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Global Seminar

Since 1990, the contemporary art environment such as the system of art museums, international exhibitions, and galleries, as well as the relationship between world politics, economy, and the art market have rapidly become more complicated around the world. To that end, it is no longer possible to grasp the overall picture. In order to be a top-level artist within this context, it is necessary that students understand the complicated circumstances of contemporary art from a comprehensive and global perspective, while, at the same time, have a deep knowledge of their own cultural context. At the Graduate School “Global Seminar,” we aim to make the most of Kyoto as our location and this special intensive program in a small group, so that students can understand their position from historical and geographical perspectives and become cosmopolitans of a new generation who can speak, have discourse, express, and give presentations on an international stage. At the Global Seminar we are holding special classes with renown international and domestic guests such as artists who are already participating in top-level international exhibitions and whose work are collected by world famous museums, leading curators, among others.

Global Seminar Director

芸術研究科 教授 片岡 真実
Mami Kataoka

Mami Kataoka is Chief Curator at the Mori Art Museum in Tokyo and Artistic Director for the 21st Biennale of Sydney (2016-2018). She is also on the Board of CIMAM (International Committee for Museums and Collections of Modern Art) since 2014.

What is special about the Global Seminar?

01 A program with small class sizes
In order to promote a special educational program with small class sizes, each year up to 5 students will be accepted.
02 Through research trips abroad, students can experience the mood around the world
We will carry out research trips to Kyoto, Tokyo, and abroad and visit renown museums, galleries, and artist studios to understand the mood of locations around the world.
03 An assemble of internationally active guests; strengthening of English skills
Approximately six times throughout the year, we will invite guests to give intensive lectures, mainly world-leading international and domestic artists and curators. Since these international lectures will be in English, we aim to strengthen language skills.
04 Focusing on the future, an emphasis on studying Asian art
Not only limited to Western and Japanese art, we also emphasize the study of art history, social history, and traditional culture, etc.. of the Asia-Pacific region
05 Fostering abilities to survive the age
In order to survive this post-internet age, we foster the abilities to collect information, carry out survey and research, compile knowledge and give presentation through common research and projects.
06 Make art works in the latest facilities
Art making can be carried out at Ultra Factory’s common studios where we offer a great art making environment and guidance with the latest facilities.

Introduction of class content

Making Art Work

The students supported the work of the guest professor SHIMABUKU 's exhibition "Great Kyoto 2018 in Kyotanabe" and "Echigo -Tsumari Triennale" in Niigata. They participated in the research at Ikkyuji temple in Kyoto, where the exhibition was held, and discussed the works to be exhibited, and supported the measurement, making and installation of fixtures necessary for the exhibition. In Niigata, they stayed near planned venue of exhibition and experienced on-site making while meeting with SHIMABUKU and local supporters. They were able to attend the making of works by artists active in the world, listen to stories about the activities of artists in Japan and overseas, and had a very valuable experience in communication other than making.

Tokyo Study Trip

Students picked up places of interest and conducted Tokyo study trip for a three days to research galleries and museums. They visited nearly 20 museums and galleries, such as "Gallery Koyanagi", "Maison Hermes" and "Art Tower Mito", and we appreciated the work while receiving commentary from the gallerist and curators. After that, they had an opportunity to hear about the curator's work, such as making an exhibition with the artist and the inside story of the exhibition. They also visited Tokyo Studio CO., LTD., where they set up art exhibitions. The office representative, Mr. Ozawa, set up a documentary video viewing event of Joseph Voice held at the Seibu Museum of Art in 1984 and a social gathering, which was a valuable opportunity to know the scene of the art.

Exhibition at Galerie Aube

The students held the exhibition "Stone Money and Tilted Clock ― 4 perspectives" at Galerie Aube on campus. The main theme of the exhibition was "What is globalization?" and keywords was "distance", "time", "value" and "difference". And the curator student planed and organized the exhibition. The artist students exhibited several works each. During the event, a talk event was also held with Prof. Akira Asada and Michael Joo as guests. Also, a contemporary artist, Tatsuo Miyajima, came and commented on the work, and was able to confirm the results at the seminar from various perspectives.

