A huge thank you to everyone, who participated in and contributed to the CCCA workshop no. 4, August 14-18 on Møn. You can download the CCCA Report for WS4 as PDF here.
Art in Rural Communities
The fourth CCCA workshop will focus on art in rural communities. There are many similarities between the conditions of rural communities in Denmark and Japan: demographic changes mean that populations in rural areas are shrinking in numbers and become older in age distribution. Workplaces, shops, and institutions close down, houses are abandoned, and cultural activities thin out. On the CCCA workshop, we will discus the conditions for art and creative industries outside the urban centres. We will look at how art can contribute in sustaining local communities. For this purpose, the workshop will take place on the island of Møn in the southeast part of Denmark. We will meet various artists who live and work on Møn, learn from their experience and insights, and participate in artistic workshops as a means to interact in creative encounters.
Many artists move to Møn, and this trends has created a unique cultural environment on the island. Why is Møn so attractive for artists? Are there similar artist environments in other rural areas? Do newcomer artists engage with the local population, and if so, how? Can art bring other types of dynamics and energy to local communities?
The CCCA workshop will be based at Solbakken, a former school camp facility in the eastern part of Møn. All participants can stay overnight for the entire workshop. Meals and transport related to the workshop will be free for participants. We will have sessions with presentations in the house, as well as field trips to various art communities and events on Møn. We will meet artists of different generations for talks and discussions, and we will join in the project bøN Odori, a workshop-based danse project about geography, geology, history and mythologies. We will also enjoy the natural surroundings of Møn, and taste local food and drink.
The CCCA workshop is organised by partners of the CCCA network:
Associate Professor Gunhild Borggreen (University of Copenhagen)
Professor Yoshitaka Mōri (Tokyo University of the Arts)
Associate Professor Anemone Platz (Aarhus University)
(See here for detailed program, version no. 7)
August 14 (Wednesday):
- Morning: Individual transport to Møn.
- Noon: Meet in Hårbølle to participate in workshop about art and community organised by artist group På den anden side and bøN Odori project (Toshie Takeuchi and Jō Odoru).
- Evening: Bus transport to Solbakken, dinner, stay overnight
August 15 (Thursday):
- Morning: Session 1 at Solbakken, including presentations by Nana Francisca Schottländer, Mette Højsgaard, and Kristina Ask and Patricia Soza Galmez from Fabrikat.
- Afternoon: Bus transport to visit Fabrikat at the Sugar Factory and other art related sites in Stege, including presentation by Cathrine Rasmussen.
- Evening: Bus transport to Solbakken. Dinner. Evening walk and “dark sky” experience.
August 16 (Friday):
- Morning: Session 2 at Solbakken, presentations by Yoshitaka Mōri, Gregory Miller, Karen Ejersbo.
- Afternoon: Bus transport to visit Kunsthal44Møn, and hear about avantgarde artists who moved to Møn in the 1970s. See exhibition with Japanese sound artist Akio Suzuki, meet artist Ursula Reuter Christiansen.
- Evening: Bus transport to Saftstationen in Damme, dinner and conversations.
August 17 (Saturday):
- Morning: Session 3 at Solbakken, presentations by Lene Noer, Sidsel Nelund and Anemone Platz.
- Afternoon: Bus transport to Stege and join the final workshop and public dance event with bøN Odori project.
- Evening: Bus transport to Solbakken. Summary of workshop. Good-bye dinner.
August 18 (Sunday):August 18 (Sunday):
- Morning: packing and cleaning, bus transport to Copenhagen or Vordingborg station.
Address: Solbakken, Stendyssevej 19, 4791 Borre.
Up to 15 workshop participants can stay overnight at Solbakken for a fee of 600 DKK (for all four nights). There are some beds, the rest will be on madresses on the floor. Bring your own sheets. Also bring your own towel.
Breakfast, lunch and dinner is free.
Transport for workshop events is free.
You are also welcome to join the workshop and meals if you are not staying overnight at Solbakken. In that case, you will have to organise accommodation and transport on your own. And you still need to sign up for the workshop.
For more information: Gunhild Borggreen, email@example.com
Thank you to all participants who joined CCCA workshop no. 3 in Aarhus, March 13-14 2019. You can read the report here.
Site, Material, and Medium in Socially Engaged Art
CCCA (Collaboration and Community-Building in Contemporary Art) is an international research network that looks at current global trends for collaboration and community building in contemporary art. With the theme of “Site, Material, and Medium in Socially Engaged Art” we wish to focus on how specific places, various forms of materiality, or different types of mediation contribute to the human interaction and social relations that occur when art projects trigger new types of activities in local communities. Read more here.
