide gives hints towards further action and re-action.

Aichi Triennale 2019 website:

Theme: 情の時代 Taming Y/Our Passion
Period: August 1 (Thursday) to October 14 (Monday, public holiday), 2019 [75 days]
Main Venues:
Aichi Arts Center
Nagoya City Art Museum
Nagoya City (Shikemichi and Endoji)
Toyota City (Toyota Municipal Museum of Art and venues in the vicinity of Toyotashi station)

The Aichi Triennale, which has been held every three years since 2010, is one of the largest international contemporary art festivals in Japan. In 2019, the festival’s fourth iteration will feature an international contemporary art exhibition alongside film, performing arts and music programs, bringing together over 80 individual artists and artist groups across a range of expressive domains to showcase their cutting-edge works.

Artistic Director: TSUDA Daisuke (Journalist / Media Activist)

up-date, 2019/8/2

Just checked the artists’ line-up and discovered Leni Riefenstahl.
There is no doubt that Leni Riefenstahl was a Nazi-collaborator and fascist artist. This is a historical fact!

Fascist Leni Riefenstahl
Fascist Leni Riefenstahl
Hitler and Leni Riefenstahl
Hitler and Leni Riefenstahl

In this regard, from the German perspective and in the “Japan-Germany-Italy-Fascism-Axis” context, I feel very much ashamed that the Aichi Triennale curators chose her works to be shown.

Leni Riefenstahl @ Aichi Triennale 2019
Leni Riefenstahl @ Aichi Triennale 2019

The wrongly written introduction about Nazi-Monster, first lady of Nazi propaganda, Leni Riefenstahl by the Aichi Triennale organizers, see the above screenshot:

“Leni Riefenstahl was a German filmmaker and photographer. After a period as an actress, during which she appeared in films by Arnold Fanck, pioneer of alpine filmmaking, she became a filmmaker herself. For her Triumph of the Will (1935), a documentary of a 1934 Nazi Party rally, and Olympia Part 1: Festival of Nationsand Olympia Part 2: The Festival of Beauty (both 1938), documenting the 1936 Berlin Olympics, she was criticized for the rest of her life as a propagandist for the Nazi regime. After World War II, she repeatedly asserted that what she pursued in these works was art and beauty, and not propaganda, and until her death she did not believe she had any responsibility for the war.”

up-date 2019/8/3

The website of Aichi Triennale published a statement about this incident regarding “Statue of a Girl of Peace”. As the exact wording becomes crucial in understanding the discussion / re-action, my translation skills aren’t sufficient to post a translation. Japanese and English are both foreign languages to me. I do not want to take any responsibility for the accuracy of a translation, so I am waiting for an official statement on the English side of their website.
As a rough summary I may vaguely write the following sentences:
Nagoya Mayor Kawamura sent a letter of protest to the Aichi Governor OMURA Hideaki, who heads the Aichi Triennale Organizing Committee.
The prefectural government’s arts and cultural affairs division seems to have received protests from about 900 persons (?) via phone calls and emails.

up-date 2019/8/3 21:50
Jiji Press agency news from 2019/8/2:
The statue has drawn about 1,400 complaints, according to event staff.

Also the Agency for Cultural Affairs is actually re-examining their grant subsidies.
“Statue of a Girl of Peace” is being exhibited in a curatorial context called “After ‘Freedom of Expression’”, underway at the Aichi Arts Center, the festival’s main venue. The title 「表現の不自由展・その後」is difficult to translate, may I hereby offer one other version: “Exhibition about ‘Expression Without Freedom’ – what’s next”.

Following is the explanation from the Aichi Triennale website:

After “Freedom of Expression?”
This may seem like a little exhibition inside an exhibition. For one reason or another, due to censorship or self-censorship, most works presented here were not exhibited in the past in Japan. Although the reason for their removal varies, it shows that there is no simple dynamic in regard to “freedom of expression (speech).”
“freedom of expression” is one of the essential ideas in democracy and basic human rights. However, nowadays freedom of expression which originally means the right to criticize authorities is a subject not only limited to policy-makers. With “freedom of expression” now also regulated to some extent when it may violate the human rights of others.
The exhibition provides you with information on who regulated these works, through which criteria and how, along with the background to each work, such works were censored.

Artistic director TSUDA, who demands a discussion beforehand, is considering changing the content of this particular exhibition, as he is concerned about the safety of the Aichi Triennale staff, including volunteers.

Following is a part of the Japanese written statement, with the date of 2019/8/2.

2019年8月2日 お知らせ








full text:

Following is the full text by artistic director TSUDA Daisuke at yesterday’s press conference.
Huffington Post Japan:
2019年08月03日 00時03分 JST | 更新 11時間前
「少女像」展示、どうなる? 実行委で検討へ。芸術監督・津田大介氏が会見(声明全文)

up-date 2019/8/3 16:20

Statue of a Girl of Peace will be removed from the Aichi Triennale 2019
“Statue of a Girl of Peace” will be removed from the Aichi Triennale 2019

慰安婦問題の少女像 きょうかぎりで芸術祭展示中止へ
NHK 2019年8月3日 15時13分




up-date 2019/8/3 19:53

KIM Seo-kyung + KIM Eun-Sung work Statue of a Girl of Peace experiences censorship
KIM Seo-kyung + KIM Eun-Sung work “Statue of a Girl of Peace” experiences censorship at Aichi Triennale

慰安婦問題像 展示中止「脅迫の電話やメール 安全運営に危惧」
NHK 2019年8月3日 18時46分


















韓国メディア 相次ぎ速報







韓国語ネット 批判的な反応相次ぐ





Huffington Post, South Korea
2019년 08월 03일 18시 00분 KST
일본 아이치현 예술제, ‘평화의 소녀상’ 전시 중단한다
“안전 우려”
By 강병진

‘평화의 소녀상’을 전시해 정부와 지자체, 일본 우익 세력으로부터 압박을 받고 있는 아이치 트리엔날레 2019가 결국 전시를 중단하기로 했다.
8월 3일, NHK의 보도에 따르면 이날 아이치현의 오오무라 히데야키 지사는 임시 기자회견을 열고 이같은 결정을 발표했다. 오오무라 지사는 “테러 예고와 협박을 하는 전화나 메일이 오고 있어서 안전이 우려된다”며 “트리엔날레를 기대하는 분들이 안전하게 볼 수 있도록 해야한다는 걸 최우선으로 생각하겠다”고 밝혔다.
전시가 중단되는 건, ‘평화의 소녀상’만이 아니다. 소녀상이 전시된 부문인 ‘표현의 불편 전’ 코너 자체가 전시 중단된다.
아이치 트리엔날레는 아이치현이 2010년부터 3년 마다 개최해온 일본 최대 규모의 국제 예술제다. 4번째 예술제인 올해에는 30개국 90여 명의 아티스트가 참여했다.

#일본 #나고야시장 #소녀상
[자막뉴스] 나고야시장, “소녀상 전시 중지 요청…위안부 사실 아닐수도” / KBS뉴스(News)

#한겨레라이브_월목_오후6시 #뉴스하는습관 #소녀상
나고야 평화소녀상, 일본인들의 반응은? [뉴스룸톡]

ATTENTION! This news footage from MBCNEWS is from 2019/7/31 !! BEFORE the censorship discussion.

#위안부 #평화의 #일본
위안부 ‘평화의 소녀상’…日 공공미술관 첫 전시 (2019.07.31/뉴스데스크/MBC)

screenshot1 2019.07.31:뉴스데스크:MBC
screenshot1 2019.07.31 뉴스데스크 MBC
screenshot2 2019.07.31:뉴스데스크:MBC
screenshot2 2019.07.31 뉴스데스크 MBC
screenshot3 2019.07.31:뉴스데스크:MBC
screenshot3 2019.07.31 뉴스데스크 MBC

up-date 2019/8/3 21:35

津田大介さん「ジャーナリストとしてのエゴだった」。中止された“表現の不自由展”の責任を痛感 (あいちトリエンナーレ)
2019年08月03日 19時23分 JST | 更新 1時間前


up-date 2019/8/3 23:02

The exhibition in the Aichi Triennale 2019 which includes the work “Statue of a Girl of Peace” had been shut down, the section had been completely closed.
Aichi Governor OMURA Hideaki, who heads the organizing committee, told a press conference that there are growing worries about safely managing the Aichi Triennale 2019 as it has received a number of threatening emails, phone calls and faxes.
One of the faxes read, “I will bring a gasoline container to the museum”.

(In my opinion, the police should immediately start the investigation about the threatening. Should be easy to find out who the senders are.)

検閲された「平和の少女像」Censored „Statue of a Girl of Peace“ @ Aichi Triennale 2019
検閲された「平和の少女像」Censored “Statue of a Girl of Peace” @ Aichi Triennale あいちトリエンナーレ2019

up-date 2019/8/4 12:00 with a statement, posted on Facebook around midnight (24:00), by artist TAKAMINE Tadasu 高嶺格, who is participating at the Aichi Triennale 2019.
Next is a statement by art journalist OZAKI Tetsuya 小崎哲哉.


Statement by Takamine Tadasu, 2019:8:3a
Statement by artist TAKAMINE Tadasu 高嶺格, 2019/8/3 around 24:00
Statement by Takamine Tadasu, 2019:8:3b
Statement by artist TAKAMINE Tadasu 高嶺格, 2019/8/3

Statement by art journalist OZAKI Tetsuya 小崎哲哉, published on Facebook 2019/8/4, at around 3 a.m.







Gepostet von Tetsuya Ozaki am Samstag, 3. August 2019

References to works with censorship context
あいちトリエンナーレ2019『表現の不自由展・その後』レポート #あいちトリエンナーレ #あいちトリエンナーレ2019 #表現の不自由展

up-date 2019/8/4, 22:15

Today’s interview with JINNO Shingo, Associate Professor, Chiba University
Huffington Post Japan 泉谷由梨子 2019年08月04日 11時54分 JST






このままで終われば、まさに蛮勇で、陣地が大幅に後退してしまうはずです。表現の自由をめぐる昨今の状況を鑑みるなら、それは大変に残念であり恐ろしいことでもあります。 そしてそれは結局のところ、芸術祭の中核であるアーティストたちへの裏切りにもなってしまいます。

full text:

up-date 2019/8/5 17:00

「河村市長 検閲ととられてもしかたなく違憲の疑い」大村知事
2019年8月5日 15時54分





Nagoya Mayor Kawamura 2019:8:5 insisting on censorship
Nagoya Mayor Kawamura 2019/8/5 insisting on censorship at the Aichi Triennale 2019


2019.08.05 10:48






artdaily, today 2019/8/5:

Japan halts exhibit of South Korea’s ‘comfort women’ statue

TOKYO (AFP).- A Japanese exhibition featuring a controversial South Korean artwork depicting a wartime sex slave has been cancelled after threats of violence as bilateral ties between the countries fray.

The cancellation comes as relations between Tokyo and Seoul are soured by bitter disputes over territory and history stemming from Tokyo’s colonial rule over the peninsula in the first half of the 20th century.

The exhibition, which was part of a major art festival in Aichi, central Japan, was shut down on Saturday after just three days.

Titled “After Freedom of Expression?”, the event was dedicated to showing works that were censored elsewhere and was originally scheduled to run for 75 days.

The statue — a girl in traditional South Korean clothes sitting on a chair — symbolises “comfort women”, who were forced to work in wartime Japanese military brothels during World War II.

Aichi Governor Hideaki Omura, who heads organisers, said they received a number of threatening emails, phone calls and faxes against the exhibition.

Omura said one of the faxes read: “I will visit the museum carrying a gasoline container,” which can evoke last month’s arson attack on an animation studio in Kyoto that killed 35 people.

“We made the decision as we fear that we can’t safely organise the exhibition,” the governor said.

Mainstream historians say up to 200,000 women, mostly from Korea but also other parts of Asia including China, were forced to work in Japanese military brothels.

Activists have in recent years set up dozens of statues in public venues around the world, many of them in South Korea, in honour of the victims.

The statues have drawn the ire of Tokyo, which has pressed for the removal of one outside its embassy in Seoul.

On Friday, Japan and South Korea rescinded each other’s favoured export partner status and Seoul said it would review a military information agreement, as a long-running row between the US allies hit a new low.

The two countries — both democracies and market economies — are also mired in long-running disputes over the use of forced labour during World War II.

Aichi Triennale censorship topic @ artdaily
Aichi Triennale censorship topic @ artdaily–comfort-women–statue#.XUfr9S2B2Rs

actual situation of the closed exhibition space “After ‘Freedom of Expression?'” at the Aichi Triennale 2019

The Exhibit Lauded Freedom of Expression. It Was Silenced.
By Motoko Rich, New York Times, Aug. 5, 2019

Kim Seo-kyung, the statue’s other artist, said it was a shame that the exhibit was closed so soon, given that those who had visited in the three days it was open seemed to absorb its message.
“I think most people, especially women, found the pain of war in the statue,” Ms. Kim said. “Many said while crying, ‘We shouldn’t have war.’ They stared at the statue for a long time showing expressions of empathetic sadness.”

A version of this article appears in print on Aug. 6, 2019, Section A, Page 4 of the New York edition with the headline: Japan-South Korea Tussle Forces Art Exhibit Closing.
full text:

Facing Public Threats Over a Sculpture, Japan’s Aichi Triennale Censors Its Own Exhibition About Censorship
Organizers received threats over a sculpture of one of the thousands of “comfort women” forced into sexual slavery during World War II.
Taylor Dafoe, artnet, August 5, 2019
full text:

up-date 2019/8/7


(Korean language)

아티스트 스테이트먼트
아이치 트리엔날레 2019 < 표현의 부자유 - 그 후> 전시 섹션의 폐쇄에 관하여
2019년 8월 6일
우리들은 이하에 서명한, 아이치 트리엔날레 2019에 참가하고 있는 세계 각지의 아티스트들입니다. 과거에 일본의 미술관에서 철거되거나 했던 작품들을 모은 < 표현의 부자유 - 그 후> 전시 섹션 폐쇄에 관한 생각을 여기에 기술하고자 합니다.
쓰다 다이스케 예술감독은 아이치 트리엔날레 2019의 콘셉트로 < 정(情)의 시대>를 선택했습니다. 거기에는 이와 같이 적혀있습니다.
“현재, 세계는 공통의 고민을 안고 있다. 테러의 빈발, 국내 노동자의 고용 삭감, 치안이나 생활고에 대한 불안. 유럽과 미국에서는 전례가 없을 정도로 난민이나 이민을 기피하고 있으며, 2016년에는 영국이 EU로부터 이탈을 결정. 미국에서는 자국 제1정책을 전면에 내세운 트럼프 대통령이 선출되고, 여기 일본에서도 근래 배외주의(排外主義)를 숨기지 않는 담론의 기세가 점점 드세어지고 있다. 원천에 있는 것은 불안이다. 장래를 알 수 없다는 불안. 안전이 위협받고, 위험에 노출되는 것이 아닐까라는 불안.”
(쓰다 다이스케 < 정(情)의 시대> 콘셉트)
우리들 대부분은 현재 일본에서 분출되는 감정의 물결을 목격하며 불안을 느끼고 있습니다. 우리들이 참가하는 전시회에 대해 정치적 개입이, 그리고 협박마저 – 그것이 설령 하나의 작품에 대한 것일지라도, 하나의 전시 코너에 대한 것일지라도- 행해지고 있다는 데에 대해 깊은 우려를 느끼고 있습니다. 7월 18일에 일어난 교토 애니메이션 방화 사건을 상기시키는 가솔린 테러에 가까운 예고, 협박처럼 들리는 수많은 전화나 메일이 사무국에 쇄도하고 있다는 사실을 우리는 알고 있습니다. 개최 기간 중 우리들의 작품을 감상하는 이들에게 위해를 끼칠 수도 있는 가능성에 대해 우려하고 있으며, 그러한 테러 예고와 협박에 대해 강력히 항의합니다.
우리들의 작품을 지켜보는 관계자들과 관객들의 심신 안전의 확보는 절대적인 조건입니다. 그러한 조건 하에 < 표현의 부자유 - 그 후> 전시는 계속되어야 했다고 생각합니다. 모두에게 열린 공공장소여야 하는 전시회가 폐쇄되어 버린다는 것은, 관객들이 작품을 볼 기회를 박탈하고, 활발한 논의를 차단하는 것이며, 작품 앞에서 느끼는 분노나 슬픔의 감정을 포함한 다양한 이해의 방식을 상실하게 되는 것을 의미합니다. 일부 정치가에 의한, 전시나 상영, 공연에 대한 폭력적 개입, 그리고 폐쇄라는 긴급 대응으로 몰아넣은 협박과 공갈에 대해, 우리들은 강력히 반대하며 항의합니다.
우리들은 억압과 분단이 아니라 연대를 위한 다양한 수법을 구사하고, 지리적, 정치적인 신조의 차이를 넘어 자유로이 사고하기 위한 가능성에 모든 것을 걸고 예술을 실천해왔습니다. 우리들 아티스트는 불투명한 상황 속에서 깊이 생각하고, 입체 제작에 의해, 텍스트에 의해, 회화 제작에 의해, 퍼포먼스에 의해, 연주에 의해, 영상에 의해, 미디어 테크놀로지에 의해, 협동에 의해, 사이코 매직에 의해, 우회로를 찾음으로써, 설령 잠정적이라고 할지라도 다양한 방법론을 통해 인간이 느끼는 애정이나 슬픔, 분노나 배려, 때로는 살의마저도 상상력으로 전환시킬 수 있는 장소를 예술제 속에 만들고자 노력해 왔습니다.
우리들이 요구하는 것은 폭력적인 개입과는 정반대의, 시간을 들인 독해와 충실한 이해에 이르는 길입니다. 개개인의 의견이나 입장의 차이를 존중하며, 모든 사람들에게 열린 논의와 그 실현을 위한 예술제입니다. 우리들은 여기에 정치적 압력이나 협박으로부터 자유로운 예술제의 회복과 계속, 안전이 담보된 자유롭고 활발한 논의의 장을 마련하기를 요구합니다. 우리들은 연대하여, 함께 생각하고, 새로운 답을 도출하기를 포기하지 않겠습니다.
아이치 트리엔날레 2019 참가 아티스트 72인
별지(別紙) 찬동자 일람 2019년 8월 6일 현재

We the undersigned are participating artists in Aichi Triennale 2019. We here express our thoughts on the closure of the exhibit After “Freedom of Expression”, a section of the Triennale featuring artworks that have experienced various forms of censorship at public art institutions across Japan.
As chosen by artistic director Daisuke Tsuda, the theme of Aichi Triennale 2019 is “Taming Y/Our Passion.” In his statement on the exhibition concept, Tsuda writes:

“Many concerns are shared around the world today, including anxieties related to the increase in terrorism, cutbacks in hiring domestic workers, crime, and making ends meet. Feelings of aversion towards refugees and immigrants have risen to unprecedented heights in the United States and Europe. The United Kingdom voted to leave the EU in 2016. Donald Trump was voted president of the United States under the platform of “America First.” Xenophobic voices have become emboldened here in Japan as well. At the source is anxiety—the anxiety of an uncertain future, and the anxiety of feeling unsafe and vulnerable to danger.”

