2020年度国際公募AIRプログラム 招聘アーティスト The selected artists of International Open Call Program 2020-2021
「2020年度国際公募AIRプログラム」には、35ヵ国を拠点とする38ヵ国のアーティスト（個人またはグループ）から101件の応募が寄せられました。熱意ある多くの応募に対し、国際的に活動するアーティスト２名とオブザーバー１名を迎えた選考会を実施し、以下２名のアーティストを招聘することを決定しました。
As an overview, Sapporo Tenjinyama Art Studio’s International Open Call 2020 counted a total of 101 applications, including both individuals and collectives. Applicants’ backgrounds vary within 38 nationalities, so as their current locations which range 35 different countries. With the board of selection comprised of two artists and an observer, all experienced in the international practice, we have selected two artists as the subjects of invitation. The selected artists are as follows;
１）日本以外のアジア圏の国と地域 From Asia outside Japan
Heejung Choi/ヒジュン・チェ (韓国、ソウル拠点）
アーティストの活動拠点であるソウルか、韓国国内のどこかで、紙ひこうきを飛ばしながら、紙ひこうきの進むままに移動する。または、遠くに向かって叫び、見えない相手に対して伝えようとする。
アーティストの行為をアーティスト自身がビデオやドローイングで記録される。現在の計画では、このプログラムでの活動を本の形式でまとめ、展示でのプレゼンテーションを予定している。
２）アジア圏以外の国と地域 １名/組 From Outside Asia
Aaron McLaughlin /アーロン・マクラフリン（アイルランド、アムステルダム/オランダ拠点）
ヨーロッパ圏内で日本人移住者（滞在者）がもっとも多い3つの都市（デュッセルドルフ、パリ、ロンドン）において、日本の文化との接点を求めていく。アーティストの移動及び遠隔での活動に、セグウエイ(Loomo）ロボットが同伴していく。
プログラム期間のアーティストの活動の記録と体験から日本の漫画家と共同制作して漫画作品を創作する。札幌にアーティストの相棒であるLoomoがアーティストの代理でやってくるかもしれない。
■ 選考委員 Selection Committee
小田井 真美 Mami Odai（さっぽろ天神山アートスタジオAIRディレクター, AIR director at Sapporo Tenjinyama Art Studio）
今年度はパンデミックの影響を受け海外を拠点とするアーティストの日本への入国が難しいため、アーティストとさっぽろ天神山アートスタジオがリモートのまま「アーティスト・イン・レジデンス（以下、AIR）」を実施することとなりました。応募者のこれまでの活動とともに、応募の際に提出を求めたプロジェクト計画（プロポーザル）について、①なかなかたどりつけない日本、札幌・北海道にどのようにコミットメントしようとしているのか、②アーティストにとっての移動、移動するということにフォーカスがされていること、③長距離の移動が制限される状況下でも、なんとかして自身が、新しい体験をしようとしていることを軸に、3段階の選考作業を行いました。選考委員の心に響く、また密度が高く、熟考されたプロジェクトの提案が多い中、最終選考では、改めて「パンデミックの現在だから、いま私たちが共有するにふさわしいアーティストの体験」という視点にたどり着きながら議論を重ねた結果、ヒジュン・チョイ/Heejung Choi、アーロン・マクラフリン/Aaron McLaughlinの２名を招聘アーティストとする選考委員の全員一致の結論へと至りました。（小田井 真美）
Given the situation of the pandemic, we have decided to conduct our 2020-2021 international residency programmes entirely as a remote programme. This means that the artists and Sapporo Tenjnyama Art Studio will work together from respective locations throughout the programme. On top of assessments on their previous works, the selection was made after reviewing submitted proposals, primarily standing on these three perspectives; 1. The committee’s evaluation of the course of action the artist chose in order to make a commitment in any form to Sapporo, Hokkaido, or Japan, that is “rather difficult to reach”, 2. Concentrations on the notion of travelling of the artist or just travelling in general. 3. Subjective and distinctive enthusiasms on making the artist themselves open and committed to the experiences of an unexplored field, even under the global travel restrictions. The selection process also was composed of three degrees of evaluation, with the final discussion substantially examining the qualification of the experience prompted within the proposal to be shared for the peculiar occasion of the time, the global pandemic. Having gone through such discussions and all the proposals that are gravitating, solid, and highly attentive, the committee finally decided on the two artists for invitation — Heejung Choi and Aaron McLaughlin.