Building 1467, Room 316
School of Culture and Society, Aarhus University
Jens Chr. Skous Vej 7, 8000 Aarhus C
Link to map
Wednesday, March 13th:
10:15-10:30 Welcome and short round of introductions
10:30-12:15 Session 1:
- Birgit Eriksson: Participatory art among billiard players and embroiderers
- Manuela Ciotti: Staging the contemporary in the Global South: The art-architecture-archeology-heritage complex at the Kochi-Muziris Biennale (KMB)
- Tomoko Shimizu: Art in a Time of Biopolitics: Ecologies of Critique
13:15-15:00 Session 2:
- Andreas Lenander Ægidius: Fixing music metadata – not the participatory art project I signed up for!
- Anne Louise Blicher: Graphic Antropology – an imaginary documentation tool
- Karen Waltorp: ARTlife Womens Film Collective
15:00-15:30 Coffee break
15:30-17:30 Session 3:
- Film screening: Utsusemi Crush! (Kyun-Chome, 2017)
- Eimi Tagore-Erwin: If you could be reborn, what would you like to become?
- Yoshitaka Mōri: Art and Communities after the 2011 Earthquake in Japan
- Lena Quelvennec: Art and social action in natureculture, the case of the ZAD of Notre-Dame-des-Landes
18:30-21:30 Dinner at Restaurant No. 16, Europaplads 16, 8000 Aarhus C
Thursday, March 14th:
11:00-12:45 Session 4:
- Gunhild Borggreen: Modes of Participation in the Green Room Project at Echigo-Tsumari Art Triennale
- Gregory Miller: Welcoming Diversity: The interesting example of crafts tourism development in Mashiko, Japan
- Charlotte Bagger Brandt and Noémi Fodor Rasmussen: Mediation and ownership through participation
13:15-14:00 Transport by local bus 4A til Sigrids Stue, Gellerup
14:00-17:00 Grete Aagaard, about Sigrids Stue art project
17:00-18:30 Bus back to Aarhus, closing session at Café Stiften
Birgit Eriksson, Aarhus University
Manuela Ciotti, Aarhus University
Tomoko Shimizu, Tsukuba University
Yoshitaka Mōri, Tokyo University of the Arts
Karen Waltorp, Aarhus University
Lena Quelvennec, HEAD, Geneva
Charlotte Bagger Brandt, Raaderum
Noémi Fodor Rasmussen, Kokkedal på Vej
Eimi Tagore-Erwin, Lund University
Andreas Lenander Ægidius, Syddansk Universitet SDU
Anne Louise Blicher, The Royal Danish Academy of Fine Arts
Grete Aagaard, Sigrids Stue
Gunhild Borggreen, University of Copenhagen
Thanks to everyone who joined the CCCA Workshop No. 2, which took place in Tokamachi, Niigata Prefecture, on August 24-25, 2018.
The workshop was a mixture of fieldwork explorations of the art projects of Echigo-Tsumari Art Triennale, and discussions concerning methods and ethics of fieldwork studies of contemporary art. We also heard several short presentations of encountering various artworks in the field, and reflections concerning the use of various ethnographic methods.
In the afternoon of Day 2, we had three presentations by G. Yeung Tin Shui, Sampson Wong, and James Lam concerning the relationships between Echigo-Tsumari Art Triennale and art projects in Hong Kong.
Read more details and see more images in the CCCA WS2 Report 2018.
Modes of Participation
CCCA Workshop in Tōkamachi, August 24-25, 2018.
Tokamachi Community hall (Tōkamachi kōminkan Danjurō)
〒948-0083 Niigata-ken, Tōkamachi-shi, Honchō, 1 Chōmekami 508-2
Link to map here.
Preliminary programme (may be subject to change):
9-12: Meet at Tokamachi Community Hall: Introduction to fieldwork practice
13-17 Fieldwork in Tōkamachi or other ETAT locations
17:30-19 Dinner party at Soba House Yoshiya
9-14: Continue fieldwork in Tōkamachi or other ETAT location; prepare presentation
14-17 Tokamachi Community Hall: presentation of field work experience and findings
17- : Tokamachi Omatsuri: join the local festival with traditional dance, etc.
Within the frames of collaboration and community-building in contemporary art, this workshop of the CCCA network will explore various modes of participation. The workshop will take place in Tōkamachi, the hub of the 2018 Echigo-Tsumari Art Triennale (ETAT).