Many of us feel anxious about the strong displays of emotion roiling Japan today. Irrespective of its being directed at a single work or section of the exhibition, we have grave concerns about the occurrence of political intervention into the Triennale, as well as threats of violence against the exhibition and those involved in it. It is a fact that the exhibition received hundreds of intimidating phone calls after the opening of the Triennale, as well as a fax warning of an attack on the venue using gasoline and fire—recalling the July 18 arson attack on an animation studio in Kyoto that has claimed at least thirty-five lives to date. We are alarmed by the possibility of any harm coming to the people watching over our works during the exhibition period, and will do everything in our power to resist such terroristic threats and intimidation. We believe that all precautions must be taken to ensure the mental and physical safety of the exhibition staff and visitors.
We insist that After “Freedom of Expression” should remain on view on that condition. Normally an exhibition space is meant to be an open, public site, but the closure of the exhibit just three days after the Triennale opening has robbed people of the opportunity to see the artworks and foreclosed any active discussion of them. Moreover, it has shut down the diversity of responses, ranging from feelings of anger to sorrow, that viewers might have had in front of the artworks. We strongly object to any violent intervention by politicians into exhibits, screenings, and performances at art institutions, and the kinds of menacing acts and intimidation that drove the Triennale to close After “Freedom of Expression” as an emergency measure.
We practice art not to suppress or divide people, but to find different ways of creating solidarity among them, and to pursue the possibilities for free thinking beyond political beliefs. We strive to be creative in the face of uncertainty. Through the production of sculptures, through texts, paintings, performances, music, reenactments, psychomagic, films and videos, and by means of new media technology, by collaborating, and by seeking out new routes and detours, we artists have tried to create a place in the Triennale where, if only temporarily, people’s love and compassion, anger and sadness, and even their murderous feelings can be imaginatively inverted and overturned.
What we seek is a patient process for reaching deeper understanding—the opposite of violent interventions. What we seek is a discussion that is open to all people and respects individual opinions and conditions, and a Triennale that is capable of realizing such a discussion.
We request the following: (1) the immediate restoration of the Aichi Triennale 2019’s autonomy from political pressure and intimidation; (2) the continuation of the exhibition under the assurance of safety for all its staff and visitors; and (3) the establishment of a platform for free and vigorous discussion that is open to all, including the participating artists.
It is our conviction that the first principle of any creative endeavor is thinking about and coming up with new solutions together.
August 6, 2019
72 Participating Artists of Aichi Triennale 2019
List of Artists (August 6, 2019)

Aoki Miku
Candice Breitz
James Bridle
Tania Bruguera
Miriam Cahn
Pia Camil
Heather Dewey Hagborg
dividual inc.
Echigo Masashi
Endo Mikiko
Hikaru Fujii
Fujiwara Aoi
Dora García
Ge Yulu
Hanzaka Yui (Shinkazoku)
Hirose Nanako
Hoshiwowa Yumeka (Shinkazoku)
Ichihara Satoko
Imamura Yohei
Imazu Kei
Ishiba Ayako
伊藤 ガビン (Gabin Ito)
Iwasaki Takahiro
Regina José Galindo
Meiro Koizumi
Komanbe (Shinkazoku)
Komori Haruka
Kuwakubo Ryota
Leung Chi Wo + Sara Wong
Lim Minouk
Jason Maling
Amanda Martinez
Claudia Martinez Garay
Masumoto Yoshiko
Mónica Mayer
Mayumi (Shinkazoku)
Miura Motoi
Miyata Nana (Shinkazoku)
Nagahata Koji
Nagata Kosuke
Ohashi Ai
Okamoto Mitsuhiro
Oura Nobuyuki
Oyama Natsuko (Shinkazoku)
Park Chan-kyong
Sawada Hana
白川 昌生 (Yoshio Shirakawa)
Shimada Yoshiko
Studio Drift
Suge Syunichi
Takamine Tadasu
高山 明 (Akira Takayama)
Koki Tanaka
Javier Téllez
Toda Hikaru
Tomita Katsuya
Tsuda Michiko
Usui Yui
Wada Yuina (Shinkazoku)
Washio Tomoyuki
Anna Witt
Yuan Goang-Ming
Yumisashi Kanji
Yoshida Chie (Shinkazoku)
Yoshigai Nao

あいちトリエンナーレ2019 「表現の不自由展・その後」の展示セクションの閉鎖について
あいちトリエンナーレ2019 参加アーティスト 72名
別紙 賛同者一覧 2019年8月6日現在
あいちトリエンナーレ2019 「表現の不自由展・その後」の展示セクションの閉鎖について
賛同者一覧 2019年8月6日現在
dividual inc.
桝本 佳子
和田 唯奈(しんかぞく)

statement from the group which organized the exhibition

表現の不自由展 実行委員会




from August 3rd:


We Oppose the Unilateral Cancellation of
the “Lack of Freedom of Expression and Thereafter” Exhibition at
Aichi Triennale 2019
August 3rd, 2019
Today, on August 3rd, the Governor of Aichi Prefecture Hideaki Omura who heads Aichi Triennale 2019 Organizing Committee, and Mr. Daisuke Tsuda, its Artistic Director, announced to cancel the “Lack of Freedom of Expression and Thereafter” Exhibition by the end of the day.
We the organizing committee members of the exhibition strongly oppose and protest to this decision.
Mr. Tsuda, a journalist, passionately asked us to help exhibit the “Thereafter” version of the “Lack of Freedom of Expression” Exhibition when he saw what we displayed back in 2015. As we responded and resonated to his will and idea, we have been taking part in planning and curating the exhibition.

We understand that the Aichi Triennale 2019 Organizing Committee received harassments and attacks through phones and other means, experiencing much suffering. We felt the pains as well, and searched together with the Committee to find a breakthrough. It is extremely difficult to believe that the exhibition itself is cancelled only three days after its opening. We have sixteen units of artists participating, and large audience understanding the aim of the exhibition. We question, how does the Committee think the decision to affect them?
The notification of cancellation is totally one-sided. We believe such an action can infringe our contract that states that we discuss sincerely in order to resolve an issue in case it arises.
The exhibition originally aims at reconsidering the lack of freedom of expression in modern Japan, by collecting and displaying the items that were forced to disappear from people’s eyes due to pressure. For the festival’s Organizing Committee to voluntarily abandon the exhibition, let alone oppressing it, must be acknowledged as a historical outrage. This cancellation will be the most significant censorship case in the post-war Japan era.
We definitely hope the exhibition to continue to its full term, to the end of the festival. We also remind you that we are considering to take legal measures against the unilateral cancellation.
以 上
The Organizing Committee of “Lack of Freedom of Expression and Thereafter” Exhibition
Sada-Aki Iwasaki
Yuka Okamoto
Toshimaru Ogura
Kouzou Nagata

artforum, August 05, 2019 at 1:28pm

Three days after the 2019 Aichi Triennale kicked off in Japan, an exhibition at a museum in Nagoya was shut down after organizers received dozens of threats over the phone and through email and fax over the inclusion of a statue of a “comfort woman,” an Asian woman who was forced to serve as a prostitute, or ianfu, in Japanese brothels during World War II. The subject remains highly controversial in Japan and has been a source of tension between the country and South Korea, which claims that Japan needs to do more to compensate the descendants of the victims of sexual slavery.
more at:

津田大介氏は「表現の不自由展」で何を目指したのか 開幕前に語っていた「企画意図」
2019/8/ 6 20:01


AbemaTIMES2019年08月06日 20:10「昭和天皇は歴史上の人物かな」津田大介氏の“過去の発言”が炎上、「表現の不自由展」は炎上商法なのか


2019年8月6日 20時10分 AbemaTIMES












 この意見にBuzzFeed Japan記者の神庭亮介氏は「東さんは示唆に富んだ、非常に有益なアドバイスをこの時点で贈っている。津田さんも肯定する相槌を打っていたが、結果的にはすべて逆を行ってしまった。天皇制などのテーマを扱うにしては言葉が軽く、むしろ『炎上上等』の姿勢にも見える」とコメント。



 「私たちの多くは、現在、日本で噴出する感情のうねりを前に、不安を抱いています。私たちが参加する展覧会への政治介入が、そして脅迫さえもが行われることに深い憂慮を感じています。その上で『表現の不自由展・その後』の展示は継続されるべきであったと考えます。私たちアーティストは、さまざまな方法論によって、人間の抱く愛情や悲しみ、怒りや思いやり、時に殺意すらも想像力に転回させうる場所を芸術祭の中に作ろうとしてきました。私たちが求めるのは暴力とは真逆の、時間のかかる読解と地道な理解への道筋です。個々の意見や立場の違いを尊重し、すべての人びとに開かれた議論と、その実現のための芸術祭です。私たちは、ここに、政治的圧力や脅迫から自由である芸術祭の回復と継続、安全が担保された上での自由闊達な議論の場が開かれることを求めます。私たちは連帯し、共に考え、新たな答えを導き出すことを諦めません。あいちトリエンナーレ2019 参加アーティスト 72名」(抜粋)



東浩紀 AZUMA Hiroki + 津田大介 TSUDA Daisuke
東浩紀 AZUMA Hiroki + 津田大介 TSUDA Daisuke, Aichi Triennale

AZUMA Hiroki 東浩紀 + TSUDA Daisuke 津田大介
AZUMA Hiroki 東浩紀 + TSUDA Daisuke 津田大介 @ Aichi Triennale

東浩紀 氏:「ぼくにはひとを見る目がないし、人望がないようです。」
Mr. AZUMA Hiroki: “I lack analytical skills towards people, it seems, I enjoy no popularity.”

update 2019/8/7

Artists wade into row over Japanese triennial that censored its own show on censorship
More than 70 participants including Candice Breitz and Tania Bruguera have signed a statement demanding reopening of Aichi Triennale’s exhibition

Gareth Harris, The Art Newspaper 2019/8/7

More than 70 artists participating in the Aichi Triennale in central Japan (Taming Y/Our Passion, until 14 October) have signed a statement demanding that an exhibition dedicated to freedom of speech re-opens after appropriate security measures are put in place.
A section of the triennial, entitled After ‘Freedom of Expression’?, was closed last weekend when organisers were threatened with violence after showing a statue by the Korean sculptors Kim Seo-kyung and Kim Eun-sung, entitled Statue of a Girl of Peace (2011). The work represents a “comfort woman” or ianfu, the term for Korean women forced to work in Japanese brothels during the Second World War.
The mayor of Nagoya (Aichi’s prefectural capital), Takashi Kawamura, also stoked the row, saying that “[the sculpture] tramples on Japanese people’s feelings. We will conduct an investigation as fast as we can to explain to people how the work came to be exhibited”, adding that “freedom of expression has a certain limit”. Kawamura declined to comment further.
The exhibition section, which included works that had been censored in Japanese museums, subsequently closed after only three days. Seventy-two artists, including Tania Bruguera and Miriam Cahn, have since signed a statement posted online by the artistic director Daisuke Tsuda. “It is a fact that the exhibition received hundreds of intimidating phone calls after the opening of the triennial, as well as a fax warning of an attack on the venue using gasoline and fire, recalling the 18 July arson attack on an animation studio in Kyoto that has claimed at least 35 lives to date,” the statement says.
The signatories believe that all precautions must be taken to ensure the mental and physical safety of the exhibition staff and visitors. The show should then continue “under the assurance of safety for all its staff and visitors”, they say adding two other conditions: “The immediate restoration of the Aichi Triennale 2019’s autonomy from political pressure and intimidation [and] the establishment of a platform for free and vigorous discussion that is open to all, including the participating artists.”
Participating artists have also posted their own comments on the controversy. Singapore-born Song-Ming Ang, who is showing the performance piece A Song to Change the World (2018), says on Facebook: “Instead of bowing to political pressure and terrorist threats, I urge the authorities to quickly find the perpetrators of such a base form of intimidation, and create a safe space for the public in which art can be viewed. Censorship is a lazy, unethical quick-fix that does the public a double disservice, depriving people of the art on display and the related historical issues that need to be confronted.”
The South African artist Candice Breitz, who is showing the video installation Love Story (2016) at the triennial, tells The Art Newspaper that while she agrees with “Song-Ming on what the ideal scenario would be—he sums it up 100%—the director Daisuke Tsuda was faced with the very difficult question of public safety”.
The row continues to resonate. Kim Seo-kyung told the New York Times it was disappointing that the exhibition had closed. “I think most people, especially women, found the pain of war in the statue,” Kim said. Meanwhile, according to the Japan Times, the governor of Aichi prefecture and the head of the triennial organising committee, Hideaki Omura, heavily criticised Takashi Kawamura, saying that the mayor’s comments are “unconstitutional”. The organisers of the triennial declined to say if the section will reopen.

Aichi Triennale Artists Decry ‘Censorship’ of Exhibition, Saying Public Was ‘Robbed’ of Discussion
BY Maximilíano Durón POSTED 08/06/19 12:55 PM, artnews
After the 2019 edition of the Aichi Triennale in Nagoya, Japan, closed a controversial portion of the exhibition over the weekend, more than 70 artists in the show have issued a statement saying that the triennial and the local government were engaging in “censorship.”

The shuttered portion of the show—titled “After ‘Freedom of Expression?’ ”—deals with the history of art censorship in Japan, and one work, which has been the target of protests, directly deals with the country’s history World War II policies surrounding comfort women, who were raped by military officers. First staged at a gallery in Tokyo in 2015, “Freedom of Expression?” project gathered works that had been censored in Japan, and this iteration updated it with works that had been censored since 2015.
The statement, which was posted to Facebook on Tuesday, is signed by 72 of the more than 90 artists in the exhibition, and it calls for “After ‘Freedom of Expression?’ ” to remain on view. It refers to the exhibition space as “an open, public site” and says that “the closure of the exhibit just three days after the Triennale opening has robbed people of the opportunity to see the artworks and foreclosed any active discussion of them.”
Among the signatories are Candice Breitz, Tania Bruguera, Miriam Cahn, Pia Camil, Chim↑Pom, Regina José Galindo, Claudia Martínez Garay, Minouk Lim, Park Chan-kyong, and Javier Téllez. A representative for the Triennale did not respond to a request for comment.
The closed Triennale portion included a project by Korean artists Kim Seo-kyung and Kim Eun-sung, whose sculptural work, Statue of a Girl of Peace, deals with the country’s history of ianfu, or comfort women. During World War II, Japan maintained brutal colonial policies across Asia as part of its war efforts; one such mandate involved forcing women from across the continent, many from the Korean peninsula, into sexual slavery. Ianfu remain a point of contention in the country’s wartime history, as it was not officially acknowledged by the Japanese government until 2015.
The Triennale opened to the public last Thursday and was immediately met with protests against “After ‘Freedom of Expression?,’ ” including an anonymous fax with a threat to ignite a fire at the show.
With mounting pressure from figures such as Nagoya’s mayor, Takashi Kawamura, who said the “After ‘Freedom of Expression?’ ” exhibition “tramples on the feelings of Japanese citizens,” the 2019 Triennale’s artistic director, journalist Daisuke Tsuda, and the governor of Aichi Prefecture, Hideaki Omura, decided to close the protested portion of the show, citing safety concerns.
While the artists said in their statement that every precaution should be taken to prevent “to resist such terroristic threats and intimidation” and ensure the welfare of staff and visitors, they believe that government intervention to close the exhibition was not the appropriate response. In their letter, the artists demand the continuation of the exhibition with an assurance to safety for visitors and “the establishment of a platform for free and vigorous discussion that is open to all, including the participating artists.”
“We practice art not to suppress or divide people, but to find different ways of creating solidarity among them, and to pursue the possibilities for free thinking beyond political beliefs,” the artists’ statement reads. “We strive to be creative in the face of uncertainty.”

Today, 2019/8/7, Aichi Trienniale advisor AZUMA Hiroki’s 東浩紀 apology in Bijutsu-Techo web magazine BT
Art has created friends and enemies

• キャリコネニュース
• 2019年08月07日 16:43
東浩紀、あいちトリエンナーレの騒動を謝罪 慰安婦像・天皇制の作品出展は「知っていた」「力不足を反省しています」


















2 South Korean artists pull out of Aichi art festival in protest
August 7, 2019 at 14:45 JST
NAGOYA–Two South Korean artists taking part in the Aichi Triennale have withdrawn their works in protest over the cancellation of the show on freedom of expression that opened as part of the international art festival here.
The organizing committee of the Aichi Triennale 2019: Taming Y/ Our Passion accepted their decision and closed the spaces displaying their works from Aug. 6.
Lim Minouk and Park Chan-kyong both requested permission to withdraw their works on Aug. 3, the same day the organizing committee of the Aichi Triennale decided to call off the show, “After ‘Freedom of Expression?’”
The committee cited public safety as an overriding priority behind the decision after the committee was flooded with hundreds of protest calls and e-mails, including an arson threat, over the controversial nature of some of the exhibits.
The protests mainly targeted a statue of a girl symbolizing “comfort women” who were forced to provide sex to wartime Japanese troops.
Park said in a statement posted on his closed exhibition space: “Regardless of one’s likes and dislikes toward a particular work of art, a work of art must not be censored by any type of authority, coercion or threat.”
Lim, in a statement, said an artist “cannot remain a bystander” when an act of censorship was committed.
“Artworks and art museums do not exist to serve only what one wants to see, wants to hear and wants to speak,” she added. “In a truly free democratic society, its art institutions are intended to protect the dissonance of difference in every aspect.”
Lim’s work, “Adieu news,” was themed on the funerals of two despots who ruled North Korea and South Korea: Kim Jong Il and Park Chung-hee.
Park’s entry, “Child Soldier,” evokes young warriors in North Korea.
The exhibition was intended to provide a venue for freedom of expression by assembling more than 20 items that had been removed from public display, including the statue of the girl.

up-date 2019/8/7 22:45

Today’s declaration by AICA Japan, President NANJO Fumio

「あいちトリエンナーレ 2019」における 「表現の不自由展・その後」の中止に対する意見表明

2019 年 8 月 7 日
美術評論家連盟 会長 南條 史生

美術評論家連盟は、暴力的威嚇や脅迫による混乱を理由として、また、河村たかし名古 屋市長による、それらの威嚇に同調するかのような展示中止要請も受けて、「あいちトリエ ンナーレ 2019」における国際現代美術展の一部である「表現の不自由展・その後」のセク ションが開始後わずか3日で中止を余儀なくされた異常事態に直面し、それが今後にもた らす影響について深く憂慮します。
もとより表現活動が暴力や脅迫によって抑圧されることはあってはなりません。今回の 事態の経緯の問題は、こうした暴力行為から市民の活動を守ることが警察を含めた行政の 役割であるにもかかわらず、暴力行為から守るという理由で、その暴力が要求する展示の 中止を受け入れざるをえなくなったという点にあります。
民主主義とは、個々の市民がそれぞれ自ら判断し意見を表明する能力を持つことを国家 および行政が尊重し信頼すること、そしてそれによって市民も国家、行政への信頼を醸成 しうるシステムです。行政がこの信頼関係を放棄することは、この国が恐怖に支配され暴 力に追随する危険な国だと自ら示したことになります。
今回の事態は、まさに憲法 21 条に明記された「表現の自由」という民主主義の基本理念 が根本から否定されたことを意味しています。今回のように暴力と恐怖に後押しされた要 請を受け入れるとき、行政、また政治の正当性、存在理由はいかに確保されるのでしょう か。
そもそも公的組織が芸術・文化事業を「公」的にサポートすることの意味は、民主主義 に基づく憲法の精神、つまり表現や意見の多様性を保障することのはずです。自らへの批 判をも一意見として尊重し、その検討・議論を深める機会を奪わないこと、これこそが公 的な文化支援の原則ではないでしょうか。
行政による作品の撤去や隠蔽は、すなわち、その作品の意味を固定して市民の自主的な 判断能力を信用しないこと、市民自ら判断する権利、鑑賞する権利を奪うことを意味しま す。市民がなにかを知ろうとする健全な好奇心さえ遮断されてしまうということです。こ のような状況では健全な文化の発展など望めません。
今回の事件に関連して菅義偉官房長官は、国家による補助金交付を精査する、と発言し ています。これは公的支援を打ち切る可能性を示唆し、「政府の方針に不都合な意見、表現 は援助しない」、つまり排除するという、補助金申請者への婉曲な威嚇となってしまってい ます。繰り返せば、表現の機会を保障することは、必ずしもその表現の内容を追認するこ とではありません。市民ひとりひとりが自分で見て、感じ、考える機会を保障することで す。多様な表現と意見があることを知り、そのやりとりに参加する機会を与えることです。
今回の事件を是認するならば、「あいちトリエンナーレ 2019」に限らず、今後のあらゆる 表現活動は委縮せざるを得なくなります。表現の健全な発展は日本国内において期待でき なくなり、ひいては、市民の多様な活動を守るという行政機関への信頼そのものを損なわ せることになるでしょう。この事件はすでに海外でも報道され、日本国内から発信される 豊かな文化活動総体に対する、国際的な信頼を失墜させています。
以上が、美術評論家連盟が、「あいちトリエンナーレ 2019」の推移を深い憂慮をもって注 視する理由です。美術評論家連盟は、当該国際現代美術展の開始当初のすべての展示が取 り戻される社会的状況が整えられることを望みます。


2019/08/08 09:47 秒刊SUNDAY

津田大介 TSUDA Daisuke
Aichi Triennale Artistic Director TSUDA Daisuke 津田大介 was mentioning, to have made a 殺すリスト “KILL LIST” about people who were opposing.
東浩紀 AZUMA Hiroki
東浩紀 AZUMA Hiroki asking for names of the “KILL LIST” 殺すリスト made by Aichi Triennale Artistic Director TSUDA Daisuke

More detailed back-ground information, here at ART+CULTURE

東浩紀 氏:「ぼくにはひとを見る目がないし、人望がないようです。」
Mr. AZUMA Hiroki: “I lack analytical skills towards people, it seems, I enjoy no popularity.”

up-date 2019/8/9 14:50


神戸市 津田大介氏招いたシンポジウム中止の方針決める
2019年8月9日 13時03分











Artist KATO Tsubasa didn’t sign the statement, read the reason why.
I hereby endorse his decision, for having the guts, to have his own opinion articulated. Food for thought.

