ポスト資本主義オークションPost Capitalistic Auction

Jingyi Wang (b. 1984, Beijing) is a contemporary performance creator based in Bergen, Norway since 2013. Her works are featured by original forms of interdisciplinary performance. Her concept and performance Static Theater composes a time flow with contemporary artworks instead of performers on stage. Post Capitalistic Auction is under the umbrella of her conception of Performative Event. Her unique approach in performance can be partly attributed to her multi-discipline and culture background. Before becoming an artist, she was educated and worked in advertising and communication field in Beijing and Hong Kong. She started her art education and career in France, Belgium, Denmark and Norway.

Kenjiro Okazaki (b. 1955) is a Japanese visual artist whose innovative works include painting, sculpture, landscape design and architecture, as well as collaboration with the choreographer Trisha Brown, having been featured in public collections throughout Japan and various international exhibitions since the 1980s. In 2002, he participated in the Venice Biennale as the director of the Japanese pavilion of the International Architecture Exhibition. He received Smithsonian Artist Research Fellowship at Hirshhorn Museum and Sculpture Garden (HMSG) in 2014. Among his publications are Renaissance: Condition of Experience (2014) and Abstract Art as Impact (Analysis of Modern Art) (2018).

Tokyo-based artist, interaction designer, programmer, and DJ. Launched Rhizomatiks in 2006. Since 2015, has served alongside Motoi Ishibashi as co-director of Rhizomatiks Research, the firm’s division dedicated to R&D-intensive projects. Manabe’s work takes a new approach to everyday materials and phenomenon, but his goal is not simply rich, high-definition expression. Rather, his practice in design, art and entertainment 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.

Professor at Graduate School of Informatics, Kyoto University. He received B.A. in Cognitive Science from University of Tokyo, and Ph.D. in Computation and Neural Systems from California Institute of Technology. He continued his research in cognitive and computational neuroscience at Harvard Medical School and Princeton University. In 2004 he joined ATR Computational Neuroscience Laboratories, and since 2015 he is Professor at Kyoto University. He is a pioneer in the field of "brain decoding", which combines neuroimaging and machine learning to translate brain signals to mental contents. He was named Research Leader in Neural Imaging on the 2005 “Scientific American 50”, and received many awards including Tsukahara Memorial Award (2013), JSPS Prize (2014), and Osaka Science Prize (2015). In 2018 he was selected as an ATR Fellow. He collaborated with Pierre Huyghe, providing brain-decoded imagery movies for the exhibition “UUmwelt” at Serpentine Galleries, London (2018).

BCL is an artistic research framework founded by Georg Tremmel and Shiho Fukuhara with the mission to critically explore the societal, moral and ethical implications of the emerging biomedia. Georg Tremmel is also a Visiting Researcher at the metaPhorest Art & Science Group at Waseda University, a Project Researcher at the Laboratory for DNA Information Analysis at the University of Tokyo, and the founder of the biological community lab BioClub.

chelfitsch is a theatre company of which all the productions are written and directed by Toshiki Okada, known for its style that juxtaposes noisy choreography derived from everyday mannerisms to the text. Since its international debut with Five Days in March at Kunstenfestivaldesarts in Brussels in 2007, the company has toured across 70 cities in Asia, Europe and North America, always updating its methodology and exploring expression beyond the existing theatrical techniques. chelfitsch recently presented, with the stage video designer Shimpei Yamada, its first large-scale solo exhibition Beach, Eyelids, and Curtains: chelfitsch’s EIZO-Theater at Contemporary Art Museum Kumamoto in 2018.

Tim Etchells is an artist and a writer based in the UK. He has worked in a wide variety of contexts, notably as leader of the world-renowned performance group Forced Entertainment and in collaboration with a range of visual artists, choreographers, and photographers. His work in the context of visual arts has been represented by Jenkins Johnson Gallery (US, San Francisco and New York) and VITRINE (London) and commissioned for permanent public installation in several UK and mainland European cities and held in numerous private collections around the world. He is currently Professor of Performance & Writing at Lancaster University.

*Appearance through the Internet.

