MIACA collection screening day at the video screening hut by Elaine W. Ho, in conjunction with the exhibition Can We Live (Together)
MIACA文獻庫藏品放映日－何穎雅錄像放映棚 /「假如（在一起）」聯合策劃
MIACA is pleased to share with you all a special screening from our collection this Saturday at the Oil Street Art Center. The screenings are co-hosted by the Oil Street Community Screening Hut by Elaine W. Ho, in conjunction with the current exhibition Can We Live (Together). Please stop by and take a look, between 12:00 noon and 20:00; the detailed schedule is below.
The screening includes a Japanese controversial video piece by Yutaka Tsuchiya about Yasukuni, which will be shown for the first time in Hong Kong. All other works are also premiering in Hong Kong.
《你怎樣看昭和天皇的戰爭責任？》What Do You Think About the War Responsibility of Emperor Hirohito? (1997)
日語配英文字幕，彩色，有聲，53分鐘
Japanese with English subtitles, color video with sound, 53”
土屋豊 Tsuchiya Yutaka, born in 1966, lives and works in Tokyo. He is a figurative documentary filmmaker who is sometimes referred to as a media activist. He started his art practice in 1990.
What Do You Think About the War Responsibility of Emperor Hirohito? (1997) is still a controversial piece. At Yasukuni Shrine on August 15th, 1996, the 51st anniversary of the end of War, the taboo question of whether they think that Emperor Hirohito bore some responsibility of World War II. The visitors in Yasukuni are the families of deceased and former soldiers, and we can see how they conceive the Emperor and the last World War. Tsuchiya manipulates the interviews images and old footage from the former war, juxtaposing them as media images.
Program 2 (12:00-16:50, 18:00-19:00)
"這是陽光明媚的天 It's a Sunny Day" (短片作品 shorts compilation)
featuring works by Masanobu Nishino, An Jungju, Chikara Matsumoto, Satoru Tamura, Hikaru Suzuki, Mai Yamashita + Naoto Kobayashi
日語配英文字幕，彩色，有聲，23分鐘
Japanese and English subtitles, colour and sound, 23'00
The “It's a Sunny Day” compilation video programme is comprised of eight works from the MIACA collection reflecting a sunny day with several narratives and emotions evoking personal memories from childhood. The play of children refers to Michel de Certeau’s notion on the tactics of the socially weak, outlining the everyday unconscious and repetitive or consumptive activity as a form of resistance to power and dominant regimes. "It's a Sunny Day" is curated by Hitomi Hasegawa.
Additional Screenings (to be shown upon request):
Future for Museum, Second Planet
Kevin, Yu Ebihara
Man in the Tunnel Alley, Kenji Iwaisawa
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What Do You Think About the War Responsibility of Emperor Hirohito? 《你怎樣看昭和天皇的戰爭責任？（靖國神社部份，1996年8月15日）》
Japanese with English subtitles, color video with sound, 53” 日語配英文字幕，彩色，有聲，53分鐘 (1997)
Production Company, Source: W-TV OFFICE
製作公司，片源：W-TV OFFICE
Tsuchiya Yutaka, born in 1966, lives and works in Tokyo. He is a figurative documentary filmmaker who is sometimes referred to as a media activist. He started his art practice in 1990. In 1999, his first feature film The New God won an International Critics Prize Special Mention at the Yamagata International Documentary Film Festival. TV Peep Show (2003) received awards at the International Film Festival Rotterdam, Montreal International Festival of New Cinema and the Hawaii International Film Festival. In 2012, GFP Bunny won a prize at the Tokyo International Film Festival, and was shown at many prestigious film festivals, including those of Rotterdam, Hamburg, Taipei, Singapore and so on.
In 1994, Tsuchiya used his own distribution channel to issue the video Without Television for free reproduction by audiences. In 1998 he organized the independent video distribution agency Video Act!, and he continues working today towards the expansion of the network of media activists and filmmakers. Currently, he is working as a producer, collaborating with young independent filmmakers. This year Tsuchiya produced the highly acclaimed film The End of the Special Time We Were Allowed (2014) directed by Shingo Ota.
What Do You Think About the War Responsibility of Emperor Hirohito? (1997) is still a controversial piece and has not been shown many times, even in Japan. However, the responses from the Yasukuni visitors in the piece show what the Yasukuni Shrine means to those who lived through the last World War, and how they conceive the Emperor in their minds. Tsuchiya himself remarked that this work was made to “destroy the bad feelings when he says ‘Emperor (Tennoh)’”, which is true for most Japanese people, including the young generation.