Tsubasa Kato
August 7 at 11:57 AM ·


I have decided not to sign the joint statement issued by participating artists of the Aichi Triennale in response to the closure of the section titled After “Freedom of Expression?” I agree with 99% of what they say, and with them strongly oppose the political interference and threats of violence, and hope for a free and open space of debate. I also will continue working with the other artists in looking for new ways to respond to the situation.
However, I am not able to support others insistence that “After Freedom of Expression? should remain on view.” In fact, I support the decision of Artistic Director Tsuda Daisuke and Aichi Governor Omura Hideaki’s decision to close that part of the exhibition. I do believe that all types of exhibitions have the right to be held and that the freedom of expression should be protected. I also believe that it is important for us think carefully about the debates that have occurred in response to the furor that led to the section’s closure, so that, as artists, we can imagine and invent new modes of action. On the other hand, I also think that a wider variety of starting points, rather than absolute insistence on the section remaining open, provides a better way to pursue these goals .
The team responsible for drafting the joint statement carefully listened to my (perhaps trivial) difference of opinion on this point, as it did to those of other artists. I imagine that this plurality will be expressed in a public setting in the near future. In the meantime, I urge people to continue to visit those parts of the exhibition that are still open.

The statement had been translated into English. See below.

We the undersigned are participating artists in Aichi Triennale 2019. We here express our thoughts on the closure of the exhibit After “Freedom of Expression?”, a section of the Triennale featuring artworks that have experienced various forms of censorship at public art institutions across Japan.

As chosen by artistic director Daisuke Tsuda, the theme of Aichi Triennale 2019 is “Taming Y/Our Passion.” In his statement on the exhibition concept, Tsuda writes:

“Many concerns are shared around the world today, including anxieties related to the increase in terrorism, cutbacks in hiring domestic workers, crime, and making ends meet. Feelings of aversion towards refugees and immigrants have risen to unprecedented heights in the United States and Europe. The United Kingdom voted to leave the EU in 2016. Donald Trump was voted president of the United States under the platform of “America First.” Xenophobic voices have become emboldened here in Japan as well. At the source is anxiety—the anxiety of an uncertain future, and the anxiety of feeling unsafe and vulnerable to danger.”

Many of us feel anxious about the strong displays of emotion roiling Japan today. Irrespective of its being directed at a single work or section of the exhibition, we have grave concerns about the occurrence of political intervention into the Triennale, as well as threats of violence against the exhibition and those involved in it. It is a fact that the exhibition received hundreds of intimidating phone calls after the opening of the Triennale, as well as a fax warning of an attack on the venue using gasoline and fire—recalling the July 18 arson attack on an animation studio in Kyoto that has claimed at least thirty-five lives to date. We are alarmed by the possibility of any harm coming to the people watching over our works during the exhibition period, and will do everything in our power to resist such terroristic threats and intimidation. We believe that all precautions must be taken to ensure the mental and physical safety of the exhibition staff and visitors.

We insist that After “Freedom of Expression?” should remain on view on that condition. Normally an exhibition space is meant to be an open, public site, but the closure of the exhibit just three days after the Triennale opening has robbed people of the opportunity to see the artworks and foreclosed any active discussion of them. Moreover, it has shut down the diversity of responses, ranging from feelings of anger to sorrow, that viewers might have had in front of the artworks. We strongly object to any violent intervention by politicians into exhibits, screenings, and performances at art institutions, and the kinds of menacing acts and intimidation that drove the Triennale to close After “Freedom of Expression?” as an emergency measure.

We practice art not to suppress or divide people, but to find different ways of creating solidarity among them, and to pursue the possibilities for free thinking beyond political beliefs. We strive to be creative in the face of uncertainty. Through the production of sculptures, through texts, paintings, performances, music, reenactments, psychomagic, films and videos, and by means of new media technology, by collaborating, and by seeking out new routes and detours, we artists have tried to create a place in the Triennale where, if only temporarily, people’s love and compassion, anger and sadness, and even their murderous feelings can be imaginatively inverted and overturned.

What we seek is a patient process for reaching deeper understanding—the opposite of violent interventions. What we seek is a discussion that is open to all people and respects individual opinions and conditions, and a Triennale that is capable of realizing such a discussion.

We request the following: (1) the immediate restoration of the Aichi Triennale 2019’s autonomy from political pressure and intimidation; (2) the continuation of the exhibition under the assurance of safety for all its staff and visitors; and (3) the establishment of a platform for free and vigorous discussion that is open to all, including the participating artists.

It is our conviction that the first principle of any creative endeavor is thinking about and coming up with new solutions together.

August 6, 2019
72 Participating Artists of Aichi Triennale 2019


List of Artists (August 6, 2019)

Aoki Miku
BeBe (Shinkazoku)
Candice Breitz
James Bridle
Tania Bruguera
Miriam Cahn
Pia Camil
Heather Dewey Hagborg
dividual inc.
Echigo Masashi
Endo Mikiko
Fujii Hikaru
Fujiwara Aoi
Dora García
Ge Yulu
Hanzaka Yui (Shinkazoku)
Hirose Nanako
Hoshiwowa Yumeka (Shinkazoku)
Ichihara Satoko
Imamura Yohei
Imazu Kei
Ishiba Ayako
Ito Gabin
Iwasaki Takahiro
Regina José Galindo
Koizumi Meiro
Komanbe (Shinkazoku)
Komori Haruka
Kuwakubo Ryota
Leung Chi Wo + Sara Wong
Lim Minouk
Jason Maling
Amanda Martinez
Claudia Martinez Garay
Masumoto Yoshiko
Mónica Mayer
Mayumi (Shinkazoku)
Miura Motoi
Miyata Nana (Shinkazoku)
Nagahata Koji
Nagata Kosuke
Ohashi Ai
Okamoto Mitsuhiro
One-phrase・Politics (Shinkazoku)
Oura Nobuyuki
Oyama Natsuko (Shinkazoku)
Park Chan-kyong
Sawada Hana
Shirakawa Yoshio
Shimada Yoshiko
Studio Drift
Suge Syunichi
Takamine Tadasu
Takayama Akira
Tanaka Koki
Javier Téllez
TM (Shinkazoku)
Toda Hikaru
Tomita Katsuya
Tsuda Michiko
Usui Yui
Wada Yuina (Shinkazoku)
Washio Tomoyuki
Anna Witt
Yuan Goang-Ming
Yumisashi Kanji
Yoshida Chie (Shinkazoku)
Yoshigai Nao

Added 4pm, August 6, 2019 (total 83 artists)

Ahn Sehong
Jetse Batelaan
Fujie Tami
Ho Tzu Nyen
Kim Eun-sung
Kim Seo-kyung
Mannequin Flash Mob
Reynier Leyva Novo
Pangrok Sulap
Katarina Zdjelar

Added 8am, August 8, 2019 (total 85 artists)
Nature Theater of Oklahoma
Milo Rau

This article was updated 9:50pm JST on August 8, 2019.

up-date 2019/8/9

Press Conference by the Organization of “After ‘Freedom of Expression’” 2019/8/7

Press Conference by the Organization of “After ‘Freedom of Expression’” 「表現の不自由展・その後」再開を求めて記者会見 2019/8/7
Press Conference by the Organization of “After ‘Freedom of Expression’” 「表現の不自由展・その後」再開を求めて記者会見 2019/8/7
Press Conference by the Organization of “After ‘Freedom of Expression’” 2019/8/7
Press Conference by the Organization of “After ‘Freedom of Expression’” 2019/8/7

表現の不自由展 実行委員会
Executive committee of the Organization of “After ‘Freedom of Expression’”
アライ=ヒロユキ ARAI Hiroyuki – art critic
岩崎貞明 IWASAKI Sadaaki – professor, journalism
岡本有佳 OKAMOTO Yuka – editor, author, specialist about the history of Asian sex slaves during Japanese colonialism / war period
小倉利丸 OGURA Toshiharu – economist, author
永田浩三 NAGATA Kozo – journalist, activist

아베, 과거 위안부 방송 막아 (나카타 코조) | 김어준의 뉴스공장

Mission of the Aichi Triennale:
• Contributing to the global development of culture and art by creating and disseminating cutting-edge art.
• Bringing culture and art into people’s daily lives by promoting and providing education on contemporary art.
• Enhancing the attractiveness of the region by vitalizing culture and art activities.


Mission of the Aichi Triennale
Mission of the Aichi Triennale
開催目的 あいちトリエンナーレ
開催目的 あいちトリエンナーレ

up-date 2019/8/10

8/9(金) 19:20配信


more at

8/9(金) 20:05配信
more at

up-date 2019/8/10 17:25

up-date 2019/8/11 1 a.m.

‘I am the girl statue’: Artists protest Japan’s exhibition censorship
By Bahk Eun-ji, The Korea Times, August 9, 2019

When Mayer received news about the removal of the girl statue from the exhibition, she sent a photo of herself posing like the statue in protest of the censorship to Japanese artist Yoshiko Shimada who has been staging protests over the issue and making artwork about sex slavery since 1992.

Shimada then uploaded the photo on Facebook and asked her friends to send photos of themselves in the pose of the statue to show their solidarity.

“That’s how the movement started,” Shimada said in an email interview with The Korea Times.

“The purpose of this project is to make this censorship visible and create solidarity of women against sexual violence internationally,” she said.

Rosaria Iazzetta, an Italian sculptor who also uploaded photos of women posing as the statue on Instagram after being inspired by Shimada, called the Aichi Triennale committee’s decision a censorship of art.
full text at:

screenshot from the Korea Times1
screenshot from the Korea Times1
screenshot from the Korea Times2
screenshot from the Korea Times2
表現の不自由展・その後 Artists Yi Dahn, Franziska Ullrich, Cahterine Woywood 2019:8:10
表現の不自由展・その後 Artists Yi Dahn, Franziska Ullrich, Cahterine Woywood 2019年8月10日

up-date 2019/8/12 11:11

アート批評家 市原研太郎の分析・批評 Analysis/comment by art critic ICHIHARA Kentaro about the actual situation of the Aichi Triennale and its art director 2019/8/11
via facebook

Kentaro Ichihara
18 hrs · ·
この事態を目の当たりにして、観賞者になる大衆の精神的成熟度の低さに失望した。どんな作品であれ批判する前に尊敬心をもってじっくり観賞すべし(これは教育の問題である)。ここまで無知で野蛮だとは思わなかった。不平を言わない従順な日本人が豹変して、突発的に暴力を振るう日本人へ。何が起きたのか? おそらく戦後、軍国主義的体制が清算されずに生き残り、日本人のなかに敗戦に由来する被害妄想的な恨みが果てしなく膨張しているのだろう。
展覧会を企画するキュレーターについて語ると、制度内に無数の専門家がいるのに、なぜ彼らを優先して指名しないのか? とくに若手を積極的に登用すべきだろう。そうしないと彼らが成長できない。ところが役人は、失敗するのを極度に恐れる。その責任を取らされるのを忌避するからだ。

アート批評家 市原研太郎の分析・批評 Analysis by art critic ICHIHARA Kentaro 2019:8:11 a
アート批評家 市原研太郎の分析・批評 Analysis by art critic ICHIHARA Kentaro 2019/8/11 a
アート批評家 市原研太郎の分析・批評 Analysis by art critic ICHIHARA Kentaro 2019:8:11 b
アート批評家 市原研太郎の分析・批評 Analysis by art critic ICHIHARA Kentaro 2019/8/11 b
アート批評家 市原研太郎の分析・批評 Analysis by art critic ICHIHARA Kentaro 2019:8:11 c
アート批評家 市原研太郎の分析・批評 Analysis by art critic ICHIHARA Kentaro 2019/8/11 c

up-date 2019/8/14

Artists Demand Removal of Work from Aichi Trienniale Following Censorship Controversy
artnews, BY Maximilíano Durón POSTED 08/13/19 8:48 AM

When the triennial’s 2019 edition opened to the public on August 1, it included a mini-show titled “After ‘Freedom of Expression?’ ” that dealt with the censorship of artworks in Japan. That section included a work by Korean artists Kim Seo-kyung and Kim Eun-sung that dealt explicitly with Japan’s brutal history of ianfu, or comfort women, who were drawn from around Asia, particularly Korea, and forced into sexual slavery during World War II. (This history was not officially acknowledged by Japan until 2015.) Three days after the opening of the triennale the curatorial team, working in conjunction with the local government, closed the section.

(The open letter is published in full below:)

August 12, 2019

We, the undersigned artists participating in the Aichi Triennale (2019), condemn the decision to close a full section of the exhibition as an unacceptable act of censorship. The section titled “After Freedom of Expression?”, a special project of the Aichi Triennale, was closed indefinitely to the public on August 3rd due to political pressure from the State as well as pressure from anonymous sources threatening to take violent and terrorist actions unless the works in question were removed from the exhibition.

As we expressed publicly in a previous letter, we repudiate these threats inciting violence against the staff of the triennale and the censored art works. However, while we believe that all precautions must be taken to ensure the mental and physical safety of the exhibition staff and the visitors of the Trienniale, we insist that “After Freedom of Expression?” should be opened and remain on view until the scheduled closing of the exhibition.

The main target of the attack in this case is the work “Statue of a Girl of Peace “, by Kim Seo-kyung and Kim Eun-sung: a sculpture that attempts to repair historical memory focusing on Japan’s military sexual slavery (euphemistically called “comfort women”) a historical issue that is continuously repressed in Japan. We consider it an ethical obligation to stand by the exhibiting artists voices and their work being exhibited. Freedom of expression is an unalienable right that needs to be defended independently of any context.

The attacks on freedom include: (1) Nagoya mayor Takashi Kawamura’s unfortunate comments calling for the permanent closure of “After Freedom of Expression?”; (2) a statement made by Chief Cabinet Secretary, Yoshihide Suga, threatening to cut off future funding to the Trienniale through the national Agency for Cultural Affairs; (3) numerous anonymous calls harassing the exhibition staff; (4) a fax threatening terrorist action unless the section be closed.

We believe that the Aichi Triennale organizers’ decision to surrender to irrational threats and political demands violates freedom of expression and we question their decision to close the section “After Freedom of Expression?” without previously discussing it with the participating artists, the other curators and the organizers of the special exhibition. We fundamentally disagree that this is an issue of “risk management” and not one of censorship, a fact that has been denounced publicly by Amnesty International Japan, AICA Japan, Pen international as well as local and international press.

As a cultural institution, it is the Aichi Triennale’s responsibility to stand by the rights of its exhibiting artists and to protect freedom of expression. We understand that it is not an easy decision to make when people’s lives and security are at stake. But as a public institution, it is also its responsibility to work in collaboration with the corresponding authorities to provide protection and security for its staff, visiting public and anyone involved in the exhibition. It is the authority’s responsibility to undertake a serious and formal investigation as would be standard in the case of any terrorist threat. All these measures should have been taken into account before closing down a section of the exhibition.

In no way do we want to implicate the staff of the Aichi Triennale and its exhibition spaces with whom we have had a mutually supportive and positive relationship. We thank them for their hard work and stand by them through this difficult time. However, more than a week has passed since “After Freedom of Expression?” was censored. During this time, the organizers have been compliant in organizing an open discussion with the artists and we have insisted on the importance of reopening the exhibition. Also, at least two people have been detained in connection to the terrorist threats. However, we have not been given any clarity as to whether the censored section will be reopened.

Therefore, as a public gesture of solidarity with the censored artists, we demand that the organizers temporarily suspend the exhibition of our artworks in the Triennale while “After Freedom of Expression?” remains closed to the public.

Through this action we sincerely hope that the organizers of the Aichi Triennale will re-open the section “After Freedom of Expression?” and continue with their valuable work without thwarting freedom of expression by giving way to political intervention and violence.

Freedom of expression matters.

Tania Bruguera
Javier Téllez
Regina José Galindo
Mónica Mayer
Pia Camil
Claudia Martínez Garay
Minouk Lim
Reynier Leyva Novo
Park Chan-kyong
Pedro Reyes
Dora García
Ugo Rondinone

full text:

August 13, 2019 at 10:29am
full text:

up-date 2019/8/14 20:00

2019年8月12日、タニア・ブルゲラをはじめ、国外を拠点とする複数のあいちトリエンナーレ2019参加アーティストおよび国際現代美術展部門のキュレーター、ペドロ・レイエスが「IN DEFENSE OF FREEDOM OF EXPRESSION(表現の自由を守るために)」と題した声明を発表し、一時的に作品展示を休止することを決断した。声明発表に先立ち、前日11日にアーティスト有志主催の公開討論が愛知芸術文化センターで開かれ、ブルゲラ、ペドロ・レイエス、スチュアート・リングホルト、イム・ミヌク(スカイプでの参加)のほか、小田原のどか、加藤翼、村山悟郎など国内からも15人ほどのアーティストが参加。アーティスティック・ディレクターの津田大介を交えて、議論を交わしていた。
full text:

up-date 2019/8/16

Foreign artists call for pulling works to protest ‘censored’ show
August 15, 2019 at 18:00 JST

NAGOYA–Foreign artists participating in the Aichi Triennale 2019 international art festival here are demanding its organizers suspend showing their artworks.
The artists decided to pull their works to protest the Aug. 3 closure of the controversial “After ‘Freedom of Expression?’” exhibition, which was part of the festival.
They said they made the move to show their support for the artists whose works were “censored.”
The exhibition was shut down after just three days when it drew protests and threats including one to set the building on fire.
Eleven of the more than 90 individual or group artists participating in the triennale and a curator jointly issued the demand in an open letter posted on a U.S. art news site on Aug. 12.
Of the 11 artists, all of whom are foreigners, two South Koreans have already shut down the displays of their works.
The letter, titled “In Defense of Freedom of Expression,” disputed the notion that the exhibition had been closed to safeguard public safety.
“We fundamentally disagree that this is an issue of ‘risk management’ and not one of censorship,” it said.
“As a public gesture of solidarity with the censored artists, we demand that the organizers temporarily suspend the exhibition of our artworks in the Triennale while ‘After Freedom of Expression?’ remains closed to the public.”
The artists also said that “as a public institution, it is Aichi Triennale’s responsibility to work in collaboration with the corresponding authorities to provide protection and security for its staff, the visiting public and anyone involved in the exhibition.”
Pedro Reyes, the curator who signed the letter, said that one of the 11 artists is taking a stand against the authorities in Cuba.
“In Mexico, where I come from, in 2018 alone, 144 journalists lost their lives while practicing their freedom of expression. This is why I personally cannot take a soft stand about this situation,” he said.
He added that the letter is not an attack on the art festival’s staff or artistic director Daisuke Tsuda.
The Center for Investigative Reporting (CIR) in the United States also asked that a work it contributed, which adapted a news scoop into an animated film, be pulled from the festival.
CIR said that as a news reporting organization, freedom of expression is a core of its mission and participating in the art festival now may put it at odds with that.
The 11 artists who requested their works be pulled are Tania Bruguera and Reynier Leyva Novo (Cuba); Monica Mayer and Pia Camil (Mexico); Lim Minouk and Park Chan-kyong (South Korea); Javier Tellez (Venezuela); Regina Jose Galindo (Guatemala); Claudia Martinez Garay (Peru); Dora Garcia (Spain); and Ugo Rondinone (Switzerland).

(This article was written by Sayaka Emukai and Hiroyuki Maegawa.)

up-date 2019/8/16:


1:27 PM · Aug 14, 2019

A Sculpture That Was Censored From Japan’s Aichi Triennale Will Become a Centerpiece of a New Museum for Banned Art
The Spanish collector Taxto Benet plans to install the work in his forthcoming Freedom Museum.
Javier Pes, August 15, 2019

A Spanish collector who is creating a permanent home for art that has been censored just made his latest high-profile acquisition. Tatxo Benet bought the sculpture censored from Japan’s Aichi Triennale earlier this month. Ironically, the piece was removed from an exhibition about censored art.

Benet moved quickly to snap up an edition of Statue of a Girl of Peace (2011) by the South Korean artists Kim Seo-kyung and Kim Eun-sung for his fast-growing collection. The sculpture depicts a “comfort woman”—one of many thousands of women sold into sexual slavery by the Japanese military during World War II.

full text

2019.8.14 23:19ライフ学術・アート


up-date 2019/8/20

The Threat to Freedom of Expression in Japan

Frieze web magazine, BY ANDREW MAERKLE
15 AUG 2019
The closure of part of the 2019 Aichi Triennale reflects a broader climate of aggression, censorship and nationalist revisionism 

The closure of ‘After “Freedom of Expression?”’ is an absolute crisis for art and free speech in Japan, and how people respond to it may set the parameters of expression for years to come. If the exhibit made visible the censorship regime under which artists and curators are already operating at Japan’s public institutions and organizations, its closure raises the spectre that all large-scale art activities will be ruled for the foreseeable future by self-censorship, in order to secure government funding and corporate sponsorship. More chillingly, it emboldens extremist elements to use violence to silence others. 

