12 – 14 September 2025
PACIFICO Yokohama

2024 Public Programs

Explore contemporary art through Tokyo Gendai’s public programs. Participation is free for all visitors.

Art Talks 2024

Art Talks brings together artists, curators, and collectors, as well as leading professionals from a variety of fields. Through exposure to multiple perspectives, participants deepen their understanding of the global art world and explore important themes of contemporary society.

Location : PACIFICO Yokohama 2F Annex Hall F206

IntoArt - Start Your Creative Journey

IntoArt is a new program launched at Tokyo Gendai 2024, which offers a free space that brings art closer to young audiences. Children can participate in workshops led by artists who are exhibiting at the fair, and freely create artworks in an open-ended play area filled with art supplies. Children are also invited to browse art books and watch videos at their own pace.
IntoArt workshops are organised by Gotoschool Inc., a company which regularly hosts similar art workshops called “IntoArt – Find your own EDGE Program – by LUMO”. IntoArt is overseen by artist Kohei Nawa and independent curator Kensho Tambara.

Location : PACIFICO Yokohama 2F Annex Hall F206

Participation in this program is free for all Tokyo Gendai 2024 visitors. Prior registration is required as spots are limited.

Thursday 4 July
Workshop 1: 2:30PM - 4PM

Guest artist:
Robert Platt, Artist/Professor at Kyushu Sangyo University 

Capacity: 20
Age range: 3 – 15 years old

Workshop 2: 5PM - 6:30PM

Guest artist:
Robert Platt, Artist/Professor at Kyushu Sangyo University 

Capacity: 20
Age range: 3 – 15 years old

Friday 5 July
Workshop 3: 11PM - 12:30PM

Guest artist:
Yoshiyuki Okuyama, Photographer/Filmmaker 

Capacity: 6
Age range: 5 – 10 years old

Workshop 4: 12:30PM - 2PM

Guest artist:
Bruno Botella, Artist

Capacity: 20
Age range: 3 – 15 years old

Workshop 5: 12PM - 1PM

Guest artist:
Yoshiyuki Okuyama, Photographer/Filmmaker 

Capacity: 6
Age range: 5 – 10 years old

Workshop 6: 4:30PM - 6PM

Guest artist:
Bruno Botella, Artist 

Capacity: 20
Age range: 3 – 15 years old

Saturday 6 July
Workshop 7: 12PM - 1:30PM

Guest artist:
Rikako Kawauchi, Artist 

Capacity: 20
Age range: 3 – 15 years old

Workshop 8: 2:30PM - 4PM

Guest artist:
Rikako Kawauchi, Artist 

Capacity: 20
Age range: 3 – 15 years old

Sunday 7 July
Workshop 9: 12PM - 1:30PM

Guest artist:
Kohei Yamada, Artist 

Capacity: 20
Age range: 3 – 15 years old

Workshop 10: 2:30PM - 4PM

Guest artist:
Kohei Yamada, Artist 

Capacity: 20
Age range: 3 – 15 years old

2024 Sato 'Meadow'

For Tokyo Gendai 2024, Sato ‘Meadow’ featured five large-scale, tailored installations around the fair, spotlighting new themes in contemporary art.

