Translation Through Time

Body Contract w/ Shuzo Azuchi Gulliver, Lead Artist

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Translation Through Time

Collaborative Cataloging Japan w/ Ann Adachi-Tasch, Executive Director

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Spring 2020

Introduction

In partnership with Collaborative Cataloging Japan and Tokyo-based multidisciplinary artist Shuzo Azuchi Gulliver we will examine the materiality and ephemerality of Japanese experimental and expanded cinema practices that challenge the conventions of spectatorship through participatory modes of engagement. ‘Translation Through Time: Image, Text, and Language’ will ask, how do you make the relationship between the screen and the audience active not passive? How do you deconstruct linear narratives of time through exhibition and performance? How do you preserve, document, and disseminate the legacy of moving images as opposed to still images? What are the differences between ‘analogue’ and ‘digital’ archiving? What are the issues involved in translation between Japanese and English? We will consider these questions in an attempt to interpret and translate the role of fine art and performance in and across various media.

Collaborators

Lead Artist

Shuzo Azuchi Gulliver (b. 1947, Shiga) is an artist with a multidisciplinary practice. As a high school student, he formed the artist collectives The Play and Remandaran and staged on-street performances of a conceptual nature in Kyoto and Osaka. Living between Tokyo and the Kansai region in the late-1960s, he began to attract the attention of the media and was considered to be a representative figure of the hippie (fūten) phenomenon, going by the nickname Gulliver, which he continues to keep as his artist name. In 1967, he presented a series of conceptually driven films at the discotheque L.S.D in Tokyo. Together with Rikuro Miyai, he began presenting the film in Tokyo jazz clubs, such as Pit Inn and Noa Noa as well as at events organized by the Art Film Association in Kyoto and Osaka. As a participant of the Intermedia Art Festival at the discotheque Killer Joe’s, Tokyo, in 1969, Gulliver presented Cinematic Illumination (1968-69), a work involving eighteen slide projectors that illuminated the unique 360-degree environment. The outdoor performance Flying Focus (1969) involved a tubular balloon into which Gulliver projected colored patterns using an overhead projector. Since he has continued to remain active as an artist working in the fields of sculpture, performance and new media with an interest in the body, scale, and humor. He is represented by Tajana Pieters (Ghent) and Aoyama Meguro (Tokyo) and has performed or exhibited his work recently at Tate Modern and Tokyo Photographic Art Museum.

Executive Director

Collaborative Cataloging Japan

Collaborative Cataloging Japan is a a not-for-profit that supports preservation and archiving of Japanese historical and experimental moving image works. Adachi-Tasch has worked at The Museum of Modern Art, where she managed projects for the Museum’s global research initiative titled Contemporary and Modern Art Perspectives (C-MAP), and contributed to the launch of its digital platform, post (post.at.moma.org). In 2009, she organized a touring screening program and publication of Japanese experimental video and film, Vital Signals at Electronic Arts Intermix. She has given presentations and written about the status of media archiving in Japan, at The Museum of Modern Art, Tokyo; Tate Modern (London); Keio University Art Center (Tokyo); and the Archives of American Art (Washington D.C.), among others.

Senior Lecturer and Director of Japanese Language Program

Haverford College

Tetsuya Sato, a native of Hokkaido, Japan, received his M.Ed. in general curriculum and instruction from Seattle University, M.A. in Japanese language/pedagogy from the University of Oregon, and Ph.D. in East Asian Studies (Japanese linguistics) from the University of Arizona. His academic journey in the United States began with studying English as a second language and Chinese, and evolved to second language acquisition, Vygotsky’s sociocultural theory, language and identity, and critical discourse analysis. Previously, he taught Japanese at the University of California, Santa Barbara, and the University of Michigan, Ann Arbor.

Assistant Professor of East Asian Languages and Cultures; Assistant Professor of Visual Studies; and Director of the Visual Studies Program

Haverford College

Schoneveld’s research and teaching engages with modern and contemporary Japanese art, cinema, and visual culture examining how these methods of cultural production have evolved into unique modes of address, exhibition practices, and pedagogical strategies in light of a rapidly globalizing world. Her book Shirakaba and Japanese Modernism: Art Magazines, Artistic Collectives, and the Early Avant-garde (Brill 2019) provides a new comparative framework for understanding the tensions between the local and the universal that accompanied the global development of modernism by examining one of the most significant Japanese art and literary magazines of the early twentieth century. Schoneveld’s current book project Naomi Kawase and the Future of Japanese Cinema seeks to address the dearth of scholarship on the role of Japanese women directors within national and world cinema cultures by evaluating Kawase’s auteur status at the intersection of film history, reception theory, gender, and identity. Schoneveld’s research has received support from the Japan Foundation, the Andrew W. Mellon Foundation, the Luce Foundation, the Metropolitan Center for Far Eastern Art Studies, and the Japan Art History Forum.