Ironically, the Triennale has in some way become a stronger exhibition thanks to the closure of ‘After “Freedom of Expression?”’ Works confronting the nature of Japaneseness and Japanese society have taken on added urgency and push back at right-wing politicians’ invocations of essentialist monoculture: from Koki Tanaka’s multimedia installation Abstracted/Family (2019), which looks at the lives of mixed-race Japanese people, to Kyun-Chome’s videos presenting the voices of those transitioning between genders and Miku Aoki’s immersive mixed-media installation, 1996 (2019), combining references to cloning, artificial insemination and a eugenics law allowing the forced sterilization of those with genetic disorders and handicaps that was not abolished until the work’s titular date. 

The idea that art should not be political has been turned into a political tool for excluding unwelcome expressions from public venues in Japan. But art is the frontline in debates around free speech precisely because it creates space for questioning values and challenging historical assumptions in public. Without this, art and its institutions devolve into an opaque aesthetics of power. And without the possibility for incorporating critical voices, all the art festivals that have proliferated across the archipelago in the past two decades – which come packaged with hedonistic sidebars of local cuisine, crafts and products – will be exposed as so many empty frameworks for extracting money from tourists and pumping capital into regional economies. Information available in Japanese on the Aichi Triennale website estimates that the 2016 edition brought some JP ¥6.3 billion yen (around US$60 million dollars) into Aichi Prefecture, against JP ¥1.2 billion yen (US$11.5 million) in expenses. As with many such events on the international art circuit, participating artists must be aware their work will be instrumentalized to a degree. But could they put up with it if they felt such events lacked any integrity?
This is no time for looking on passively. Japanese artists, and the Japanese art scene as a whole, must lead the way in taking action.
full text:

岡﨑 乾二郎

full text:


2019/8/24 up-date:

NHK 2019年08月23日 06時38分



表現の不自由展「再開を」 出展者らが都内で抗議集会

第1部 出品していた美術家などが語る~緊急シンポ「表現の不自由展・その後」中止事件を考える

第2部 会場討論~緊急シンポ「表現の不自由展・その後」中止事件を考える

more detailed info at:


投稿者: ourplanet 投稿日時: 金, 08/23/2019 – 17:32




Artists in pulled free expression show demand it be reopened
The Asahi Shimbun, by KAYOKO SEKIGUCHI/ Staff Writer,
August 23, 2019 at 16:40 JST
Artists whose works drew threats that led to the premature closure of an Aichi Triennale 2019 exhibition demanded its reopening at a meeting on Aug. 22 in Tokyo.

The group said that allowing the event to stay closed amounted to giving in to racism and terrorism.

“After ‘Freedom of Expression?’ ”, an exhibition at the international art festival curated by artistic director journalist Daisuke Tsuda, received numerous threats over its controversial subject matter, including one to burn it down. It closed on Aug. 3 after only a three-day run.

Aichi Governor Hideaki Omura, who also chairs the organizing committee of the Aichi Triennale, cited the safety of viewers in calling off the exhibition.

At the Tokyo meeting, the artists explained the intentions behind some of their works at the exhibit and shared their perspectives on events leading up to the cancellation.

At the canceled exhibition, artist Nobuyuki Oura displayed a video, which included footage of a portrait of Emperor Showa being burned.

Oura lamented that many people had focused only on such scenes in his 20-minute video.

“If you watch the whole thing, you will know it doesn’t just criticize the emperor,” he said. “It was described in an eccentric manner, which makes me very sad.”

South Korean photographer Ahn Se-hong, who had displayed photos of former “comfort women” at the exhibition, projected the photos and commented on the show being shut down.

Comfort woman is a euphemism for women who were forced to provide sex to Japanese troops before and during World War II.

Another comfort women photo exhibition by the artist was temporarily canceled in 2012.

“We should band together to demand the exhibition resume,” Ahn said. “We must protect the right to know and freedom of expression.”

2019/8/25 up-date:

web dice 2019-08-24 23:20

2019/8/26 up-date:

津田大介@朝日新聞 2019年8月21日不自由展中止 今語る-1
津田大介@朝日新聞 2019年8月21日 不自由展中止 今語る-1
津田大介@朝日新聞 2019年8月21日不自由展中止 今語る-2
津田大介@朝日新聞 2019年8月21日 不自由展中止 今語る-2
津田大介@朝日新聞 2019年8月21日不自由展中止 今語る-3
津田大介@朝日新聞 2019年8月21日 不自由展中止 今語る-3
高橋純子@朝日新聞 2019年8月21日 表現の自由
高橋純子@朝日新聞 2019年8月21日 表現の自由

少女像中止 芸術家と市民が議論「意見異なる人と橋渡し大切」
2019年8月26日 12時24分










田中功起 koki tanaka
@kktnk Aug 17

辻田 真佐憲
@reichsneet Aug 17
#あいちトリエンナーレ 来た。まずは、ホー・ツーニェンの旅館アポリアへ。評判に違わず、これはいい。場所は、神風特別攻撃隊草薙隊も使った料亭跡。そこで音響をこう使うのかと驚いた。のちに、あのとき・あの場所に見に行ったことが自慢になりそう。プロパガンダにも関係していて現代的でもある。

@kyun_chome Aug 14

Yoko Nose
@you_snoookeyAug 15
730 Retweets 2.6K Likes


住吉智恵(Chie Sumiyoshi) 2019年8月21日


本芸術祭の総合テーマは「情の時代 Taming Y/Our Passion」。グローバリズムの功罪が問われる現代、虚実を問わず過剰に氾濫する「情報」は、人間の「感情」を鼓舞し、焚きつける。単純な仕組みのSNSは「情動」を煽るだけで、たがいの発言の文脈を混濁させ、冷静な議論の場は猛スピードで押し流されていく。今回の騒動でも、ネット上にはまさに「情念」の勢いを借りた暴力的で醜い言葉が溢れ続けている。



full text:

A more neutral place for dialogue. What is the goal of Kato Tsubasa’s “sanatorium”?

一般社団法人 日本劇作家協会









一般社団法人 日本劇作家協会
日本新劇製作者協会 (8月13日付)
公益社団法人 国際演劇協会日本センター 理事会有志 (8月23日付)

2019/8/28 up-date:


(NHK 2019) 08月27日 20時41分


2019/8/29 up-date:


Statement from International Committee for Museum and Collections CIMAM

CIMAM is greatly concerned about the 2019 Aichi Triennale’s decision to cancel the exhibition After ‘Freedom of Expression?’. The cancellation is an infringement of the artists’ freedom of expression, at the behest of politicians and the Mayer of Nagoya City, Takashi Kawamura, Who made a direct request for the exhibition to be closed.On display in the exhibition was a collection of artworks that were excluded from museums in Japan or were included in exhibitions that were closed due to censorship or self-censorship.The closing of the exhibition itself is a serious violation of freedom of expression.
CIMAM requests that the demands of the great majority of artists participating in the triennial, as expressed in their statement on August 6th, are met.The artists requested three things: the immediate restoration of the Aichi Triennale 2019’s autonomy from political pressure and intimidation; the continuation of the exhibition under the assurance of safety for all its staff and visitors; and the establishment of a platform for free and vigorous discussion open to all, including the participating artists.
CIMAM strongly denounces that an exhibition has been closed as a result of political threats and intimidation.The issue is, however, wider than this and requires a meaningful reflection upon the curatorial premise behind the exhibition and clear recognition that the freedom of expression it sought to engender is now completely undermined.
CIMAM calls on the Aichi Triennial to honor the commitments it has made – namely to put in place the appropriate security arrangements for the exhibition to reopen, and to lead in facilitating the open platform for reflection and free and vigorous discussion that the artists have called for .
27 August 2019
The Museum Watch Committee of the CIMAM Board 2017–2019: Bart De Baere, Calin Dan, Corinne Diserens, Sarah Glennie, Sunjung Kim, Jaroslaw Suchan and Eugene Tan.
full text at:

2019/8/31 up-date:

NHK, 2019年8月30日











Aichi Triennale Grapples with History and Censorship
OCULA, by Stephanie Bailey, Nagoya, 30 August 2019


“Ho Tzu Nyen’s Hotel Aporia (2019), a six-channel video installation inhabiting the two floors of a former guesthouse in Toyota City known as Kirakutei, raises the ghosts of kamikaze pilots hosted by the inn during World War II, and the families who came here to mourn them. The work is composed of videos weaving augmented edits from old Japanese films. Faces are blurred out, shots resembling the interiors where each video is screened come into view, and layers of voices narrate letters past and present, with each montage punctuated by thunderous rumblings that physically rattle the space.
Hotel Aporia’s title describes an unresolvable internal contradiction—not unlike that of a nation-state’s and the violence that so often consolidates its border and identity both internally and externally. The work is a moving and earnest portrait of kamikaze soldiers as men and boys caught in a political tempest, stripping away propaganda to lament, honour, and challenge the conditions around an obedience enacted in the service of nationhood, often without choice, which characterises histories of war.”

“At the same time, Hotel Aporia ponders residual sentiments that lurk in the remains. One of the videos focuses on Yokoyama Ryuichi, creator of popular cartoon character Fuku-chan, who belonged to the Army’s wartime propaganda unit. In a series of letters, we are told Fuku-chan appeared in the newspaper Asahi Shimbun following the Pearl Harbour attack shouting ‘Tokkan!’—the Kamikaze battle cry. In 1944, Ryuichi published Jakarta Chronicles, introduced by Lieutenant Commander Machida Keiji as a means—’through laughter’—to celebrate Japan’s claims on Indonesian territory. None of this propaganda is on view at the Yokoyama Ryuichi Memorial Manga Museum in Kochi, we learn—at the opening, though, Ryuichi declared no regrets and a willingness to serve his nation again if called upon. He never heard of anyone joining the army because of a cartoon.
Ryuichi’s position contrasts with a brief mention of Miki Kiyoshi—described as a Marxist of the Kyoto School who conceived of the concept of the ‘East Asia Co-Prosperity Sphere’. The reference to Kiyoshi, who was said to abhor the militarisation of his ideas and died in Japanese prison on the Philippines, operates like a foil. Both figures draw attention to the aporia of the nation-state and what it asks of—and does to—its people, let alone others, to engineer a collective identity.”

full text:

Hans Haacke explains experienced censorships, for example at 35:00

up-date 2019/9/11


“ReFreedom_Aichi”, in solidarity to the censored and non-censored artists who participate at the actual Aichi Triennale. ReFreedom_Aichi --あいトリ2019を「表現の自由」のシンボルへ See the link

9/10(火) 15:05配信—yiLwxp0DMQcWwZ8v2dDU

press conference, live footage:



Artists move to redisplay works pulled from Aichi Tiennale 2019
By ERIKO CHIBA/ Staff Writer
September 11, 2019 at 14:05 JST

A group of artists seeking to redisplay works that were pulled from the Aichi Triennale 2019 art festival amid threats and protests plans to set up a call center to respond to critics.

Around 90 groups of artists entered the triennale, and 12 of them have changed or suspended displays of their works to protest the closure of the “After ‘Freedom of Expression?’” exhibition, which was part of the festival.
Theater director Akira Takayama said at the FCCJ news conference that he intends to set up an “artists’ call center” to hear directly from critics of the exhibit.
“While we artists are appealing freedom of expression, Aichi prefectural government employees and other people involved in the festival had been tied up with taking phone calls protesting the exhibit,” he said. “This time, artists should take the protest calls.”

The artists seeking to reopen the exhibition and display all other works at the festival will also start a joint program called “#YourFreedom” with visitors to the event.
Visitors will be asked to jot down their own experiences of having their freedoms restricted. Their words will be posted on the door of each room where the displays were suspended.
The artists will also start an online campaign to collect public opinions and raise funds through crowdfunding to finance their initiative.
As of 8 p.m. on Sept. 10, the first day of the initiative, 1,765,000 yen ($16,395) was raised.
The triennale will run through Oct. 14.
full text:

Artists launch project seeking redisplay of all works removed from art festival in Japan
September 11, 2019


The project called “ReFreedom Aichi” was launched after the statue of a Korean “comfort woman” was pulled from a discontinued section about censorship entitled “After ‘Freedom of Expression?'” following criticism and an arson threat.

In objection to the festival’s decision, 12 artists and groups from in and out of Japan temporary suspended the exhibition of their works or altered them.
Artists who were individually expressing their opposition will work together in the project to hold events, such as workshops with experts that are open to the people of Aichi and a campaign calling out to people to use the hashtag #YOurFreedom to write about anything they feel lacks freedom.

In the press conference held at the Foreign Correspondents’ Club of Japan in Tokyo, contemporary artist Meiro Koizumi, whose work is currently being exhibited, called for the general public to join in the project’s activities. He stated, “Freedom of expression is directly connected to the freedom of deciding your own thoughts and how to live your own life.”
full text:





full text:

aichi triennale
表現の自由求め 作家ら再開訴える 国際芸術祭展示一部中止で

表現の自由求め 作家ら再開訴える 国際芸術祭展示一部中止で
2019年9月10日 15時58分




up-date 2019/9/20:



Süddeutsche Zeitung

Telefonterror der Wutbürger
Thomas Hahn. 2. September 2019


Am Montag hat Daisuke Tsuda in Tokio eine Pressekonferenz gegeben zu dem Vorgang, der weltweit Aufsehen erregt hat, weil man Japan ja eigentlich als eine zwar strenge, aber im Großen und Ganzen doch freiheitliche Marktwirtschaft zu kennen glaubte. Und aus Tsudas ruhiger, sachlicher Erzählung konnte man zweierlei schließen. Erstens: Es gibt in Japan eine starke Gruppe rechter Wutbürger, die gut organisiert und mit vereinten Kräften die Freiheit der Kunst torpedieren, wenn diese etwas aus der Vergangenheit aufgreift, das nicht in ihr Weltbild passt. Zweitens: Diese rechten Wutbürger sind mächtig und treffen in der japanischen Konsensgesellschaft auf ziemlich wenig Widerstand.

So wie Daisuke Tsuda es darstellt, begann der Shitstorm gegen die Ausstellung nach der Vorberichterstattung durch verschiedene Medien am Eröffnungstag. “Eine bedeutende Anzahl von Telefonanrufen und E-Mails” habe die Triennale-Zentrale danach erreicht, deren Absender sich vor allem über die koreanische Mädchenfigur entrüsteten. Daisuke Tsuda sagt, die Triennale-Zentrale sei auf kritische Anrufe vorbereitet gewesen, man habe konfliktfeste Leute angestellt und mehr Telefonleitungen eingerichtet. Aber der Telefonterror muss zu groß gewesen sein. “Zumal der Protest so organisiert ablief”, sagt Tsuda. Über soziale Medien sei Stimmung gemacht worden, im Internet habe eine Art Handbuch kursiert mit Tipps für die besonders eindringliche Beschwerde. “Mitarbeiter haben erzählt, sie hätten gehört, wie die Personen umgeblättert haben”, sagt Tsuda, “die Anrufe waren sehr detailreich, immer die gleiche Routine.” Dazu kam heftige Kritik aus der Politik, etwa von Politikern der erzkonservativen Regionalpartei Osaka Restoration Association, unter anderem von Osakas Bürgermeister Hirofumi Yoshimura. Nagoyas Bürgermeister Takashi Kawamura von der rechtsradikalen Partei Genzei Nippon (wörtlich Steuersenkung Japan) forderte, die Trostfrauen-Statue rauszuschmeißen.

Aichis Gouverneur Hideaki Omura empfahl die Schließung der Ausstellung. “Ich habe zugestimmt”, sagt Tsuda. Die Rechten hatten gewonnen.

“Zensur!”, ruft die Gruppe von Gesellschaftskritikern, die mit ihrem Projekt “Aus Mangel an Meinungsfreiheit” genau gegen diese ein Zeichen setzen wollten. Tsuda widerspricht. Sicherheitsbedenken und der Stress für die Mitarbeiter seien die Gründe gewesen für die Schließung: “Politischen Druck hat es nicht gegeben.” Aber wollte nicht der Gouverneur die Schließung? Yuka Okomoto, eine Vertreterin des Ausstellungskomitees, sieht sich jedenfalls bestätigt in ihrer Skepsis, die sich von Anfang an in die Freude über Tsudas Interesse mischte. “Wir beobachten seit 2012 zunehmend Vorfälle von Hassreden und Menschenfeindlichkeit in Japan.” Man habe die möglichen Probleme mit Telefonterror und Drohungen angesprochen. “Die Vorbereitungen zum Schutz der Meinungsfreiheit waren nicht ausreichend”, sagt Yuka Okomoto.
Einige Künstler, vor allem ausländische, boykottieren die Triennale. Es gibt friedliche Demonstrationen und Briefe im Sinne der Ausstellung. Gouverneur Omura hat den Nagoya-Bürgermeister kritisiert für seine Forderungen, mit denen er gegen die Unabhängigkeit der Kunst und damit gegen die Verfassung verstoßen habe. Und ausgeschlossen erscheint es nicht, dass die Ausstellung noch einmal öffnet. “Ich würde mir das wünschen”, sagt Daisuke Tsuda etwas erschöpft. Immerhin, die verhinderte Ausstellung hat einen Lärm verursacht, der die Freunde der Freiheit in Japan nachdenklich macht.

full text, see the link

2019年10月2日 up-date:




full text, see

Fumihiko Sumitomo、facebookでの公式コメント

【意見表明】文化庁が決定した 「あいちトリエンナーレ2019」 への補助金不交付についての意見表明(会員有志)


文部科学大臣 萩生田光一 殿
文化庁長官  宮田亮平 殿








CADAN – Contemporary Art Dealers Association Nippon 日本現代美術商協会
CADAN – Contemporary Art Dealers Association Nippon 日本現代美術商協会

国際芸術祭への補助金不交付撤回を 日本現代美術商協会
2019年9月30日 19時37分



◆特別シンポジウム《『表現の不自由展・その後』中止事件を考える》(芸術と憲法を考える連続講座 vol.21 )
◇日時: 2019年10月30日(水)18:30 – 21:00(開場18:00)
◇教室: 東京藝術大学 上野キャンパス 音楽学部 5-109
お問い合わせ : kenpou . geidai (at)川嶋)
◇主催: 自由と平和のための東京藝術大学有志の会/後援: 日本ペンクラブ
1949年富山県生まれ。1975年からのニューヨーク滞在中に制作した版画連作《遠近を抱えて》が、富山県立近代美術館「86富山の美術」に出品後、非公開とされて裁判をたたかう。映画作品に「日本心中」(2001)、「9.11-8.15日本心中」(2005)、「天皇ごっこ」 (2011)、「靖国・地霊・天皇」(2014)。

作品テーマは第二次世界大戦の文化的記憶とジェンダー。作品は、2017年ソウル市美術館「Asian Divas」展、2015年テルアビブでの「Beyond Hiroshima」展はじめ、国際的に展示されている。



専門は言論法、ジャーナリズム研究。主著に『沖縄報道』『法とジャーナリズム 第3版』『放送法と権力』『見張塔からずっと』『言論の自由』『ジャーナリズムの行方』『現代ジャーナリズム事典』(監修)。

◇権祥海(Kwon Sanghae)東京藝大大学院国際芸術創造研究科博士課程在学中(2018-)
1990年ソウル(韓国)生まれ。現代美術に見る演劇性や行為性を個人及び共同体の歴史や社会的実践の側面から考えている。トーク&ワークショップ「国のない人」(東京芸術大学、2019)、展覧会「Strange Neighbor」(ARTPARK Gallery(Seoul)、2019)を企画。イム・ミヌク「O Tannenbaum」(ASAKUSA、2018)にアシスタント・キュレーターとして参加。




表現の不自由テーマのコーナー 早ければ来月6日の再開目指す
表現の不自由テーマのコーナー 早ければ来月6日の再開目指す

表現の不自由テーマのコーナー 早ければ来月6日の再開目指す
NHK 2019年9月30日 13時21分




国際芸術祭への補助金不交付 芸術家ら文化庁前で抗議集会
NHK 2019年9月30日 20時51分







立民 枝野代表 国際芸術祭 補助金不交付の決定を強く批判
立民 枝野代表 国際芸術祭 補助金不交付の決定を強く批判

立民 枝野代表 国際芸術祭 補助金不交付の決定を強く批判
NHK 2019年9月29日 19時48分





山形国際ドキュメンタリー映画祭30年の軌跡 連載:第4回(全8回)
 「映画は社会を写す鏡」と称されるが、ドキュメンタリーにはダイレクトに時代が反映される。山形国際ドキュメンタリー映画祭(以下、YIDFF)でも人種差別、戦争責任、貧困、災害etc……と今起こっている問題を、作品を通して提示し、ときにさまざまな議論を呼んできた。2005年まで主催し、その後も共催としてYIDFFをサポートし続けている山形市の対応は? 「あいちトリエンナーレ2019」の企画展「表現の不自由展・その後」の中止問題で行政と芸術の在り方が問われる中、YIDFFを振り返ってみた。

full text:

By Andrew Maerkle (ART iT) with Chihiro Maeyama (Kyodo News)

インタビュー / アンドリュー・マークル(ART iT)、前山千尋(共同通信)
2019年9月22日 インタビュー



 モニカ・メイヤー……《The Clothesline》で来場者から寄せられた回答が取り外され、破られた未記入のカードが床に散りばめられる。ロープにはステートメントが掲出され、《沈黙の Clothesline》に変わる

◯ 愛知芸術文化センター

Follow-up announcement: On artworks to be withdrawn or changed (Announced on Sep 23 & 26)

Announced in Japanese on Sep 23 and 26, 2019
Translated and published in English on Sep 30, 2019
The following reports the results of our discussions with the fourtheen artists who requested suspension or alteration of their exhibits at Aichi Triennale 2019, in response to the Aichi Triennale Organizing Committee’s decision to close “After ‘Freedom of Expression?'” These requests were made as a protest against the closure of the exhibition, and as a show of solidarity with the artists whose works were presented there.
We have confirmed with the artists concerned that their works are to be altered or suspended as follows:

Exhibits to be suspended
Aichi Arts Center
 Tania Bruguera    Closure of exhibition room; artist’s statement on display
 Pia Camil       Music switched off, curtain partially raised; artist’s statement on display
 Regina José Galindo   Video work no longer on view, props used during filming scattered on floor
 Claudia Martínez Garay Lighting turned down, video work no longer on view; artist’s statement on display
 Dora García        Artist’s statement put up on top of posters
 Lim Minouk       Closure of exhibition room; artist’s statement on display
 Park Chan-kyong    Closure of exhibition room; artist’s statement on display
 Javier Téllez       Closure of exhibition room; artist’s statement on display
 Candice Breiz      Closure of exhibition room; artist’s statement on display. Yet exhbition is open on Saturday, Sunday and national holidays as before (since Sep 24)
Nagoya City Art Museum
 Dora García    Artist’s statement put up on top of posters
 Fujii Hikaru    Video work Mujō (The Heartless) no longer on view (since Sep 27)
 Mónica Mayer  Removal of visitor’s responses from The Clothesline, torn blank cards scattered on the floor; artist’s statement hung on a clothesline, and the name of exhibit changed to The Clothesline of Silence.
Toyota Municipal Museum of Art
 Reynier Leyva Novo  Paintings covered with newspaper, some sculptures covered with garbage bags; artist’s statement on display

Withdrawn exhibits
Aichi Arts Center
 CIR (Center for Investigative Reporting) Closure of exhibition room

* The administrative office and the “Freedom of Expression?” Organizing Committee will continue to deliberate on the best way forward regarding “After ‘Freedom of Expression?'”
* You cannot enter the exhibition room of TANAKA Koki [A11] due to the “reframing” (alteration of exhibit) made by the artist.


