PRESS RELEASE

August 2013

The Japan Foundation The 40th Year of ASEAN-Japan Friendship and Cooperation

Media/Art Kitchen Reality Distortion Field

In commemoration of the 40th Year of ASEAN-Japan Friendship and Cooperation in 2013, we are planning a media art exhibition that will travel throughout Southeast Asia. Jointly organized by young curators and artists from each of the countries, the event will feature works by artists from Japan and Southeast Asia. Since the rise of computer technology, media art, which makes use of video and digital technology, has become increasingly prevalent in the art world. Moreover, in recent years media art is no longer seen as a narrow field that hinges on highly advanced and costly equipment but has come to encompass a wide range of work that links familiar everyday phenomena with computer technology and has been expanding its realm. In the 1960s, Japanese artists began attempting a variety of experiments using video as an expressive means and today a new generation of artists is producing and showing extremely diverse, high-quality work that transcends genre boundaries. As is evident from the many artists and technicians who conducted research on anime and video in the JENESYS Invitation Programme for Creators, which concluded last year, since the late 1990s many Southeast Asian countries have actively sought to adopt digital technology, leading it to become a primary means of expression for younger artists. Many video works are now shown at international exhibitions throughout Asia and festivals that specialize in video, such as Mediacity Seoul and OK Video Festival have also emerged. In effect, it is impossible to conceive a contemporary art exhibition without video. This can in part be explained by the familiarity and convenience of the medium which allows artists to express their ideas without being restrained by art history and concepts that are associated with conventional painting and sculpture of the West. Another more practical matter is that the comparatively late creation of a museum system in Southeast Asia which has left artists with limited access to exhibition venues, but in recent years, steady economic growth has helped fuel substantial technological development. On the other hand, it is not necessarily accurate to say that the emergence of outstanding media art would not have occurred without costly machinery and advanced technology. A work that brims with originality despite being simple and making use of elementary techniques can sometimes make a tremendous impression on us. There is also the idea that a traditional performing art like Indonesia's wayang kulit (shadow-puppet theatre) is an indigenous form of film art with its roots in the general populace. Thus, media art should be viewed as both a global art trend and a complex, diversified form that reflects regional conditions. Although it is common to emphasize the fact that media art is a global and universal means of expression based on scientific development, it is also possible to see the genre as something that has arisen out of each individual artist's specific ideas and the historical, linguistic and cultural circumstances of their community as well as something that is closely linked to physical sensation. After a group of young Southeast Asian curators and researchers with a strong background in media art and their Japanese counterparts jointly refine the concept of the exhibition through surveys and discussions; a number of artists and outstanding works from each country will be selected and presented in an event that will be altered to fit the specific conditions of each region. The exhibition and related programs will present interdisciplinary media art in the widest sense of the word and encompass genres such as film, digital video, anime, photography, sound, and performance (physical expression). Today, in the face of the ever-increasing globalization, by focusing once again on the indigenous cultures and spiritual links between Japan and other Asian countries through the expressive means of media art, we hope to provide an extremely up-to-date view of a variety of common themes. Further, by presenting the new field of media art, containing a host of possibilities for new developments in the future in a jointly-produced context, including both the holding of the exhibition and the process leading up to it, we anticipate that the project will spawn future partnerships between young people from Japan and Southeast Asia as well as cultivating next-generation human resources.