Exhibition in Vienna, Austria

The students organized an exhibition with the Non-Profit Art Association "See You Next Thursday" based in Vienna, Austria, and while holding meetings for over half a year, the group exhibition "YESTERDAY'S TOMORROW IS TODAY " was held at the gallery "VBCÖ" in Vienna. It was difficult to proceed with the project in a situation far away from Japan and Austria, but as the students went to Vienna and the members of the Association visited Japan, they deepened their mutual communication and kept up to the exhibition. Many art people came to the exhibition, and the students were able to connect to future artist activities in Vienna.

Lectures and discussions

Students join lecture by reading a large amount of materials such as criticism written by guest lecturers and documents on past exhibitions distributed before Saskia came to Japan. In the lecture, in addition to these materials, detailed commentary with images of exhibitions and works, her stories developed in various ways such as the theme of the exhibition and the attitude of the artists. In the discussion time, students also actively asked questions. For students who want to work on the international stage, the time to listen to guest lecturers who are involved with planning international exhibitions and the opportunity to express their own questions and opinions is very valuable. Also, because all classes are in English, students can improve their English language skills by being in an environment where English is necessary.

One-to-one Kyoto guiding between lecturer and students

There was a proposal from Saskia to meet each student, so time was set for her to talk to students about not just ways of thinking about art but also private matters. Students took her to the places where each student had an attachment to, such as the student’s studio, their favorite cafe, Tetsugaku no michi (the Philosopher's Path), shopping arcades around the Demachiyanagi, the theater Demachi-za, among others. They talked with each other while eating together etc… in a relaxed atmosphere. Although the students’ English is not so advanced, she patiently listened and the students could actively talk and they were able to enjoy communicating with each other. In this way, we plan to continue to connect students and lecturers, so that students can learn various things even outside of the classroom.

Guests for 2019

Susan Norrie

Artist / Australia

Susan Norrie is a Sydney-based artist who has developed a practice which utilises art, documentary and film genres. Her projects are concerned with the environment, human rights and survival. In 2007 Norrie represented Australia at the 52nd Venice Biennale; in 2011 she was included in the Yokohama Triennale and her project TRANSIT was later acquired by the Tate Modern, London. She has the been the artist representative on the board of the Australian Centre for Contemporary Art, Melbourne, and the Museum of Contemporary Art, Australia. Susan Norrie was awarded the Solarun Hoass Documentary Award and has been the recipient of numerous international residency awards, including ZKM Center for Art and Media, Karlsruhe Germany in 2001. She was commissioned by the Australian War Memorial Museum and deployed to Camp Taji, Iraq in 2016. In 2019 she received the Australia Council Visual Arts award for her outstanding contribution to the development of Australian art.

 Courtesy: Australia Council

David Teh

Independent curator and Associate Professor at the National University of Singapore/ Singapore

David Teh is a curator and Associate Professor at the National University of Singapore, specialising in Southeast Asian contemporary art. His curatorial efforts have included Unreal Asia (55. Internationale Kurzfilmtage Oberhausen, 2009), Video Vortex #7 (Yogyakarta, 2011), TRANSMISSION (Jim Thompson Art Center, Bangkok, 2014), Misfits: Pages from a Loose-leaf Modernity (Haus der Kulturen der Welt, Berlin, 2017) and Returns (12th Gwangju Biennale, 2018). David's writings have appeared in journals including Third Text, ARTMargins, Afterall and Artforum. His book Thai Art: Currencies of the Contemporary was published in 2017 by the MIT Press and he recently completed a multi-authored volume, Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992-98 (co-edited with David Morris) for Afterall's Exhibition Histories series.

