002 Title: MANIFESTS EXCHANGE
002 Dates: Part I: 09.12.2023 – 23.12.2023 / Part II: 09.01.2024 – 20.01.2024
002 Venue: √K Contemporary, 6 Minamicho, Shinjuku-ku, Tokyo, Japan, 162-0836
002 ENTERPRISE With:
— Leandra Agazzi (CH)
— DOOMs from 1998 (JP)
— Shuhei Fukushima (JP)
— Steve Fors (US)
— Hayate Ito (JP)
— Marianne Mueller (CH)
— Paulina Olowska (PL)
— Shuto Otsuki (JP)
— Otto Szabo Robotto (HU)
— Rico Scagliola & Michael Meier (CH)
— Karl Schmitt (DE)
Industrial tarpaulins, wood, red floor marking tape. MANIFESTS EXCHANGE (visually) returns to the fundamental concepts of the opening exhibition MANIFESTS. The space accommodates 14 artistic positions by artists and collectives working in Switzerland and Japan in specially demarcated fields. After ENTERPRISE took temporary refuge in the off-space Syndicate with MANIFESTS, it is now the premises of the √K Contemporary gallery in the heart of Tokyo where the works temporarily remain in a place marked out for them. The art works await sale and onward transportation away from the exhibitions, that is re-imagined in the exhibition setting. Unlike a white cube setting, which allows for undisturbed contemplation of the works, which are intended to stand on their own, detached from social references, the intervention is reminiscent of the reality of a global art market for which works, gallerists and artists travel around the world. When the gallery space becomes a depot, the transitory dimension, which is particularly characteristic of contemporary art, comes into focus. The luxury goods of art appears here above all in its logistical challenges.
The staged storage situation reminds us that the exhibition is always merely a momentary pause, a state of suspension followed by dismantling and the next installation, whereby this cycle is repeated until a buyer is found who removes the works from the cycle – at least for the moment. The instability of the exhibition situation, the supposed look behind the scenes into the storage room, which is normally carefully shielded from public view, contrasts with the usual forms of art presentation. It becomes clear that the classic exhibition situation is ultimately an artificially created vacuum that thrives on the fact that all traces of the work that led to the presentation of the artwork are removed and that the circulation of artworks, the paths they have taken and will soon take again, are hidden. The form of presentation chosen here makes it clear that artworks, like any other commodity, are part of a global trade and transportation network. If the logistical reality of the exhibition business is negated on the visual level in the tidy white cube, this also perpetuates an understanding of art that stylises works of art as detached from pragmatic world references or locates the references only on the content level.
In contrast, the exhibition addresses its own transience and ephemerality as well as the framework conditions that characterise the contemporary art market in particular. Materials such as industrial tarpaulins, which are familiar from the construction and transportation industries, are placed in such a way that they divide the gallery into different zones and function as an independent artistic element, as it were, when they immerse the space in a fascinating play of light and shadow. This artistic adaptation of structures that are geared towards functionality, towards the smooth and rapid handling of goods whose storage would incur unnecessary costs, is set here in contrast to the dominant notions of art as a value in itself. This value peculiar to art is repeatedly defined as a moment that is independent of economic interests or can only be quantified to a limited extent by them. This also means that the work of artists, the time they invest, is staged less as work than as a performance whose value cannot be monetised. An idea of art and art production as following its own logic, which is also fatally used to legitimise precarious working conditions in the art field. In contrast, the concept of the exhibition reminds us that art production is permeated by economic references. While exhibitions traditionally serve to make us forget such worldly references and to place content and the enjoyment of art in the foreground, the exhibition returns to the work and effort that underpin the art business.