The workshop will employ a practice-based approach by engaging in art projects at ETAT and collect fieldnotes and documentation on personal and collective experiences of participation. Anyone can join the workshop – you do not need to have any ethnographic practice or special analytical skills. Everyone joining the workshop can propose tasks or activities, which will be low-key and managable, and which we can organize either on an individual or common basis. You might want to bring along a notebook and/or a camera.
About the workshop:
We meet the first day (August 24) at Tokamachi community Hall (Tōkamachi kōminkan Danjurō) and start out by discussing methods and tasks and form small groups (where meaningful). During the day time, the groups will encounter artworks and projects around in Tōkamachi (or other ETAT locations) and engage in a field study of participation. You can use one (or several) different methods, for example by participating in art projects and reflecting on our own experience; by observing and talking to other participants; by asking artists and curators about the concepts of participation in the artwork; by having conversations with local residents about participation. On the evening of the first day, we meet for a dinner party at Soba House Yoshiya.
Next day (August 25) we continue the field work exploration of Echigo-Tsumari Art Triennale throughout the day. Each group can prepare a small summary of their findings or experience to present in the afternoon. In the afternoon from 14:00 we meet again at Tomamachi Community Hall and make short presentations for each other and share our experience and findings of the field work. This can be in the format of short presentations (about 10-15 minutes) including sharing photos and other documentation. How did the different forms of encounter with artworks, artist, local population, other art visitors etc. take place? How did you register or document this encounter, and what kind of issues can you address with this kind of method?
In the evening, we can all join the local Tōkamachi oo-matsuri, a traditional town festival that takes place in the streets of Tōkamachi and the Suwa shrine. (The festival takes place August 25.-27., see more on the Tōkamachi oo-matsuri website in Japanese here and in English here).
Why explore modes of participation? Within the so-called “social turn” of contemporary art since the 1990s there has been a keen interest in participatory art practices. For some, participation is a means to engage audiences in new and different ways through relational aesthetics or co-production of the artwork, while in other types of art projects the artists wish to include and address local residents to form new types of communities or micro-utopias. In many cases the art projects rely on embodied participation by including the social interaction among human beings, but also by engaging in site-specific properties of the location and/or by placing a strong emphasis on materiality and objects. In any case, participatory art practice evolves in complex patterns and is difficult to grasp and document – not only because of the wide variety of participatory practices, but also because the modes of participation in each artwork are dynamic and transformative forces that continuously change the artwork and the participants.
The aim of the CCCA workshop is therefore to explore the different modes of participation in artworks and projects of ETAT, as well as to map out different methodologies to study participatory art practices. We wish to engage in an interdisciplinary approach between aesthetic analyses and ethnographic fieldwork to develop methodologies for analysing participatory and socialle engaged art. Such analyses may lead to discussing broader issues such as: what defines “participation”, and what different kinds of participatory practices can occur through art practices? Why has participation become such a ubiquitous concept, and how do we evaluate the quality and urgency of participation?
Sign Up and Further Information:
There is room for 20 participants in the workshop. So please sign up as soon as possible to: Associate Professor Gunhild Borggreen, University of Copenhagen, e-mail: firstname.lastname@example.org
The workshop is sponsored by the Danish Agency for Science and Higher Education.
The workshop is a collaboration between GA (Graduate School of Global Arts), Tokyo University of the Arts, and Department of Arts and Cultural Studies, University of Copenhagen.
Read more about Echigo-Tsumari Art Triennale.
Report from CCCA Workshop No. 1
Tokyo University of the Arts, January 31-February 1, 2018
The workshop is the first of four workshops in the INP network supported by the Danish Agency for Science and Higher Education through the 9th International Network Programme. The International Network Programme is aimed at providing researchers an opportunity to build the foundation for future cooperation and to explore new research partnerships of a potentially high value. The aim for the CCCA network as stated in our application is to develop a platform for scholars, artists, activists, curators, educators, and cultural managers to exchange the experiences and outcomes of socially engaged art movements across borders.
Workshop No. 1 focused on the role of art and artists in society that has dramatically changed over the last two decades. How can (or cannot) art contribute to a community-building? How can a community inspire art and artists? How do artists collaborate with members of a community?
The workshop was hosted and organized by Professor Mōri Yoshitaka, Graduate School of Global Arts, Tokyo University of the Arts, in collabortion with Associate Professor Gunhild Borggreen (University of Copenhagen) and Associate Professor Anemone Platz (Aarhus University).
The workshop was announced on the CCCA blog at University of Copenhagen, and at the news site of the website of Tokyo University of the Arts, Graduate School of Global Arts. Professor Mōri also made a post on Facebook.
The workshop was announced by Professor Môri to a limited number of scholars and graduate students at Tokyo University of the Arts in order to keep the number of workshop participants around 20 persons.
