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Japanese Art after Fukushima through the Prism of Festivals

Clélia Zernik
Traduction de Phoebe Clarke
p. 105-120
Cet article est une traduction de :
L’Art japonais après Fukushima : au prisme des festivals

Notes de la rédaction

Japanese Art After Fukushima through the Prism of Festivals”, a paper by Clélia Zernik, is the result of an original collaboration between the Institut français, the Institut national d’histoire de l’art and Critique d’art, who together decided to create a new grant for the writing and publication of a critical essay.
There will be a call for applications every year for this grant, which was launched in 2016
and is part of a wider programme to support writing on contemporary art and its international visibility. It was initiated by the Institut français in the field of visual arts, in partnership with the French Ministry of Culture - Artistic Creation Department. A three-year cycle was thus created which, through different measures, encourages the mobility of researchers and art critics, as well as the circulation of their ideas and translations of their work.
The first recipient of this grant for critical writing, Julie Crenn, travelled to South Africa to examine the African art scene through the eyes of female artists
1. Clélia Zernik, the present awardee, focuses on works and the frame within which they are shown, in this fascinating investigation of contemporary art festivals in Japan. Avoiding the easy option of a comparative approach, her careful descriptions offer the reader a close-up experience of these events, whose singularity is gradually revealed. One of the qualities of this paper is that it makes clear that far from being limited to the restricted field of contemporary art experts, these festivals give structure to geographical areas and social spaces, within a long-term, slow, shared temporality. We hope you enjoy this article!
Elitza Dulguerova, Research adviser in the field of 18th to 21st-Century Art History, INHA and Vincent Gonzalvez, Head of the Visual Arts and Architecture Department, Institut français.

Extrait du texte

Ce document sera publié en ligne en texte intégral en novembre 2018.

Plan

Artistic festivities
Art tourism and social art
Local or global? The equivocations of Japanese contemporary art
A Japanese specificity or the latest transformation of “relational art”?
A laboratory for a new art scene
Are festivals a new form of art?

Aperçu du texte

Japan Alps Art Festival 2017, collectif Mé

Japan Alps Art Festival 2017, collectif Mé

© Tsuyoshi Hongo

Visitors to the Japan Alps Art Festival 2017, carrying a map listing all the different itineraries (blue, red ...

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Référence papier

Clélia Zernik, « Japanese Art after Fukushima through the Prism of Festivals », Critique d’art, 49 | 2017, 105-120.

Référence électronique

Clélia Zernik, « Japanese Art after Fukushima through the Prism of Festivals », Critique d’art [En ligne], 49 | Automne/hiver 2017, mis en ligne le 21 novembre 2018, consulté le 17 décembre 2017. URL : http://journals.openedition.org/critiquedart/27197 ; DOI : 10.4000/critiquedart.27197

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Auteur

Clélia Zernik

Clélia Zernik was a student at the Ecole Normale Supérieure. She holds an agrégation and a PhD in Aesthetics. She teaches Philosophy of art at the Beaux-Arts de Paris since 2011. Her first field of research was the relationship between art and science, as it is formulated by perception psychologists and phenomenologists (Perception-cinéma, Paris : Vrin, 2012; L’Œil et l’objectif, Paris : Vrin, 2014). Her research now focuses on film (Les Sept samouraïs d’Akira Kurosawa, Louvain : Yellow Now, 2013 ; L’Attrait du café, Louvain : Yellow Now, 2017) and Japanese contemporary art, which was made possible by research residencies at Waseda and Tokyo University.

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