To amplify the evocative power of images,
and to promote and spread art
and culture in society.

アートプロデューサー 斉木ミラARTEMIRA

Kyoto JAPAN
office@artemira.co.jp

"イメージの喚起力"を増幅させ、
社会にアート、文化を普及、浸透させる

b.20160229 KYOTO JAPAN

いかに簡潔でわかりやすく、的確に答えられるかがプロデューサーとして私にとっての重要課題であるのだけれど、いまだ自分で満足するような説明ができないでいる。

ただ一番の特徴としていえることは展覧会場が美術館の箱の中ではないということ、クギ一本打てないほど制約のある、歴史的な建造物であり、重要文化財であるという、有名な観光地での展覧会であるということ。

この制約の中で作品を表現、展示することがどれだけの大きなチャレンジであり、またリスクだろうかと考えるのだがむしろそれを逆手にとるような形で見事に作品をつくりこんでしまうそれぞれの作家の才能に驚き、感動する。

また来場者である方々の見学の様子が実にさまざまで見ごたえがあった。わざわざ美術館にいくのではない、という多くの観光客も含めた来場者は「偶然」にアートと「遭遇」してしまうという仕掛けにはいってしまう。その遭遇に喜ぶ人もいれば無視したい人もいる。理解しようとする人もいればアートの展示に気が付かない人すらいる。

いうならば特殊な場所とのコラボによる展覧会イベントの参加の仕方というものに暗黙のルールや作法やスキル、というものが存在する。

斉木ミラ
2008年『京都アートウォーク』

Kyoto Art Walk is a contemporary art event in which works by internationally renowned artists are exhibited at venues such as old temples and castles that are not normally open to the public. ' In the course of organising Kyoto Art Walk in 2005 and 2008, I have repeatedly given this answer to the question,’What is Kyoto Art Walk?

While as the producer of the event I have always felt obliged to provide a succinct and comprehensible reply to this question,Istill don’t feel my answer is a fully satisfactory one. One thing that clearly distinguishes Kyoto Art Walk is the uniqueness of the venues in which it is held.These are quite different from the enclosed spaces of purpose-built museums. They are,rather,places of great historical and cultural importance that have to be treated with extreme care - to the extent,indeed,that not a single screw or nail can be used. The challenges and risks of working in such environments are very considerable,and it has always been extraordinary to see how the participating artists have negotiated these constraints,turning them into strengths and incorporating them into their work.

The different ways in which the public has responded to the exhibits has also been remarkable.The event is organised in such a way that viewers,many of whom are tourists not necessarily interested in museums or the like,make ‘chance encounters’ with works of art.Some delight in these encounters and try to understand what they have stumbled across, while others either fail to notice the exhibits or are left cold and disinterested.There seem,interestingly,to be certain unspoken rules,manners and skills in engaging with works of art shown at such out of the ordinary venues.

The name ‘Kyoto Art Walk’ reflects our intention to encourage the discovery of the new and unknown through encounters with works of art made while strolling around the city.It Is supported entirely by private individuals and organisations, and I am very proud to be able to say that it has fully achieved its desired aims.

I would like to express my heartfelt thanks to all of those who have been involved in the organisation of the event,its sponsors and supporters,the many volunteers without whose help it could not have been realised,and also to the many visitors who came from aftar to experience it.Their enthusiasm and commitment not only made the miracle of Kyoto Art Walk 2008 com about,but has also given me the confidence and fortitude to move forward and organise future events.

Mira Saiki
Kyoto Art Walk Executive Committee

数々のアート・プロデュースを手掛けてきたミラさんが、みずから開設するコマーシャル・ギャラリー!美術館が一定の役割をほぼ果たし終えたように思われる歴史的経緯のなかで、今後私的なギャラリーは感性の差異化、趣味嗜好の多様化に応じる展開可能性をますます強めていくだろう。

ARTEMIRA、この美的空間が京都の新たな磁場となることを期待したい。 

美学者 谷川 渥
美学者 谷川 渥

b.20181231 ARTEMIRA GARRELY

Copyright 2025 ARTEMIRA