M.H. quote:

After this outrageous decision, a politician of CP demanded the disclosure of the minutes of the meeting in which this decision was “supposedly” made. Alas, the official answer to her was that they do not have the minutes. How in the world is it possible that such an important decision was made without minutes? The truth is, I assume, no meeting took place. In fact, it turned out that the scholars who were involved in selecting this Triennale as the recipient of the subsidy in the first place were never consulted or even informed of this unprecedented revoke of their decision.
This extremely irregular decision was made in a dark room around Shinzo Abe (the new minister of the Ministry of Education… is his right-hand man) and intentionally leaked to NHK on the 26th without any official press conference. A dirty trick and sudden blow to the governor’s announcement the day before.

…But the good news is that artists, curators, educators… are all working hard together, overcoming differences while also maintaining healthy frictions, to reopen the entire exhibit which is scheduled now on Oct. 6. But this arbitrary (but targeted) cancellation of the once-promised funding by the government should be taken as a serious threat not only to the freedom of expression/art but also to the freedom of scholarship (anybody who is doing research project with governmental funding should be on alert).


Huffington Post:
2019年10月02日 21時19分




2019年3月8日 文化庁、愛知県からの「文化資源活用推進事業」の応募書類を受理

4月25日付 有識者らによる審査会を経て、文化庁が愛知県に採択通知を発出

5月30日 文化庁、愛知県からの補助金交付申請書を受理

8月1日 あいちトリエンナーレ2019が開幕

8月3日 「表現の不自由展・その後」中止を発表

9月25日 芸術祭実行委員会の会長を務める愛知県の大村秀章知事が「条件を整えた上で再開を目指したいと考えている」と表明

9月26日 文化庁、補助金の不交付を発表

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朝日新聞 web、千葉恵理子 2019年10月2日
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韓東賢  | 日本映画大学准教授(社会学)
yahoo 9/30
前回、ハンさんにアドバイザーを務めてもらった「Vulnerable Histories (A Road movie)」(ミグロ現代美術館、2018年。映像部分は「可傷的な歴史(ロードムービー)」として映画化)は、関東大震災の朝鮮人虐殺の歴史と現在のヘイトスピーチの問題をつなげて考える内容でしたが、確か2009年頃から日本での排外主義がどんどん目に見える状況になっていった。僕は当時アメリカに住んでましたが、日本の状況がメディアを通してむしろよく見えていたし、たまに日本に帰ってきたときヘイトデモに遭遇したこともあって、ずっと気がかりでした。
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河村名古屋市長「暴力的で大変なこと」 表現の不自由展再開で

Japan art world condemns gov’t agency for pulling grant after ‘comfort women’ blowup
September 28, 2019
TOKYO — Japan’s art world has condemned the Agency for Cultural Affairs’ decision not to pay a grant of 78.2 million yen (about $724,000) to the embattled Aichi Triennale 2019, which is still running despite furor over a “comfort women” statue that led to the closure of a freedom of speech exhibit.
A petition has sprung up online seeking a retraction of the agency’s decision not to pay. Artists and experts have also said the move could hamper art and cultural activities in the country.
The petition started on Sept. 26 with participation from signatories including artists being exhibited at the festival. By 7 p.m. on Sept. 27 it had collected more than 60,000 signatures. Modern artist Tsubasa Kato, 35, said, “It (the agency’s decision) will cause the arts to shrink. It’s necessary for us to find out who led this decision and other details.”
On the night of Sept. 27, students, teachers and others gathered in front of the main gate of Tokyo University of the Arts in the capital’s Ueno Park for an emergency meeting. Speakers at the meeting said the decision should be overturned, and that it is unprecedented for standing grants to be rescinded.
Convened using social media, the gathering was attended by around 200 people. Professor Yoshitaka Mori, one of those who called the meeting, is part of Tokyo University of the Arts’ Graduate School of Global Arts’ Department of Arts Studies and Curatorial Practices. He said, “I want students to think about this issue, so I thought I should visualize it. The Agency for Cultural Affairs, which is meant to support culture, is instead controlling it.”
Students and alumni at the event also raised their concerns, saying they were worried that even exhibitions of works by the general public would not have their freedom of expression protected.
The chief curator at an art museum in eastern Japan’s Kanto region said, “When based on international standards, it (the decision to withdraw grants) is equivalent to censorship. There are times when plans are changed after business aid is adopted, but normally a portion of the money is paid, or in the end the full amount is granted by deeming that the ultimate goal was fulfilled. The current decision is not rational.”
Taisuke Katayama, a professor in cultural policy at Shizuoka University of Art and Culture, has sat on countless expert panels to inspect grant applications to the Agency for Cultural Affairs. He said, “Not providing any of the money is such a harsh response that it’s extraordinary. The Agency for Cultural Affairs must provide a more detailed explanation.”
Yoko Shida, a professor in constitutional law at Musashino Art University, was also critical of the move, saying, “The Agency for Cultural Affairs has a responsibility to explain how this decision does not contravene the Basic Act on Culture and the Arts, but there’s no way it can.” The basic act stipulates the protection of freedom of expression, and the national and local governments’ proactive support for art.

Huffington 2019年09月30日
電凸した「アートがわからない人」とこそ対話すべきだ。 あいちトリエンナーレを擁護するリベラルたちへの提案
文:藤田直哉 編集:南 麻理江

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南 麻理江
あいちトリエンナーレに作品を出していたアーティスト集団「Chim↑Pom」 のエリイさんは、「文化の根幹を揺るがしますね。何を名乗って『文化庁』ですか」と怒りをあらわす。
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小倉 涌(アーティスト)
加治屋 健司(美術史・表象文化論)
長谷川 仁美(キュレーター)
藤井 光(アーティスト)

Free expression show shut after threats to reopen in early October
THE ASAHI SHIMBUN, September 30, 2019
NAGOYA–The “After ‘Freedom of Expression?’” art exhibition that was shut down here in August after protests and threats of violence will resume in early October, a lawyer representing the exhibition’s organizer said on Sept. 30.
The exhibition’s organizer on Sept. 13 filed an application for a provisional disposition order to the Nagoya District Court, stating that the closure violated artists’ freedom of thought, religion and expression and demanding the Aichi Triennale Organizing Committee resume the exhibition.
The exhibition was part of the Aichi Triennale 2019.
After a court hearing of the case was held Sept. 30, Yuji Nakatani, the lawyer representing the exhibition’s organizer, said his client and the Triennale committee had reached a compromise agreement.
The organizer had made a settlement offer to resume the exhibition on Oct. 1 in the same state as it was before being shut down.
But during the Sept. 30 hearing, the organizer accepted an offer from the Aichi Triennale committee for the two sides to proceed with talks based on the premise that the exhibition will resume between Oct. 6 and Oct. 8, Nakatani said.
Aichi Governor Hideaki Omura, who is also the chairman of the Aichi Triennale Organizing Committee, held a news conference on the morning of Sept. 30 to propose four conditions for the exhibit’s reopening.
First, Omura said, both sides need to cooperate in order not to incite a crime or disruption.
Second, to maintain safety, visitors are required to pre-order and pick up numbered tickets.
Third, when it resumes, the organizer should curate the exhibition content in a coherent way with its original content and hold separate programs to educate visitors if needed.
Lastly, the prefectural government is required to inform visitors in advance of the contents of an interim report that the prefectural verification committee conducted on the events that led to the closure of the controversial art show.
The report was released on Sept. 25.
Omura had supported resuming the exhibition on the condition that visitors are well-informed about the exhibition beforehand. The triennale will close Oct. 14.

2019/10/4 up-date:


NEWS / HEADLINE – 2019.10.3

Declaration in Support of the Artists, Scholars, and Journalists of Japan

The undersigned express their deep concern about the current threats against the freedom of expression in Japan and call upon the Japanese government and all of its agencies to take the steps necessary to safeguard the rights of artists, journalists, and scholars as embodied in the Japanese constitution. In particular, we urge the Agency for Cultural Affairs to retract its decision to withdraw support from the 2019 Aichi Triennale. It cannot be accepted that, in a democratic and pluralistic society, politics and administration give in to populist demands and even terrorist threats instead of defending arts and science against the enemies of the freedom of expression. We are deeply concerned that trust in Japanese official institutions has now been shattered to a degree that endangers cooperations between foreign artists, scholars and institutions with Japanese government institutions.
We also urge the Japanese government and the political leaders of Japan to fulfill their legal obligations to fight hate speech and every other, verbal or non-verbal threat against the spirit of international cooperation, reconciliation and peace.
Finally, we urge the Japanese government and all responsible politicians to give wholehearted and public support to all artists, scholars and journalists of Japan in their pursuit of the freedom of expression and opinion, to encourage the free and open discussion of political matters with respect to peace and international understanding, and to restore the reputation of Japan as a safe harbor of freedom, diversity and creativity, which are the true sources of human growth and development.

Signed by:

1. Adriasola, Ignacio, Assist. Professor (University of British Columbia, Canada)
2. Aldrich, Daniel, Professor of Political Science (Northeastern University, USA)
3. Antoni, Klaus, Professor of Japanese Studies (University of Tübingen, Germany)
4. Aoyama, Tomoko, Assoc. Professor (University of Queensland, Australia)
5. Bälz, Moritz, Professor of Japanese Law (University of Frankfurt, Germany)
6. Barnes, Gina L., Professor of History of Art and Archaeology Emerita (Durham University, U.K.)
7. Bekes, Andrej, Professor of Japanese Linguistics Emeritus (University of Ljubljana, Slovenia)
8. Berndt, Jaqueline, Professor of Japanese Studies (Stockholm University, Sweden)
9. Bogel, Cynthea J., Professor (Kyushu University, Japan)
10. Boiko, Melissa, Research Associate (Ruhr-University Bochum, Germany)
11. Brisset, Claire-Akiko, Professor of Japanese Cultural History (University of Geneva, Switzerland)
12. Brock, Julie, Professor (Kyoto Institute of Technology, Japan)
13. Broinowski, Adam, Dr., Researcher and Lecturer (Australian National University, Australia)
14. Buchmeier, Yosuke, M.A., Researcher (Ludwig Maximilian University of Munich, Germany)
15. Buck-Albulet, Heidi, Dr., Research Associate (University of Tübingen, Germany)
16. Buntrock, Dana, Professor, Tomoye Takahashi Endowed Chair in Japanese Studies (University of California, Berkeley, USA)
17. Cave, Peter, Senior Lecturer in Japanese Studies (University of Manchester, U.K.)
18. Chauhan, Anubhuti, Dr. (University of Tsukuba, Japan)
19. Choi, Gina J., PhD cand. (Princeton University, USA)
20. Conrad, Harald, Professor of Japanese Studies (University of Düsseldorf, Germany)
21. Cook, Theodore F., Professor of History (William Paterson University, USA)
22. Cort, Louise Allison, Curator Emerita (Freer Galley of Art and Arthur M. Sackler Gallery, USA)
23. Crowley, Cheryl, Assoc. Professor of Japanese (Emory University, USA)
24. Cummings, Alan, Dr., Senior Lecturer in Japanese Studies (SOAS, University of London, U.K.)
25. Cushman, Carrie, Dr., Curatorial Fellow (The Davis Museum at Wellesley College, USA)
26. Dodd, Stephen, Professor of Japanese Studies Emeritus (SOAS, University of London, U.K.)
27. Dolce, Lucia, Dr., Reader in Japanese Buddhism (SOAS, University of London, U.K.)
28. Dudden, Alexis, Professor of History (University of Connecticut, USA)
29. Dufourmont, Eddy, Assoc. Professor (University of Bordeaux, France)
30. Eckersall, Peter, Professor of Theatre and Performance (City University of New York, USA)
31. Failla, Donatella, Professor of History of Art of East Asia (University of Genoa, Italy)
32. Faure, Bernard, Kao Professor of Japanese Religion, Director, Center for Buddhism and East Asian Religions (Columbia University, USA)
33. Field, Norma, Professor of East Asian Languages & Civilizations Emerita (University of Chicago, USA)
34. Fleischer-Heininger, Carolin, Research Associate (Ludwig Maximilian University of Munich, Germany)
35. Flüchter, Winfried, Professor for Human Geography Emeritus (University of Duisburg-Essen, Germany)
36. Forrest, Stephen, Dr., Senior Lecturer, Japanese Language and Literature (University of Massachusetts Amherst, USA)
37. Fritsch, Lena, Dr., Curator (Ashmolean Museum of Art and Archaeology, University of Oxford, U.K.)
38. Fujitani, Takashi, Chu Professor of Asia-Pacific Studies and Professor of History (University of Toronto, Canada)
39. Fukuoka, Maki, Dr. (University of Leeds, U.K.)
40. Fukuzuwa, Hiroomi, Dr., Researcher (Free University of Berlin, Germany)
41. Garon, Sheldon M., Professor of History and East Asian Studies (Princeton University, USA)
42. Germer, Andrea, Professor of Japanese Studies (University of Düsseldorf, Germany)
43. Gleiter, Jörg, Professor of Architecture (Technical University of Berlin, Germany)
44. Gordon, Andrew, Professor of History (Harvard University , USA)
45. Gössmann, Hilaria, Professor of Japanese Studies (University of Trier, Germany)
46. Gramlich-Oka, Bettina, Professor (Sophia University, Japan)
47. Grouth, Catherine, Professor (National School of Landscape Architecture, Lille, France)
48. Guth, Christine, Dr., Head Curator Emerita (Royal College of Art/Victoria and Albert Museum, U.K.)
49. Hayashi, Toshio, Professor (Sophia University, Japan)
50. Hayek, Matthias, Assoc. Professor (University of Paris-Paris Diderot, France)
51. Hein, Laura, Harold H. and Virginia Anderson Professor of History (Northwestern University, USA)
52. Hijiya-Kirschnereit, Irmela, Professor of Japanese Literature and Cultural History (Free University of Berlin, Germany)
53. Hiramatsu, Ryuen, Assoc. Professor (University of East Asia, Japan)
54. Hirano, Katsuya, Assoc. Professor of History (University of California, Los Angeles, USA)
55. Hopf, Anja, Assoc. Professor (Niigata University, Japan)
56. Horiuchi, Annick, Professor of Japanese Studies (University of Paris-Paris Diderot, France)
57. Horvat, Andrew, Professor by Invitation (Josai International University, Japan)
58. Hoshino, Mitsuko, M.A., Artist (Heidelberg, Germany)
59. Hughes, David W., Professor Emeritus, Research Associate (SOAS, University of London, U.K.)
60. Ikeda, Shun, Independent Scholar (Australian National University, Australia)
61. Inoue, Miyoko, Lecturer of Japanese (Dalarna University, Sweden)
62. Jack, James, Assist. Professor (Yale-NUS College, Singapore)
63. Jelinek, Martie, M.A., Independent Scholar (U.K.)
64. Jesty, Justin, Assoc. Professor of Asian Languages and Literature (University of Washington, USA)
65. Johnson, David T., Professor of Sociology (University of Hawaii at Manoa, USA)
66. Joos, Joel, Professor (University of Kochi, Japan)
67. Kaminski, Eva, Assist. Professor for Japanese Studies (Jagiellonian University, Krakow, Poland)
68. Kingston, Jeffrey, Professor, Director of Asian Studies (Temple University, Japan)
69. Kinski, Michael, Professor of Japanese Studies (University of Frankfurt, Germany)
70. Kirchberger, Jana, Independent Scholar (Germany)
71. Koch, Franziska, Assist. Professor of Global Art History (University of Heidelberg, Germany)
72. Kornicki, Peter, Professor of Japanese Studies Emeritus (Cambridge University, U.K.)
73. Koschmann, J. Victor, Professor of Japanese History and Asian History Emeritus (Cornell University, USA)
74. Krebs, Gerhard, Dr., Independent Scholar (Germany)
75. Krings, Leon, Researcher (University of Hildesheim, Germany)
76. Kuroda, Tamio, Professor Emeritus (Dokkyo University, Japan)
77. Kyburz, Josef, Professor (Collège de France, France)
78. Lenz, Ilse, Professor Emerita (Ruhr University of Bochum, Germany)
79. Lévy, Christine, Maitresse de conférences (University of Bordeaux, France)
80. Lim, Jie-Hyun, Professor of Transnational History (Sogang University, South Korea)
81. Lindemer, Philip, Dr., Researcher (Waseda University, Japan)
82. Linhart, Sepp, Professor of Japanese Studies Emeritus (University of Vienna, Austria)
83. Marotti, William, Assoc. Professor of History (University of California, Los Angeles, USA)
84. McNeill, Dougal, Dr., Senior Lecturer (Victoria University of Wellington, New Zealand)
85. McPherson, Sean H., Assoc. Professor of Art History (Bridgewater State University, USA)
86. Meier, Thomas, Professor of Archaeology (University of Heidelberg, Germany)
87. Miller, Mara, Dr., Visiting Scholar (University of Hawaii, USA)
88. Minami, Asuka, Professor (Sagami Women’s University, Japan)
89. Mitsuyama-Wdowiak, Kiyoko, Independent Scholar (SOAS, University of London, U.K.)
90. Morris-Suzuki, Tessa, Professor Emerita (Australian National University, Australia)
91. Narangoa, Li, Professor of Japanese and Mongolian History (Australian National University, Australia)
92. Nornes, Markus, Professor of Asian Cinema (University of Michigan, USA)
93. Notehelfer, Fred, Professor of Japanese History Emeritus (University of California, Los Angeles, USA)
94. Oikawa, Shigeru, Professor Emeritus (Japan Women‘s University, Japan)
95. Otsuki, Grant Jun, Dr., Lecturer in Cultural Anthropology (Victoria University of Wellington, New Zealand)
96. Pasca, Roman, Assist. Professor (Kyoto University, Japan)
97. Pfeifer, Matthias, Assoc. Professor (University of Shizuoka, Japan)
98. Picone, Mary, Assoc. Professor (School for Advanced Studies in the Social Sciences, Paris, France)
99. Pizziconi, Barbara, Dr., Reader in Japanese Applied Linguistics (SOAS, University of London, U.K.)
100. Platz, Anemone, Assoc. Professor (Aarhus University, Denmark)
101. Pulverer, Bernd, Dr., Chief Editor (The EMBO Journal, Germany)
102. Pushakova, Anna, Independent Researcher (Russia)
103. Quenzer, Jörg B., Professor of Japanese Studies (University of Hamburg, Germany)
104. Reynolds, Jonathan, Professor of Japanese Architecture and Visual Culture (Columbia University, USA)
105. Richter, Steffi, Professor of Japanese Studies (University of Leipzig, Germany)
106. Rots, Aike, Assoc. Professor in Asian Studies (University of Oslo, Norway)
107. Ruperti, Bonaventura, Professor of Japanese Studies (Ca‘ Foscari University of Venice, Italy)
108. Sakai, Cécile, Professor of Japanese Studies (University of Paris-Paris Diderot, France)
109. Sakai, Naoki, Goldwin Smith Professor of Asian Studies (Cornell University, USA)
110. Sand, Jordan, Professor of Japanese History (Georgetown University, USA)
111. Sasamoto-Collins, Hiromi, Dr. (University of Edinburgh, U.K.)
112. Schäfer, Fabian, Professor of Japanese Studies (University of Erlangen-Nuernberg, Germany)
113. Scheid, Bernhard, Dr. (Austrian Academy of Sciences, Austria)
114. Schlichtmann, Klaus, Dr., Independent Scholar (Japan)
115. Schlombs, Adele, Dr., Director (Museum of East Asian Art, Cologne, Germany)
116. Schmitt, Uwe, Independent Journalist (Germany)
117. Schneiss, Paul, Pastor Emeritus (German East Asia Mission, Germany)
118. Schulz, Evelyn, Professor of Japanese Studies (Ludwig Maximilian University of Munich, Germany)
119. Schumacher, Kevin, Researcher (Ludwig Maximilian University of Munich, Germany)
120. Seifert, Wolfgang, Professor of Japanese Studies Emeritus (University of Heidelberg, Germany)
121. Shores, Matthew, Dr., Lecturer in Japanese (University of Sydney, Australia)
122. Smith, Jordan A. Yamaji, Assoc. Professor of International Humanities (Josai International University, Japan)
123. Smits, Ivo, Professor of Arts and Cultures of Japan (Leiden University, Netherlands)
124. Spremberg, Felix, Dr. des., Research Associate (University of Tübingen, Germany)
125. Sprotte, Maik Hendrik, Dr., Researcher (Germany)
126. Staemmler-Fricke, Birgit, Dr. (University of Tübingen, Germany)
127. Steineck, Raji, Professor of Japanese Studies (University of Zurich, Switzerland)
128. Stinchecum, Amanda, Research Associate (Harvard University , USA)
129. Suzuki, Yui, Affiliate Assoc. Professor (University of Maryland, USA)
130. Takahashi, Shin, Dr., Lecturer in Japanese Studies (Victoria University of Wellington, New Zealand)
131. Takii, Kazuhiro, Professor (International Research Center for Japanese Studies, Japan)
132. Tamanoi, Mariko, Professor of Anthropology (University of California, Los Angeles, USA)
133. Tamura-Foerster, Naoko, Dr., Lecturer in Japanese (University of Bonn, Germany)
134. Tomii, Reiko, Dr., Independent Art Historian, Co-Director (PoNJA-GenKon, USA)
135. Tonomura, Hitomi, Professor of History and Women’s Studies (University of Michigan, USA)
136. Topolski, Lucien, M.A. (Trinity College Dublin, Ireland)
137. Trede, Melanie, Professor of East Asian Art History (University of Heidelberg, Germany)
138. Ueno, Takao, Professor (Wako University, Japan)
139. van Ewijk, Aafke, Research Associate (Leiden University, Netherlands)
140. Volk, Alicia, Assoc. Professor of Japanese Art History (University of Maryland, USA)
141. Vollmer, Klaus, Professor of Japanese Studies (Ludwig Maximilian University of Munich, Germany)
142. von der Schulenburg, Stephan, Dr., Curator (Museum Angewandte Kunst Frankfurtr, Germany)
143. Wang, Aileen June, Dr., Curator (Marianna Kistler Beach Museum of Art, Kansas State University, USA)
144. Watanabe, Toshio, Professor for Japanese Arts and Cultural Heritage (University of East Anglia, U.K.)
145. Weiß, David, Assist. Professor (Rikkyo University, Japan)
146. Welker, James, Professor (Kanagawa University, Japan)
147. Weth, Reinhard R., Government Director, retired (Germany)
148. Wetzel, Michael, Professor of Media Studies Emeritus (University of Bonn, Germany)
149. Williams, John, Professor (Sophia University, Japan)
150. Winschermann, Toshi, M.A., Independent Scholar (Germany)
151. Winther-Tamaki, Bert, Professor of Art History (University of California, Irvine, USA)
152. Wittern, Christian, Professor (Kyoto University, Japan)
153. Wöhr, Ulrike, Professor (Hiroshima City University, Japan)
154. Yamada, Shoji, Professor (International Research Center for Japanese Studies, Japan)
155. Yamamoto-Masson, Nine, M.A., Researcher (University of Amsterdam, Netherlands)
156. Yasutake, Rumi, Dr. (Konan University, Japan)
157. Yokoo, Ayaka, M.A., Independent Scholar (Japan)
158. Yoshioka, Shiro, Dr., Lecturer in Japanese Studies (Newcastle University, U.K.)
159. Zohar, Ayelet, Assoc. Professor of Art History (Tel Aviv University, Israel)
160. Zöllner, Reinhard, Professor of Japanese and Korean Studies (University of Bonn, Germany)