System of Surroundings – Kishio Suga

Kishio Suga (1944-) is a central member of the Mono-ha art movement that took place from the late 1960s to the 1970s. For over 50 years since, he has remained active at the forefront, opening up unique horizons in contemporary art through the essential world of his work expressed by means of the diverse existence of things. Suga has already established an international reputation as one of the leading artists of Postwar Japanese art, and has participated in more than 400 exhibitions in Japan and abroad. His works are also housed in over forty museums throughout the world including the Centre Pompidou, the Tate Modern, The Museum of Modern Art, New York, M+, The National Museum of Modern Art, Tokyo, and the Museum of Contemporary Art, Tokyo. In producing his work, Suga collects and selects “things” such as wood, stone, metal, and rope, and by approaching the relationships between “things” and “things,” “things” and space, “things” and people in various subtle ways, draws out and reveals the very depths of the diverse existence of “things.”I believed the world existed as an unbroken continuity wherein the distinction between individual ‘mono’ revealed themselves. I could not, therefore, tolerate conceptualization that gave priority to thinking and removed individuality and reality.” (Kishio Suga, “Latent Infinity” KISHIO SUGA, exhibition catalogue, Museum of Contemporary Art Tokyo, 2015) Since the beginning of his artistic practice, Suga has always been aware of the fact that the existence of “things” which are individually dispersed throughout the world, indeed connect with to one another to create a cohesive whole. Observing stones and trees in their natural habitats of forests, groves, and rivers since his childhood, led him to realize that nature, things, and people are all equal and connected. Suga states,“Everything is indivisible. All things have their own place by existing.” This sensitivity is reflected in his work.

Installation view from “20th Anniversary of the Iwate Museum of Art: Kishio Suga: The Existence of ‘Things’ and the Eternity of ‘Site’” at Iwate Museum of Art, Morioka, Japan, 2022

Kishio Suga, System of Surroundings, 1998, wood, steel pipes, steel rods, 212 x 410 x 600 cm
Courtesy of the artist and Tomio Koyama Gallery

Every game begins with “LOVE” – Udomsak Krisanamis

For 2023, 3 part installation at 100 Tonson Foundation Bangkok, Udomsak Krisanamis has created a checker board play house for a public to come in and play. The installation consists of original fabric chairs, silk screened checker board with bin caps, rack of records and a record player. 

Udomsak Krisanamis, Every game begins with “LOVE”, 2023, Silk screened checker tables, chairs with original fabric, bin caps, beer crates, works on canvas, works on paper, found materials, record player, records, sound system, dimensions variable
Courtesy of the artist and GALLERY SIDE 2

The Cowboy on the Grass – Yuichiro Tamura

Like issues of many social divisions, disparity, and environmental problems, there are piles of work that must be solved today. Contemporary artists who work hard on these issues every day and night are like the cowboys that ride the wild bulls and rope the raging horses. And if we were to describe them as so, artists, therefore cowboys, need a rest. Sitting on the green carpet, cowboys are resting as they like. Around their neck there is a tied bandana. And paisley, a familiar design for bandanas, is crawling on the bandanna. Paisley, which is said to give comfort to our human heart, is likened to protozoans such as a euglena or paramecium, a seed or spore of a plant, or an embryo, and is often associated with life and the spirit. However, paisley also crawls on bandanas worn by thieves and gangsters. Whilst involved in such violence, the life of paisley remains a mystery. To entrust oneself to such a paisley could provide not only the artist but also those of us living today with a fundamental rest and violent mystery on a global scale. “The Cowboy on the Grass” is a performative work in which three bandana-wearing cowboys sit on a huge green bandana-patterned carpet and rest in their own way. At the heart of the work is the encounter and mixture of the mysterious being of paisley and human beings, and the restoration of life and soul through it. The composition is based on “The Luncheon on the Grass” by Edouard Manet.

Yuichiro E Tamura, The Cowboy on the Grass, 2024, Carpet, cowboys, 500 x 500 cm
Courtesy of the artist and KOTARO NUKAGA

LINES LINES – Kengo Kito

MtK Contemporary Art presents “LINES,” an installation by Kengo Kito (1977-), complemented by a series of video works streaming on the expansive display backdrop. These videos are a collaborative effort between CG creator Keita Morie and sound artist Akiyoshi Yasuda. On the screen, primitive life forms appear, rotating and gradually transforming into organic forms, and finally a man and a woman are shown in a drama of metamorphosis of life. The author of the video is the video creator Keita Morie. He says that he created it based on the spiral shape and colorful palette of Kengo Kito’s hula hoops. Accompanying the video is Akiyoshi Yasuda’s electronic sound. He says likewise that he attempted to create music based on the works of Kengo Kito. The origin of music is said to be the voice of the mother heard by the fetus through the amniotic fluid. Akiyoshi’s sound, synchronized with Morie’s images, will lead our imagination to the world of the origin of sound. And then there is Kito’s “LINES,” which are regularly lined up as if towering from the earth. Standing in front of this work, the colors of the multiple lines blend together on our retinas, evoking the image of primordial vision in which we simply perceive the colors. And by walking around the work, the dynamic shifts in color gradations contribute to a holistic sensory experience. Our eyes, being compound, perceive the object three-dimensionally and recognize it as part of the living world. “LINES” can be said to be a work that allows us to experience the dimension of living colors.