Yukie Kamiya

Curator, Art Critic / Japan, United States of America

Yukie Kamiya is Director of Gallery, Japan Society, New York. Formerly, Kamiya was Chief Curator of Hiroshima City Museum of Contemporary Art and Associate Curator of New Museum, New York.
She has curated exhibitions internationally including Cai Guo Qiang, Yoko Ono, Tsuyoshi Ozawa, Simon Starling, Do Ho Suh, and others, and also co-curated group exhibitions such as Discordant Harmony: Critical Reflection of Imagination of Asia (2015-2017) and Re:Quest Japanese Contemporary Art since the 1970s (2013). In 2011,Kamiya received the Academic Prize from the National Museum of Western Art, Tokyo.
Her writings have appeared in publications including Hiroshi Sugimoto: Gates of Paradise (Skira/Rizzoli, 2017), California-Pacific Triennial (Orange County Museum, 2013) and Creamier: Contemporary Art in Culture (Phaidon, 2010).
She served a co-curator for the Shanghai Biennial 2018.

Lee Mingwei

Artist /Taiwan

Born in Taiwan in 1964 and currently living in New York and Paris, Lee Mingwei creates participatory installations, where strangers can explore issues of trust, intimacy, and self-awareness, and one-on-one events, in which visitors contemplate these issues with the artist through eating, sleeping, walking and conversation. Lee's projects are often open-ended scenarios for everyday interaction, and take on different forms with the involvement of participants and change during the course of an exhibition.
Lee received an MFA from Yale University in 1997, and has held solo exhibitions internationally including Whitney Museum of American Art, Museum of Modern Art, Isabella Stewart Gardner Museum, Los Angeles County Museum of Art, Taipei Museum of Contemporary Art, Queensland Gallery of Modern Art, Centre Pompidou, and has been featured in biennials in Venice, Lyon, Liverpool, Taipei, Sydney, Whitney, and Asia Pacific Triennials.

Courtesy: Matteo Carcelli; originally published in Gallery, September-October 2016, the National Gallery of Victoria.

Anya Gallaccio

Artist / UK, United States of America

Anya Gallaccio was born in Paisley, Scotland, in 1963 and lives and works in San Diego, CA, and London, England. She has exhibited widely throughout the world, with institutional solo shows including The Contemporary Austin, Austin TX (2017), Museum of Contemporary Art San Diego, San Diego CA (2015), Camden Arts Centre, London, England (2008), SculptureCenter, New York NY (2006), and Tate Britain for Duveen Sculpture Commission, London England (2002). In 2003 Gallaccio was nominated for the Turner Prize. She is a Professor in the Department of Visual Arts at the University of California, San Diego.

Koki Tanaka

Artist / Japan

Born in 1975;  lives and works in Kyoto, Japan.
He has shown widely: the Migros Museum (Zurich), the Kunsthaus (Graz), the Kunsthaus (Zurich), the Hammer Museum(Los Angeles), VanAbbe Museum (Eindhoven), the ICA (London), the Mori Art Museum(Tokyo), Skulptur Projekte Münster 2017, 57th Venice Biennale 2017, the Liverpool Biennial 2016, the 55th Venice Biennale 2013, Yokohama Triennial 2011, the Gwangju Biennial 2008, the Taipei Biennial 2006 (Taipei). He received a special mention as national participation at the 55th Venice Biennale, 2013, and Deutsche bank artist of the year 2015 award.

Courtesy: Motoyuki Daifu

Guests for 2018

Saskia Bos

Curator, Art historian | Netherlands

Saskia Bos is an art historian, independent curator and critic based in Amsterdam, Netherlands. She has worked as a curator and director at De Appel arts centre in Amsterdam and as Dean of the School of Art at Cooper Union, New York. Her many international projects brought her also to Japan from 1996 and she has invited a series of Japanese artists since. Japan has stayed on her mind in New York where she became Board member of Japan Society which she remains till the present.
Saskia Bos is also a Board member of CIMAM, the world-wide organization for museums of contemporary art, a member of SEC, the Société Européenne de la Culture and of AICA, the international art critics association.


Artist | Japan

Born in Kobe, 1969. Graduated from San Francisco Art Institute in 1992. After living in Berlin for 12 years, he has been based in Okinawa since 2016. He has traveled to many places around the world since the early 1990s and has made performances and installation works related to life of the local people, as well as their culture and way of communication. He has participated in group exhibitions at The Centre Pompidou, Paris (2000, 2014), Hayward Gallery, London (2001, 2008), as well as international exhibitions such as the Venice Biennale (2003, 2017), Bienal de São Paulo (2006), Havana Biennial (2015), among others. His recent main solo exhibitions include Shimabuku: Noto (21st Century Museum of Contemporary Art, Kanazawa, 2013), Flying Me (Kunsthalle Bern, Switzerland, 2014), among others. He is planning to hold a solo exhibition at Contemporary Art Centre of Ivry – Credac as well as participate in Echigo-Tsumari Art Field in Niigata prefecture this year.

