Faculty

Art Management/Curation

Hiroyuki Hattori

画像:Hiroyuki Hattori

Transdisciplinary Arts Theory

Transdisciplinary Arts Workshop

Transdisciplinary Arts Practicum

Profile

Hiroyuki Hattori (1978) born in Aichi, Japan. He completed postgraduate studies in architecture in 2006 at Waseda University. He had worked for renowned artist-in-residence institutions such as Akiyoshidai International Art Village and Aomori Contemporary Art Centre [ACAC] for over 10 years. He then shifted to work as an independent curator from 2016 and has been actively working in Asia. Combining a unique background in architecture and proven experience as a curator, he has been exploring the idea of public space through process-based projects. Recent curatorial works include Towada Oirase Art Festival SURVIVE — Time Hoppers on the Earth (Towada Art Center and other sites, 2013); MEDIA/ART KITCHEN (National Gallery of Indonesia, Jakarta / MAP KL, Kuala Lumpur / Ayala Museum, 98B Collaboratory, Green Papaya Art Projects,etc., Manila / Bangkok Art and Culture Centre [BACC], Bangkok / Aomori Contemporary Art Centre [ACAC],Aomori, 2013–2014), Aichi Triennale 2016 Homo Faber: A Rainbow Caravan (2016) and ESCAPE from the SEA (National Visual Art Gallery and Art Printing Works Sdn Bdh, Kuala Lumpur, 2017). He was appointed for the curator of the Japan Pavilion at the 58 th International Art Exhibition, La Biennale di Venezia in 2019.

Research activities

Selected Curatorial Projects
2018            Going Away Closer
Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba
2017            ESCAPE from the SEA
National Visual Art Gallery and Art Printing Works Sdn Bdh, Kuala Lumpur, Malaysia
2016    Aichi Triennale 2016 Homo Faber: A Rainbow Caravan
Aichi Prefectural Museum of Art and more than 20 other sites, Aichi, Japan
Served as a curator in one of the biggest and most prestigious international art festivals in Japan. Making the most of my strong connection and network in Asia, I invited artists such as Charles Lim, Liu Wei, ruangrupa, Gulnara Kasmalieva and Mratbek Djumaliev, Shreyas Karle, Sanghee Song, UuDam Tran Nguyen amongst other Japanese artists, many of whom had the first exposure in Japan.

2016    Assembridge Nagoya PANORAMA GARDEN– Discovering Signs in the Alternative Ecosystem
Minatomachi Potluck Building and 9 other sites, Aichi, Japan
Director of the festival. It was the new festival happened in parallel with Aichi Triennale. We realized many of new commissions by young and emerging artists.

2015    Chulayarnnon Siriphol Behind the Painting
Art Center Silpakorn University, Bangkok, Thailand

2015    The construction of history is dedicated to the memories of the unnamed
Aomori Contemporary Art Centre [ACAC], Aomori, Japan
An exhibition co-curated with a video artist Hikaru Fujii. We researched the Aomori city collections and made archival exhibition to depict unwritten and alternative history.

2013-2015    MEDIA/ART KITCHEN –Reality Distortion Field
Bangkok Art and Culture Centre [BACC], Bangkok, Thailand; Aomori Contemporary Art Centre [ACAC], Aomori, Japan; Ayala Museum, 98B Collaboratory, Green Papaya Art project, Manila, the Philippines; MAP KL, Kuala Lumpur, Malaysia; and Galeri Nasional Indonesia, Jakarta, Indonesia
Co-curated by 13 curators from 9 Asian cities under the organization by the Japan Foundation. The exhibition happened in 5 countries under the same title, but in different context, scale and process.