Kengo Kito, LINES, 2024, movie, color coated aluminum pipe, 330.9 x 650 x 800 cm
Courtesy of the artist and MtK Contemporary Art


Puff Marshie (Hirosaki Version, Shanghai Version) – Yoshitomo Nara

Puff Marshie (Hirosaki and Shanghai Version) (2006), a seminal work by Yoshitomo Nara, portrays the head of a pensive girl in the form of a cream puff. Originally exhibited in 2006 as part of Yoshitomo Nara + graf: A to Z at the Yoshii Brick Brew House, Hirosaki, Japan, the soft lines and minimal form emphasize the character’s sweet-yet-mischievous expression—an attitude that has become synonymous with Nara’s childlike universe. Made at the end of an intensely collaborative period for the artist, Puff Marshie marks a return to a more solitary practice and a new approach to creating three-dimensional forms.

Puff Marshie (Hirosaki Version, Shanghai Version), 2006, Urethane on FRP, 300 x 150 cm, Edition of 3, 1AP
© Yoshitomo Nara; Courtesy of the Yoshitomo Nara Foundation and BLUM, Los Angeles, Tokyo, New York

2024 Tsubomi 'Flower Bud'

For Tokyo Gendai 2024, Tsubomi ‘Flower Bud’, titled ALL THINGS ARE DELICATELY INTERCONNECTED, showcased the works of women artists of different nationalities, generations and cultural identities. Taking inspiration from the truism phrase created by Jenny Holzer during the global pandemic, the exhibit presents works that reflect on our relationship to civilization and the natural environment. The exhibit shows the works of a range of artists, from recent works of the upcoming and underrepresented, to the once-underrepresented works of established artists. By transcending the gallery space, the exhibit recontextualizes these works, drawing new parallels and synergies between them.

Exhibiting artists:
Jenny Holzer, SCAI THE BATHHOUSE (Tokyo)
Miya Ando, Sundaram Tagore (New York, Singapore, London)
Mika Tajima, TARO NASU (Tokyo)
Sareena Sattapon, SAC Gallery (Bangkok)

Curated by
Marina Amada, contemporary art curator and co-founder of SPECTRUM
Soojung Yi, curator at the National Museum of Modern and Contemporary Art, Korea
Powered by the Spectrum Collective

Image Credits:
Jenny Holzer, PURPLE TRUISMS SURVIVAL, 2006, Mini LED sign with blue & red (purple) diodes, Ed.2/100, 10.2 x 12.4 x 3.8 cm Courtesy of SCAI THE BATHHOUSE, photo by Nobutada Omote
Jenny Holzer, Truisms 6, 1994, Electronic mini LED sign (110 Volt adapter) with anodized aluminum housing: red, green and yellow diodes, ed.56/100, 10.2 x 13 x 4 cm Courtesy of SCAI THE BATHHOUSE, photo by Nobutada Omote 

Mika Tajima, Negative Entropy (Inscape Holding Breath Meditation, Hex), 2024, Cotton, polyester, nylon, wool acoustic baffling felt, and white oak / 140.3 x 274.3 x 5.1 cm (panel), 145.1 x 279.1 x 7.5 cm (framed) ©Mika Tajima Courtesy of TARO NASU, photo by Charles Benton

