駐村計畫

葛谷允宏 Nobuhiro Kuzuya

葛谷允宏 Nobuhiro Kuzuya

駐村日期:2017/10/30 - 2017/11/28
文化管理
日本

葛谷允宏於1981年在愛知縣一宮市出生,2008年畢業於東京藝術大學,主修美術。

畢業後前往東南亞的藝術空間進行為期三個月的背包客之旅,回到日本後參與名為HAISHAKKEI的展覽,展覽結束後將場地轉為藝術空間。2010年開始在石川縣輪島市、金澤市民藝術中心”36. 56。”等地參與藝術駐村,2011年開始在取手車站前經營藝術空間暨酒吧。2012年策畫展覽“What is alternative? Festival or mountain?”。於2013、2014、2016年擔任取手國際壁畫與影片競賽策劃人。並在其經營的藝術空間舉辦各種藝術與飲食活動。

合作單位

Kanazawa Art Port

駐村作品

我將研究藝術、食物、人們和地方,並在我先前架設的網站上進行介紹。影片會上傳至Instagram和YouTube。研究的所有過程都記錄在網站上。我也在想讓當地居民進入這些影片。作為一位日本藝術家,我希望能說出自己所感受到的文化和社會差異。想要邀請當地人加入的原因是為了更具象說出差異處。

我希望能夠從這些差異點發展出我的作品。由於時間短暫,駐村結束後我可能只能有個小作品。

基本上,我會四處走走,並上傳影片和直播到Instagram和YouTube。在工作室期間,我也會下廚試著嘗試在研究中發現的食譜,歡迎大家一起加入。

如果有任何推薦的食物和地方,一定要告訴我!最終的駐村成果我計畫讓人們參與,可能是直播、Party或是旅行。研究的時候我會繼續想想要怎麼做。


After the 3.11 disaster, Japanese people started to realize the uncertainty of the existence of everyday.
But we do not know whether the destruction was caused by nature, civilization, society, or by a person until the disaster.
There is no way to know what makes everyday stable and unstable.
Everything is under the water and many people do not know about it.
The things that we thought were natural were in fact not as perfect as we thought. In a society that is established on uncertain things, what we have to do now is to doubt the normal and doubt our daily lives.
I think it is one of the ways for choosing a better future.

The smell of the river and the smell of drainage that I felt when I was walking in Taipei, 淡水 and Tainan during the past two weeks, gave me a smell reminiscent of the city river that I spent in my childhood, but it is not a good thing.
The river in the city flows into the 淡水河, which is also a source of water in the northern part of Taiwan. After being purified from each intake facilities, it is safely used as water supply.
The smelly river that runs into the water source for daily use is becoming natural for the people here.
Still tap water is safe and everyone uses it with confidence.
Water supports a stable daily life, and it is one of the most important elements for people to live, such as life support and use in daily life.
So, is not it necessary to doubt the daily behavior of using this water safely instead of the safety of this water?
In order to do so, by getting a feeling of drinking water from this river makes us doubt the actions of believing the invisible circumstances that are supporting our daily life.

I am seeking for an alternative way to communicate something through visual objects, not language, and now I am seeking a dialogue that involves eating and drinking.
The reason why I am trying to seek expressions involving eating and drinking is because the process of communication is born in the course of repeating through making a meal, eating with my family, which I have been daily communicating with since I was a child.
Currently it is carried out also in the BAR which it is done in Japan, intermediary eating and drinking in a dialogue with others, trying to create a dialogue with society through that dialogue.
I will like to present it with two methods this time.
One is a cocktail of water using only river water and ice, imitating a cocktail I do in the BAR I am running in Japan.
The other one simulates a jelly of water that has come to be seen frequently in Japan for several years, this is a confection for enjoying the taste of water.
In Taiwan, jelly-like food is considered to be a food that evokes everyday life in Taiwan, because we often see sweets of jelly here.
The river water used here uses water that has been filtered and distilled beforehand.
If possible, I would like to actually filter and distill wither at that place.
Of course, the decision to eat or not to eat is left to participants.

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