■ コメント Comments from the Selection Committee
実際の公共交通機関に基づいた移動計画が多く見られた中、ヒジュン・チェさんは「紙ヒコーキによって導かれる」という”旅行計画”で、そのあまりのシンプルさに一気に掴まれた。また、過去作の「walking with non-human being」ではただの石を散歩させる（映像記録は逆再生されているで、実際はリードに繋がれた石を引っ張りながら本人が後ろ向きに歩いている。それも、よく見ないと逆再生とわからないほど自然な歩き方で、相当練習したと思われる）といった活動の記録であった。ともすれば一人遊びになってしまい兼ねないものの、こういった戯れが生み出すささやかなポエジーこそが、移動がままならない日々をポジティブに乗り越えるために必要な術（もしくは秘密）なのではないだろうか。（荒木 悠）
It seems to me a hopeful fact that this many of project proposals were submitted, even in this peculiar time. These varieties of proposals I believe should deserve a platform where they can be shared with artists as a record of the time. The ones I have found unconventionally intriguing as projects for a residency, were the proposals where artists try to build cooperative relationships with art organizations of their local areas as a part of their residency program, given the condition of inability to travel to Japan. The selection was made by especially inspecting how the artist understands the idea of travelling/moving. (Yu ARAKI)
アーロン・マクラフリンのプランは、昨今のコロナ禍において世界中の人々が直面しているであろう様々な問題とも地続きである。物理的な移動の制限によって、新たな他者との出会いや色々な経験の機会は奪われてしまった。私たちの傷ついた想像の力を回復するにはどうすればいいのだろうか。このプロジェクトの過程とアウトプットを通じてコロナ以後の世界を生きるための新しいアイディアが生まれることを期待する。（山本 高之)
Among all the projects proposed from different perspectives were found frequent mentions of developing diaries as a media, in the form of records of the process. While the development of creative outputs could come in greater variety once those projects might actually get realized, it has been compelling to me learning this specific tendency that more aspects, such as outreach on the world wide web or publications of zines, were represented commonly among kindred plans of execution compared to among varieties of proposals from the pre-COVID. (Takayuki YAMAMOTO)
なかなかたどりつけない・けど・、この状況を彼ら２名、応募を寄せてくれたほかのアーティストたちの熱意とクリエイティビティを動力にして、私たちの日々をゆっくり、少しづつでも前に進めようと思います。彼らの試みは、誰かが遠くでなにかやっているみたい、ということじゃなく、わたしのことあなたのことでもあるのではないでしょうか。自分と同じ時代（世界？状況？）にいるだれかの行為や思考が私のそれらとなんだかどこかで重なりあうでしょう。想像というよりもリアルな、ひょっとするとこの感覚がいま私たちに備わろうとしている新しい能力なのかもしれません。
While it undeniably is rather difficult to reach places we wish to get to, we are taking steps forward holding onto great enthusiasms and creativities of these two selected artists, alongside with many other applicants who are also undoubtedly worth being mentioned. In the core of the attempt by the selected artists is not that someone’s doing something somewhere far away from where you are, but is what also matters to you, and to me. Your subjective self will see your contemporaries’ actions and speculations cross their paths. And their world or their circumstances could be, in a way, shared by you. Sometimes that individual of your contemporary could be your own self. Functioning rather actually than speculatively, these senses apparently emerging within us could be the new ability for us to learn.
プログラムは、11月18日（水）から2021年3月5日（金）の100日間。プログラム期間中は、オンラインでプロセスの公開、交流のための機会をできるかぎりつくります。プロセスの公開のためのメディア、交流のためのツールは整い次第お知らせします。アーティストの体験をぜひ共有してください。
The programme will be conducted for 100 days through November 18th, 2020, to March 5th, 2021. Regarding this programme, we are preparing as many public events as possible– including public showcases of the process and other opportunities where artists and citizens get to have mutual communications. You will keep posted on the media and tools to be used for those occasions. Stay tuned, and be a part of the artists’ experiential pursuit of wonder.