The Japan Foundation

4-4-1 Yotsuya, Shinjuku-ku, Tokyo 160-0004 Japan www.jpf.go.jp

 Project Concept
Assembled from the seven countries of Japan, Thailand, Indonesia, Malaysia, the Philippines, Singapore and Vietnam each with differing histories and traditions, and each with distinct political, economic and cultural situations the 13 curators of this project have collaborated on developing an exhibition questioning the nature of Media / Art today, which will further evolve through each of its presentations in the cities of Jakarta, Kuala Lumpur, Manila and Bangkok. At a time when under the banner of globalization all manner of information technology has transcended national borders to enter into people's lives, and has no small effect on how those lives play out, today's constantly updating media environment has generated unprecedented new spheres of economics and culture. While it could become the impetus for a major revolution, this situation also carries with it the risk of expanding new forms of oppression and disparity. Moreover, between Japan and the constituent nations of ASEAN, as well as between the four cities hosting the exhibition, there are stark differences in social context and the positioning in those contexts of "media" and "art." As suggested by the relationships that have developed between the curators and artists participating in this project, the exploration of mutual differences both large and small also brings with it the necessity of working together and at times with exhibition visitors as well to establish new standards of value. Eschewing presumptions of a predetermined genre of so-called "media art," rather than being categorized by the use of advanced technology and channels of circulation/reception, this project departs from the new formulation "Media / Art" (media that is also art), which, with its insertion of a slash between media and art, can now be reinterpreted as "that which mediates and its technology." What kind of art can we realize, and how can we live creatively, based on an understanding of our constantly transforming media and our relations to that media? We want to depict the unfolding present, and the prospect of the coming future, in which these concerns are indeed so pressing. Thus, in this project, the exhibition itself is conceived as a kind of "kitchen," a creative platform that can be generated anywhere in response to all manner of situations and environments, and used by anybody in response to necessity. Not only a "display of works" inspired by the different "cooking methods" and "palates" of the artists, the project also becomes a "workshop" for more deeply understanding the context behind the works and media, and a "laboratory," or site for visitors themselves to enjoy creation and expression on their own terms. What we have conceived is a "kitchen" combining these three pillars. Even if one could not access expensive equipment, or special technology and knowledge, with an experimental and courageous mind, and with the addition of "spicy" creative thinking and twists, there is surely an "art" capable of producing a cuisine that has never before been seen or tasted. Believing in this, what we are attempting through "Media / Art Kitchen" is to produce a kind of miraculous distortion field where the impossible becomes the possible. Okamura Keiko + Aida Daiya + Hattori Hiroyuki

Exhibition Periods and Venues

1. Jakarta, Indonesia September 5-15, 2013 [opening: Sep. 4]: Galeri Nasional Indonesia; Kineforum 2. Kuala Lumpur, Malaysia October 6-20, 2013 [opening: Oct. 5]: Black Box, Map KL; Art Row, Publika 3. Manila, The Philippines November 8-24, 2013 [opening: Nov. 7]: Ayala Museum; 98B; Green Papaya Art Projects 4. Bangkok, Thailand December 20, 2013- February 16, 2014 [opening: Dec. 19]: Bangkok Art and Culture Centre

4-4-1 Yotsuya, Shinjuku-ku, Tokyo 160-0004 Japan www.jpf.go.jp

 Curators
Ade Darmawan M. Sigit Budi. S Adeline Ooi Suzy Sulaiman Dayang Yraola Lian Ladia Pichaya Suphavanij Nikan Wasinondh Charmaine Toh Nguyen Trinh Thi Okamura Keiko Aida Daiya Hattori Hiroyuki Director, Ruangrupa (Indonesia) Director, Serrum (Indonesia) Independent curator / writer (Malaysia) Director, Digital Art + Culture Festival (DA+C) / Lecturer, Limkokwing University (Malaysia) Collection Manager, University of the Philippines Center for Ethnomusicology (The Philippines) Independent curator / writer (The Philippines) Head of Exhibition Section / Curator, Bangkok Art and Culture Centre [BACC] (Thailand) Independent curator (Thailand) Programme Director, Objectifs Centre for Photography and Film (Singapore) Director, Hanoi DOCLAB (Vietnam) Curator, Tokyo Metropolitan Museum of Photography (Japan) Chief Educator, Yamaguchi Center for Arts and Media [YCAM] (Japan) Curator, Aomori Contemporary Art Centre [ACAC], Aomori Public University (Japan)

Program Structure
Media/Art Kitchen Reality Distortion Field will be held in four cities around Southeast Asia. The scale and content of the exhibition are subject to variation. The project targets a wide range of audiences and therefore provides various channels of appreciation and enjoyment tailored to each participant's degree of perception and commitment. (Programs apart from the exhibition will be selected depending on the circumstances in the respective cities.) Exhibition Creative Laboratory Workshop (Participatory event) Screening Program Website

