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Resilience: Assemblage and Agency at the Echigo-Tsumari Triennale (レジリエンス (可能性): 越後妻有トリエンナーレ における集合体と主体)

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I will consider the Echigo-Tsumari Art Triennale in Niigata, Japan as an “agentic assemblage” (Jane Bennett) that moves beyond the conception of “land” or “site” as an inert stage for human artistic intentions. The festival functions as the distributed agency of an assemblage including rice fields, river corridors, rural villages and villagers, landslides, heavy snowfall and art objects. This view suggests a fractal causality in which art is conceived within a network of human and nonhuman activity.As artistic practice, the Triennale makes visible webs of relationships that move beyond notions of site specificity or socio-ecological restoration. From a New Materialist perspective, the festival’s interaction within a mosaic satoyama landscape becomes a visible representation of an evolution of art away from exclusively anthropocentric intentionality. This view suggests deeper readings of the festival’s practice, particular artworks, and of the emphasis on performative food production and consumption – the mutual transformation of material bodies.私は、人間のアート製作という目的のための単なる舞台として「土地」や「場」を捉えるのではなく、「行為主の集合体」(ベネット)という観点から越後妻有トリエンナーレ(新潟県、日本)について考察する。この トリエンナーレは田圃、河川回路、地方の村と村人、がけ崩れ、大量の降雪とアートを含み込むひとつの集合体の分散的な行為体として機能している。この見方はフラクタルな因果関係を思わせ、その因果関係のなかでアートは人間及び人間以外のモノによる活動のネットワークとして理解される。アート実践として、このトリエンナーレはサイト・スペシフィック性あるいは社会やエコロジーの回復といった考え方をさらに越えていくような関係性の網目を、眼に見える形にしている。ニュー・マテリアリズムの見地からすれば、このトリエンナーレのモザイク的な里山風景のなかでの相互作用は、過度に人間中心主義的な意図性から離れていくアートの進化を明瞭に表している。このように見ることで、越後妻有トリエンナーレの実践、個々の作品、そしてパフォーマンス的な食物生産と消費の強調−−−−物質的なもの同士の相互の変形−−−−をより深く解釈できるのである。This article is in Japanese.

Affiliations: 1: California State University Channel IslandsUSA ; 2: カリフォルニア州立大学チャンネルアイランド校米国


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