October 2016 to July 2017
Term 1. Artifacts of Loss – objects made by the Japanese-Americans in internment camps during the Second World War
What is it like to be discriminated against, because of your cultural background, the difference of your appearance, the color of your skin, your hair and the shape of your eyes? What underpins the processes of marginalization and psychological internalization?
What did art and craft making mean to the interned Japanese-American people, what do these objects tell us, and how these objects facilitate survival, resistance and memory? During the autumn term, we read about the Japanese-American experience in internment camps during the Second World War in the USA, and examine craft objects and art work made by internees.
20 October Thursday, 5-7pm @ Chelsea, Card Room (Please note the change of the date for the first session)
Introduction and Art of Gaman video
Reading: Delphine Hirasuna, Art of GamanArts and Crafts from the Japanese American Internment Camps 1942-1946 (the catalogue of the exhibition held at the Renwick Gallery of the Smithsonian American Art Museum), Ten Speed Press; First Printing edition (October 1, 2005)
22 November Tuesday, 5-7pm @ Chelsea, Card Room
Reading: Jane E. Dusselier, Artifacts of Loss: Crafting Survival in Japanese American Concentration Camps. New Brunswick, New Jersey and London: Rutgers University Press, 2008.
Reading: Allen H. Eaton, Beauty Behind Barbed Wire: The Arts of the Japanese in Our War Relocation Camps, New York: Harper & Brothers Publishers, 1952.
13 December Tuesday, 5-7pm @ Chelsea, Card Room
Reading: John Okada, No-No Boy, Seattle and London: University of Washington Press, 1979 (originally published by Charles E. Tuttle, 1957)
Term 2. Rethinking about East Asian Social Practice in Art and Culture (led by TrAIN PhD candidate Hiroki Yamamoto)
Socially engaged art in East Asia has been greatly influenced by Euro-American practices and theories. Joseph Beuys’ collaborative method to work with local community, Nicolas Bourriaud’s concept of ‘Relational Aesthetics’ as an epistemological turn in contemporary art, and more recently, Claire Bishop’s critical view on participatory art are among the most powerful examples. While maintaining this global engagement, East Asian artists have also worked in contemporary geopolitical contexts (eg. histories of the Second World War, civil wars, Cold War and colonisation) in that we can identify specificities of socially engaged art in East Asia. What insight might be generated in an attempt to reconsider the history of socially engaged art in East Asia? How have artists and curators in the area tackled regional issues through their artistic and curatorial practices?
17 January Tuesday, 5-7pm @ CSM, Rm KX_A002 (next to reception)
Reading: Lu Pan, ‘Introduction’, In Pan Lu, Aestheticizing Public Spaces: Street Visual Politics in East Asian Cities. Bristol: Intellect, 2015, pp. 1-42.
14 February Tuesday, 5-7pm @ CSM, Rm KX_A002 (next to reception) (Please note the change of the date)
Reading: Leeji Hong, ‘Curatorial Statement’, From the exhibition catalogue of ‘The Subtle Triangle’ (SeMA, 2015), pp. 16-24.
Reading: Carol Yinghua Lu, ‘Asia as Heteroglossia: A review of my thought-process in Discordant Harmony’, From the exhibition catalogue of ‘Discordant Harmony’ (Art Sonje Center, Hiroshima City Museum of Contemporary Art, & Kuandu Museum of Fine Arts, 2015-2016), pp. 38-45.
4 Apr Tuesday, 5-7pm @ CSM, Rm KX_D103
Reading: Wei Hsiu Tung, ‘Conclusion’, In Tung Wei Hsiu, Art for Social Change and Cultural Awakening: An Anthropology of Residence in Taiwan. Lanham: Lexington, 2013, pp. 141-158.
Term 3. Decolonisation in East Asia
East Asia has been going through intensified decolonization and reflexive negotiation of the turbulent histories that had been interwoven with Euroamerican imperialism, civil wars, Japanese colonization, the Cold War and China’s new order. As the cultural studies scholar Chen Kuan-Hsing describes, political decolonization has given way to cultural ‘de-imperialisation’, ‘de-colonisation’ and ‘de-Cold War’, all of which ‘have become mutually entangled structures and which have shaped and conditioned both intellectual and popular knowledge production.’ (Chen 2010)
During the spring term, we will read Chen Kuan-Hsing’s progressive ideas of ‘Asia as Method’ to study what are the postcolonial cultural issues in question, and explore his approach. We will also read Yuko Kikuchi’s articles and discuss the idea of ‘colonial modernity’ and the question of ‘Craft’ as postcolonial problems in visual cultures specific to East Asia.
9 May Tuesday 5-7pm @LCC, Rm M404
Reading: Kuan-Hsing Chen, Chapter 5 ‘Asia as Method: Overcoming the Present Conditions of Knowledge Production’. In Chen Kuan-Hsing, Asia as Method: Toward Deimperialization, Durham and London: Duke University Press, 2010, 211-255.
6 June Tuesday 5-7pm @LCC, Rm M404
Reading: Yuko Kikuchi ed. Refracted Modernity: Visual Culture and Identity in Colonial Taiwan, Honolulu: University of Hawai‘i Press, 2007 (Introduction, and Kikuchi’s article, ‘Refracted Colonial Modernity: Vernacularism in the Development of Modern Taiwanese Crafts’, pp. 217-247.