Exhibition Outlines
1. Jakarta, Indonesia Period: September 5-15, 2013 [opening: Sep. 4] Venues: Galeri Nasional Indonesia; Kineforum (Screening Program) Organized by: The Japan Foundation Co-organized by: Galeri Nasional Indonesia; OK. Video - Jakarta International Video Festival; ruangrupa Artists: Hagihara Kenichi; Horio Kanta; Mohri Yuko; Yagi Lyota (Japan) / Duto Hardono; Krisgatha; Lifepatch; Muhammad Akbar; Narpati Awangga (a.k.a. Oomleo); Reza Afisina (a.k.a. Asung) (Indonesia) / Tad Ermitano; Jon Romero, Cris Garcimo & Erick Calilan (The Philippines) / Bani Haykal (Singapore) / Nguyen Trinh Thi & Jamie Maxtone-Graham; The Propeller Group (Vietnam) Concept: Whether hardware or software, this introduction of challenging, creative practices that attempt to modify, dismantle and reconstitute readymade products and media technology will present a critical way of engaging with technology. The theme, "Consumer VS The Power of Industry: Society who Criticize Technology," has been chosen in coordination with the 6th OK. Video Festival, held concurrently at the main venue of the Galeri Nasional Indonesia. In contrast to the primarily conventional forms of video art shown at the OK. Video Festival, the addition to the display of installation and sculptural works at Media/Art Kitchen of performances, workshops and screening programs organized in conjunction with Creative Lab provides an opportunity to both broadly enjoy and reflect upon the issues and potentials of media and art.

Mohri Yuko Lifepatch MOIST SENSE, 2012 Courtesy of the artist "CIRCLES (triptych)", 2012 Photo: Hideto Maezawa

4-4-1 Yotsuya, Shinjuku-ku, Tokyo 160-0004 Japan www.jpf.go.jp

2. Kuala Lumpur, Malaysia Period: October 6-20, 2013 [opening: Oct. 5] Venues: Black Box, Map KL; Art Row, Publika Organized by: The Japan Foundation Artists: Hagihara Kenichi; Horio Kanta; Kuwakubo Ryota; Tamura Yuichiro; Yagi Lyota (Japan) / Lifepatch; Narpati Awangga (a.k.a. Oomleo) (Indonesia) / Operasi Cassava; Fairuz Sulaiman; Yap Sau Bin (Malaysia) / Tad Ermitano (The Philippines) / Nitipak Samsen (Thailand) / Bani Haykal (Singapore) / The Propeller Group (Vietnam) Concept: The choice of a venue that is located in a shopping mall and neighbors a new housing complex, Map KL, requires a structure that also considers an audience who will be encountering "Media/Art" for the first time. Presenting ways of using media that incorporate the surrounding environment and the repurposing of everyday tools, the exhibition will encourage the discovery of new perspectives for reviewing the media circumscribing our living environment. For an audience seeking specialist input regarding the nature of media and expression, the exhibition presents reflective thought about media and its use, including the systems behind it and its relation to society. As well, a lab/workshop will be positioned as a site where visitors can convert the inspiration they receive from the works on display into an active response, with the goal of designing a comprehensive exhibition experience equipped with a kitchen/workshop where, rather than simply passively consuming the exhibition, it is possible for anyone to spontaneously express themselves. 3. Manila, The Philippines Period: November 8-24, 2013 [opening: Nov. 7] Exhibition venue: Ayala Museum Lab & workshop venues: 98B; Green Papaya Art Projects Organized by: The Japan Foundation, Ayala Museum (exhibition) Artists: Hagihara Kenichi; Makino Takashi; mamoru; Tamura Yuichiro; Umeda Tetsuya; Yagi Lyota (Japan) / Lifepatch; Anggun Priambodo (Indonesia) / Fairuz Sulaiman (Malaysia) / Ringo Bunoan; Kawayan De Guia; Tengal Drilon & Merv Espina; Tad Ermitano; Liby Limoso; Manny Montelibano; Renan Ortiz; Gary Ross Pastrana & Stanley Ruiz; Jon Romero, Cris Garcimo & Erick Calilan; Mark Salvatus & Stephanie Syjuco; Ross Zerrudo (The Philippines) / Chulayarnon Siriphol (Thailand) / Bani Haykal; Bruce Quek (Singapore) Concept: Based on the theme "sensorium," this is a presentation of works that directly appeal to bodily senses like smell and taste, and not only sight and hearing, through the application of media technology. Divided across three venues, and responding to the characteristics of each site, the presentation will be structured to allow for broad appreciation. At the Ayala Museum, which is situated inside a shopping mall frequented by all kinds of people, the exhibition will feature works that use mechanical media to impart a physical appreciation of the richness of experiences that can be obtained by our bodies and perceptions. Collaborative projects between Japanese and Filipino artists will be developed at the alternative spaces 98B in Escolta and Green Papaya Art Projects in Quezon City, while the launching of a radio station and other activities will create a participatory platform for the sharing of information and knowledge with numerous people.
Yagi Lyota "Sound Sphere", 2011 Photo: Atarashi Ryota Courtesy of the artist and MUJIN-TO production