This statement represents the opinions only of those who have signed it and not of any organization or institution.

Japanese Translation | 日本語訳



German Translation | Deutsche Übersetzung

Erklärung zur Unterstützung der Künstler, Wissenschaftler und Journalisten Japans

Die Unterzeichneten sind zutiefst besorgt über die gegenwärtigen Bedrohungen der Meinungsfreiheit in Japan und fordern die japanische Regierung und alle ihre Behörden auf, die notwendigen Schritte zu unternehmen, um die in der japanischen Verfassung verankerten Rechte von Künstlern, Journalisten und Wissenschaftlern zu wahren . Insbesondere fordern wir die Agentur für kulturelle Angelegenheiten nachdrücklich auf, ihre Entscheidung, die Unterstützung für die Aichi-Triennale 2019 zurückzuziehen, zu widerrufen. Es kann nicht akzeptiert werden, dass in einer demokratischen und pluralistischen Gesellschaft Politik und Verwaltung populistischen Forderungen und sogar terroristischen Drohungen nachgeben, anstatt Kunst und Wissenschaft gegen die Feinde der Meinungsfreiheit zu verteidigen. Wir sind zutiefst besorgt darüber, dass das Vertrauen in japanische offizielle Institutionen inzwischen in einem Maße erschüttert wurde, das die Zusammenarbeit zwischen ausländischen Künstlern, Wissenschaftlern und Institutionen mit japanischen Regierungsinstitutionen gefährdet.
Wir fordern auch die japanische Regierung und die politischen Führer Japans nachdrücklich auf, ihren gesetzlichen Verpflichtungen nachzukommen, um Hassreden und jede andere verbale oder nonverbale Bedrohung des Geistes der internationalen Zusammenarbeit, Versöhnung und des Friedens zu bekämpfen.
Schließlich fordern wir die japanische Regierung und alle verantwortlichen Politiker nachdrücklich auf, allen Künstlern, Wissenschaftlern und Journalisten Japans bei ihrem Streben nach Meinungs- und Meinungsfreiheit uneingeschränkte und öffentliche Unterstützung zukommen zu lassen, um die freie und offene Diskussion politischer Fragen in Bezug auf Frieden und Völkerverständigung zu fördern sowie den Ruf Japans als sicherer Hafen von Freiheit, Vielfalt und Kreativität wiederherzustellen, welche die wahren Quellen des menschlichen Wachstums und der menschlichen Entwicklung sind.


On September 26, Japan’s Agency for Cultural Affairs, a subsidiary of the Ministry of Education, Culture, Sports, Science and Technology, published its decision to withdraw all financial support from this year’s Aichi Triennale, one of the largest international art festivals in Japan. The decision was made after the exhibition displayed at the Triennale had to be closed down after only three days, on August 4, 2019, because violent threats including calls announcing acts of terrorism had been made to the Triennale office alleging that, among others, the display of a „comfort woman“ by a South Korean artist violated the feelings of the Japanese people. The mayor of Nagoya city demanded that public financial support be withdrawn from the Triennale. The Agency had originally consented to support the Triennale with 78 million Yen (c. 724,000 USD).
The Agency now claims that the organizers of the Triennale,
„with regard to the exhibition, despite recognizing important facts that threaten the safety of the exhibition hall, including visitors, and the smooth operation of the business received notification of the decision of eligibility [for support by the Agency] without declaring those facts. Even after submitting a grant application form, they did not declare these facts until they received an inquiry from the Agency for Cultural Affairs at the subsequent screening stage.“ (Source).
The Minister of Education has since denied that the (highly rare) decision to withdraw support was related to the contents of the exhibition and thus could qualify as an act of censorship. (Source)
However, the Governor of Aichi has called this decision „a grave violation of article 21 of the Japanese constitution“ which guarantees the freedom of expression, and has announced to take court action. (Source)
Japanese artists and media have also been highly critical of the Agency’s decision. The Asahi Shimbun commented that „internationally, it may invite distrust and contempt for Japanese cultural administration.“ (Source) The Mainichi Shimbun demanded that „political power should not be able to select exhibition contents and works through subsidy decisions.“ (Source)

full text at: 、椹木野衣の連載

椹木野衣 美術と時評87:表現の不自由・それ以前 –– 小早川秋聲、山下菊二、大浦信行の<2019年>をめぐって

考えてみると、小早川と山下、この二人が同時期にメモリアルな(と言ってよい)個展を徒歩圏で開いていたのには、必ずしも偶然とは言えない時代の符号があったように思う。というのも、この展示になんとしても行かねばと思い立ったのは、日本画廊のホームページに、「今年、2019年は彼の“生誕100周年”にあたります。『新ニッポン物語』『生活戦線』等の代表作品から、これまであまり展示する機会の無かった油彩作品も展示しております」とあるのを見つけたからだ。そのとき、私は目を疑った。かつて作家の野間宏は山下を「戦後の洋画家十名のうち上位」に数え、最大限の賛辞を寄せていたが、2019年になってもそのことに否定の余地はまったくない。というより、戦後美術の問題を共有する者にしてみれば、まったく自明のことではないか。少し前の話になるが、1993年2月に『芸術新潮』が誌面で美術評論家や学芸員を対象に行った「特集・アンケート 戦後美術ベストテン! 1945–1993」でも、山下の「あけぼの村物語」(1953年)は第7位に選ばれている(ちなみに1位から6位までは以下の通り。1・河原温「浴室」シリーズ、2・三木富雄「耳」、3・河原温「日付絵画」シリーズ、4・関根伸夫「位相-大地」、5・白髪一雄「天異星赤髪鬼」、鶴岡政男「重い手」。山下の同作は荒川修作、斎藤義重、李禹煥らと並んで7位)。

ひとけがない山下の傑作が並ぶ展示場を独占して、だからこそ私はひどく不安な気持ちになった。そもそも、この展覧会のインフォメーション自体を、ほとんど見かけない。私がここにたどり着くことができたのも、誰かがソーシャル・メディアで日本画廊の入り口に出された会期情報を写真で投稿してくれたからだ。ウェブに主軸を置くようになり、注目に値する企画を網羅するようになった『ウェブ版美術手帖』や、この『ART iT』でも取り上げられていない。ましてやNHKの「日曜美術館」で特集が組まれることはない。本当のことを言えば、私はNHKには今回の日本画廊での展覧会を機に山下の生誕100周年特集を組んでほしかった。いささか唐突に特集が組まれ、会期中は画廊に人足が絶えないほどの名誉回復が計られた小早川展とはある意味、対照的だ。いったい、私の知らないあいだに、なにか重大な時代の推移でもあったのだろうか。私は山下展の会場に少なくとも1時間はいたと思う。ちょうどお昼時で、外の通りは道行く人たちでいっぱいだった。しかしそのうちの誰一人として、画廊の扉を開けてなかに入ってくるものはいなかった。

いずれにせよ、「表現の不自由展・その後」が再開されるうえでの最大のネックとなるのは、少なくとも外見的は何の変哲もない「少女像」ではなく、山下の系譜を引くと考えられる、昭和天皇の肖像写真をコラージュした自作「遠近を抱えて」を焼く場面を含む大浦による映像作品=新作「遠近を抱えて Part II」(2019年)の方なのではないかと思う。たんにショッキングというだけではない。天皇の肖像が焼かれることへの感情的な抵抗は当然、天皇を頂点とする国家秩序=国体が毀損されることへの反発に基づいている。とするなら、「少女像」への度を越した忌避感情もまた、同じヒエラルキーから発している。そのような差別意識の源泉に天皇制があるからこそ、見た目にはごく凡庸な少女像までもが憎悪の対象になるのだ。とするなら、天皇制を問題としない今回の展示中止への検閲論議、表現の自由をめぐる応答や対話には、根源的には効力がないことになる。たとえば、ふたたび「公共放送」であるNHKが今回の一件に取材して放送した「クローズアップ現代『表現の不自由展・その後』中止の波紋」(2019年9月5日放送)に「少女像」は当たり前のように映されるけれども、「遠近を抱えて」はただの一度も映されない(これは検閲なのか、それとも自主規制なのか。もしくは編集権だろうか?)。


・大浦信行「遠近を抱えて 1994–1995」ビデオ作品、1時間27分、1995年
 *本作は「不自由展」に出された「遠近を抱えて Part II」の事実上の「Part I」にあたる。

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ART FAIR TOKYO Highlights: YAMASHITA Kikuji, NISHI Tatsu, ORIMOTO Tatsumi, YANAGI Yukinori, Matisse and First Lady ABE Akie
ART+CULTURE 2018年3月28日

石鍋博子-山下菊二-亜 真里男
(Collectors) One Piece Club representative ISHINABE Hiroko 石鍋博子 and me in front of YAMASHITA Kikuji’s 山下菊二 masterpiece “Three-Dimensional Photo” 「立体写真」 1971
Bi-lingual explanations about YAMASHITA Kikuji 山下菊二, Saihodo Gallery 彩鳳堂画廊
Work by YAMASHITA Kikuji 山下菊二 at Saihodo Gallery 彩鳳堂画廊 booth
山下菊二 「出会い」1971
This work by YAMASHITA Kikuji 山下菊二 “Encounter” 「出会い」1971 hadn’t been displayed at the booth
YAMASHITA Kikuji 山下菊二 Saihodo Gallery 彩鳳堂画廊
Works by YAMASHITA Kikuji 山下菊二 at Saihodo Gallery 彩鳳堂画廊 booth
YAMASHITA Kikuji 山下菊二 at Saihodo Gallery 彩鳳堂画廊
Works by YAMASHITA Kikuji 山下菊二 at Saihodo Gallery 彩鳳堂画廊 booth

BT 美術手帖、INTERVIEW – 2019.10.4
「あいちトリエンナーレ2019」では、脅迫FAXや事務局の処理能力を超えた電凸などが一因となって、「表現の不自由展・その後」が展示中止へと追い込まれた。また、SNSでは作品の一部のみが切り取られ拡散されるという状況も見られた。このような時代において、国際芸術祭や美術館はどのようなリスクヘッジを取るべきなのか? また美術館の「公共性」とはどうあるべきなのか? 「あいちトリエンナーレのあり方検証委員会」で委員を務めた青山学院大学客員教授・岩渕潤子に話を聞いた。






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2019年10月5日 up-date:


あいちトリエンナーレ実行委ら、「表現の自由」に関する国際フォーラムを開催 2019年10月5日
あいちトリエンナーレ実行委ら、「表現の自由」に関する国際フォーラムを開催 2019年10月5日

美術手帖 BT NEWS / HEADLINE – 2019.10.5

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トリエンナーレ 展示再開・補助金交付とりやめ 専門家は
2019年10月4日 18時45分



補助金交付とりやめ 東京芸大の教員が抗議声明




2019/10/8 up-date:


5. Protocol
Writing and submitting an artist-led draft of the Aichi Protocol, advocating for freedom of expression from an artist’s perspective. Working in collaboration with advisors and other art professionals, we will construct a program of concrete measures and principles to be ratified by Japanese art institutions in the future. The artist-led draft of the Aichi Protocol will work toward protecting the rights of artists and the autonomy of curators in a way that reflect how art festivals and public museums in Japan operate under a system of structural self-censorship.

【20191007 国会代表質問】 もはや狂気的 立民・枝野「あいちトリエンナーレに金出せ。天皇陛下の肖像画を燃やして何が悪い?日本人ヘイトの何が悪い?」
Oct 7, 2019

中村 かさね (Kasane Nakamura)

あいちトリエンナーレ 津田大介氏の思い「感情の対立を“情け”で乗り越えられるか


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Aichi Triennale Call Center

Call center will handle protests after closed art exhibit restarts
THE ASAHI SHIMBUN October 7, 2019

The artists will begin to take phone calls at the J Art Call Center (050-3177-4593) on Oct. 8, they said. The call center, which will be open from noon to 8 p.m., will be operated until Oct. 14.
The artists decided to set up the call center as officials of the Aichi prefectural government, which was a major member of the organizing committee of the triennale, were forced to deal with the deluge of harsh telephone complaints. They decided to talk with future callers directly.
“We wanted to create a space in which different opinions create an echo,” said producer Akira Takayama. “I want to talk directly (with protesters).”
The international forum was held by the organizing committee of the triennale and an Aichi prefectural government’s committee to examine reopening the suspended exhibition.
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表現の不自由展 きょう午後再開 警備強化 金属探知機も
2019年10月8日 0時09分








TAV GALLERYのディレクターの佐藤栄祐です。2014年のTAV GALLERYの開廊以降、60本以上の企画展示をキュレーターや批評家、編集者と共に開催し、これまでに200名以上のアーティストと携わってきました。私は平成5年生まれ。26歳。国内最年少のギャラリストとして、現在の状況に対し、自分なりの見解を述べる必要を感じています。
1. コマーシャルギャラリーは民間の検閲機関である
2. 買ったら殺される危険性のある作品を、誰が購入しますか?
3. 政治化するアーティスト主導/中心のマーケットは成長しない
4. 検閲が復活し得る未来
5. コレクティブと技術的な方法論を整える
6. オルタナティブは、新しい資本主義経済との付き合い方を模索する
7. 最後に
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2019/10/9 up-date:

700 enter lottery to view reopened art exhibit at Aichi Triennale
October 8, 2019 at 16:20 JST

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NAGOYA–Sixty people picked by lottery on Oct. 8 were allowed to view an art exhibit that sparked protests and terrorist threats, as well as cries of censorship after it was suspended two months ago.
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Organizers of the festival decided on a lottery system to select the 30 visitors each who were allowed to view the reopened exhibit for one hourlong showing and a 40-minute showing on Oct. 8.
By 1 p.m., more than 450 people were lined up to enter the drawing for the first showing that started at 2:10 p.m. In the end, 709 people had applied for one of the 30 spots.
Various security measures were taken for the reopened exhibit, including the use of a metal detector at the entrance. The lottery winners were also required to sign statements promising not to photograph any parts of the exhibit or post messages about the displays on social media.
Prospective visitors were also given a copy of an interim report by a committee looking into why the exhibit was suspended.
Fifteen other artists, citing the right to freedom of expression, withdrew their own exhibits from the triennale as an act of protest over the suspension of “After ‘Freedom of Expression?’” They put their exhibits back on display on Oct. 8.
Nagoya Mayor Takashi Kawamura staged a sit-in protest at the center to oppose the reopening.
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再開された「不自由展」では何が行われたのか? 《遠近を抱えてPartⅡ》の上映会も

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The New York Times
Japan Reopens Exhibit Shut Over ‘Comfort Woman’ Statue
By The Associated Press
Oct. 8, 2019

TOKYO — A Japanese exhibit dedicated to censored art reopened Tuesday after being forced to close because of threats over a statue symbolizing World War II Korean “comfort women” sexually abused by Japanese soldiers.
The exhibit, part of the Aichi Triennale 2019 art festival, features a “comfort woman” statue and other works previously censored because of themes considered taboo in Japan, such as wartime history and Emperor Hirohito’s role in the war.
The “Freedom of Expression?” exhibit reopened Tuesday, a week before the end of the 75-day festival in central Japan, following demands from artists and others.
It was shut three days after opening in August in response to protests against the statue as Tokyo’s relations with Seoul deteriorated over history and trade tensions. An arson threat escalated fears.
Security checks at the exhibit are extra tight, with no bags allowed inside the exhibit hall where the statue of a seated girl in traditional Korean dress, a small yellow bird perched on her shoulder, is located.
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Restart of controversial exhibit at Japan art festival comes after both sides compromise
October 9, 2019 (Mainichi Japan)

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All of these measures are a far cry from those that were taken at the initial outset of the “After ‘Freedom of Expression?'” exhibit. But they were measures that Gov. Omura, who feared the resumed exhibit coming under fire online, had insisted upon. Meanwhile, organizers of the “After ‘Freedom of Expression?'” exhibit insisted on the freedom of visitors to post and spread their photos of the display via social media. Organizing committee member Arai Hiroyuki declared that “taking photos and posting them on social media is the right of viewers.” In particular, a statue of a girl symbolizing wartime “comfort women” is a work that is meant to be appreciated by sitting next to her, seeing her at her eye level, and taking a photo with her. To the argument that “freedom of expression” extends to those who are viewing the artwork, one Aichi prefectural official disclosed, “What the artists are thinking is of a different dimension from what we bureaucrats are thinking. We’re not happy at all about the exhibit being resumed.”
Talks to resume the display continued on and off behind the scenes of an international forum on “freedom of expression” that was held on Oct. 5 and 6. Both sides knew they could not afford to delay a resumption of the exhibit any longer, nor did they want to leave a record of having given in to violence. The organizers of “After ‘Freedom of Expression?'” begrudgingly accepted the “oath” that visitors would be required to submit, which they had objected to, saying that it would limit the rights of the visitors. Gov. Omura, who had strongly requested that the statue of the girl symbolizing so-called comfort women be switched to a panel display instead of the actual sculpture, citing safety reasons, agreed to have the sculpture on display in its original form.