Aaron Gerow described this work in 1997:
…visitors at Yasukuni Shrine on August 15th, 1996, the 51st anniversary of the end of the war, [were asked] the taboo question of whether they think that Emperor Hirohito bore some responsibility for the tragedy of WWII. It is not surprising that most of the respondents, visiting a shrine to Japan's war dead which is more accurately a religious glorification of militaristic nationalism, say no, but Tsuchiya and his partner, using such devices as a head-held camera, let them comfortably speak their minds, gaining an interesting insight into the contemporary ideology of the emperor. Refusing to criticize them directly, Tsuchiya digitally manipulates the interviews to present them precisely as media images set against other broadcasts, a strategy which demands a viewer different from that of dominant television: one who is discerning and selective and can make up his or her own mind.
生於1966年，現於東京生活及工作的土屋豊是個紀錄片導演。土屋有些時候被視為媒體行動者。土屋的創作始於1990年。1999年，他的第一部長片《The New God》（新神）在山形國際紀錄片影展中獲得FIPRESCI特別賞。《Peep TV Show》（偷窺電視節目）（2003）更在鹿特丹國際電影節、蒙特利爾新電影電影節及夏威夷國際電影節獲獎。2012年作品《GFP Bunny》奪得東京國際電影節的獎項，更在包括鹿特丹、漢堡、台北、新加坡等多個電影節放映。
土屋在1994年開始，以其自己的發行渠道，出版錄像作品《Without Television》（無電視），並讓人自由複製。1998年，土屋成立了獨立錄像發行公司“Video Act!”。他持續地發展開拓媒體行動者網絡的工作，並一直繼續拍片。他現在亦以監製的身份與年輕的獨立電影人合作。今年，土屋就監製了太田信吾導演的《The End of the Special Time We Were Allowed》（我們被允許的時間終結），作品屢獲好評。
What Do You Think About the War Responsibility of Emperor Hirohito?
When I am asked this question, I always feel uncomfortable, especially just to say “Emperor”. I never criticize the Emperor, but I feel hesitation, discomfort and guilt.
I started this project to destroy this feeling. Why can an average citizen like me not talk about our own Emperor? An emperor who is a “symbol of a unified Japan”?
In this project, I conducted interviews at the Yasukuni Shrine on the 15th August, the day of commemoration for the end of World War II. At Yasukuni, there were many families of the deceased and former soldiers. Their words have the weight of reality. After the interviews, I was scared of the imperial system. It controls them, and it controls me. I think we should break through this system. If I feel guilty when I ask this question, it is from a position within the system where I am “unified” and “controlled”.
Chikara Matsumoto / Heavy Metal (2005) / Music: Orga-no-Lounge / 4'00"
Satoru Tamura / The Plastic Models Break into Pieces (2000) / 1'53"
Mai Yamashita + Naoto Kobayashi / Miracle (2004) / 3'13"
Hikaru Suzuki / Trauma (2004) / 1'07"
Mai Yamashita + Naoto Kobayashi / Infinity (2006) / 4’42"
The “It's a Sunny Day” compilation video programme is comprised of eight works from the MIACA collection reflecting a sunny day with several narratives and emotions evoking personal memories from childhood. The play of children refers to Michel de Certeau’s notion on the tactics of the socially weak, outlining the everyday unconscious and repetitive or consumptive activity as a form of resistance to power and dominant regimes.[1]
Masanobu Nishino’s two works from everyday life shows a peaceful trivia and the small play of artists under the sunshine.
An Jungju’s lip-synch piece also shows a comic moment from a child’s individual play-like action.
Chikara Matsumoto’s low-tech animation explores the expressions of video through hand-drawn images. Music by organ-o-rounge adds a mysterious harmony to the work.
Satoru Tamura’s plastic model piece satisfies our primitive desire to destruction.
Two pieces by Mai Yamashita + Naoto Kobayashi are the labor-intensive work of this artist couple, exploring and pursuing the simple joy and surprise of achieving something that may not hold any significance for others. At the same time, the simplicity of ideas is a part of kid’s play itself. Hikaru Suzuki’s Trauma evokes an ambiguous memory of violence in contrast to the peaceful, quiet forest landscape on a sunny day.
“It’s a Sunny Day” is curated by Hitomi Hasegawa.
