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A message from Mr.Fujitani for the Tokyo International Mini-Print Triennial 2015
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Chairman of Board of Directors,
Tama Art University
Nobuto FUJITANI
We are pleased to present the fth Tokyo International Mini-Print Triennial, an event that began in 1995 to
commemorate the 60th anniversary of the foundation of Tama Art University. This year s Triennial
celebrates the 80th anniversary of TAU, and for the rst time entries were solicited from all over the world
via the Internet, as well as by post. In total, the number of applications amounted to more than 2,000 from
84 countries and regions, and from these applications approximately 300 were selected for display at the
University Museum, as was done for the event 10 years ago.
The world today is changing at a dizzying pace and the role of art in society is becoming ever more
important. In response to this situation, the triennial has two distinctive merits. One is that the exhibition
has collected a great many artworks, which represent the diverse characters of each country and region for
the exhibition. This provides an opportunity to foster shared intercultural awareness and understanding
while at the same time raising questions about global issues addressing our collective future.
The second remarkable quality of the triennial on this occasion is the blending of old and new technologies.
The print works have been submitted both via the Internet and by post, which has enabled the collection
and disclosure of scholarly data to the public, contributing to the creation and expansion of new modes of
expression.
I hope that you can all enjoy the fresh aesthetics and masterful skill on display in such a great number of
versatile and unique works. I would also like to express my sincerest gratitude to all of the artists presented
here, as well as to everyone else whose support and assistance have made this event possible.
General Comment
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1Mehrdad KHATAEI33
KhataeiPiangchompu
Dean of the Graduate School
Tama Art University / Art Critic
Eun Ji CHOIVlad ZARETSKIY
Kunio MOTOE
Printmaking is a form of expression based upon the similarities and dierences between an original (A) and a copy (A') of it made
onto paper or some other medium. What is important is that the artistic qualities depend upon, or emerge from, the relationship of
A to A', and that there is a beauty which can be presented only through employing the art of printmaking. A good example of this is
the artistic superiority of ukiyo-e prints vis--vis the original picture.
It should be noted that, traditionally, this relationship has been conveyed by hand, and in the case of the current exhibition, a line is
drawn when it comes to prints for which the entire process from the original to the print is mediated completely by personal
computer, i.e., digital prints. The major reason for this is that the intervention of the artist s hand in the original provides two of
the print's most appealing aspects, namely a sense of smallness (intimacy) and closeness (immediacy). Expediency and
practicality of course factor into our reasons for insisting on the mini-print format, but it is primarily because of a strong desire to
see works which are true to the originals from which they are derived.
The 2015 Mini-Print Triennial received 2,174 entries (1,735 from overseas and 439 from within Japan), and after an initial round of
screening based on pictures of the works, 342 works were chosen. For the second round of screening, among the chosen ones,
331 original works were sent and arranged in the exhibition venue, and six judges selected 10 works each (ensuring no overlaps).
Then, each judge once more assessed the works and tagged (without regard for overlaps this time) those which he felt were
deserving of an award. The results were one work which received three votes (tags) and 12 works which received two votes.
Because there was no overwhelming consensus, another vote was held between the work by Ayaka YAMADA, which had received
three votes, and the work by Mehrdad KHATAEI, which was the strong favorite amongst the works receiving two votes. The result
was a tie of three votes apiece. After deliberation, the judges chose Yamada s work (a lithograph featuring a thoroughly distinctive
image of a solemn knight) for the Grand-Prix, and the works of Khataei (a copperplate etching conveying a situation of grave
intensity) and Thai artist Piangchompu (a woodcut revealing a glimpse into the soul) for the Semi Grand-Prix. The task of judging
was made incredibly dicult thanks to the fact that all of the works demonstrated careful and meticulous artistry.
Apart from the judges awards, other notable works deserving of mention are Ikuhiro KUGO s representation of nature through the
use of countless, clear streaks, Eun Ji CHOI s (Korea) landscape constructed from an overlapping plan of light and shade and Vlad
ZARETSKIY s (Russia) fresh and vibrant sunset.
