Non-Freedom of Expression Exhibition: A Long Trail for Liberation

表現の不自由展：解放への長い道程

2020 / 04 / 18 Sat.

2020 / 06 / 07 Sun.

10:00 - 18:00

Venue

MOCA Studio
Curators

ARAI Hiroyuki
OKAMOTO Yuka

About

What a human creates – artwork in particular – is a mark, and by connecting and tracing these marks a story is born. The story of the artworks in the Non-Freedom of Expression Exhibition is about censorship, and the light for freedom against it.

The After: Freedom of Expression? exhibition in the 2019 Aich Triennale was “temporarily closed” (We renamed it to Non-Freedom of Expression Exhibition after it). Artists and journalists overseas criticized this as an instance of censorship, but only a few in Japan – especially in the mass media – followed their example.

The Non-Freedom of Expression Exhibition was a project to display artworks that have been censored in public institutions and spaces in Japan. Its origin goes back to the case in 2012 when Nikon –a global camera maker – cancelled a photo exhibition by the Korean photographer Ahn Sehong about “comfort women”. In 2015, the first Non-Freedom of Expression Exhibition (there was no English title at the time) exhibition of censored artworks was organized by the Ahn’s supporters, who realized the gravity of censorship in Japan. The exhibition was invited to be a part of the Aichi Triennale 2019 and re-titled After: Freedom of Expression?, but the exhibition was forced to close just three days after its opening. It was re-opened for six days after a public outcry and a court’s provisional arbitration order.

There is news of censorship against artworks from all over the world. This is partly due to globalization, but at the same time the permeation of the idea of human rights and enlightenment encouraged artists to express their resistance. The censorship in Japan is largely related to the issues of war crime and colonization by Imperial Japan. The rise of historical revisionism, racial and gender discrimination in recent years is a breeding ground for such censorship. The issue of censorship is concerned with post-colonial politics not only in Japan but throughout East Asia, including Taiwan. At the same time, it is deeply related to the problems of Japan's modernization and the longtime imperial legacy.

This exhibition deals with three foci for censorship: war crimes and colonization, the Emperor system, and the Fukushima nuclear accident, all of which are closely related in Japan's history. The exhibition is structured as a “trail” along which the audience can view this history. “Trail” means a path, a series of footprints that mark the way. There is a similar concept in many cultures, for example, the term was used in the United States for the paths opened by the pioneers. Nowadays, the term is often used for interactive walks looking at the environment, history and human rights education. This “trail” will lead the audience through the censored works and ultimately towards hope for the future.

Rather than mere traces of movement, trails became cultural through-lines, connecting people and places and stories. Robert Moor "On Trails"

April 2020
Non-Freedom of Expression Exhibition Executive Committee
ARAI Hiroyuki, IWASAKI SADAAKI, OKAMOTO Yuka, NAGATA Kozo

表現の不自由展：解放への長い道程

　人の作ったもの、特に芸術作品は「印」のようなものだ。それを結びつけ、たどることで、道ができ、物語がつむぎ出される。
　表現の不自由展の作品群がつむぐ物語は、検閲という圧制であり、それに抗する自由の灯だ。
　あいちトリエンナーレ2019の「表現の不自由展・その後」は「展示中止」となった。海外のメディアや美術作家は検閲と批判したが、日本社会で検閲と批判したものは報道メディアも含め多くない。
　表現の不自由展は、主に日本の公共施設や公共空間で検閲などの圧迫を受けた芸術作品を集め、展示する企画だ。発端は、2012年、写真家・安世鴻による日本軍「慰安婦」を題材とした写真展を、世界的カメラメーカーのニコンが中止した事件に遡る。その支援を経て、日本の検閲事情の深刻さを憂慮した人々によって、検閲作品を集める「表現の不自由展」が2015年に開催された。それがあいちトリエンナーレ2019からの参加要請となり、「表現の不自由展・その後」として展示された。しかし８月１日の開幕から３日で強制中止となった。力強い支援と裁判所への仮処分申請を経て、会期末の６日間、限定的な再開を果たした。
　芸術への検閲のニュースは世界中から届く。グローバリゼーションのきしみがもたらすものだが、人権意識と啓蒙思想の浸透は芸術家に抵抗の表現を促しもする。日本の検閲は多くが、日本帝国の戦争と植民地支配の議論や問題提起に関わる。近年台頭著しい歴史修正主義と排外主義・性差別が温床だ。
　これは日本社会だけでなく、台湾を含む東アジア全体のポストコロニアルな政治状況に関わる。同時に日本近代が抱える根本的な問題、さらに古くは大和朝廷に遠因がある。
　本展では、戦争責任と植民地支配問題、天皇制、福島の原発事故の３つを切り口とする。それらは日本の歴史のなかで密接に結びついている。この歴史を、本展を見る人が散策する「trail」として構成した。
　歩く道を意味する「trail」は、道なき道を切り開いた多くの足跡のつらなりからできたものだ。多くの文化圏に似た概念があるが、アメリカ（米国）では開拓移民が開いた道程にこの語が用いられた。現在では、環境、歴史や人権教育のような啓発のための体験型ウォーキングで用いられている。公や先進を意味するこの道が、検閲作品をたどって歩く人々に希望に導いてほしいと願う。

トレイルは単なる移動の跡ではなく、文化を伝える経路となり、人と場所と物語をつなぐ。　Robert Moor "On Trails"

2020年4月
表現の不自由展実行委員会
アライ＝ヒロユキ、岩崎貞明、岡本有佳、永田浩三

LESS

Artists

SHIMADA Yoshiko 嶋田美子

KIM Seo kyung & KIM Eun sung キム・ソギョン&キム・ウンソン

AHN Sehong 安世鴻

SHIRAKAWA Yoshio 白川昌生

NAGAHATA Koji 永幡幸司

TOYODA Naomi 豊田直巳

Born in 1959, Tokyo. Works in Chiba Prefecture.

1959年東京都生まれ。千葉県拠点。

KIM Seo kyung
Born in 1965. Born and lives in Seoul, Korea.

KIM Eun sung
Born in Chuncheon, 1964 and lives in Seoul, Korea.

キム・ソギョン(金曙炅)
1965年ソウル市（韓国）生まれ。ソウル（韓国）拠点。

キム・ウンソン(金運成)
1964年春川市（韓国）生まれ。ソウル（韓国）拠点。

Born in Gangwon-do, Korea, 1971. Lives in Seoul.

1971年江原道（韓国）生まれ。ソウル拠点

Born in 1948, Fukuoka Prefecture, Japan. Works in Gunma Prefecture.

1948年福岡県出身。群馬県拠点。

Born in 1970. Works in Fukushima Prefecture. Professor, Department of Human Support System, Faculty of Symbiotic Systems Science, Fukushima University.

1970年生まれ。福島県拠点。福島大学共生システム理工学類　教授。

Photojournalist, Documentary video movie maker, Member of JVJA (Japan Visual Journalist Association)

フォトジャーナリスト、ドキュメンタリー映像監督・制作。JVJA（日本ビジュアルジャーナリスト協会）会員。

Artworks

Being a Statue of a Japanese Comfort Woman 日本人慰安婦像になってみる

Being a Statue of Non-Freedom of Expression 表現の不自由像になってみる

“A promise carved on an empty chair” performance キム・ソギョン&キム・ウンソン

Layer by layer – The survived Korean women who had been left in China – Japanese military sexual slavery 重重—中国に残された朝鮮人日本軍「慰安婦」の女性たち

Memorial monument of forced displacement of Koreans in Gunma Prefecture 群馬県朝鮮人強制連行追悼碑

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