2014    Trans×Form in Delhi, Japan Foundation New Delhi, Delhi, India
2013    Towada Oirase Art Festival SURVIVE- Time Hoppers on the Earth, Towada Art Center and Oirase Area, Aomori, Japan
2012    Skylines With Flying People MAC Hanoi, Japan Foundation Hanoi, Hanoi, Vietnam
2011-2012    Re-Modernologio, Aomori Contemporary Art Centre [ACAC], Aomori, Japan
2010    Motoyuki Shitamichi Rider House, Midori Art Center [MAC], Aomori, Japan
2009    weavingscapes, Akiyoshidai International Art Village, Yamaguchi, Japan
2008    Charles LIM It’s not that I forgot, but rather I chose not to mention, Akiyoshidai International Art Village, Yamaguchi, Japan

Selected Symposiums, Lectures and Talks
2016    Panelist for Contemporary Youth Art For Forum Mapping Asia: Art Practice and Promotion in Asia, University Museum and Art Gallery (UMAG), University of Hong Kong, Hong Kong
2015     Panelist for the Curatorial Summit and Research program: How international art professional could be grown in Japan, the Agency for Cultural Affairs, Government of Japan, Tokyo
2014    Discussant for Yebisu International Festival for Film and Alternative Visions, Present Expression of Video Art in Asia, discussant: Jinsuk Suh (Director, Nam Jun Paik Art Center), Keiko Okamura (Curator, Tokyo Metropolitan Museum of Photography) and Hiroyuki Hattori, Tokyo Metropolitan Museum of Photography, Tokyo, Japan
2013    Lecture Artist-in-Residence in ACAC and Japan, Fresh Paint, Tel Aviv, Israel
2013    Lecture A platform of artistic creativity – Exploring possibilities of Artist in Residence at ACAC, 1Shanthi Road, Bangalore / CONA foundation, Mumbai / The Clark House, Mumbai / Vadehra Art Gallery/FICA, Delhi, India

Selected Jury and Committee
2017-2018   Nominator, The 4th edition of the Asia Pacific Breweries Foundation Signature Art Prize in 2018
2016    Selection Committee of ART NOVA 100, Beijing, China
2015-2017   Selection member of JAPAN MEDIA ARTS FESTIVAL, Agency of Cultural Affair, Government of Japan
2015,2017    Nomination committee of NISSAN ART AWARD 2015, 2017, Nissan Motor Cooperation, Tokyo

Selected Bibliography
“Lifescapes: Art and Public Spaces,” in Aichi Triennale 2016: A Rainbow Caravan Catalog, Chihiro Minato, Daniela Castro et al. (Tokyo: Heibonsha Co. Ltd, 2016), pp.23-25.
Kenichiro Egami + Hiroyuki Hattori “Collective Asia- Occupy/Life/Humor”(コレクティブ・アジアー オキュパイ/生存権/ユーモア), in Dreamer’s Crossroads: Towards the Place of Art and Memory(夢見る人のクロスロード), ed. Chihiro Minato (Tokyo: Heibonsha Co. Ltd, 2016), pp. 82-96
“Share the Incomprehensibility. Where should we project on? “(分からなさを共有したい。プロジェクトは誰に向けて発信するのか), in Difficulty in Art Project(アートプロジェクトの悩み), ed. Nozomu Ogawa (Tokyo, Film Art, Inc., 2016), pp.114-147
“Mise Natsunosuke and Tohoku-ga – Can a new order arise from chaos?,” in REALKYOTO website, ed. Tetsuya Ozaki (Kyoto, REALKYOTO, 2015), http://realkyoto.jp/en/review/mise-natsunosuke-and-tohoku-ga/
“Modes of Collaboration and Their Whereabouts,” in MEDIA/ART KITCHEN –Reality Distortion Field Catalog, ed. Hiroyuki Hattori (Tokyo, Japan Foundation, 2014), pp.43-45
“Unleashing the Memories of the Unnamed: Recommendations for the Archive and a New Direction for the Collection,” in The Construction of History is Dedicated to the Memories of the Unnamed, ed. Hiroyuki Hattori (Aomori, Aomori Contemporary Art Centre, 2015), pp.76-78
“Unmonumental production by Subtraction”(引き算の方法で建物の寿命を全うする), in Towada, Oirase – discovering the land and the water(十和田、奥入瀬—水と土を巡る旅), ed. Keijiro Suga + Towada Oirase Art Festival Committee (Tokyo, Seigensha, 2013), pp.206-207
“Designing Situations: Theatrical or Gameplaying Actions and the Structuring of Circumstance,” in 24 OUR TELEVISION, ed. Hiroyuki Hattori (Aomori, Aomori Contemporary Art Centre, 2010), pp11-14