The seminar event
The seminar took place in Lecture Room 1, Senju Campus Tokyo University of the Arts, 1-25-1, Senju, Adachi-ku, Tokyo. The programme for the workshop was copied and distributed among participants. Coffee, tea and snacks were served during coffee breaks.
Left: Senju Campus of Tokyo University of the Arts. Right: Poster
The program contained Opening Remarks as well as seven presentations by scholars, curators and artists. In total, 27 people attended. The list of participants includes scholars and students in art research as well as artists and a curator. The tables in the lecture room were organised to make a square that allowed for informal conversation.
On the first day of the workshop, Professor Mōri Yoshitaka (Tokyo University of the Arts) was the host and he welcomed everyone on the first day of the workshop and made a short introduction to the format. Arouund 25 workshop participants introduced themselves, their affiliation and their interest in the topic to each other. Professor Mōri then continued with his Opening Remarks on “Socially Engaged Art and its Discontent in Japan”. First of all, the concept of “socially engaged art”, also known as SEA, is widespred among international art theory and art critique these days, and in Japan too, the English words are used. There seems to be no equivalent terminology in Japanese. However, it is important that we begin to define concepts within the specific context of investigation, and this is something the CCCA network and the research activities might address in the future. Other key words include “collaboration”: although this is a buzz word among art practices, it also refers to modes of production in the post-Fordism era in which technologies and data exchange intervene in everyday life and reshape the notion of subjectivity from individual to in-dividual. Furthermore, the concept of “community” is undergoing transformation as the notion of what defines a community as well as its inclusion and exclusion mechanisms change. It is important to discuss the concept of “social” because this has become a fancy word but also seems to signify a decline of civil society. The ideas behind current wave of socially engaged art have historical presidents that are important to include.
Professor Mōri during his Opening Remarks
Next, Associate Professor Gunhild Borggreen (Copenhagen University) presented her Opening Remark by outlining the CCCA network background and purposes as well as planned activities for the next two years. Japan and Denmark share many issues of social concern such as urbanisation, decline of traditional agricultural systems, depopulation in rural areas, and ageing population. These transformations make it relevant to study contemporary art that deal with such issues as a theme as well as a foundation for participatory art practices. Ideas of a concrete comparative project between Echigo-Tsumari Art Triennale in Japan and KVÆK art festival on the island of Møn in Denmark was outlined, focusing art projects that co-create with elderly people and establish cross-generational interaction. Several points are important: how to make an art festival in a rural area that can be inclusive but not intrusive; how to develop cross-disciplinary methods, and how to transfer insights that are linked to one specific site and cultural context to another without reducing the inherent aesthetic and social qualities.
After the coffee break, Ph.D. student Liliana Granja Morais (Tokyo Metropolitan University) gave a presentation entitled “Creating Transnational Local Communities through Arts and Crafts” which focused on the transnational exchange between Japan and Brazil by means of Japanese pottery traditions and techniques, as well as a case example from Arita about machizukuri through arts and crafts. This was followed by a presentation by MA student Tanja Sillman (Tokyo University of the Arts) on various degrees of artists’ autonomy in regional and local art projects in Japan. If curated art projects may be more “easy” to understand for audiences, art events that are organised by artists themselves tend to be more engaging and promote (provoke) discussions. The last talk in this session was by MA student Jong Pairez (Tokyo University of the Arts) on the topic of Radio Kosaten as a Participatory Research Laboratory, using the radio project Kosaten as an example of a space of encounter for incompatible bodies from precarious communities, and discussing the failure of such projects to fit the notion of “the social” because it refuses to adhere to conformity.
Left: Pairez, Sillman, and Morais in panel. Right: View of participants
The late afternoon session included two presentations: Professor Shimizu Tomoko (Tsukuba University) gave an elaborate presentation on the theoretical concepts of “community” with references to international philosophers, art critics, and art projects, focusing on the three key aspects of populism, public, and dialogue. Relating to many examples of artworks from different places in the world, Professor Shimizu linked various theoretical aspects of subjectivity and identity to artistic practices. This perspective was highlighted in the presentation by artist and filmmaker Fujii Hikaru, who introduced a number of his art projects in which issues such as collaboration and community in terms of images of the “other”, particularly those types of “otherness” produced by the politics of nation, history, memory. Professor Kumakura Sumiko (Tokyo University of the Arts) provided comments during the following panel discussion.
Left: Mōri, Fujii, Shimizu and Kumakura in panel. Right: Coffee break
After the sessions at Tokyo University of the Arts, most of the participants of the workshop attended a reception at a nearby restaurant in order to continue the conversations in an informal and relaxed manner.