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A panel titled “New moves regarding ‘censorship'” points out that in addition to “conventional censorship,” in which those in power directly control or regulate, there is “modern censorship,” in which artists exercise self-restraint as a result of overwhelming complaints and threats. In response to voices asking that politics not be brought into art, a panel titled “Points of contention regarding ‘freedom of expression'” responds, “It’s doubtful that there is any form of expression that is unrelated to politics.” The panels also introduce visitors to the trends of art festivals and “comfort women” statues around the globe that squarely confront the world’s social problems and political tensions.
An Aichi prefectural committee that investigated the display’s cancellation sought that there be an “educational program” for visitors, but the exhibit’s curator team has made a commitment to reflect the lessons learned from the cancellation in the display. “There’s only one week left, but we hope people will come see the exhibit,” a team member said.
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2019年10月9日 お知らせ


2019/10/10 up-date:

Tetsuya Ozaki, September 11

「あいちトリエンナーレ2019 情の時代」豊田編

2019/10/11 up-date:

BT – NEWS / HEADLINE – 2019.10.10

1. 芸術家や美術館は、いかなる公権力による圧力からも、自由に芸術活動を行うことができ、その創造性・自主性は最大限尊重されなければならない。
2. 展覧会主催者は、未来に責任を持ち、その作品を第三者の暴力から防ぐことを責務とする。
3. 芸術への公的支援および助成は、支配を意味しない。またその受給は、服従を意味しない。


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2019/10/14 up-date:

(Shingo Jinno 2019/10/10 非常に明快で論理的な批判。)

(憲法季評)「不自由展」の補助金不交付 文化専門職に判断委ねよ 蟻川恒正


Kazuhiro Soda
→あいちトリエンナーレ 補助金不交付問題で表出した「公共の解体と私物化」 | 時事オピニオン | 情報・知識&オピニオン imidas – イミダス

あいちトリエンナーレ 補助金不交付問題で表出した「公共の解体と私物化」


芸術祭「あいちトリエンナーレ 」の「表現の不自由展・その後」で物議を呼んでいる映像作品「気合い100連発」。




ReFreedom_Aichi --あいトリ2019を「表現の自由」のシンボルへ
現在100%/ 目標金額10,000,000JPY


NEWS / HEADLINE – 2019.10.13

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東浩紀 AZUMA Hiroki
東浩紀 AZUMA Hiroki

2019-04-11 15:26:50

2019/10/30 up-date:

screenshot from Mainichi Newspaper website
screenshot from Mainichi Newspaper website

河村名古屋市長「納得できる形に」 作家「政治家は文化に口を出さない方が」 公開討論
会員限定有料記事 毎日新聞2019年10月14日

Meiro Koizumi @ facebook, 2019/10/21


BT NEWS / HEADLINE – 2019.10.22


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督 あかり, FORBES JAPAN フォーブスジャパン編集部


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Huang Yong Ping, Provocateur Artist Who Pushed Chinese Art in New Directions, Has Died at 65
BY Alex Greenberger POSTED 10/20/19
Huang Yong Ping, the Chinese artist whose propensity for provocation allowed him to address taboo subjects in China and beyond with audacity and wit, has died at 65.

Huang was deeply invested in rethinking how galleries and museums ought to function. In doing so, he laid waste to longstanding notions that the art world, both in China and far beyond it, should be separate from the rest of the world, and that Western artists worked in a zone that somehow existed outside the political demands of people around the globe.

The Asia-Pacific Journal
Japan Focus
Freedom Fighting: Nagoya’s censored art exhibition and the “comfort women” controversy
David McNeill
October 14, 2019
Volume 17 | Issue 20 | Number 3
Article ID 5320

An exhibition of censored artwork in Nagoya city triggers a furious debate on artistic expression.
The artistic director of the Aichi Triennale 2019 had few illusions when he planned an exhibition called “After Freedom of Expression”. By choosing items that poked painfully at some of Japan’s most tender spots – war crimes, subservience to America and the status of the imperial family – Tsuda Daisuke wanted to “provoke discussion” on the health of freedom of expression in the country. But what followed, he says, was “beyond our expectations”.
In the three days after the exhibition opened on August 1st at the Aichi Arts Center in Nagoya, the organizers were besieged with hundreds of angry phone calls and emails.

At least the tactical reopening answered criticism that Tsuda and the organizers were in over their head in August when they decided to poke Kawamura and his ilk in the eye. Tsuda acknowledged that the exhibition was “extremely challenging” in a “society rife with intolerance” towards different opinions and attitudes. “It is precisely because of the value we set on freedom of expression that we worked so hard to overcome numerous difficulties and realize this exhibition,” he said. The row comes roughly a decade after similar controversy over the documentary “Yasukuni”, directed by Li Ying (with the help of Yen 7.5 million in funding from the Japan Arts Council). More recently, “Shusenjo”, a crowd-funded documentary on the comfort women issue, directed by Miki Dezaki has also been violently threatened The result in both cases was that many more people have seen these films than if their critics had gone instead to the local pub for a moan with their friends. It’s unclear if the same will apply in this case. Once the exhibition ends on October 14, the censored art may be returned to storage, waiting for a curator brave enough to risk the consequences of another public viewing. 

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BT NEWS / HEADLINE – 2019.10.16
7月31日 宮田亮平文化庁長官が「第一報」を受ける(予算委で証言)
8月3日 菅官房長官「適切に対応していきたい」と発言
8月3日 「表現の不自由展・その後」展示中止
8月18日 あいちトリエンナーレのあり方検証委員会「中間報告」について文化庁が進捗確認
9月19日 あいちトリエンナーレのあり方検証委員会「中間報告」について文化庁が進捗確認
9月20日 「日本博を契機とする文化資源コンテンツ創成事業」26件のうち「あいちトリエンナーレ2019を除く」25件を交付決定
9月24日 不交付決定を起案
9月25日 あいちトリエンナーレのあり方検証委員会「中間報告」を発表
9月26日 不交付決定

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Hikaru Fujii via facebook 2019/10/22


Contour Biennale 9: Coltan as Cotton, Mechelen

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Following Censorship Controversy at Aichi Triennale, Artists Discuss Why They Removed Their Work—and Then Reinstated It
BY Maximilíano Durón POSTED 10/14/19
Regina José Galindo
I am very satisfied with the fact that an agreement has been reached to open the censored exhibition which obviously results in the opening of our works as well. In my case, I had worked with many people and for a long time, and I think it was important to talk about the situation of migrants in Japan. I hope that the situation regarding the payment of the subsidy will be solved positively, because I do not quite understand the scope that this dire decision could have.

Aichi Triennale Artist Minouk Lim Speaks Out on Art World Censorship and How the Exhibition Could Be ‘Reborn’
BY Maximilíano Durón POSTED 10/14/19
I do not want to lose hope and feel strongly that Aichi can be reborn as a symbol of expressive and creative freedom. I felt such a strong sense of solidarity and connection with the 11 participating artists, including Japanese artists, who chose to withdraw their works in protest. I hope that this experience will not promote fear, but rather breed strength and security in anyone’s ability to effect change. This act of protest is not about Nationalism, or about being a Japanese artist or a Korean artist, but about the inherent right to find freedom in the act of creation.

Aichi Triennale ends after heated row over freedom of expression
October 15, 2019
As the exhibits closed at 5 p.m. at the Nagoya City Art Museum in the prefectural capital, Daisuke Tsuda, the artistic director of the Aichi Triennale, emerged with about 20 curators and volunteers to send off the visitors.
Crowds had gathered at the Shikemichi and Endoji temple area to start a countdown to the 8 p.m. closing of the entire event. They tossed Tsuda and Aichi Governor Hideaki Omura into the air several times in celebration.
“We could end it peacefully,” a relieved-looking Tsuda told the applauding crowd. “It became a ‘minus’ once, but we aimed to come out even. Then we could finish it with a ‘plus.’”

After much debate, the exhibit reopened on Oct. 8. Interest was so high for the exhibit that a lottery system had to be used to distribute the limited tickets.
For the last viewing, 1,207 people lined up to enter a drawing for 80 tickets.
The organizer held three drawings on the day. A total of 3,166 people applied for a chance to win one of the 240 tickets.
“I thought it was a lurid illustration of today’s suffocating Japanese society, where people are unable to fully exercise the freedom of expression and freedom of art,” Omura said.
Nagoya Mayor Takashi Kawamura, deputy chairman of the triennale’s organizing committee, led calls to close the exhibit. He even staged a sit-in at the site when “After ‘Freedom of Expression?’’’ was reopened.
Omura described Kawamura’s performance as a “totally unforgivable act.”
“What he did was a reckless attempt that menaced the safety of the prefectural government’s employees and put them at risk,” Omura said. “He cannot get away with it by just saying ‘sorry.’”

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Arts council can pull funding for works deemed ‘inappropriate’
By ERIKO CHIBA/ Staff Writer
October 18, 2019

The Japan Arts Council has changed its policy to allow it to withdraw public financial support for arts projects and cultural works it deems “inappropriate in light of the public interest.”
The council amended its guidelines as of Sept. 27, one day after the Agency for Cultural Affairs decided to withdraw its subsidy to the Aichi Triennale art festival after public outrage arose over an “After ‘Freedom of Expression?'” exhibition.
The council is an incorporated administrative agency set up under the jurisdiction of the agency.
Nonetheless, council officials said the decision to change its funding guidelines, “had nothing to do with the case of the Aichi Triennale.”
However, critics fear the council’s revision might invite more interventions by the government into the arts.
The Japan Arts Council selects recipients of two major funds to promote the arts and culture, Geijutsu Bunka Shinko Kikin and Bunka Geijutsu Shinko-hi Hojokin.
The former is funded with about 54.1 billion yen ($498 million) from the central government and about 14.6 billion yen in donations from the private sector. The latter is funded by the Agency for Cultural Affairs.
In fiscal 2019, the council has alloted about 1 billion yen for the former. About 6.8 billion yen was set aside for the latter.


“The council has not specified what the definition of ‘public interest’ is and who will make such a judgment and how,” Katayama said.
“I am concerned if political neutrality will be guaranteed,” he added, pointing out that the council as an independent administrative agency should, in principle, maintain a certain distance from government.
“But in actuality it hasn’t acted as such, evidenced by the fact that the former culture ministry bureaucrat (Kawamura) is heading the council. I think this revision is dangerous,” Katayama said.
In the recently completed Aichi Triennale, the “After ‘Freedom of Expression?’” generated controversy for a sculpture symbolizing “comfort women” who were forced to provide sex to Japanese troops before and during World War II.
The exhibit also included a video showing portraits of Emperor Hirohito (1901-1989), posthumously known as Emperor Showa, and others being burned.
The Agency for Cultural Affairs withdrew about 78 million yen in subsidies for the triennale because of “inappropriate procedural matters” on the part of its organizing committee.

慰安婦問題扱った映画 上映中止に抗議 2作品上映取りやめ
2019年10月30日 4時30分
若松プロダクションは、「KAWASAKIしんゆり映画祭」が慰安婦問題を扱った映画「主戦場」の上映を中止したことに抗議して、「止められるか、俺たちを」と「11.25 自決の日~三島由紀夫と若者たち」の映画祭での上映を取りやめることを決め、29日、東京都内で記者会見を開きました。






アップデート 2019/11/3:




full text:


NHK 10月31日 09時56分





制限と独断の「綱引き」 現代美術家・会田誠さん







full text:

江川紹子 | ジャーナリスト
10/30(水) 17:02



なぜ途中で辞任しなかったのか? 津田大介「表現の不自由展・その後」展示中止から再開まで、激動の75日間を語る
津田大介インタビュー #1
by 辻田 真佐憲、2019年11月7日

quote 引用:

津田 再開にあたっては検証委員会も重要なプレーヤーになりました。中間報告については納得いかない部分もありますが、検証委員会が立ち上がり、異例の速さでヒアリングと調査をしてくれたからこそ、再開にこぎつけられた部分は大きいと思います。知事、事務局、検証委員会、不自由展実行委、不自由展の参加アーティスト、そしてトリエンナーレの参加アーティストたちがプレーヤーとして存在し、それぞれの思惑も違っていました。




※1 9月25日に発表された検証委員会の中間報告を受けて、大村知事は会見で今後、表現の不自由展実行委員会やアーティストとの協議から津田氏を外し、あいちトリエンナーレ実行委員会などが担当する方針を示した。
full text:

2019/11/29 up-date:

(The case in German Arts, between state funds and curatorial freedom)

Auf Hochtouren

Souverän hat Rein Wolfs hat die Bundeskunsthalle geleitet. Ab 1. Dezember übernimmt er das Stedelijk Museums. In Bonn kein Nachfolger in Sicht


Macht ja den Spielraum der Bundeskunsthalle aus, dass Sie nicht nur staatstreu sind, sondern auch Außenseiter, auch Anti-maler vorstellen.

RW: Es geht auch hier letztendlich um die Freiheit der Kunst. Darum ist es mir immer gegangen. Das ist heute keineswegs selbstverständlich. Wir setzen uns Gegenwind aus. Zum Beispiel Michael Jackson – Sollten wir selbst die Rezeption Jacksons ausstellen? Dürfen wir das? Ich habe klar gesagt, dass wir das zeigen müssen! Wir müssen die Kunst, die über ihn entstanden ist, zeigen. Bei Kippenberger stellt sich die Frage für mich gar nicht, ob das Staatskunst ist oder eben Anti-Staatskunst. Sie ist nicht relevant für die Entscheidung, ob man ihn ausstellt oder nicht. Wir beziehen unsere Zuwendungen aus dem Etat der Beauftragten für Kultur und Medien, Monika Grütters. Aber deshalb machen wir doch längst keine linientreuen Ausstellungen. Auf gar keinen Fall.

2019/12/22 up-date

国家と文化芸術の関係は~作家 平野啓一郎さん
2019年11月5日 18時07分







「あいちトリエンナーレ2019」(8月1日~10月14日)の閉幕直前に開設された高山明によるプロジェクト「Jアートコールセンター」。電凸攻撃による「表現の不自由展・その後」の展示中止を受け、アーティストらが電話対応するというこの取り組みからは何が見えたのか? 高山に話を聞いた。

<くらしデモクラシー>「トリエンナーレ」文化庁補助金不交付 抗議で外部委員辞任、林教授
2019年11月21日 朝刊 Tokyo Shimbun, Tokyo Web
国際芸術祭「あいちトリエンナーレ2019」に対する文化庁の補助金不交付決定を巡っては、文化庁の事業に携わる三人の委員が相次いで辞任し、抗議の意思を表明した。このうち、日本の現代アートの国際評価向上を目指す「文化庁アートプラットフォーム事業」を運営する「日本現代アート委員会」副座長だった林道郎・上智大教授(美術史)に、不交付の国際的な影響などを聞いた。 (聞き手・望月衣塑子)
<はやし・みちお> 1959年生まれ。上智大国際教養学部教授(近現代美術史・美術批評)。文化庁の「アートプラットフォーム事業」を運営する「日本現代アート委員会」副座長を、補助金の不交付決定が報じられた後、9月30日付で辞任した。同事業は、日本における現代美術の持続的発展と国際的な理解の推進を目指し、国境を超えた関係者のネットワーク形成、翻訳事業、データベース構築などに取り組むもの。


2019年11月17日(日) 午前6時10分(35分


署名サイト「」は、2019年の「Changemaker Award 部門賞」でカルチャー賞として文化庁補助金不交付撤回のキャンペーンを選出した。


Review panel says controversial Aichi art festival had ‘many faults’
December 18, 2019 (Mainichi Japan)

Controversial art festival with ‘comfort women’ statue had ‘many faults,’ says Aichi review panel

The Aichi Triennale Had a Lot of Problems. A New Government Report Reflects on What Went Wrong



“トリエンナーレ”検討委「津田芸術監督に権限偏り」運営体制見直し等指摘 津田氏は「責任の押し付け」

2019年12月18日 お知らせ



In a similar context the following news appeared from Vienna (Austria)

会田誠 AIDA Makoto in The Asahi Shimbun 2019-11-7, english
会田誠 AIDA Makoto in The Asahi Shimbun 2019/11/7, English, screenshot

“According to embassy officials, certification for the exhibition was given in January for a series of events related to the 150th anniversary of diplomatic ties between Japan and Austria.
The embassy sent a letter to exhibition organizers saying the retraction was made because the event did not match the conditions for promoting friendly ties and deepening mutual understanding between the two nations.
Foreign Ministry officials in Tokyo stressed that the decision was made by the ministry as a whole, and that the retraction was based on a “comprehensive judgment” about the exhibition.
The official in charge explained that certification allows organizers to include a logo showing that an event is supported by the Japanese government.
Local embassies decide on certifications. The embassy in Vienna had certified about 200 different events.
But the official said both the ministry and embassy received a number of inquiries after the exhibition opened, leading to the review by embassy staff.”
full text at:


The Japanese Embassy in Austria Has Withdrawn Support for a Show That Includes Controversial Japanese Artists
Some of the artists in the show also participated in the censored Aichi Triennale.
artnet Sarah Cascone, November 6, 2019

In Vienna, it’s unclear which works triggered Japan’s decision to rescind its approval, but the exhibition’s official description notes that it “will feature some of the most prominent and active artists from Japan who confront the limits and freedoms of political-sociocritical art.”
Potentially contentious works include Makoto Aida’s work The video of a man calling himself Japan’s Prime Minister making a speech at an international assembly, in which the artist plays a parodic version of Japanese Prime Minister Shinzo Abe, apologizing for wartime aggression against China and Korea in broken English. 
“Japan Unlimited” is on view at MuseumsQuartier Vienna, Museumsplatz 1, Vienna, Austria, September 26–November 24, 2019.

2019年12月06日 Huffington Post
「日本は二流国家に落ちちゃったな、と外国にみられる…」 美術家の会田誠さんが永田町で嘆いた理由






full text:

Huffington Post 2019/12/4
“首相ビデオ”は「反日的」? 会田誠さんが「ネトウヨは、僕にとって出来の悪い後輩」と語る理由
自身のビデオ作品を出品していたオーストリアでの展覧会「Japan Unlimited」。日本大使館が「公認取り消し」したことで大きな話題を呼んでいた。
南 麻理江

full text:

up-date 2020/1/10


作田 知樹
Arts and Lawファウンダー/事務局


full text:

2020/9/30 up-date

screenshot from the Mainichi Shimbun
screenshot from the Mainichi Shimbun

Japan regrets new Korean ‘comfort women’ statue set up in Berlin
September 29, 2020
TOKYO (Kyodo) — Japan regrets the recent installation in Berlin of a statue of a girl symbolizing Korean women who were forced to work in Japanese wartime military brothels, its top government spokesman said Tuesday.
Chief Cabinet Secretary Katsunobu Kato said at a press conference that the statue unveiled on Monday in the German capital is not in line with Japan’s “stance,” in an apparent reference to Tokyo’s desire to build future-oriented ties with Seoul.
A civic group in Germany with South Korean ties played a key role in the statue’s installation, according to the Korean Council for Justice and Remembrance for the Issues of Military Sexual Slavery by Japan, which helped the project financially.
“We will approach various parties involved toward the removal of the statue,” Kato said, adding that the government will also seek to gain understanding of its position from the international community.