Fairuz Sulaiman "Beberscope" (working title), 2013 Courtesy of the artist

Umeda Tetsuya "age 0", 2013 Photo: Matsuo Ujin Courtesy of Breaker Project

Manny Montelibano "Biya", 2008 Courtesy of the artist

4-4-1 Yotsuya, Shinjuku-ku, Tokyo 160-0004 Japan www.jpf.go.jp

4. Bangkok, Thailand Period: December 20, 2013 February 16, 2014 [Opening: December 19] Venue: Bangkok Art and Culture Centre [BACC] Organized by: The Japan Foundation; Bangkok Art and Culture Centre Artists: contactGonzo; Horio Kanta; Kuwakubo Ryota; Makino Takashi; Otomo Yoshihide; Rhizomatiks; Takeuchi Kota; Tsuda Michiko; Umeda Tetsuya; Yagi Lyota (Japan) / Lifepatch; Narpati Awangga (a.k.a. Oomleo) (Indonesia) / Lim Kok Yoong; Fairuz Sulaiman (Malaysia) / Stephanie Syjuco (The Philippines) / Apostrophys; B-Floor; Witaya Junma; Mute Mute; Kamol Phaosavasdi; Nitipak Samsen; Sina Wittayawiroj (Thailand) / Bruce Quek (Singapore) / Nguyen Trinh Thi (Vietnam) Related event: [Lecture| February 15, 2014] Katsura Eishi (Professor, Graduate School of Film and New Media, Tokyo University of the Arts)

contactGonzo the performance for "Performing Histories: Live Artwork Examining the Past", 2013, The Museum of Modern Art, New York Photo: Choi Kafai

Concept: Underpinned by the idea that "Media Shapes Mind: Mind Shapes Choice: Choice Shapes Future," this exhibition will provide the audience an opportunity to obtain through the works of the artists a unique perspective on media and technology. Rather than focusing on introducing the latest media art and cool technology, we consider how we can use media and technology to build a richer life. Along with this, our goal is to create a space where users can spontaneously produce their own contents, and spontaneously relate to media and art. Revolving around the Bangkok Art and Culture Centre (BACC) exhibition venue, diverse projects beyond the display of works itself will constitute a multi-faceted investigation into what kind of society can be built through the creativity of Media/Art. These include the performance event incorporating the surrounding environment, "Physical 3.0"; the collaborative laboratory project between Japanese and Thai artists, "New Media / New Aesthetics"; and an attempt to produce a new public site by interposing artists into urban space, "Hacktivism."

Nitipak Samsen "Coin Flipper", 2009 Photo: Theo Cook

Media/Art Kitchen Reality Distortion Field special website: http://mediaartkitchen.tumblr.com/ Information on the Japan Foundation website: http://www.jpf.go.jp/j/culture/new/1307/07-07.html

Inquiry: The Japan Foundation Asia and Oceania Section, Logo: The 40th Arts Yearand of ASEAN-Japan Culture Dept.
Friendship and Cooperation

Tel: +81-(0)3-5369-6062 Fax: +81-(0)3-5369-6038 Furuichi Yasuko (Yasuko_Furuichi@jpf.go.jp) Suzuki Keiko (Keiko_Suzuki@jpf.go.jp)

4-4-1 Yotsuya, Shinjuku-ku, Tokyo 160-0004 Japan www.jpf.go.jp