文献一覧: 山下晃平 (著者)

3 0 0 0 OA 日本国際美術展(東京ビエンナーレ)再考 : 戦後日本における国際美術展の志向性

著者: 山下晃平
出版者: 美学会
雑誌: 美學 (ISSN:05200962)
巻号頁・発行日: vol.65, no.2, pp.85-96, 2014-12-31

This paper takes up "The Japan International Art Exhibition (Tokyo Biennale)", the first international art exhibition in Japan after World War II. In 1952, the first exhibition was held under the auspices of the Mainichi Newspaper Company until 1990, the 18th and last one. During this time, the exhibition was unavoidably changed by the movements of the times, but we still haven't researched the exhibitions as a whole. In this paper, I have collected numerous articles about "The Japan International Art Exhibition" and have inspected the intentions. As a result, we can find that the intentions shifted from the "across-the-board" structure in the situation of "Japan against the World" to "avantgardism". In being avant-garde, on the other hand, the exhibition had the condition of a conservative bias against the West's sense of values or systematized "Art". With the end of the binomial opposition of "Japan and the World", "simultaneity" was then pursued, but the "Japanese originality" in the "simultaneity" wasn't pursued carefully enough. Japan has continually been involved with the problem of institutionalizing "Art" and the context peculiar to Japan since modern times. After WW II it was again expressed in this international exhibition. Thus, "The Japan International Art Exhibition" formed an important stage for criticism in Japan after WW II and has always relativized the position of "Japan".

2017-05-18 23:11:14
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https://ci.nii.ac.jp/naid/110009900249

1 0 0 0 OA 「JAPAN牛窓国際芸術祭」考八〇年代、野外美術展の変質と「美術」制度

著者: 山下晃平
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.68, no.1, pp.73-84, 2017 (Released:2018-07-01)

This paper explores the Japan Ushimado International Art Festival held in Okayama Prefecture, Ushimado, every year from 1984 to 1992. Few papers have focused on the Japan Ushimado International Art Festival; moreover, art historians have not comprehensively explored this festival. Therefore, I clarify this festival as a whole through materials collected and interviews of the concerned people. I also examine this art historical condition. Furthermore, I consider the transformation and context of open-air art exhibitions in the 1980s Japan. Analyzing the content every time, we can determine the response to the problem of the transformation of “art work” and “display,” the dilemma of traditional large-scale art exhibitions in central Tokyo, finding that Japanese warehouses (Kura) as well as hills and harbors were being transformed into spaces for this exhibition. On the other hand, this festival references Ushimado’s local culture. Thus, the transformation of “art exhibition” such as the Japan Ushimado International Art Festival reflects not only the expansion of “art” but also the problem of the institution of “art.” This perspective indicates the aspect of post-modern Japan that cannot be overlooked.