(Text by Elsa Himmer)
工業用防水シート、木材、赤いフロアマーキングテープ。「MANIFESTS EXCHANGE」は、(視覚的に) 前回の展示「MANIFESTS」の基本コンセプトに立脚する。この空間には、スイスおよび日本で活動するアーティストやコレクティブによる芸術的な 14 の在り方が、特別に区分けされた場所で提示されている。 ENTERPRISE が MANIFESTS とともに香川のSyndicate(オフスペース)に一時的に身を置いた後、今度は東京の中心部にある√ K Contemporary ギャラリーの敷地内に作品が留まることになった。 アート作品は販売され、展示会場から運び出されるのを待っている、というのがこの展示会場のあらまし である。社会的な関係項から切り離され、単独の存在として機能するよう意図された作品群を難なく観賞で きるホワイトキューブとは異なり、この ENTERPRISE が行う介入は、作品、ギャラリスト、アーティスト が世界中を飛び回るグローバルなアートマーケットの現実を彷彿とさせる。ギャラリー空間が停泊地となる とき、現代アートの特徴であるその流動的次元が浮き彫りになる。ここにおいて、嗜好品としてのアート作 品はとりわけその流通上の課題において姿を明らかにする。
この演出された倉庫空間は、「展示」という状態が常にひとときの停泊に過ぎず、後に解体され、次の搬入が行われ、このサイクルが少なくとも作品をこのサイクルから抜き出す買い手が見つかるまで繰り返されることを想起させる。こうした「展示」が持つ不安定さは普段、注意深く人目か ら隔てられ、収蔵庫の裏側を覗き見るようなことは、通常のアート作品の展示とは対照的である。伝統的な 展示環境は、結局のところ、人工的に作り出された空白であり、作品発表に至った作業の痕跡がすべて取り 除かれ、作品の循環、作品が歩んできた道、そしてやがて再び歩むことになる道が覆い隠されていることで 成り立つものであることが明らかになる。ここで提示された展示形態は、アート作品が他のあらゆる商品と 同様に、世界的な貿易と輸送のネットワークの一部であることを明確にしている。整然としたホワイトキュー ブの中で、展示ビジネスの物流的な現実が視覚的レベルで排除されるなら、それはまた、芸術作品を現実的 な世界の関係項から切り離されたものとして様式化したり、内容的な次元だけにおいて参照点を見出すよう な、アートの理解を永続させることになる。
対照的に、この展覧会では、展示自体が持つ一過性と儚さ、そして特に現代アート市場を特徴づける枠組み条件を取り上げている。建設業や運輸業で親しまれている工業用防水シートのような素材は、ギャラリー を異なるゾーンに分割するように配置され、光と影の魅惑的な戯れに空間を浸すとき、いわば独立した芸術 的要素として機能する。こうした実用性を重視した芸術的なある構造の応用は、保管に多大なコストがかか る品物をスムーズかつ迅速に扱うという、芸術それ自体が価値を持っているという支配的な概念とは対照的 である。この芸術特有の価値は、経済的利益から独立した、あるいは経済的利益によって限定的にしか定量化できない瞬間として繰り返し定義される。これはまた、アーティストの労働つまり彼らが投資する時間が 作品としてではなく、その価値を貨幣化できないパフォーマンスとして上演されることを意味する。アート 作品とその生産をそれ自身の論理に従わせるという考え方は、アートの現場における不安定な労働条件を正当化するべく、きわめて危険に利用されている。これに対して、この展示のコンセプトは、アートプロダクショ ンが経済的な関係項に包含されていることを思い起こさせる。
(テキスト: Elsa Himmer)
1. MANIFESTS (2023)
Vinyl tarpaulin, fixture, dowel, screw
Dimension variable
2. Red Floor Marking Tape (2023)
Red floor marking tape
Dimension variable
3. ENTERPRISE Overall 2023 (2023)
2 Modified Overalls, hanger, hook, ladder
Dimension variable
4. Equipment Box (2023)
Branded equipment box
40 × 80 × 35 cm each
5. Working Man Sensor EX (2023)
2 Silkscreened motion sensors with sound pieces, screw, anchor, pallet
15 × 12 × 4 cm each
The works titled Logistic Handling 10–49 describe how we worked with the invited artists’ pieces as material within the exhibition. Each entry starts from an existing artwork and adds specific components. Together, the original work and these added structures form a new configuration that is attributed to ENTERPRISE. In this way, authorship is layered: the contributing artworks remain visible, while their handling, framing and logistical embedding become our own sculptural and spatial work.
Part I: 09.12.2023 – 23.12.2023
L1. Logistic Handling 10 (2023)
STARCHILD by Hayate Ito, pallet, wrapping foil
Dimension variable
L2. Logistic Handling 11 (2023)
Dead Stone by Hayate Ito, pallet
Dimension variable
L3. Logistic Handling 12 (2023)
Manufactured Obsolescence by Steve Fors, pallet, styrofoam
Dimension variable
L4. Logistic Handling 13 (2023)
Untitled by Karl Schmitt, cart, cardboard, protective wrap, tape
Dimension variable
L5. Logistic Handling 14 (2023)
Untitled by Karl Schmitt, protective wrap, tape
Dimension variable
L6. Logistic Handling 15 (2023)
Essence of Infinity by Leandra Agazzi, adhesive tape
Dimension variable
L7. Logistic Handling 16 (2023)
New Component by Otto Szabo Robotto, hook cable
Dimension variable
L8. Logistic Handling 17 (2023)
FANTASTIC STRESS 2 by Marianne Mueller, pallet, vinyl tarp
Dimension variable
L9. Logistic Handling 18 (2023)
LEG (LAUFMASCHE I) by Marianne Mueller, hook, cable
Dimension variable
L10. Logistic Handling 19 (2023)
MADEMOISELLE COCO by Marianne Mueller
Dimension variable
L11. Logistic Handling 20 (2023)
THE CROWN MELON by Marianne Mueller
Dimension variable
L12. Logistic Handling 21 (2023)
Japan 2000/1A by Paulina Olowska, pallet, pin, cork board, railing, white gloves
Dimension variable
L13. Logistic Handling 22 (2023)
