19 research outputs found
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å®è¡ããã«ãããA new exhibition shelf was created and installed in the gallery at the entrance of the Kobe Design University Information Library. Designed by Koudai Iwamoto, a graduate of the Department of Product Design, and manufactured by Hiroyuki Ikeuchi
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ã³ããçŠã«æãæ®ãã2020幎ã¯1995幎ã®éªç¥æ·¡è·¯å€§éçœãã25幎ãšããç¯ç®ã«ããããã察話ãç§ãçãŸãããšããç¥æžïœ25幎ããšïŒæªæ¥ïŒã®èšæ¶ïœé·æ²¢ç§ä¹å±ãã¯åœåããã®å¹Žã®5æã«äŒç»ãããã³ããææçã®åœ±é¿ã§å»¶æåŸã«äžæ¢ãšãªã£ãããåŸã«æååºã®ãæåèžè¡æŽ»åã®æ¯æŽç¶ç¶äºæ¥ãã®è£å©å¯Ÿè±¡ãšãªãã2021幎4æã«ã25幎ããšïŒæªæ¥ïŒã®èšæ¶ãå±å®è¡å§å¡äŒãäž»å¬ã§éå¬ããããããã¯ç¥æžãšããå Žæã§ã25幎ãšããæéãšèšæ¶ããããå±èŠ§äŒã§ãããA record of the exhibition held by Hideyuki Nagasawa in April 2021. Works on time and memory in Kobe were exhibited
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ã1994 幎ãã2019 幎ãŸã§ã®ãã¿ã³ã«ããç§ã®äœåã¯ãã€ã³ã¹ã¿ã¬ãŒã·ã§ã³ã«ããã¢ãŒãã§ããããã¿ã³ãšã¯è¡£æã«çãããã®ã§ãããã1983 幎ããç§ã¯ãåžè²©ãããåäžã®æ¥åžžåã倧éã«äœ¿ããåºã空éã«å±ç€ºããäœå矀ã§æ³šç®ãããããã®åŸãç°å¢åé¡ãæèããããšããã人ã
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ã«äŸé Œããä»ã«ãåºãããã¿ã³ããã ããããšåŒã³ãããããšã«ããå€ãã®ãã¿ã³ãéãŸããåéãããã¿ã³ã¯ãè²ãçŽ æã«åããŠã¬ã©ã¹ç¶ã«çŽããã次ã«ãäœåãèšçœ®ããå ŽæãéèŠã§ããã空éã®ãã€æå³ãæç¯ãªã©ãæããŠãæ§ã
ãªè²ã圢ãæããŠå±ç€ºãããå€ãã¯åºã«äžŠã¹ãæ¹æ³ãçšãããã倩äºããåãã空éã«æµ®ããäœåãããããããã§ã¯ããã¿ã³ã®ã€ã³ã¹ã¿ã¬ãŒã·ã§ã³ã«ããå¶äœã®æå³ãçµç·¯ãªã©ãäž»èŠãªäœåãããšã«è§£èª¬ãå ±åãšãããMy works of buttons from 1994 to 2019 are the art pieces by installation, and buttons are what you sew on your clothes. Since 1983, I have been attracting attentions for the group of works that use a large amount of the same everyday items that are commercially available. After that, considering environmental issues, I will consider using what people consume and dispose as materials for my works. In 1994, I collected a large amount of unneeded items around us, and for the first time presented a button work at the gallery in Kyoto. The works started by collecting buttons. At the first, calling out to acquaintances, requesting garbage dealers, call out widely "Please give me a button". So I could get enough buttons thanks to a lot of supports. The collected buttons are sorted by color and material, placed in glass bottles. Next, the place where the work is set up is important, and various colors and shapes will be displayed to capture the meaning of the space and time.Most of them use the method of arranging them on the floor, but there are also works that hang from the ceiling and float in the space. This is a report that explains the intent and background of the production of the button installations based on the main works
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ããããããã®å¶äœæå³ãå³é¢ãåçã䜿ãæããã«ãããThe Kobe Design University team produced an installation work âRain of Silver, Gold Ringsâ with a great quantity of used buttons, on September 2011. It had won the competition âKOBE Biennale 2011: Kokashita Art Projectâlocated on the vacant stores in the Motomachi Kokashita(under the elevated railroad) shopping street. In this article, two representatives of the team threw light on the each intention of the work, with drawings and photo
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å瀟ã®æ ªåŒäŒç€Ÿäžžè¬ã®ååãåŸãŠãæ°ããªæå·ç¹ã®éçºãè©Šã¿ãåºç€ç 究ãè¡ã£ããThis research investigates traditional Japanese materials, techniques, and crafts, especially those of Hyogo Prefecture, such as Harima indigo and Sugihara Washi paper, and the use of those for world-class designs of yarn-dyed cotton fabric. The production of Banshu weaving, which is a local industry of Kita Harima, Hyogo Prefecture, has drastically reduced due to price competition with inexpensive overseas areas of production. This reduction isnât just a decline in one local industry, but is a serious problem directly linked to the regional economy and the population outflow of North Harima. The interest in stylishness as well as top quality textiles is rising in todayâs luxury fashion market. Banshu weaving has considerably technological potential such as photo jacquard and cut jacquard, which are greatly advanced forms of jacquard weaves, but has not developed its own unique products. In order to meet the demands of the luxury market, it is indispensable to develop highly original products that can only be produced in the area. Consequently, we have focused on the development of unique and high value-added yarn-dyed cotton fabric using the advanced technology of Banshu jacquard, in the name of "Japan Quality", which symbolizes Japan\u27s unique aesthetic values. We have conducted research and experiments on traditional dyeing techniques and processing technology in Hyogo, and the ancient materials of Japanese origin, and then conducted basic research with the cooperation of Maruman Co. Ltd., a former trading company of Banshu weaving to develop new Banshu weaves