Miya Ando, Yuugure (Evening) Cloud September 2 2023 6:18:06 PM NYC, 2023, Dye, ink, pure micronized silver, resin & urethane on aluminum composite, 127 x 127 cm Image courtesy of Sundaram Tagore Gallery
Miya Ando, Yuugure (Evening Cloud) June 15 2023 7:57 PM NYC, 2023, Dye, ink, pure micronized silver, resin & urethane on aluminum composite, 127 x 127 cm Image courtesy of Sundaram Tagore Gallery
Miya Ando, Yuugure (Evening) Cloud September 5 2023 6:07:19 PM NYC, 2023 Dye, ink, pure micronized silver, resin & urethane on aluminum composite, 127 x 127 cm Image courtesy of Sundaram Tagore Gallery

Sareena Sattapon, Balen(ciaga) I belong: Quarantine VI, 2020, Watercolours on paper, 26.5 x 19 cm ©Sareena Sattapon, courtesy of SAC Gallery
Sareena Sattapon, Balen(ciaga) I belong: Quarantine VII, 2020, Watercolours on paper, 26.5 x 19 cm ©Sareena Sattapon, courtesy of SAC Gallery
Sareena Sattapon, Balen(ciaga) I belong, 2022, Video performance, 11 mins, Ed.2/10 ©Sareena Sattapon, courtesy of SAC Gallery

2024 Ne 'Root'

Ne ‘Root’ presented five leading foundations, who hosted special showcases of their work at Tokyo Gendai 2024.

Odawara Art Foundation, founded by contemporary artist Hiroshi Sugimoto, delivered a presentation on the concept of the Enoura Observatory, as well as Kankitsuzan Art Museum, scheduled to begin construction in late 2024. In addition, the foundation also presented the relocation project of Keika House originally designed by Seiichi Shirai, one of Japan’s leading architects.

Fukutake Foundation introduced new activities at Benesse Art Site Naoshima, including the new art museum scheduled to open in spring 2025.

Foundation Yoshii introduced Kiyoharu Art Colony, an art and culture complex in Hokuto City, Yamanashi Prefecture, operated by the foundation as its base.

The Obayashi Foundation displayed an overview of its support towards artists, thinkers and researchers with a focus on urban development and the building of healthy cities.

CADAN: Contemporary Art Dealers Association Nippon presented My Pick, an exhibition in which art collectors introduced their favourite artists and told how they enjoy collecting art, as well as the activities of the gallery space CADAN Yurakucho, which reopened in May 2024.

Sou Fujimoto
Architect

Sou Fujimoto was born in Hokkaido in 1971.
Graduated from the Department of Architecture, Faculty of Engineering at Tokyo University, he established Sou Fujimoto Architects in 2000.
Among his recent renowned projects is the 1st prize for the 2014 International Competition for the Second Folly of Montpellier, France (“L’Arbre Blanc”). Additionally in 2015, 2017 and 2018, he won several international competitions with 1st prize in various European countries. In Japan, he was selected as the Expo site design producer for the 2025 Japan International Exposition (Osaka/Kansai Expo). In 2021, he was selected as the designer Co-Innovation University (Tentative) in Hida Takayama city.

His notable works include; “House of Music” (2021), “MARUHON makiart terrace (Ishinomaki Cultural Center)” (2021), “SHIROIYA HOTEL” (2020), “L’Arbre Blanc” (2019), “Serpentine Gallery Pavilion 2013” (2013), “House NA” (2011), “Musashino Art University Museum & Library” (2010), “House N” (2008) and many more.

Photo by David Vintiner

Takeo Obayashi
Chairman of the Board of Obayashi Corporation

Chairman of the Board of Obayashi Corporation. Chairperson of the Obayashi Foundation. Chairperson of the Aichi Triennale Organizing Committee.
After graduating from Keio University, he joined Obayashi Corporation in 1977 and assumed the position of Chairman in 2009. He serves as a board member of the Mori Art Museum, a Council member of Hara Museum ARC, President of the Japanese Friends of the Centre Pompidou, and a member of the International Council, Tate & MoMA. He was awarded the L’Ordre National de la Légion d’honneur, 2015 and published the book “The Rebirth of a City through Culture (Art)” by Shueisha.