Studied at the International Christian University in Tokyo, Sorbonne University and Ecole du Louvre, worked as Chief Curator at the Mercian Karuizawa Museum and taught at the Musashino Art University, École nationale supérieure des beaux-arts and New York University. Artistic Director of the exhibitions of the Maison de la Culture du Japon in Paris since 2014 and Director of the International Affairs Department of the Committee for “Ueno, a Global Capital of Culture” since 2018. She has co-commissioned “Japon des avant-gardes 1910–70” (Pompidou Center, 1986) and curated such projects as “Georges Rousse, Hanshin Art Project” (1995) and exhibitions of Daito Manabe and Motoi Ishibashi, Rei Naito and Tomoko Yoneda.

Representative of blkswn publishers Inc. and ex-chief editor of the Japanese editions of WIRED, the most influential technology media in the world. He has established blkswn publishers Inc. to question the norms and “re-imagine alternatives” to everything, and has also been a music journalist who looks at technologies from the points of view of the humanities involving reflections on music and cinema, living and the universe, or life and death. Influenced by the idea of “conviviality” suggested by the historian Ivan Illich, he has been pursuing the question of whether new technologies can be “tools for conviviality.” Among his publications is Goodbye, the Future — An Editor’s Chronicle 2010–2017.

Born in 1983. Artist and art critic. Chief Lecturer at Genron CHAOS*LOUNGE New Art School. Doctor of Fine Arts at the Graduate School of Fine Arts, Tokyo University of the Arts. The artists’ group CHAOS*LOUNGE that he formed together with Kazuki Umezawa, Uso Fujishiro and other collaborators has been curating exhibitions and events since 2010. Among their curations are “HAMETSU*LOUNGE” (2010), “CHAOS*EXILE” (Festival/Tokyo 2011), “Characlash!” (2014) and “CHAOS*LOUNGE New Art Festival 2017 ‘Street Theatre: One Hundred and Fifty Years of Solitude’.” Among his publications is The Passions in the Information Society.

Art collector, professor at Yokohama University of Art and Design and visiting professor at Kyoto University of Art and Design. Born in Tokyo in 1963. His collection obtained while working at corporations since 1994 and his house built in collaboration with artists are known internationally. A large-scale exhibition of his collection was held using the whole building of the Museum of Contemporary Art, Taipei in 2011. A member of the committee for the international dissemination of contemporary art of the Agency for Cultural Affairs, and a jury for the Asian Art Award 2017. Among his books are The Times of Art × Technology, The Contemporary Art Economics and Let’s Buy Contemporary Art! that has also been published in China, Taiwan and Korea.

Studied Art History at Seijo University in Tokyo, joined Est-Ouest Auctions Co., Ltd. in 2008 and specialized in Decorative Arts. After being Manager of Auction Planning & Operation department, worked as Director of the company since 2012. Served as Auctioneer for Tokyo and Hong Kong auction, as well as for other charity events in various art foundations. Besides auction business, doing research on the factor analysis of art work’s price formation at Graduate school of Keio University in Tokyo.

Born in Tokyo in 1955. Publisher and chief editor of culture web magazine “Realkyoto.” A guest researcher, Academic Research Center, Kyoto University of Art and Design. Senior Researcher of Kyoto Performing Arts Center, Kyoto University of Art and Design. In 2002 he published “One Hundred Years of Idiocy,” a photo book that summarized human idiocy in the 20th century and launched a bilingual contemporary art magazine “ART iT” in 2003. He became General Producer of performing arts section, Aichi Triennale 2013. He wrote and published a photo book “One Hundred Years of Lunacy” in 2014. In March 2018 he wrote and published “What Is Contemporary Art?” from Kawade Shobo Shinsha.

After being engaged in the exhibitions, “bones” (2009) and “The Definition of Self” (2010) at 21_21 DESIGN SIGHT, her interests often include technology, where future of humans and the society could be found. Her projects present disabilities as an alternative perspective of re-viewing the world such as “Prosthetic Fashion Show: Rhythm of athletics,” “dialogue without vision” (2016, Japan Foundation), exhibition “The Great Ordinary” (2017, NO-MA), and performance “CREATIVE AUDIO DESCRIPTION” (2017, Kanagawa Arts Theatre) among other projects. The film “NIGHT CRUISING” she produced will be released on March 30th at Uplink Shibuya and then in theaters nationwide.