It is the third such statue erected in Germany. While the first two were installed on private land, the latest one was placed along a street in the capital with permission from authorities.
full text:

2020/10/14 up-date:

ベルリンの少女像 地元当局「当面設置認める」今後の対応検討
2020年10月14日 5時57分






Berlin allows ‘comfort women’ statue to remain for time being
October 14, 2020
BERLIN/SEOUL (Kyodo) — Reversing an earlier order to remove a statue symbolizing Korean women in Japanese wartime military brothels, authorities in central Berlin said Tuesday they will allow the installation to remain for the time being.

The Mitte district in the German capital said it hopes to explore a plan for Japan and South Korea to reach a compromise on the display. The installation of “comfort women” statues outside South Korea, in addition to those placed near Japanese diplomatic facilities in Seoul and Busan, has been a source of tension between the two Asian countries.

On Thursday, the Mitte district announced it had rescinded approval for the statue erected last month and called for its removal by Wednesday, amid objections from Tokyo.

Following the decision, a pro-South Korean civic group in Berlin lodged a protest with local authorities and filed a petition with a Berlin court to suspend the district order.

In South Korea, a group of 113 politicians including lawmakers submitted a letter to the German Embassy in Seoul on Tuesday, expressing regret and concern over the district’s move last week.

A group of about 200 people including Koreans also gathered in front of the statue in the Mitte district and voiced opposition to its removal.

In revoking its approval for the display, the district had argued that the statue was related to a conflict between two states, with district head Stephan von Dassel saying that such an installation in Germany was not appropriate.

Issues stemming from Japan’s 1910-1945 colonial rule of the Korean Peninsula, including reparations for wartime labor, have hampered the building of friendly ties between the two Asian neighbors.

Japan maintains that the two countries already settled wartime issues when they sealed a bilateral agreement in 1965, while many in South Korea believe that Tokyo has not repented enough for its militarist past, including the comfort women issue.

2020/11/3 up-date:

screenshot from the Mainichi Newspaper website, courtesy common sense
screenshot from the Mainichi Newspaper website, courtesy common sense

Japan explains ‘comfort women’ stance in German after statue set up
November 3, 2020

TOKYO (Kyodo) — Japan’s Foreign Ministry has issued a document in German explaining its stance on the issue of “comfort women” after a statue symbolizing Korean women in Japanese wartime military brothels was erected in Berlin by a pro-South Korean civic group despite Tokyo’s objection.
The document, posted on Oct. 21 on the ministry’s website, refutes the allegations that the women were “forcefully taken away” by the Japanese wartime military and government authorities, noting that cannot be verified by any of the historic records that Tokyo has identified, while asking people in Germany not to use the expression “sex slaves.”
The ministry, which had already made such a document available in English, said the expression “contradicts the facts” and this point was confirmed with the South Korean government in a 2015 agreement between the two Asian countries.
The issue has long been a source of tension between Japan and South Korea.
The Mitte district in the German capital said in October it would allow the installation of the statue for the time being and that it hopes Japan and South Korea can reach a compromise on the display.
Some members of Japan’s ruling Liberal Democratic Party have urged the government to step up efforts to convey its stance on the issue and said that it was Tokyo’s failure that the statue ended up established in Berlin.
Such statues have been increasingly set up by South Korean civic groups, including ones near Japanese diplomatic compounds in Seoul and Busan.
Issues stemming from Japan’s 1910-1945 colonial rule of the Korean Peninsula, including reparations for wartime labor, have hampered the building of friendly ties between the Asian neighbors.
Japan maintains that the two countries settled their wartime issues when they sealed a bilateral agreement in 1965, but many in South Korea believe that Tokyo has not repented enough for its militarist past, including the comfort women issue.

up-date 2021/2/3

80% of collected signatures in governor recall campaign in Japan ruled ‘invalid’
February 2, 2021


NAGOYA — The Aichi Prefectural Election Administration Commission announced on Feb. 1 that about 80% of some 430,000 signatures collected in a campaign to recall Gov. Hideaki Omura are believed to be invalid as they are suspected to have been gathered illicitly.
Following its investigation, the commission is considering filing a criminal complaint over the matter on suspicion of a violation of the Local Autonomy Act.
The campaign, held between August and November 2020, was led by Katsuya Takasu, head of Takasu Clinic cosmetic surgery, and was supported by Nagoya Mayor Takashi Kawamura, in response to Gov. Omura’s handling of a featured exhibition in the 2019 Aichi Triennale international art festival, which sparked controversy for displaying works including one that showed portraits of Emperor Showa, the posthumous name of Emperor Hirohito (1901-1989), being burned.
The move required some 860,000 signatures to call for a referendum in the prefecture to recall the governor, but the campaign fell through after collecting about 430,000. In normal circumstances, there will be no investigation into the legitimacy of the collected signatures in an unsuccessful recall bid, but the Aichi election commission had been checking all signatures since December last year, based on “a tip that suggested there was misconduct” in the campaign.
As a result, the commission concluded that some 360,000 signatures, or 83%, “could not be recognized as valid.” Based on handwriting and other information, 90% of those nullified signatures are suspected to have been written by the same people. Furthermore, 48% had signatures of those who were not in the voter registration list and 24% had the names of trustees who were not in the elector registration. The commission has not interviewed those involved in the campaign, including those whose signatures were collected.
The Aichi election commission plans to report problems and challenges regarding the recall system to the Ministry of Internal Affairs and Communications based on the latest investigation in a bid to make improvements.
Gov. Omura told a regular press conference on Feb. 1 that he was “appalled” to learn the commission’s finding and added, “It’s a very serious situation that shakes the foundations of Japan’s democracy.” Meanwhile, Nagoya Mayor Kawamura also strongly requested fact-finding efforts, saying during a news conference on the same day, “Recall campaigns are vital political movements for citizens. It should not be tolerated if (the campaign to recall the governor) violated that.”

Source spills beans on recall bid against Aichi governor
An individual involved in a campaign to oust Hideaki Omura as governor of Aichi Prefecture admitted to being part of a team that applied their fingerprints to help forge hundreds of thousands of signatures submitted in the failed effort.

The person said the fraudulent activity was carried out at the behest of a senior campaign team official to make signatures lacking the conventional imprint of a “hanko” seal appear legitimate.

The source who made the admission during an interview with The Asahi Shimbun requested complete anonymity.

The prefectural election administration commission announced in February that 83 percent of 435,000 or so signatures submitted to local election authorities were suspected of having been forged. It filed a criminal complaint with the police against suspects unknown.

During the interview, the source said that team members were tasked with sorting out signatures collected by municipality from Oct. 25 to around Nov. 4, the deadline for submissions.

Team members worked at the campaign office in Nagoya’s Higashi Ward and other venues in the city, including a public facility.

The source explained that team members were asked to separate signatures that lacked the imprint of a “hanko” seal or were incomplete for other reasons.

Takahiro Tanaka, a former Aichi prefectural assembly member who headed the recall campaign secretariat, gave directions to apply finger seals to incomplete signatures, which was then diligently carried out, the source said.

The source used different fingers to help ensure each signature looked different and avoid arousing suspicion of the illegal activity.

As lists drawn up for each local election administration commission are required to show residents of the same city, the source also searched for signatures on other lists to post them to the appropriate list.

Team members worked in shifts, and the source joined them for several days.

“My fingers were all red” from dipping them in ink to apply finger seals, the individual added.

After expressing concerns about the illegal nature of the assignment, Tanaka told the person not to fret as each local election administration commission would be in charge of handling the matter.

“I was in total disbelief that this kind of thing was being actually carried out,” the person said.

Asked for comment, Tanaka vehemently denied the account provided by the source, calling it “absolutely impossible.”

On April 16, the Nagoya-based Chunichi Shimbun reported that Takeshi Yamada, a senior official of the recall campaign secretariat and who resigned the day before as a member of the Tokoname municipal assembly, admitted that he applied his finger seals to large numbers of signatures.

Yamada said he did so at Tanaka’s direction.

But Tanaka steadfastly refused to confirm Yamada’s version of events.

“I will provide explanation as soon as an opportunity becomes available,” he said.

Prefectural police searched the secretariat on suspicion of breaching the Local Autonomy Law last month and are continuing to question Yamada on a voluntary basis.

The recall campaign was initiated by Katsuya Takasu, a cosmetic surgeon well known for denying the Holocaust and the Nanking Massacre, and others with right-wing leanings who were upset by Omura’s decision to allow the Aichi Triennale 2019 international art festival to be held.

Its “After ‘Freedom of Expression?’” exhibit featured a sculpture meant to symbolize “comfort women” forced to provide sex to wartime Japanese military personnel.

A video presentation with scenes of burning portraits, including one of Emperor Showa (1901-1989), was also displayed.

Nagoya Mayor Takashi Kawamura, who criticized Omura’s handling of the art festival, supported Takasu’s recall effort.
Signature collecting began in August 2020 and the petitions were submitted in November.


Aichi residents shocked to find their names on recall petition
March 2, 2021


A 26-year-old resident of Toyota, Aichi Prefecture, was stunned and dismayed when he found his name on a recall petition against Aichi Governor Hideaki Omura.

“What in the world is this?” the man exclaimed.

He said, at first, it seemed “so far-fetched.”

The man made an information disclosure request to the city’s election administration commission regarding the recall campaign, and obtained a copy of the petition in December 2020.

Each sheet of the petition had room for 10 signatures. The man’s name was clearly handwritten eighth from the top on one of them, along with his address and date of birth. All the information was accurate, and it included a fingerprint.

“I know nothing about it,” he said. “This is not my handwriting.”

His handwriting on an application form for the information disclosure shows it is roundish and that he writes at a bit of an angle. The numbers were written in such an orderly manner that it was as if he used a typewriter.

But the handwriting on the petition looked like it was scribbled.

He has yet another convincing explanation for why the signature cannot be authentic: He is on the opposite end of the political spectrum.


The recall campaign was started by people upset at Omura’s support of a controversial art exhibit, which was part of the Aichi Triennale 2019, that intended to test the boundaries of freedom of expression.

The exhibit included a sculpture symbolizing wartime “comfort women” and a video that showed scenes of a portrait of Emperor Showa, the posthumous name of Emperor Hirohito, being burned. It triggered protests and threats of terrorist acts. The organizer was forced to shut down the exhibit in three days.

The resident of Toyota said he saw the exhibit as soon as it opened on Aug. 1, 2019.

“I found the idea behind the exhibit interesting,” the man said.

He found it intriguing enough that he joined a counterprotest by a citizen’s group that demanded the exhibit reopen.

But the controversy never died down. In the summer of 2020, Omura’s political enemies, such as Nagoya Mayor Takashi Kawamura and others known for believing in revisionist history, launched the petition to recall the governor.

This man was again working on the other side, though, handing out leaflets to his neighbors, asking them not to support the recall campaign.

There is no way he would have signed the petition, he said.

After November, he started noticing that people who volunteered in the recall campaign were warning on social media that some of the signatures should not be counted as valid.

That drove him to find out if his signature has been forged in the recall campaign.

His hunch proved right, but he has no idea how the campaign obtained his personal information.

“It’s creepy,” he said. “All of my family members are scared, too.”

Part of the signature list was not submitted to local election administration commissions in the end because campaign volunteers noted cases in which multiple signatures were forged by a single person.

Many of those cases were found in the city of Owariasahi.

The recall campaign volunteers who checked the list of signatures on Nov. 4, 2020, before submitting them to the city’s election administration commission concluded that some of the handwriting was identical across multiple entries.

The Asahi Shimbun has obtained a copy of the unsubmitted signature list.

The 42-page list contained the names, addresses and birthdates of 295 people. But there appeared to be only two different handwriting styles.

All the name entries were either missing a hanko seal or were accompanied by fingerprints.

The petition campaign closed on Oct. 25, but most of the name entries on the list were dated Oct. 26. Some dates were corrected to Oct. 25.

Seven residents in a particular district signed their names in a row.


A 24-year-old man saw the list and confirmed the information there was his.

“Wow, this is real. The information is correct,” he said–except that the man never signed the petition. “I was not involved in the petition. Who forged it? It is scary.”

A 71-year-old woman saw the list and found her 40-year-old son’s name on it.

“I swear this is not his handwriting,” she said.

She immediately called her son about the signature.

“I didn’t sign it,” he told her. “I’m not lying.”

It remains inexplicable to the mother.

“How in the world did they get his name, where he lives and when he was born all correct? And why?”

Another woman in the district confirmed one of the names on the list is her 33-year-old older brother.

“But my brother lives out of the prefecture. He hasn’t been here for a while,” she said.

Whoever wrote his name made a critical mistake: One of the kanji characters in the man’s name was wrong.

“It’s totally bogus, isn’t it? There is no way he spells his own name wrong,” she said.


Leaders of the petition campaign have also said they are puzzled by the forgery scandal.

“My guess is that the criminal bought an original master list of names from a dealer in Tokyo,” Kawamura said on March 1.

Kawamura has admitted that he re-used a list in the Omura recall campaign containing more than 30,000 names his support group had previously used in the 2010 campaign to recall the Nagoya city assembly.

Kawamura said he was justified in doing so.

“It is OK to use it for a political activity,” he said.

Omura meanwhile pointed to the Nagoya mayor at a news conference for being unable to explain the falsified signatures.

“Mr. Kawamura and others bear a responsibility to investigate what has occurred and explain the findings,” Omura said. “To my disappointment, they have yet to offer a clear-cut explanation.”

EDITORIAL: Aichi recall fraud deals harsh blow to principles of democracy
March 13, 2021


Nagoya Mayor Takashi Kawamura, front, and cosmetic surgeon Katsuya Takasu call on voters to sign a petition to recall Aichi Governor Hideaki Omura in October.

The scandal over falsified signatures on a petition to recall Aichi Governor Hideaki Omura still leaves many questions unanswered. This outrageous act, which surfaced nearly six weeks ago, is tantamount to an attempt to fabricate public opinion.
Nagoya Mayor Takashi Kawamura and others who led the recall campaign have effectively denied any direct responsibility, leaving the public leery about how the operation was carried out.
It is imperative to get to the truth about these false signatures and clarify the responsibility of those involved.
When asked about the scandal at a municipal assembly session earlier this month, Kawamura said he was not “the leading figure” in the campaign although he admitted to having provided “enthusiastic support.”
He also said he failed to notice the mass of forged signatures, adding that the episode had left him feeling “miserable.”
We do not believe that Kawamura himself instructed or gave his approval for this fraudulent act. But he clearly did more than ask for signatures on the street.
Kawamura led a successful campaign to recall the Nagoya municipal assembly 11 years ago. He provided data on 34,000 or so individuals who had served as signature-gatherers for that campaign to organizers of the petition to remove the Aichi governor from office.
Eleven years ago, Kawamura promised not to disclose or provide the data to any third party.
Kawamura’s action may not be necessarily deemed illegal because political organizations are not covered by the personal information protection law. But if nothing else, he broke a public promise.
Kawamura’s deep involvement in the recall campaign does not allow him the luxury of evading his political and moral responsibility, given that such a huge number of falsified signatures were submitted to the election administration commission.
It emerged that part-time workers were hired to copy names from unspecified lists and other materials onto forms for the recall petition.
An advertising company was paid to gather those individuals at the request of a recall campaign official, according to a senior official of that firm. A document specifying the order also existed, according to the official
It is appalling to contemplate that some of those involved all but contend that “no actual damage” was done on grounds the recall did not materialize. They are grossly mistaken.
People whose names were used without their knowledge feel profound indignation and anxiety.
The names used for falsified signatures included those opposed the campaign. Many people feel uneasy about how not only their names but also their addresses and birthdates were provided to the campaign.
There are suspicions that lists of members of neighborhood associations and PTAs were leaked. There is a growing reluctance among many people to take part in such activities or provide their names to such organizations.
The trend could serve as a disincentive for people to take part in local community events, thereby hampering voluntary activities by local residents. Resorting to widespread forgery is an extremely harmful act from this point of view.
Did those who perpetrated the fraud feel safe, thinking that their actions would not come to light if the campaign did not succeed and there was no inspection by the election administration commission? What was their aim in trying to bolster the number of signatures even to the extent of forging them?
The public wants and deserves to know answers to the many remaining questions.
–The Asahi Shimbun, March 13


愛知知事リコール署名「83%に不正の疑い」 県選管が調査結果、刑事告発も検討


2021/4/25 election up-date


河村氏、求められる「成果」 4期目の名古屋市政、難しいかじ取り
毎日新聞 2021/4/25





up-date 2021/4/26

「はめられたんですよ」「電話かけ直さない」 高須院長が河村市長に絶交宣言















Kawamura wins Nagoya mayoral race despite Aichi recall scandal
April 26, 2021
NAGOYA–Incumbent Takashi Kawamura emerged victorious from the Nagoya mayoral election, defeating three rookie challengers on April 25, despite his support for the scandal-plagued Aichi governor recall campaign.
Kawamura, 72, the leader of his own regional political party, Genzei Nippon, overcame criticisms for backing the recall petition against Aichi Governor Hideaki Omura after it emerged that the petition was filled with fraudulent signatures.
He said this would be his last mayoral election, which means his final term will be defined over whether he can create strong policies to effectively handle the novel coronavirus crisis.
Turnout was 42.12 percent, compared to the 36.90 percent in the previous election.
Voters cast their ballots on several main issues, including Kawamura’s support of the discredited governor recall campaign and his economic measures amid the COVID-19 pandemic.
Kawamura, who has tremendous name recognition, found himself under siege from all parts of the political spectrum during the campaign.
He was effectively locked in a one-on-one battle with Toshiaki Yokoi, 59, a former Nagoya city assembly member.
Yokoi was endorsed by the ruling Liberal Democratic Party (LDP), its coalition partner, Komeito, the main opposition Constitutional Democratic Party of Japan (CDP) and the Democratic Party for the People (DPP), and voluntary support from the Japanese Communist Party (JCP) and the Social Democratic Party (SDP).
“Political parties from the LDP to JCP are together trying to defeat me,” Kawamura said. “The election is a battle between citizens and the assembly member’s cooperative association, which opposes salary reduction.”
One of Kawamura’s main policies has long been salary reductions for lawmakers and assembly members.
Just before the mayoral race started, Kawamura said that he would complete his fourth term and indicated he would not attempt to return to the Diet, and then devoted himself to his re-election bid.
He recognized that the public had cast a critical eye over his support for the recall petition. At one point, when Kawamura was giving a speech on the street, someone from the audience asked him, “What will happen to the recall petition?”
The election administration commission announced on Feb. 1 that 83 percent of 435,000 signatures are invalid, after it determined through a penmanship analysis that they were written by only a limited number of people.
On Feb. 16, two newspapers reported that a contractor with a Nagoya advertising company hired a large number of individuals through a job placement agency to copy the names and addresses of registered voters in Aichi Prefecture and forge their signatures on the petition to recall the governor.
Kawamura promised voters he would “thoroughly investigate” the forgery incident and said the buck stops at his door to reveal the truth, but he was constantly put on the defense over the matter.
Yokoi tried to leverage this to his advantage, describing the incident as the “biggest” issue of the election. He said it constituted a crisis of democracy.
“The suspicion toward him (Kawamura) is increasing,” he said.
Kawamura denied any involvement with the forgeries and reiterated that the office for the petition campaign group was responsible.
“I was not aware of the crime because it was done behind my back,” he said. “I am sorry for the people who have actively campaigned.”
When it came to his handling of countermeasures against the novel coronavirus, he underscored the success of Nagoya’s contact-tracing efforts, done by about 500 staff in local health centers.
“There is only a small number of infected patients in Nagoya,” he said.
But Yokoi criticized that there is a lack of health care coordination occurring between jurisdictions at a time of crisis.
“(Kawamura) is always confronted with the central, prefectural and neighboring municipal governments and is failing to coordinate hospital beds with them,” Yokoi said.
On the economic recovery front, when Yokoi promised to give gift certificates worth 20,000 yen ($186) to residents, Kawamura pledged a 30 percent shopping-point return on purchases made inside the city through cashless payment. The two debated how effective and fiscally responsible their stimulus proposals were.
While Yokoi received support from the major political parties, he lacked name recognition among voters and could not manage his own organization well.
Kawamura was able to win the day despite the unprecedented headwind against him, but he leaves the contest on shaky footing. He is unlikely to improve his relationship with the city assembly or Aichi’s governor, and he is expected to face an uphill battle in managing the city administration over the next four years.

Up-date 2021/5/19:

津田大介 @tsuda


愛知県知事のリコール署名偽造 事務局長の指示で次男が準備か
2021年5月19日 18時56分











1 佐賀で何が?





2 誰が指示をしたのか?






3 一転 “書き写しの認識あり”




田中事務局長 “行使の責任はある”











名古屋市長 責任感じるも関与否定 愛知知事リコール署名偽造で
2021年5月19日 18時05分



















愛知県知事のリコール署名偽造事件 事務局長が書き写し実演か
2021年5月20日 5時24分








up-date 2021/8/4

Continuing: That’s How “Nagoya” Looks Like….