白川昌生

SHIRAKAWA Yoshio

群馬県朝鮮人強制連行追悼碑

2015年

Memorial monument of forced displacement of Koreans in Gunma Prefecture

1948年福岡県出身
群馬県拠点

群馬県高崎市の県立公園「群馬の森」に「記憶反省そして友好」と名づけられた朝鮮・韓国人の強制連行犠牲者の追悼碑がある。県が立ち退きを求め、設置者と裁判中だ。白川昌生による本作はこれをモチーフとする。

作品は碑のほぼ実物大だが、白い覆いがかけられ、中は見えない。それは犠牲者を人々が記憶から忘却し、あるいは抹消してきた社会制度を連想させる。塔の部分のみ実物通り黄色で覆われている。これは碑が公園に立つ情景を想像する手がかりを与える。碑は隠蔽という概念に押し込められず、地域の中の実在として見るものに浮かびあがってくる。

白川は美のための美という閉じた美でなく、社会の中に開いていく表現活動を行ってきた。日本前衛美術史の問い直し、地域通貨を用いた作品の流通、新しい地域の祭りの創造……。ことに彼が住む前橋市での活動は重要で、本作は地域の政治的情景の写し絵の意味合いもあるだろう。

作品の初公開は2015年の東京の表参道画廊、次は2017年の鳥取県立博物館。鳥取の直後に群馬県立近代美術館(追悼碑と同じ公園内)で開催の「群馬の美術2017」では、係争中の事件に関わるためと展示を拒否された。他県ながらも既に一般に公開された作品であるから、なおさら公共団体に課される公開性を損なうありようだ。

(アライ=ヒロユキ)

There is a monument titled Kioku, hansei, soshite yuko (memories, regrets, and friendship) to commemorate Koreans who passed away during the forced displacement in Gunma no Mori (Forest in Gunma), the prefectural park in Takasaki, Gunma. The Gunma prefecture notified removal of this monument, and is currently on trial against the installation personnel. SHIRAKAWA referred to this monument and incident as the motif of his work.

The work is about the same size of the monument itself, however, has a white cover on top and does not allow the viewer to see inside. This evokes how people had forgotton the victims from their minds, and how the social system had completely erased them from history. Just the tower part is covered in yellow, which is the same color as the original monument. This gives the viewer a cue to imagine the monument standing inside the park. Instead of being confined inside the concept of suppression, the monument arises in the viewers’ minds as an actual existence within the community.

Instead of the confined way of presenting art only for the art, SHIRAKAWA has been actively opening up his expressions to the public and the society. He has requestioned the history of the Japanese avant-garde expressions; he has distributed works by using a regional currency; and he has created a new festival for a regional community. Among them, activities in Maebashi where he curently resides in are specifically important, which includes this work, where he had transferred the political scene of the region to the work.

The work was first exhibited at Omotesando Gallery in Tokyo in 2015, and then at Tottori Prefectural Museum in 2017. Right after Tottori, the work was planned to be on exhibit at Contemporary Art in Gunma in The Museum of Modern Art, Gunma (in the same park as the monument), however, was rejected for being related to a pending controversy. Although in a different prefecture, the work had already been exhibited in public, and demonstrates a failure of openness of a public organization. (ARAI Hiroyuki)

主な発表作品

2017
「ミュージアムとの創造的対話vol.1 - MONUMENT」(鳥取県立博物館)
2016
「あいちトリエンナーレ2016」(愛知県内各所)
2014
「白川昌生ダダ、ダダ、ダ地域に生きる想像☆の力」(アーツ前橋、群馬)、
2007
「白川昌生と『フィールドキャラバン計画』」(群馬県昭和庁舎、群馬)、