Japan 2000/1B by Paulina Olowska adhesive tape
Dimension variable
L14. Logistic Handling 23 (2023)
Blue void #1 by Shuhei Fukushima, pallet
Dimension variable
L15. Logistic Handling 24 (2023)
Blue void #2 by Shuhei Fukushima, pallet
Dimension variable
L16. Logistic Handling 25 (2023)
Blue void #3 by Shuhei Fukushima,
Dimension variable
L17. Logistic Handling 26 (2023)
Non-sensu (とても便利な線 / Very useful line), by Shuto Otsuki Self-Publishing, pallet, protective wrap
Dimension variable
L18. Logistic Handling 27 (2023)
Untitled by DOOMs from 1998, pallet
Dimension variable
L19. Logistic Handling 28 (2023)
Olsen Twins by Rico Scagliola & Michael Meier, hook, cable
Dimension variable
L20. Logistic Handling 29 (2023)
Neue Menschen - Supersize Edition, published Edition Patrick Frey by Rico Scagliola & Michael Meier, freight box, pallet
Dimension variable
Part II: 09.01.2024 – 20.01.2024
L1. Logistic Handling 30 (2023)
STARCHILD by Hayate Ito, pallet, wrapping foil
Dimension variable
L2. Logistic Handling 31 (2023)
Dead Stone by Hayate Ito, pallet
Dimension variable
L3. Logistic Handling 32 (2023)
Manufactured Obsolescence by Steve Fors, pallet, styrofoam, card board, paper wrap, tool box, inspection document
Dimension variable
L6. Logistic Handling 33 (2023)
Essence of Infinity by Leandra Agazzi, protective wrap, adhesive tape
Dimension variable
L4. Logistic Handling 34 (2023)
Untitled by Karl Schmitt, pallet, cardboard, PP strapping bands, protective wrap,
Dimension variable
L5. Logistic Handling 35 (2023)
Untitled by Karl Schmitt, pallet, cardboard, PP strapping bands, protective wrap
Dimension variable
L7. Logistic Handling 36 (2023)
New Component by Otto Szabo Robotto, pallet, protective wrap
Dimension variable
L8. Logistic Handling 37 (2023)
FANTASTIC STRESS 2 by Marianne Mueller
Dimension variable
L9. Logistic Handling 38 (2023)
LEG (LAUFMASCHE I) by Marianne Mueller, hook, cable
Dimension variable
L10. Logistic Handling 39 (2023)
MADEMOISELLE COCO by Marianne Mueller
Dimension variable
L11. Logistic Handling 40 (2023)
THE CROWN MELON by Marianne Mueller, pallet
Dimension variable
L12. Logistic Handling 41 (2023)
Japan 2000/1B by Paulina Olowska, adhesive tape
Dimension variable
L13. Logistic Handling 42 (2023)
Japan 2000/1A by Paulina Olowska, pallet, pin, cork board, railing, protective wrap, wood
Dimension variable
L14. Logistic Handling 43 (2023)
Blue void #1 by Shuhei Fukushima, pallet
Dimension variable
L15. Logistic Handling 44 (2023)
Blue void #2 by Shuhei Fukushima, palet
Dimension variable
L16. Logistic Handling 45 (2023)
Blue void #3 by Shuhei Fukushima,
Dimension variable
L17. Logistic Handling 46 (2023)
Non-sensu (とても便利な線 / Very useful line), by Shuto Otsuki Self-Publishing, pallet, protective wrap
Dimension variable
L18. Logistic Handling 47 (2023)
Untitled by DOOMs from 1998, pallet
Dimension variable
L19. Logistic Handling 48 (2023)
Olsen Twins by Rico Scagliola & Michael Meier, hook, cable
Dimension variable
L20. Logistic Handling 49 (2023)
Neue Menschen - Supersize Edition, published Edition Patrick Frey by Rico Scagliola & Michael Meier, freight box
Dimension variable
15.12.2023
Manufactured Obsolescence
by Steve Fors (Hallow Ground)
16.12.2023
Manufactured Obsolescence
by Steve Fors (Hallow Ground)
16.12.2023
non-sensu Open Publishing
by Shuto Otsuki
13.01.2024
Blue Void
by Shuhei Fukushima
20.01.2024
non-sensu Open Publishing
by Shuto Otsuki
In addition to these scheduled events, the space was activated on a daily basis by ENTERPRISE workers, whose ongoing tasks and small-scale interventions treated the exhibition as a time-based environment rather than a static display.
REPORT (2023)
Publication
— Edition of 50
↪ REPORT (PDF 23.8 MB)
Embassy of Switzerland in Japan
The Swiss Arts Council Pro Helvetia
Practice guide availably June 2026
Practice guideは2026年、6月に閲覧可能。