Yuko Hasegawa
Director of 21st Century Museum of Contemporary Art, Kanazawa, Program Director for the Art and Design Division at the International House of Japan

Curator and art critic. Graduated from the Faculty of Law at Kyoto University and completed a master’s degree at the Graduate School of Fine Arts, Tokyo University of the Arts. Currently serving as Director of the 21st Century Museum of Contemporary Art, Kanazawa; Professor Emeritus at Tokyo University of the Arts; Program Director for the Art and Design Division at the International House of Japan; and Visiting Professor of Research Institute for Humanity and Nature.
Has organised several biennales and international exhibitions.

Lu Yang
Artist

LuYang is a creator based in Tokyo and Shanghai. His recent solo institution exhibitions include venues such as the Louis Vuitton Museum in Paris, Mudec Museum in Milan, Kunsthalle Basel Museum in Switzerland, PalaisPopulaire in Berlin, ARoS Aarhus Art Museum in Denmark, Kunstpalais Museum in Erlangen, and MOCA Cleveland in the USA. He participated in the Venice Biennale in both 2022 and 2015, among other major institutional exhibitions and biennials/triennials. LuYang was awarded the BMW Art Journey in 2019, and he is also the winner of the Deutsche Bank Artist of the Year 2022 award.

Marc Glimcher
CEO of Pace Gallery

Marc Glimcher is CEO of Pace Gallery, founded by his father, Arne Glimcher, in 1960. Under Marc’s leadership, Pace has advanced its mission to support the leading artists of the 20th and 21st centuries and has greatly expanded its international scope to open outposts across Los Angeles, London, Geneva, Hong Kong, and Seoul, with offices in Beijing and Berlin. In 2024, Pace will open a gallery in Tokyo’s Azabudai Hills complex.

Photo by Suzie Howell

Alexander S.C. Rower
President of the Calder Foundation

Alexander S. C. Rower is the founder and president of the Calder Foundation and grandson of the artist. Established in 1987, the Calder Foundation has documented more than 22,000 works by Calder and established an extensive archive dedicated to all aspects of his career. Rower has curated and collaborated on over 100 Calder exhibitions worldwide, and he supports contemporary artists through the Foundation’s biennial Calder Prize and the Atelier Calder residency program.

Photo by Maria Robledo © 2024 Calder Foundation, New York / Artists Rights Society (ARS), New York

Mami Kataoka
Director of Mori Art Museum

Kataoka Mami joined the Mori Art Museum in 2003, taking on the role of Director in 2020. She has also taken on the position of Director of the National Center for Art Research since April 2023.
Beyond Tokyo, Kataoka has held positions at the Hayward Gallery in London, where from 2007 to 2009 she was the institution’s first International Curator; she has also acted as Co-Artistic Director for the 9th Gwangju Biennale (2012), Artistic Director for the 21st Biennale of Sydney (2018) and Artistic Director for the Aichi Triennale 2022. Kataoka served as a Board Member (2014-2022) and the President (2020-2022) of CIMAM [International Committee for Museums and Collections of Modern Art].

Photo by Ito Akinori

Soojung Yi
Curator of National Museum of Modern and Contemporary Art, Korea

Soojung Yi focuses her interests on the dialogue between film and visual art in contemporary society and the art world. Yi participated in the artist residency at Kuandu Museum of Art in Taiwan (2016) and was selected as the “Edmund Capon International Research Fellow” at the Art Gallery of New South Wales in Australia in 2023. She has curated the annual film programs for MMCA Film and Video and is currently preparing for the Asia Film and Video Art Forum 2024.

Sareena Sattapon
Artist

Born 1992, in Thailand. Sareena Sattapon is a visual artist who is currently completing a PhD in Global Art Practice, at Tokyo University of the Arts. Sattapon works with various mediums such as performance, installation and photography. She gets her artistic inspiration from her experiences and ordinary life. Sattapon’s currently interest in performative spatial dynamics, related to connection and dis-location. She has had exhibitions internationally: in Thailand, Taiwan, Singapore, Korea, China, Indonesia, Germany, Poland, Ukraine, Slovakia, Norway, Sweden and Japan.