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åååºè¡ã§ã¢ãŒãå±ãéå¬ã§ããããšã¯å€§ããªææãšèãããSince the Setouchi Triennale held in 2013, we have applied the know-how on the relationship between the region and art cultivated in Shamijima and Seijima, andexplored the possibility of regional contribution by art in the center of the city. The points of research are the following five. â Strengthening local cooperation â¡ Discovering and discovering traditional culture and special products â¢Setting the concept of the work ⣠Collaboration with volunteers and local artists †Special exhibition in the cityâ strengthened cooperation with the shopping district in front of Sakaide Station. â¡ participated in local events and worked in parallel with Kaken "Basic research on the sustainable succession and development of traditional culture in Yoshima Goto". For â¢, a unique concept was set, which was conceived from the venue of the art exhibition. â£and †are attempts that could not be realized within the framework of the Setouchi Triennale. In â£, collaboration with local writers was realized. In â€, the originally planned Sakaide artificial land did not come true, but we were able to rent a venue in the station square shopping district. The first half of the exhibition will be hosted by a local artist (winter session), and the second half will be hosted by us (spring session), and the artists will interact with each other by setting a unified theme. Unfortunately, the spring session was postponed due to the influence of the new coronavirus, but as a result of this research, we think that the fact that we were able to collaborate with local artists and that we were able to hold an art exhibition in the station square shopping district are major achievements
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é«æ ¡ãšã®SDGsãããžã§ã¯ãã«ã€ããŠã¯ãé«æ ¡åŽã®å€æã«ããå®æœããã«ã¯è³ããªãã£ãããThis research was conducted as part of art projects for the ART SETOUCHI. The aim of the Setouchi Triennale is to reevaluate and revitalize the region and culture of the Seto Inland Sea. In this context, the research members have been working on the island area of Sakaide City, Kagawa Prefecture. In the 2021 Project, we created artwork to participate in Art Triennale to be held at the Seijima site starting in April 2022. I n the creation of the artwork we received the cooperation of Sakaide City officials, local volunteers, and residents of Sei Island.ãFour works were exhibited in four locations at the exhibition site. An embankment by the sea, a road over the mountains, an old traditional house, and a closed kindergarten.ãAll of them are site specific works that take advantage of the unique nature and culture of the island as well.ãOn the other hand, the SDGs project with a high school in Sakaide City, which had been planned as another community contribution project, was not implemented due to a decision by the high school, which feared COVID 19 pandemic
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ã®å°åäœæ°ãšã¢ãŒãã€ãã³ãã®é¢ããã«ã€ããŠè«ããŠãããAs Shamijima Art Project, our KDU members participated in Setouchi Triennale and some relative art events such as field work, workshops and exhibitions. In 2016, we executed âTree Shades of Redâ exhibition in Setouchi Triennale spring term and âMemory of ShamijimaïœTo See the Nextïœâ in autumn. The issue of this paper is âLocal Collaborators concerned in Art Projectsâ. They are necessary to make independent local art project. We assort collaborators into follows; 1. Artist(our team), 2.Workshop participators, 3.Voluntary citizen, 4.Student staff of KDU, 5. Setouchi Triennale staff, 6. Sakaid City staff, 7.Artist or Researcher in Kagawa, and 8.Visitors. Then we particularly mention in 2, 3, 6and7 as local collaborators and argue the quality and process of co-creative art work