上映展示、ビデオライブラリー（O.V.L. 3)と伊東宣明によるアーティストトーク Hairy Soy Source, Soap and Ten Statements for an Artist
Date: 16th and 17th May, 2014
16th May 2pm-9pm／17th May 11am-6pm
(Exhibition and library open)
アーティストトーク 伊東宣明
5月17日（土）3pm-5pm (Japanese and English translation)
入場無料
Venue: 707, Block B, Ming Pao Industrial Center, 18 Ka Yip Street, Chai Wan／
柴湾嘉業街18号 明報工業中心 B座7楼 707（上記住所をタクシードライバーにお見せになるか、MTR Hen Fa Chung 駅を出て緑色のミニバス62番に乗り、Chai Wan Industrial Buildings 柴湾工業大夏でお降りになってください。）
Once was Now, Now is Over, Yet will Come ー時間をテーマにしたタイムーベースドアートの展覧会
2013年10月31日ー11月23日
飯川雄大、八木良太
プラットフォームチャイナ、香港
Unit 601, Chai Wan Industrial Building Phase 1, 60 WIng Tai Rd., Chai Wan, Hong Kong
香港柴湾，永泰道60号，柴湾工业城第一期601单元，站台中国
+852 9768 8093
キュレーター：長谷川仁美／MIACA
飯川と八木は時間に対して芸術家として異なった方法で取り組んでいる。八木はタイムベースの媒体であるサウンドやビデオで、直接時間を操作または歪ませてみる。時間のフィジカルな記憶媒体であるCDやLPレコード、カセットテープなどをつかったインスタレーション。または代表作である“Vinyl” (2005-) では氷でつくったLPレコードで、はかない音楽を聞かせる。対する飯川は人間の時間への知覚がいかに不確実なものか、スポーツの試合などで検証する。“The Clock for Practice of Time” (2006-)では、24時間の映像により自然や都市でのゆるやかな時間の流れを実際の時間軸で表現する。
Opening reception: Thu, October 31, 2013. 6.30 – 8.30pm
Venue: Platform China (HK), Unit 601, 6/F, Chai Wan Industrial Building Phase 1, 60 Wing Tai Road, Chai Wan, Hong Kong
Opening hours: Tuesday - Saturday 11am - 6pm
2013年10月29日（火） 17:00ー19：00
Venue: Future Cinema Studio, 6F, Run Run Shaw Creative Media Center, School of Creative Media, City University Hong Kong, 18 Tat Hong Avenue, Kowloon Tong, Hong Kong
Thanks to: Dr.David Jhonston, Ariel Hung, Dr. Takuro Mizuta Lippit.
TEOR/éTica -Two case studies on architecture and fascism in the tropics セオレ／ティカ ー熱帯地域でのファシズムと建築についての２つのケーススタディ
インティ・グェレロ
2013年4月23日 19:00ー
入場無料／トロピカルドリンク、スナック付き
スプリング・ワークショップ http://www.springworkshop.org
3F, Remex Centre, 42 Wong Chuk Hang Rd., Aberdeen, Hong Kong
主催：スプリング・ワークショップ、ミアカ
MIACA screening Traces of Rational Violence 合法的な暴力の痕跡 (Traces of Rational Violenceは、HKアートフェアのVIPプログラムのひとつです。)
Date: 2012 年5月19日 土曜日 17:00-19:30
Venue: Double Happiness ダブル・ハピネス （湾仔、香港）
8F, Foo Tak Building, 365-367 Hennessy Road, Wan Chai, Hong Kong
上映作家：ロイ・ロゼン、ニール・ベロウファ、竹内公太、増本泰斗 （増本泰斗によるアーティストトークとパフォーマンスを上映後に行います）
地図：http://bit.ly/whKDvz
Supported by the Dawei Charitable Foundation, ACO books and cafe
Traces of Rational Violenceは、様々な暴力をテーマにした映像作品を選び、暴力と現代社会の関係性を身体性や公共空間、国家権力などの見地から提示することを試みた。昨年のベニスフィルムフェスティバルの受賞作品であるロイ・ロゼンのTse(Out) (2010)。レズビアンとSM、ポリティカルアクティビスト、ブードゥー教の悪魔払いと音楽の要素をひとつにした意欲作だ。ニール・ベロウファは存在しない犯罪の不可思議な痕跡を西海岸の豪華な邸宅を舞台にショートフィルムにした。Sans-Titre (2010)。増本泰斗のProtection (2011) は、警察の展覧会の検閲という国家権力によるある種の暴力をドキュメントとしてインタビューで構成したもの。当日は作家によるアーティストトークも開催する。
MIACA Monday Mingle Start!! マンディ ミングル ミアカ 始まります！
MIACA Monday Mingle #1
Monday, April 16th 2012 7pm~
at Voi Voi Rakkaus 10F, The Loop, 33 Wellington Street, Central Hong Kong
($20 or more donation will be asked)
Courtesy /Yuchiro Tamura
still from Sans-Titre 2010 (C)Neil Beloufa