Grand-Prix
Although just my opinion, the exotic and almost otherworldly knight printed
from an exquisitely detailed original, probably drawn using nely sharpened wax
pencils, cast an aura over the judging venue which no other work could match.
The beauty and suggestion of this hal0f-forgotten prole lost amidst the throng
of a big city is presented as remarkably as any piece I can remember. It
embodies more than a mere drawing possibly could; its appearance can only be
described as spiritual.
The greatest lithographs, such as those from Redon s early period, give the
illusion of being etchings. The same can be said for this enigmatically
androgynous I am not sure if others share this impression of mine knight,
displaying an attention to detail worthy of a fantastical essence reminiscent of
the wandering copperplate etcher Bresdin, who was the teacher of Redon. Be it
good or bad, a print in its essence is the form of expression displaying a
connection, which can only be described as mystical, between technical
sophistication and artistic purity. The technology involved in printmaking is not
something borrowed out of convenience; it is already a part of the art. Thus,
printmakers are forced to ask what it is to reiterate/print the work in its strictest
sense. This work is a remarkable achievement to answer the question.
Sunk into the middle of a dark blue eld is a face with a gloomy expression,
and on either side are the gloved hands of someone; we cannot know to whom
they belong. Are they perhaps hands cut o from the arms? Are they perhaps
the author s own hands? Standing in the dark background is a man clothed in
military garb looking at the viewer. Everything appears to be inside a room,
which is twisted and toppling. This description portrays the work as an
indictment of an overwhelming situation, and perhaps this is the motivation of
the artist; however, the impression the work leaves goes far deeper. For me, it is
a gurative representation of the situation for all people, globally, rendered with
all of the skill of a copper plate artist into something bold and masterful, and
deserving of a grand prix. This work must not be seen as depicting Iran only.
The ambiguity of formal elements and spatial representations throughout the
work creates a universalized unease expressing both the unease of the artist, as
well as the viewer, who looks upon this dangerous environment and cannot help
but feel drawn into it. Even those who might not like overt suggestions of
political or social topics could not help but feel a deep resonance with the
skillful artistry on display that avoids any explicit manifestation of line or
meaning.
In contrast to the other semi grand-prix work, this print is a purely introspective
piece, which conveys one s sense of existence through an everyday tableware
item. Nevertheless, from its gurative and scrupulous representation of visual
ambiguity, via a precise expression of uncertaintyboth in the object s
existence and the viewer s observation of itan unexpected shared theme
emerges between the two semi grand-prix works. Where this work diers from
the other, though, is in how it presents a clear vision that evades uncertainty
quietly and gently. The work appears to be made completely as a woodblock
print, which lends itself to clear expressions of line, shape and color; thus, to
achieve such a high level of ambiguity with this medium is a rare feat, even
amongst Japanese artists who draw on a long and rich history of woodblock
printing. The wide bowl lled with only a small amount of pale blue water
appears to be contained within a silver-gray box, but the viewer becomes
uncertain about the existence of this box, as a change in viewing angle makes it
seem to disappear. According to fellow printmakers, this eect is the result of
the use of silver coloration, and some liken this work to Giorgio Morandi s
metaphysical works. Of course, though, this prize work is deeper and better
than them.
Kanako WATANABE emphasizes the dimly lit existence of humanity, which relies on a
distinctive method (involving woodcuts made without chisels) of transcribing the
entire world into black and white. Her attitude is precious in the midst of the
contemporary prints community in Japan which has a tendency to show o
excellence in technical skill and sensitivity, ending up to lose sight of what is
essential. I know I am not the only one who experiences more than a pleasing
lyricism wafting from WATANABE s work but also something extraordinary in the
fragmentary and conceptual form depicted which raises fundamental questions about
the modern person. An occasional sharpness is submerged within the characteristic
gentleness of a woodcut, making us guess that originally she used to learn the art of
copperplate etching.
Kanako WATANABE s exquisite twilight vision possesses an unexpected depth. It is
obvious that the portion of the young girl s dress and feet that we see points to the
existence of a whole person, but the pressing and timely question raised is whether
such an entirety actually exists? What we do not see outside the strictly dened
boundaries of a picture containing horizontal lines faintly etched and legs comprised
of vertical linesi.e., the girl s full embodiment may have already faded away.
