added a research item
This is my translation of the essay in Japanese from the Japanese art journal Eureka, 2022, 3 Special Issue, Apichatpong Weerasethakul. This article discusses the changing tug-of-war between politics and art in Apichatpong's works upto recent film Memoria with the help of Nietzsche's unaccomplished ideal of cultural bi-cameralism.
This is the draft that is now published as part of the official catalog of the experimental installation SYNCHRONICITY by Apichatpong Weerasethakul and Tsuyoshi Hisakado, MAM 025 Project at Mori Art Museum, Tokyo, Japan. URL:https://www.mori.art.museum/en/news/2020/08/4212/index.html This essay compares four different faces of "specters" in the economy, science, comparative politics, and the contemporary art, the last of which concerns with the very installation by Apichatpong and Hisakado. ※This installation was re-presented at 2019 Venice Biennale, where this draft was the major part of its official catalog.
Tsuyoshi Hisakado is one of the rising generation of contemporary art in Japan. My text here is part of the official catalog of his solo exhibition at Toyota Municipal Museum of Art that has been newly released. This text argues the meaning of everyday landscape that Hisakado tries to transform, with his diverse aesthetic tricks and devices, into something cosmic with the effort of deforming its spatio-temporal order. the exhibition: https://www.museum.toyota.aichi.jp/en/?en the catalog: https://www.torchpress.net/en/product/1815/ his work as a whole: http://tsuyoshihisakado.com/ Tsuyoshi Hisakado also collaborated with Apichatpong Weerasethakul for the surrealistic installation, Synchronicity at Mori Art Museum, Tokyo, Japan. https://www.mori.art.museum/en/exhibitions/mamproject025/index.html My essay, Laboratorium Phantasmatum, is a critical analysis of this installation.
This is a translated lecture draft for the exhibition, Future and the Arts: AI, Robotics, Cities, Life - How Humanity Will Live Tomorrow, The Mori Art Museum, Tokyo, Japan (13 January, 2020) https://www.mori.art.museum/en/index.html The main focus of the lecture is the issues that I have discussed in my previous papers (i.e., Regimes on newness, Multiple personae etc) namely the problem of the contemporary techno-art that relies on the innovative aspects of progressive technologies that eventually bring about the rapid obsolescence of their technological elements. Focused here is the different temporalities that co-exist within the art regime that may reveal the alternative ways of regarding artwork from the existing view of evaluating it with its progressive temporality.
Art against Art is a Berlin-based art journal that pursues for post-market art practices and culture. With the reference to a couple of cases of Japanese contemporary art, this essay discusses the recent trend of rapidly diversifying practices of contemporary art, inspired by the concept of philosophical persona by G. Deleuze, with the focus on the risk of conflicting with existing territorial division of neighboring practices, as well as on the potential of artwork with its historically accumulated core competence for reflecting upon the existential condition of our being. http://www.artagainstart.com/
Tsuyoshi Hisakado is one of the rising generation of contemporary art in Japan, whose works include the surrealistic installation, Synchronicity, with Apichatpong Weerasethakul at Mori Art Museum, Tokyo, Japan. http://tsuyoshihisakado.com/ https://www.mori.art.museum/en/exhibitions/mamproject025/index.html (My essay, Laboratorium Phantasmatum, is a critical analysis of this installation. ) Hisakado's solo exhibition will be held in 2020 at Toyota Municipal Museum of Art, and this is a translation of the original text for its official catalog. My text discusses the meaning of everyday landscape that Hisakado tries to transform, with his diverse aesthetic tricks and devices, into something cosmic with the effort of deforming its spatio-temporal order.
Interface Critique is a newly launched on-line journal on the topic of "interface" as the main leitmotif for understanding contemporary culture and society at large, and contemporary art in particular. With the close observation of some leading figures of contemporary Japanese artists, such as Shinro Ohtake, this paper discusses the physiognomy (Theodor Adorno's terminology) of art regime, the system of both value, technology and organization, that exhibits an intriguing case of being a specific, macro-sociological "interface"ーthe main topic of this new journal ーconsisting of different sub-regimes that demonstrate different criteria for newness that are mutually conflicting, in comparison with other regimes such as those of science (with constant drive for newness) and market( that relies on customers' preferences). https://interfacecritique.net/
This is the draft that is now published as part of the official catalog of the experimental installation SYNCHRONICITY by Apichatpong Weerasethakul and Tsuyoshi Hisakado, MAM 025 Project at Mori Art Museum, Tokyo, Japan. URL for the project; https://www.mori.art.museum/en/exhibitions/mamproject025/index.html, Catalog information; URL:https://www.mori.art.museum/en/news/2020/08/4212/index.html, This essay compares four different faces of "specters" in the economy, science, comparative politics, and the contemporary art, the last of which concerns with the very installation by Apichatpong and Hisakado. ※This installation was re-presented at 2019 Venice Biennale, where this draft was the major part of its official catalog.
This paper analyses the politico-theological dimension of Thai film-director, Apichatpong Weerasethakul's recent film, "Cemetery of Splendour" as a fundamental criticism of contemporary Thai polity through deciphering his puzzlingly cryptic expressions deeply rooted in quotidian practices of Thai society. This is published as part of the exhibition of "2 or 3 Tigers" curated by Anselm Franke and Hyunjin Kim, Haus der Kulturen der Welt(HKW), Berlin. ＊As a sequel of this essay, see also my Laboratorium Phantasmatum, a draft for the official catalog of Apichatpong's (and Hisakado's ) installation to be presented at 2019 Venice Biennale.
The purpose of this article is to analyse the theoretical connotation of the idea of our digital body surviving the death of our natural body, advocated by such evangelists of digital afterlife as Bell and Gemmel. For this purpose, I will explore the seminal notion of ‘two bodies in one’ ﬁrst analysed by Ernst Kantorowicz in his The King’s Two Bodies, which details the emergence of the legal concept by which the king has both a natural body and a mystical body (corpus mysticum) understood as the everlasting polity. To explore the possibility of applying this notion to ideas concerning the body in the digital era, I will elaborate on two additional concepts, namely, the concept of diarchy in traditional authority, as proposed by Rodney Needham, and Toyo Ito’s concept of the natural and digital body originating from his peculiar view of contemporary architecture. Through the method of abductive comparison, I will discuss the limitation of Bell and Gemmell’s concept of an everlasting digital body, and the intrinsic lack of institutionality upon which the very notion of the two bodies of the king relies. Finally, I will introduce the concept of the corpus mysticum digitale, a ﬁgure, which, in the time of the decline of the power of ritual, legitimises the dead as a collective entity that lives eternally, but anonymously. KEYWORDS: two bodies; ritual; Kantorowicz; virtual body; mystical body