Photo by Kaori Nishida

Maya Nago
Editor in Chief, ARTnews JAPAN

Maya has 20+ years of experience in print/online media. Previously she worked at Wired Japan and Vogue Japan where she founded Vogue Change, a social project of Vogue Japan during her tenure as the Features & Culture Lead. Maya joined ARTnews JAPAN in October 2022.

 

Yusuke Asai
Artist

Born in Tokyo in 1981, Yusuke Asai creates art using everyday materials such as soil, water, dust, flour, tape, and pens. His works range from small drawings to large murals, adorning various spaces with his spontaneous creations. Currently, his solo exhibition “Yusuke Asai: Stardust KIDS” is on display at Kanaz Forest of Creation Art Museum (2024).

Photo by Yosuke Takeda

Mika Kuraya
Director of Yokohama Museum of Art, Executive Director of Organizing Committee of Yokohama Triennale

Kuraya Mika joined The National Museum of Modern Art, Tokyo in 1993 and worked as chief curator, before assuming her current position in 2020. She was also the curator of the Japan Pavilion of the 55th Venice Biennale of International Art Exhibition (2013), where she received special mention with the artist Tanaka Koki. She led the organization of the 8th Yokohama Triennale and the reopening of the Yokohama Museum of Art in March 2024.

Photo by Hajime Kato

Carsten Nicolai
artist and musician as ALVA NOTO

Carsten Nicolai (born 1965 in Karl-Marx-Stadt, Germany) lives and works in Berlin. Inspired by scientific reference systems, Nicolai explores mathematical patterns such as grids and codes, error and random structures, as well as the phenomenon of self-organisation. In doing so, he continually breaks down the boundaries between various artistic genres.

Photo by Alberto Novelli

Daito Manabe
Artist, programmer, and DJ

Launched Rhizomatiks in 2006. Specially-appointed professor at Keio University SFC. Manabe’s works, which range into a variety of fields, takes a new approach to everyday materials and phenomena. However, his end goal is not simply rich, high-definition realism by recognizing and recombining these familiar elemental building blocks. Rather, his practice is informed by careful observation to discover and elucidate the essential potentialities inherent to the human body, data, programming, computers, and other phenomena, thus probing the interrelationships and boundaries delineating the analog and digital, real and virtual.

Photo by Akinori Ito

Maholo Uchida
Curator, Director of project for the Center for Cultural Innovations at TAKANAWA GATEWAY CITY, of East Japan Railway Company

Specialized in the combined field of art, technology, and design, worked at the Miraikan National Museum of Emerging Science and Innovation, and curated several exhibitions. Has participated in various museums, and awards as co-curator, jury, and advisor such as MoMA, Barbican Centre, and Good Design Award.

At TAKANAWA GATEWAY CITY, developed by East Japan Railway Company, she will lead the launch of a new museum that connects knowledge and beauty, history and the future, with the mission of “transporting culture for the next 100 years of future”.

Miwa Taguchi
Co-founder of Taguchi Art Collection

Miwa Taguchi carries on the contemporary art collection started by her father, Hiroshi Taguchi, founder of the Misumi Group, managing and operating the collection. Currently, she serves as a member of the International Advisory Board for the São Paulo Biennale, an ambassador for the art platform “South South,” and a senior advisor at Startbahn Inc.

Eriko Kimura
Director of Hirosaki Museum of Contemporary Art

Eriko Kimura is currently Director at Hirosaki Museum of Contemporary Art, Visiting Professor at Tama Art University and Kanazawa College of Art, and a member of International Association of Arts Critics. She has been former Senior Curator and Yokohama Museum of Art, and Curatorial Head of Yokohama Triennale 2020. She curated solo shows of Ninagawa Mika with EiM at Hirosaki Museum of Contemporary Art, 2024, and Nara Yoshitomo at Yokohama Museum of Art, 2012-13.