4 July Tuesday 5-7pm @LCC, Rm M404
Reading: Yuko Kikuchi, ‘The Craft Debate at the Crossroads of Global Visual Culture: re-centring craft in postmodern and postcolonial histories’, World Art, 2015, pp. 87-115.
October 2014 to June 2015
Autumn term timetable
Tuesday 28th, 17:00-19:00, Room E305 (Chelsea)
Reading: Kikuchi, Yuko. ‘Hybridity and the Oriental Orientalism of Mingei Theory’, Journal of Design History, 10-4 (1997): 343-354.
Tuesday 11th, 17:00-19:00, Room E305 (Chelsea)
Reading: Kida, Takuya. ‘Kitarō Kunii’s Discourse on Indigenous Industrial Arts: “Japaneseness” and Modern Design in 1930s Japan’, Design History 7 (2011): 47-92.
Spring term timetable
Tuesday 27th, 17:00-19:00, Room E305 (Chelsea)
Reading: Ling, Wessie. ‘Harmony and Concealment: How Chinese Women Fashioned the Qipao in 1930s China. In: Material Women, 1750-1950: Consuming Desires and Collecting Practices. Ashgate, Farnham, 2009, 209-225.
Tuesday 24th, 17:00-19:00, Room E305 (Chelsea)
Reading: Mori, Junko. ‘Modern Seating, Modern Sitting: Japanese Women and the Use of the Chair’, Design History 5 (2007): 99-124.
Tuesday 24th, 17:00-19:00, Room E305 (Chelsea)
Reading: Kojima, Kaoru. ‘The Woman in Kimono: An Ambivalent Image of Modern Japanese Identity’, Jissen Women’s College Aesthetics and Art History, 25 (2011): 1-15.
Summer term timetable
Tuesday 19th, 17:00-19:00, Room E305 (Chelsea)
Reading: Shih, Shu-mei, Chapter 1: ‘Against Diaspora: The Sinophone as Places of Cultural Production’. In Shu-mei Shih, Chien-hsin Tsai and Brian Bernards, eds., Sinophone Studies: A Critical Reader, New York: Columbia University Press, 2013, 25-42.
Tuesday 23rd, 17:00-19:00, Room E305 (Chelsea)
Reading: Chen, Kuan-Hsing, Chapter 5 ‘Asia as Method: Overcoming the Present Conditions of Knowledge Production’. In Chen Kuan-Hsing, Asia as Method: Toward Deimperialization, Durham and London: Duke University Press, 2010, 211-255.
October 2013 to June 2014
Autumn term timetable
Monday 21st, 10:15-17:00, Tate Modern
Pacific-Asia Research Centre symposium (This is not a reading session, but it is a great occasion to hear critical debate in visual cultures in East Asia, Admission free but booking essential through the Centre) (http://www.tate.org.uk/whats-on/tate-modern/conference/negotiating-hstories-traditions-modern-and-contemporary-asia-pacific)
Tuesday 22nd, 15:00, Pace Gallery
Reading: Yuko Kikuchi ‘The Mingei Movement’ from Karen Livingstone and Linda Parry eds., International Arts and Crafts, London: V&A, 2005.
This session will be combined with a visit (14:00-15:00) to Mingei: are you here? exhibition. (http://www.pacegallery.com/london/exhibitions/12602/mingei-are-you-here)
Wednesday 6th, 10:00-11:30, Camberwell College of Arts, Room G07 (Designer Maker studio)
Reading: Kaneko Kenji (translated by Rupert Faulkner), ‘Studio Craft and Craftical Formation’ in Paul Greenhalgh ed., The Persistence of Craft, London: A&C Black and New Brunswick, New Jersey: Rutgers University Press, 2002
Spring/Summer term timetable
Wednesday 29th, 17:15-19:00
Lecture Theatre, Chelsea College of Arts
LECTURE CANCELLED: TrAIN public lecture: Shimamura Takumi (designer-maker)
Thursday 30th, 16:30-18:00
Camberwell College of Arts, Room G04f (Ground Floor, New Block)
Reading: Naoto Fukasawa, ‘Without Thought’, ‘Imperfect Perfection’, ‘A Shape with the Operation Included’, ‘Discontinuity in Behaviour’; Jasper Morrison, ‘Noticing the Unnoticeable’. In Naoto Fukasawa ed., Naoto Fukasawa, London; New York: Phaidon, 2007.
Soetsu Yanagi, ‘The Beauty of Irregularity’. In Soetsu Yanagi, adapted by Bernard Leach, The Unknown Craftsman, Tokyo, New York: Kodansha International, 1989(1972).
Thursday 6th, 16:00-17:30
Camberwell College of Arts, (Room G04f)
Reading: Motohiro Koizumi, ‘‘Collaborative Art’ in Urban Social Spaces and Its Implications’
Wednesday 12th, 17:15-19:00
Chelsea College of Arts, Lecture Theatre
TrAIN public lecture: Koizumi Motohiro (community art projects in Japan)
Friday 30th, Symposium @Design Museum
‘1920-45 Inter-Asia Design Assimilation: Translations, Differentiations & Transmission’
Booking information: http://ual.force.com/apex/EventFormPage?id=a0RD000000ACll0MAD&book=true