■ 招聘アーティストのプロフィールとプロジェクト計画（英語） CVs and Project Proposals by the Selected Artists
＊プロジェクト計画はプログラム期間中のミーティング、ほかのアーティストとの交流などのプロセスで変化する可能性は十分にあります。ここでは応募の際に提出された資料(2020.10月時点）を転載しています。
・Brief Profile
1987/02/17, Seoul, Graduated Korea National University of Arts, M.F.A/ Hongik University Dept of Ceramic and glass, B.F.A.
Artist Residencies 2018-2019 777residence, Yangju, South Korea 2017 Art District_p , Busan, South Korea 2016 Gyeongnam Art Creative Center, Gyeongnam Sancheong, South Korea Awards 2020 [The 20th Seoul Korean Alt Cinema & Media arts] New Media Theater Sellected 2015 [Cheongju International Craft Biennale HANDS+] Sellected
・Proposal outline and motivation to participate in the program
It is not possible to go to Sapporo now. I will be doing my work in Korea (Gwangju, not familiar as well.). Recently I am interested in carrying out performances and recording them. This might change if I get the studio, but here are my plans that I want to do this winter time.
Fly a paper plane to the exact destination. Fly that from where we stand to the destination where we want it to land. We may need to modify the flight path or have a transit point.
I have an alternative option.
Say each other’s names far away. And try to keep talking in that situation. Like shouting ‘yahoo-’at the mountain. I want to see how far we can communicate. (It may remind the famous scene ‘Ogenkidesuka’ from Loveletter.)
I will do drawings besides these plans. Things can be changing up to situations.
・Movement plan
Firstly, I will take the time to walk around to find an exact place. I will take my camera to capture the moments and ideas. I will test by myself to prepare other stuff. And then I would like to contact people to perform. For the performers, I will make an instruction note and drawings. When all members are agreed and understood, we will go to perform. In the process, we discuss making it out.
・Methods to record/share the activity
Firstly, an instruction note and drawing to build up the schedule. Secondly, performance will be held for once. (there might be several rehearsals) And a video taking option is considered.
・Form, direction and image of the end result
It may end with making one book.
There will be a text for this job, pictures, drawings, etc. I would like to share my story with someone native woman. I felt isolated many times, not only in this covid situation. I like being alone, but sometimes I need someone to talk with. (Talking with a stranger is easier sometimes. This is not unusual, not only me. Wel, if I do this job, then finally we will not be strangers to each other.)
I would like to record this to a physically touchable object. So I am thinking of making a book for this.
・Brief Profile
Aaron McLaughlin is an artist originally from Ireland and based in Amsterdam since 2013. His practice spans multiple disciplines, comprising video, sculpture, writing and curatorial work. He often deals with themes stemming from speculative reasoning as a tool to deal with the urgent need for quixotism in times of upheaval and chaos. This includes but is not limited to connections to (post-)apocalyptic society, the disabled social mind, the Anthropocene and the end of the world. With curator and music producer Simon Boase, he runs Still Making Art (2013-present), a community art development platform that provides opportunities for emerging artists to exhibit their practice. Still Making Art has taken the forms of material sculpture, an event night, an exhibition platform and an independent foundational support structure.
・Outline of project and the motivation
For Sapporo Tenjinyama Art Studio AIR, I plan to be present at the artist-in-residence through a surrogate Segway Loomo Robot.
Loomo, of which will take up a substantial amount of my budget, will serve as an artist assistant during phase one of the residency, and as a proxy—in which I can be autonomously present in Sapporo—during phase two.
Phase One
How close can I get to Japan without actually crossing the border?
In light of this situation of misplacement, my research period will consist of going to cities in Europe with the largest Japanese populations, in which Amsterdam is strangely in the centre: Düsseldorf, Paris and London. I will travel to each of these cities for a period of twenty days each and attempt to engage solely with Japanese culture. I will reach out to Japanese diaspora of all types, creatives and non-creatives, young and old, to manifest a somewhat artificial experience of Japan in Europe. During this time I will have Loomo accompany me and thoroughly document my trip. I will also record a series of interviews with the people I meet, keep a daily written journal, and document my own perspective using film and photography.
Phase Two
Things are conspicuous in their absence.