Pedro Erber
Professor, Waseda University

Pedro Erber is Professor of Comparative Literature at Waseda University, Editor of ARTMargins (MIT Press), and Senior Research Associate at Cornell University. Before joining Waseda, Erber was Associate Professor of Romance Studies and Director of the East Asia Program at Cornell University. His publications include Descent to the Everyday [Descida ao Cotidiano] (Zazie, 2023) and Breaching the Frame: The Rise of Contemporary Art in Brazil and Japan (UC Press, 2015).

Ritsue Mishima
Artist

Born in Kyoto in 1962. Mishima moved to Venice in 1989. Having established a residence in Kyoto in 2011, she lives and works between the two cities. Collaborating with glassmiths on Murano Island, Italy, the artist creates clear glass sculptures which bear the contours of light.

Photo by Oliver Hass

Jun Ishida
GQ JAPAN Head of Editorial Content

Born in Tokyo. After working as editor-in-chief of Ryuko Tsushin Magazine and an executive fashion feature editor of VOGUE NIPPON and VOGUE HOMME JAPAN, she established her own company in 2010, working as a contributing editor for Casa BRUTUS and T Japan; The New York Times Style magazine. Throughout her career, she has managed to position herself in a unique spot, joining fashion with other fields of the arts.

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スージュン・イ
韓国国立現代美術館キュレーター

スージュン・イは興味の軸足を現代社会とアートの世界における映像と視覚芸術の対話に置く。イは台湾のクアンドゥ美術館でアーティスト・レジデンシーに参加(2016年)し、2023年にはオーストラリアのニューサウスウェールズ美術館で「エドマンド・カポン国際研究フェロー」に選出されたMMCA映画とビデオのための年間映画プログラムをキュレーションし、現在、2024年のアジア映画とビデオアートフォーラムの準備を進めている

名古 摩耶
ARTnews JAPAN 編集長

1978年生まれ。『Esquire』や『WIRED』などを経て、『VOGUE JAPAN』ではカルチャー統括として、社会課題に取り組む「VOGUE CHANGE」プロジェクトを立ち上げた。2022年10月より現職。

サリーナ・サッタポン
アーティスト

1992年、タイ生まれ。サリーナ・サッタポンは現在、東京藝術大学でグローバルアートプラクティスの博士課程に在学中し同時にビジュアルアーティストとして活躍する。サッタポンはパフォーマンス、インスタレーション、写真などのさまざまなメディアを用いて作品を制作する。彼女の芸術的インスピレーションは、自身の経験や日常生活から得ている。現在、サッタポンは接続性や非場所性に関連したパフォーマティブな空間力学に興味を持っている。彼女はタイ、台湾、シンガポール、韓国、中国、インドネシア、ドイツ、ポーランド、ウクライナ、スロバキア、ノルウェー、スウェーデン、日本などで国際的に展示を行っている。

Photo by Kaori Nishida

スージュン・イ
韓国国立現代美術館キュレーター

Soojung Yi is a curator of the National Museum of Modern and Contemporary Art. Her previous projects include “The Future is Now!- New Media Collection from MMCA, Korea”, “Younghae Chang Heavy Industries”(2013), “Infinite Challenge-Women Media Pioneers in Asia”, “Anechoic Project-experimental films and music performances”(2014), “Lazy Clouds: Soungui Kim”(2015), “Kryzstof Wodiczko-Instruments, Monuments, Projections”(2017), “Korea Artist Prize 2018″(2018), “Movement making Movement”(2021). Since 2020, she has curated the annual film programs for MMCA Film and Video such as “Art/Text”, “Movement making Movement”, “Film without Theater, Theater without Film”, “Apichatpong Weerasethakul”, “What we talk about when we talk about Museum”.

Her main interest is the dialogue between film and visual art in contemporary society and art world. YI participated in the artist residency, Kuandu Museum of Art, in Taiwan(2016) and was selected the”Edmund Capon International Research Fellow” of Art Gallery of New South Wales, Australia in 2023. She is currently preparing for the Asia Film and Video Art Forum 2024.