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BIJUTSU SHUPPAN-SHA CO., LTD.
| Address | 3-1-1 Kamiosaki Shinagawaku Tokyo, JAPAN ZIP:141-8203 |
|---|---|
| Representative Name | TAKAYUKI TOYAMA |
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| No. of Employees | 40 |
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Art & Design Book
SD item code:12027423
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Re-enactment - instructions and procedures
 Original text before translation
再演—指示とその手順
(56810551)
JAN:9784568105513
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(56810551)
JAN:9784568105513
Wholesale Price: Members Only
1 pc /set
In Stock
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Country of manufacture: Japan
Material / component: Paper
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Description
| How is a work of art reenacted in an exhibition? What are the instructions that exist there? This book takes up written instructions, documentary photographs, and video images referenced in the reenactment (reexhibition) of works of art, and asks how the procedures, specifications, and instructions contained therein reproduce the work, and how the identity of the work is passed down through the generations. Chapter I provides an overview of how techniques and designs were passed down in art education, such as painting reproductions, craft handboards, sculpture prototypes, and architectural models. Chapter II discusses the conditions and regulations governing the formation of works that require written instructions for reenactment, such as installations and biomedia* art. Chapter III explores preservation and transmission methods from the viewpoint of what authenticity means for works using digital data that need to be transferred to new media and environments in the future, as well as for reenactments of interactive works that have a one-time nature. In the interview with Tadashi Kawamata regarding the preservation and reexhibition of "Self-Portrait," which he created in 1979 as his graduation project, we learn that the method of exhibition was different between the time when the artist exhibited it and later, and we also get an interesting insight into the artist's thoughts on how far to reproduce the work. The last chapter presents an opportunity to think about what guarantees that a reenactment is the same work (or the same experience), and the nature of the instructions in an exhibition. |
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本書は、芸術作品の再演（再展示）において参照される指示書や記録写真、映像を取り上げ、そこに含まれる手順や仕様、指示内容によって作品はどのように再現されるのか、作品の同一性をいかに継承していくのか、について問うものです。
第I章では、絵画の模本や工芸の手板、彫刻の試作や建築の模型など、美術教育のなかで技法や意匠がどのように継承されていったのかを概観します。
第II章では、インスタレーションやバイオメディア・アートのように、再演のための指示書を必要とする作品の成立条件や規制について考察します。
第III章では、将来的に新しい媒体や環境への移行が必要なデジタルデータを用いた作品や、一回性をもつインタラクティブな作品の再演について、真正性とは何かという観点から保存や継承方法を探ります。
また、川俣正への聞き取り調査では、1979年に大学卒業課題として制作した《自画像》の保存や再展示に関してヒアリングし、作家が展示した当時とその後の展示では展示方法が違っていた点や、どこまで再現するかという作家の考えも窺える興味深い内容となっています。
最後の章では、再演は何をもって同一な作品（もしくは同一な体験）であることを保証するのか、展覧会における指示書のあり方について考えるきっかけを提示しています。