At the start of phase two, I will send the robot (via land and sea) to the Sapporo artist-in-residence. Through using the Telepresence Avatar function I will be able to control the robot’s orientation and speech, and thus will be able to be ‘present’ and interact with the residency faculty and public of Sapporo. These moments of accessibility will be scheduled each day in correspondence the residency faculty.
During the work period, I will also be developing a hyper-real semi-autobiographical novel consisting of the content I made with Loomo during my research trip. The narrative (with the working title ‘Diaspora’) is intended to be produced as a graphic novel in collaboration with a Manga artist, as a document of the obtusity and mundanity of our current circumstances.
・Movement plan
I will spend twenty days immersing myself in Japanese culture in the cities that have the highest populations of Japanese citizens in Europe: Düsseldorf, Paris and London. I will reach out to Japanese people in these areas of all backgrounds and ages, to fabricate an experience of Japanese culture outside of Japan. During this time I will also attempt to learn Japanese from live and online classes.
Depending on travel regulations during this time, I plan to start in Düsseldorf, then travel to Paris, and then to London through the euro-tunnel. After exploring Japanese diaspora in each country, I will then decide which place I would like to return to for phase two of the trip: my studio practice.
During my movement plan, I will also be investigating the capabilities of Loomo as my proxy in Sapporo after phase one of my residency. I will discuss these ideas the Japanese people I meet, so the process of travelling interweaves with the final formality of my work. Without current access to the device it is difficult to tell the extent of its capabilities, particularly the Telepresence Avatar function over such a long distance. However there are some obvious solutions such as using video call software, in which I can instruct Loomo by voice if the Telepresence Avatar function does not work. I am also currently living with a robotics engineer who has worked for the European Space Agency that can help modifying the device for however is needed.
At the end of my movement plan, I will ship the robot (by land and sea) to Sapporo. Upon arrival the robot will act as my surrogate in which I will have the ability to be partially autonomous within, and outside, the Sapporo Tenjinyama residency.
・Methods to record/share the activity
During my entire trip I will be accompanied by my artist assistant and surrogate Loomo, who will autonomously follow me on my journey and thoroughly document the process of the hyper-reality we will be developing. I will also be recording interviews with the people I meet (which could later serve as a podcast series), keeping a daily written journal and regularly documenting my own perspective using film and photography.
I will also be recording my activity on Instagram stories which will serve as a live communication of my progress. Instagram also automatically archives this material so it will be available to use again later if required.
・Outline of production activities during the studio work period
Depending on the robots arrival, I intend to focus on my aspect of presence by proxy through the Loomo robot in Sapporo. This would include autonomously exploring the faculty of the Tenjinyama Art Studio, as well as other locations in the city. I also intend to schedule happenings such as presentations and studio visits in which I can interact with an open public. Other roles for the robot in Sapporo such as a performance, recital or even a curatorial will become apparent in the development of my research.
In parallel to this, I will collect all the content I have made during phase one in order to develop a hyper-real representation of my trip. I am interested to use this content to produce a semi-autobiographical novel in the format of a Manga (with the working title: Diaspora). Due to the scope of my budget it would not be possible to produce this graphic novel for my final presentation. However I intend to complete a draft plan of the novel within this time to be produced after the residency through a funding body based in the Netherlands of in Japan. If I believe the work has enough utility for my final presentation I would be able to produce a cover or selection of images with a Japanese Manga artist of which I can send to the residency for presentation.
・Form direction and image of the end result
A clear image of the final presentation of this work will be through the performative presence of the Loomo Segway Robot (and myself) in Sapporo. Depending on the development of my research this could involve more aspects such as a choreography or recital. Overall, the presentation will be part multimedia, part sculpture, part interactive experience, part performance, in which I will have the ability to be present at my own opening despite the current travel restrictions.
Alongside this I will be configuring a format to exhibit the draft graphic novel I will have produced during my studio work period. This may be presented in the show through a selection of initial images made with a Japanese Manga artist, or purely described through my surrogate robot. The novel will act as a hyper-real container of my experience with Japanese diaspora amidst the current pandemic; partially real, partially disconnected, a misplacement of chaotic potential during our current times of precarious uncertainty. I intend to print this work with additional funding attained in the Netherlands or Japan after this period of research, and hope to present it in Sapporo in person sometime in the future.