Heman Chong

Artist | Singapore

Heman Chong is an artist whose work is located at the intersection between image, performance, situations and writing. He has produced solo exhibitions at Art In General, NUS Museum, Vitamin Creative Space, Kunstlerhaus Bethanien, Ellen de Bruijne Projects, P!, The Substation, Amanda Wilkinson Gallery, Art Sonje Center, South London Gallery, Rockbund Art Museum, 72-13, FOST, Calle Wright, Rossi & Rossi and Swiss Institute. He is the co-director and founder (with Renée Staal) of ‘The Library of Unread Books’ which has been installed in NTU Center for Contemporary Art in Singapore, The Museum of Contemporary Art and Design (MCAD) in Manila, Casco in Utrecht, and Kunstverein Milano in Milan. He is currently working on a novel ‘The Book of Drafts’ which will be published by Polyparenthesis in 2019.

Shreyas Karle

Artist, CONA Directpr | India

Shreyas Karle is the Co-Director of CONA Foundation- a non-profit space in North Bombay. He holds a degree in Fine Arts by the L.S. Raheja School of Art, Bandra, a post-graduation in Indian Aesthetics by the University of Mumbai, and a Masters in Visual Arts by the Maharaja Sayajirao University, Baroda. He has been the Director of Sandarbh, a site-specific residency program in rural part of North India. He was part of the Aichi Triennial, Rainbow Caravan (2016), was invited to participate in the New Museum Biennial, Surround Audience in New York (2015) and was part of the first edition of the Kochi Muziris Biennial in India (2012). He has a few solo shows to his credit including Unnecessary alcove at Project88, Bombay (2018).

Michael Joo

Artist | United States of America

Michael Joo is multi-media artist whose installations of sculpture, video and performative works have been exhibited worldwide. His artworks often draw directly from liminal spaces formed at the intersections of nature, culture, and spirituality to examine and address the modern human condition. Joo studied natural sciences in college, and received an MFA from Yale School of Art. His work has been exhibited at numerous institutions, including the Serpentine Gallery, Whitney Museum of American Art, MMCA Seoul, Walker Art Center, and Smithsonian Institution. He has exhibited in numerous international surveys including the 1997 Johannesberg Biennale curated by Okwui Enwezor. In 2001, Joo represented Korea at the Venice Biennale, and Bodhi Obfuscatus (Space Baby) won grand prize at the 2006 Gwangju Biennial together with artist Song Dong.  Recently, Joo’s work Salt Transfer Cycle was included in the Whitney Museum of American Art’s inaugural 2015 exhibition. Joo teaches at Columbia University School of the Arts, and the Yale School of Art. He lives and works in Brooklyn, New York.

Miwako Tezuka

Curator, Art historian | United States of America

Dr. Miwako Tezuka is Co-Director of PoNJA-GenKon (Post-Nineteen-forty-five Japanese Art Discussion Group), a global online network of scholars, curators, and artists. She is also Consulting Curator of the Reversible Destiny Foundation, a foundation established in New York by Arakawa and Madeline Gins. Formerly Director of the Gallery, Japan Society, New York (2012–15) and Curator of Contemporary Art, Asia Society, New York (2005–2012), she has curated numerous exhibitions, including: LOVE Long: Robert Indiana and Asia (2018); Garden of Unearthly Delights: Works by Ikeda, Tenmyouya & teamLab (2014); Rebirth: Recent Work by Mariko Mori (2013); and Yoshitomo Nara: Nobody’s Fool (2010), among many others. She is currently curating a major solo exhibition of artist-architect Maya Lin, Maya Lin: A River is a Drawing, for the Hudson River Museum, opening in October 2018.