Perhaps the truth is that we are merely fragments dreaming of some idealized whole?
Ballet
Ballet
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other
Meandering fragments of line, shape and color appear everywhere in this piece.
Those expecting a clear meaning, shape or subject will likely be disappointed,
but for me it is pictorially evocative of a kind of joy. Like how the author, and
the artist s compatriot, Jos Ortega y Gasset explained it a century earlier,
works such as this are not a window looking out onto something; rather, they
adhere to the principles of modern painting in depicting a phenomenon arising
upon the surface of the window itself. The art of printmaking tends to have an
aversion to such principles, strongly preferring the distinctiveness of shape and
image required to depict something as seen through a window. And although
this tendency in and of itself is not to be condemned, one should not forget
that such a work by this author walks on the right path of printmaking.
Ultimately, though, I cannot tell what printmaking techniques are employed in
this piece. In the description column by the author is written other technique ,
but is this demonstrating a combination of techniques? I would like a detailed
description. Furthermore, observing the surface of a window does not require
us to ignore those things beyond the window which are irresistibly evident.
Visual expression today must accommodate the multidimensionality of reality.
Yu-Chuan CHANG
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print
take o ... Green
Print30
!!
Contemporary print expression has two trends; these are HANGA and print art .
Printmakers adhere to styles of self-portraiture and engraving established since the
advent of creative printmaking while wielding new techniques, which have been
cultivated, and personal skills that they have honed. For them, the printing material is
not some static element; it is an irreplaceable accomplice in their work.
Print art emphasizes concept-making and uses print to validate its conceptual worlds.
Modern technologies, such as screen-printing and digital printing, are employed in
this trend.
My choice of Toru TOHIGUCHI s work take o ... (Green) is the very embodiment
of print art. Print layers are laid upon one another (more than 30 times) to create
layers of color bounded by lines, producing forms that take on a unique reality. At the
same time, the work good-naturedly eschews the intense iconography that printing
layer upon layer conveys in favor of a fun playfulness . When we try to gure out
what message the artist has incorporated into his work, we are already playing into
his hands...
This piece says Bravo for playfulness!! as if to gently kid those who would overthink
the piece and try to nd some deep meaning that it might convey.
Nationalities 84 Countries/Regions / Number of Applicants 2,174 (Abroad: 1,735, Japan: 439) / Selected Artists 324 (Abroad: 246,
Japan: 78) / Prize Winners 20 (Abroad: 12, Japan: 8)
201515228
2013
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2025cm
[Competition Rules]
but the organizer will not accept prints merely output from computer printer.
Print size (including the surrounding paper) must not exeed 20.025.0cm.
The organizer may reject entries that are likely to soil or damage
The jury will screen images of the entries sent to the triennial site through the website.
The entrants who pass the 1st screening must send the original physical prints.
The jury will then select the award-winning works from the original prints.
Screening
=2015318=2015516
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1300,0002100,000670,00011*30,000
*1011
Dates 1st: (Wed.) March 18, 20152nd: (Sat.) May 16, 2015
Jury 1st: Yuji KOBAYASHI (painter), Kuniko SATAKE (print artist), Hiroko FURUYA (print artist), Kunio MOTOE (art critic),
Tatsumasa WATANABE (print artist).
2nd: Seishi OZAKU (print artist), Keisei KOBAYASHI (artist), Akira TATEHATA (art critic), Fumiaki FUKITA (print artist),
Toshiaki MINEMURA (art critic), Kunio MOTOE (art critic).
Prizes 1.Grand-Prix1300,000yen 2.Semi Grand-Prix2100,000yen 3.Jury Award670,000yen 4.Museum
Award11*30,000yen
*Following the jury s decision, there was a change in the number of winners from 10 to 11.
Seishi OZAKU (print artist) Keisei KOBAYASHI (artist) Akira TATEHATA (art critic) Fumiaki FUKITA (print artist) Toshiaki MINEMURA (art critic) Kunio MOTOE (art critic)
2nd screening
2015
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2015926118 1-33-1
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