Lecturer in Japanese

Haverford College

Kimiko received her M.A. in Japanese Linguistics/Pedagogy from the University of Wisconsin-Madison. Her recent teaching and research interests focus on the issue of diversity, inclusion, and professionalism  in Japanese language education. She has designed course modules collaborating with other faculty, centers on campus, and a local business. One of which is the Advanced Japanese’s Indigo-Dyeing Exhibition at John B. Hurford Center.

Events

Collaborative Cataloging Japan w/ Ann Adachi-Tasch, Executive Director, CCJ

Presentation & Discussion

2.3

4:30-6pm, Haverford College, VCAM Screening Room 001


In a traditional lecture setting, Collaborative Cataloging Japan (CCJ)’s Executive Director, Ann Adachi-Tasch will present a brief history of Japanese experimental film and video, as well as the current situation of the film and video’s preservation efforts and CCJ’s method and strategy for safeguarding this legacy. In addition, Adachi-Tasch will speak on the motivations behind establishing the organization, and her story of arriving to the project. This session will provide an overview of CCJ’s mission while presenting the behind-the-scenes background. This lecture will include video clips of film work excerpts and Powerpoint presentation.

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Student and Collaborators Lunch w/ Ann Adachi-Tasch, Executive Director, CCJ

Gathering

2.5

1-2pm, Haverford College

Executive Director of Collaborative Cataloging Japan Ann Adachi-Tasch will mingle and visit with the students in Tetsuya Sato’s Course ” Advanced Japanese”, Erin Schoneveld’s Course “Japanese Modernism Across Media” and Kimiko Suzuki’s Course “Third-Year Japanese”.

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Japanese Modernism Across Media Course Visit w/ Ann Adachi-Tasch, Executive Director, CCJ

Class Visit & Discussion

2.5

2-3pm, Haverford College

Executive Director of Collaborative Cataloging Japan Ann Ann Adachi-Tasch will engage the students in Erin Schoneveld’s Japanese Modernism Across Media Course in a discussion around her work at CCJ and her relationship with Shuzo Azuchi Gulliver.
She will bring in a few relevant topics from the morning session with Tetsuya’s course which include:
-What is an archive?
-Digital vs physical archive, their different functions
-Documenting history: issues of deterioration
-Documenting history: how to discuss the history that does not have documentation
-Documenting performance: reference to the event
-Documenting history & performance: the process of translation and re-presentation

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Body Contract w/ Shuzo Azuchi Gulliver, Lead Artist

Performance & Workshop

3.16

7-8:30pm, Haverford College, VCAM Building Room 201

Artist Shuzo Azuchi Gulliver (Japan) will present ‘Body Contract’, a performance he began in 1973. During this event, Gulliver will read the ‘Body Contract’ in both Japanese and English, which involves dividing his body into 80 parts after his death and entrusting the deposit of them after his death to his friends. Each contract covers one part of his body with one friend. After this performance, Gulliver will speak about the artistic process and ideas present in the work. The audience will then be asked to participate in a drawing exercise around related concepts such as legacy, mortality, physical aging, and preservation (amongst others) and consider these decisions in relation to their own body. Students from Tetsuya Sato’s Course ” Advanced Japanese”, Erin Schoneveld’s Course “Japanese Modernism Across Media” and Kimiko Suzuki’s Course “Third-Year Japanese” will be present for the event. All supplies will be provided.

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De-Time Opening Reception & Artist Talk w/ Shuzo Azuchi Gulliver and Ann Adachi-Tasch

Reception & Artist Talk

4.9

4:30-7pm, Haverford College, VCAM Building Room 001 & 006

Shuzo Azuchi Gulliver: De-time
Exhibition on View April 9–May 15, 2020
Thursday, April 9, 2020
Public conversation with artist Shuzo Azuchi Gulliver and Ann Adachi-Tasch, Executive Director, Collaborative Cataloging Japan
4:30–5:30 p.m.
VCAM Screening Room 001

De-time Exhibition Opening & Reception
5:30–7:00 p.m.
VCAM Screening Room 001, VCAM Create Space 006, VCAM Projection Wall

In De-time, iconic multi-disciplinary artist Shuzo Azuchi Gulliver (b. 1947 inShiga, Japan) presents video works, chalk paintings, photographs, and archivalmaterials variously engaged with the intersection of temporality, design,communication, and the archive. Presented as part of Haverford College’s annualSTRANGE TRUTH series, the exhibition also features the documentation ofCinematic Illumination viewable on the VCAM Projection Wall during the April9th exhibition opening reception as well as a program of short video pieces inthe VCAM Screening Room.

Supported by the Hurford Center’s Philadelphia Area Creative Collaboratives (PACC) initiative and Collaborative Cataloging Japan.

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