The second day of the workshop took place in Lecture Room 1, Senju Campus Tokyo University of the Arts. Curator Maeda Rei (Art Front Gallery) gave the first presentation of Day 2. Focusing on Echigo-Tsumari Art Triennale, the talk included both a historical and contextual background for the art festival, as well as a detailed account of several of the art projects and the communication and experience between artists, curators and local residents. In many cases, both the local community and its residents as well as the artist are transformed through the process of interaction and exchange through the art practice itself, including also initial resistance from the elderly inhabitants in villages of the art festival area. As discussant, Associate Professor Anemone Platz (Aarhus University) focused on terms such as “revitalization” and recruitment, as well as how the collaboration with the local government takes place. In addition, the issues of tourism and new types of creative industries was mentioned. Some social effects of the Echigo-Tsumari Art Triennale can be registered, such as a rise in the population of the area, as well as a decrease in the number of suicides among elderly people.
Left: Maeda Rei during her presentation. Right: Mōri and Shirakawa
After the coffee break, visual artist Shirakawa Yoshio presented a number of his artistic project in Maebashi and other places, including the Nuttari Radio project and the Mokubada Dada project. The collaborative projects of Shirakawa include detailed research in local history and ethnographic fieldwork, and includes issues such as nationhood, war monuments and memory.
The academic programme ended with short wrap-up session in which the idea of holding the next workshop in Tōkamachi or another site at the Echigo-Tsumari Art Triennale in the end of August was discussed.
(see English version below)
2017年11月にコペンハーゲン大学で開催された国際会議Collaboration and Community-Building in Contemporary Art in Japan and Denmark (主催：コペンハーゲン大学芸術文化学科、協賛：日本学術会議)を受けて、今日のアートにおける協働性とコミュニティが抱えるさまざまな可能性と問題を検討します。
|Liliana Granja Morais
討議者 Anemone Platz (オーフス大学)
Tokyo University of the Arts and the University of Copenhagen Collaborative Research Project
Collaboration and Community-Building in Contemporary Art（CCCA）Workshop
Date: January 31, Wednesday- February 1, Thursday, 2018
Venue: Lecture Room 1, Senju Campus Tokyo University of the Arts,
（1-25-1, Senju, Adachi-ku）
Organized by: Graduate School of Global Arts, Tokyo University of the Arts
In Collaboration with: Department of Arts and Cultural Studies, University of Copenhagen
Languages: English or/and Japanese, No Translation Available
The roles of art and artists in society has dramatically changed over the last two decades. How can (or cannot) art contribute to a community-building? : how can a community inspire art and artists?: how do artists collaborate with members of a community?
Following the international conference on November 4-5, 2017 ‘Collaboration and Community-Building in Contemporary Art in Japan and Denmark’(organized by University of Copenhagen and supported by JSPS), the workshop examines the possibilities and problems in collaboration and community-building in contemporary art through a comparative study of Japan and Denmark.
*The number of participants: 20. Booking is needed in advance.
Please contact to make a reservation: email@example.com
Day1: 31 January
|14:00-14:40||Opening Remarks 1
Socially Engaged Art and its Discontent in Japan
(Tokyo University of the Arts)
|14:40-15:20||Opening Remarks 2
Collaboration and Community-Building in Contemporary Art in Japan and Denmark
|Gunhild Borggreen(University of Copenhagen)|
Creating Transnational Local Communities through Arts and Crafts
|Liliana Granja Morais
(Tokyo Metropolitan University)
Community and Art in the Region
(Tokyo University of the Arts)
Illegitimate Bodies: Radio Kosaten as a Participatory Research Laboratory
(Tokyo University of the Arts)
The Questions of Communities in Art
Tomoko Shimizu(Tsukuba University)
Hikaru Fujii (Artist）
Sumiko Kumakura(Tokyo University of the Arts)
Day 2: 1 February
|13:30-15:00||Presentation and Discussion
Collaboration and Community Building in Contemporary Art: Focusing on Echigo Tsumari Triennnale
Discussant: Anemone Platz (Aarhus University)
On Memory, Monument and Community
Yoshio Shirakawa (Artist)
Discussant: Yoshitaka Mori
The network on Collaboration and Community-Building in Contemporary Art (CCCA) had a great start at the seminar supported by JSPS (Japan Society for the Promotion of Science) and hosted by University of Copenhagen on November 4-5, 2017. About 50 international scholars, artists, cutrators, and students joined the seminar, which included a number of stimulating research presentations, artists talks and film screening, as well as a lot of discussions and networking.
Read more on the website, where you can also download the report.