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Trees as Museum Objects : A Case Study of Trees at the National Museum of Taiwan History Park
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On the Exhibition and Application of Taiwan Hakka Cultural Museum from the Perspective of Overseas Hakka Studies
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“Art” Born from the Relationship between Artists and Non-artists:Practice of Self Select: Nairobian in Tokyo＜Special Theme : Anthropology of Collaborations and Processes : From Studies of Contemporaneous Art Practices＞
Get PDF本稿では，世界の諸都市ですれ違う通行人と筆者が衣服を交換し一時的に着
用し合うアートプロジェクト《Self Select》において，とくにナイロビ出身の
デービッド・オモンディと協働で行なった取り組みを事例に，実践者の立場か
ら，芸術家と非芸術家の協働実践およびアートプロジェクトと展示の関係性を
考察する。非芸術家であるオモンディが芸術家である筆者の立場を演じた
《Self Select: Nairobian in Tokyo》の成立には，筆者とオモンディが継続的に積
み重ねてきた時間（プロセス）が重要な働きをしていた。開かれた制作活動
は，芸術家と非芸術家互いの気づきに結びつくものの，その活動を展示する過
程では，活動の作品化は条件によっていかようにも可能であり，翻って「アー
ト」の成立には筆者とオモンディの関係性や他者への交渉プロセスそのものが
いかに要になっているかを認識した。アートプロジェクトを展示することのこ
うした違和感から，活動を特定の分野に閉じ込めないオルタナティブな作品化
の可能性および芸術のための場や観客が得にくいケニアで日常生活批判として
活動を再提示する可能性を見出してゆく。Examining the Self Select art project, by which the author and a passerby
in different cities temporarily exchange and wear each others’ clothing, as a
case study and examining the artist’s collaboration with Nairobian David
Omondi in particular, this paper presents consideration of boundary zones
between art and non-art. It also reveals the relation between art projects and
exhibitions from the standpoint of a practitioner. For the realization of SelfSelect: Nairobian in Tokyo, in which the artist and author roles are performed
by the non-artist Omondi, the considerable time that the author and Omondi
shared together （the “process”） played an important function. The open
method of production adopted for these activities engenders mutual awareness
between artists and non-artists. However, their transformation into art
becomes possible, depending on the conditions, through the process of presenting
them in an exhibition. On reflection, a tacit awareness exists of the
importance of the relationship between the author and Omondi, and of negotiation
with others when determining these activities to be “art.” From the
sense of incongruity pervading exhibitions of such art projects, one feels
potential for alternative methods of producing and presenting art unconfined
by any specific discipline. This work also reveals possibilities for renewed
presentation of activities as a critique of everyday life in Kenya, where art
spaces and audiences are not readily obtainable.departmental bulletin pape
The Social and Cultural Implications of Ramie Restoration for the Siraya
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