按：“住在2020”系列访谈是“实地想象”自媒体在不平凡的2020年末与生活在各地的艺术界朋友们的联络与问候，通过回顾性的描述，分享他/她们在后疫情时期在各地遭遇的日常生活和可能推进的新近作品，希望由此可能勾勒出这个特殊时期人们具有怎样坚韧的品格、丰富的心灵世界和创造力。了解更多关于“住在2020”系列访谈的想法……
人物：武谷大介
Artist: Daisuke Takeya
1.Where do you live in 2020? Please describe the place and the surrounding environment.
The first two months in my Japan studio, then flew to Toronto, Canada from the end of February in order to hold a solo exhibition “unfinished studies of anonymous women” in Montreal, Canada. The exhibition was postponed to August, due to the pandemic started being spread in Canada. Since then, I have been stuck in my Toronto apartment.
2.How does the COVID-19 pandemic affect you personally in your country and its countermeasures?
Japan has put strict restrictions at the border and closed all schools at an early stage, provided 100,000 JPY as support to its residents (not sure if it was for all), created a travel package titled “GO TO,” and a few other countermeasures, yet the results have been debatable if they were effective or successful. As of the end of 2020 – the beginning of 2021 the nation is facing the third wave of spread of the virus.
Performed on November 12, 2020 at a rooftop somewhere downtown Toronto, Ontario, Canada. 18 minutes, HD video, mixed media (tampons, acrylic paints, water), courtesy of the artist. Premiered for Feminale. https://feminale.net/
Text for the performance artwork.
I SINCERELY FEEL FOR THOSE WHO SUFFER EVERY MONTH.
I HAVE NO IDEA HOW PAINFUL IT IS.
THIS PERFORMANCE WAS MY VERY FIRST ATTEMPT
TO MAKE THE PAIN MINE JUST FOR A VERY SHORT TIME.
武谷大介，一个月一次的酷刑
2020年11月12日，在加拿大安大略省多伦多市中心某处的屋顶上表演。18分钟，高清视频，混合媒体(卫生棉条，丙烯酸涂料，水)，为“Feminale”活动首演。
图片由艺术家提供。
行为表演的文本：
我真心同情那些每个月受苦受难的人。
我不知道这有多痛苦。
这场演出是我第一次尝试。
让痛苦只在很短的一段时间内成为我的。
3.Where is one of the places you enjoy most this year? How do you spend your time there? can you describe what it looks like?
Toilet in my apartment where no one bothers me. I read the news on my cell phone there.
4.Where is the farthest place you have been this year?
When in Japan: Toronto, Canada.
Since being in Toronto: a supermarket.
5.Who do you live with in 2020?
Japan: my parents.
Canada: my two roommates.
6.How did the COVID-19 pandemic affect the way you work?
Three of my exhibitions/residencies being postponed (one held within 2020), One teaching position canceled, one festival I run postponed and downscaled to online and to a local project. I am accustomed to online meetings, lectures, as well as producing works; mostly paintings in my apartment and producing performance videos.
7.Has your work been promoted in some way?
I have participated in two online performance art events, one exhibition with physical works (paintings), and one exhibition in China with still images. They have been somewhat promoted via SNS.
8.Are you more anxious this year than in previous years? If so, how do you relieve your anxiety?
My praxis takes importance in the process. From art context, education grounds, community vitalization, disaster sites, etc. I accommodate my mediums and way of working accordingly. Hence, I had no more anxiety comparing to the last year. However, I have always been anxious about my financial situation (and most-likely it will remain the same for coming years.).
9.Recommend some movies or books you have seen this year (or a poem), you can briefly explain why.
Gattaca, a 1997 American dystopian science fiction film written and directed by Andrew Niccol, acted by Nathan Hawke, Jude Law and Uma Thurman. The film takes place in not so distant future, where the society is based on the eugenics, and causes genetic discrimination. The protagonist, the role of Hawke, tries to overcome his lesser potential to reach his dream. Perhaps, that sort of resilience is needed for the time under the pandemic, and this film gives the viewers a sense of hope.
10.Have you ever imagined what human life would be like after the end of COVID-19 pandemic?
That is a significant question. I counter-question you; Can we give up what we have built spending long time and effort, or, Do you want to go back to how we used to be before the pandemic?
About the artist
Daisuke Takeya is a Toronto-Tokyo based interdisciplinary artist, and ofttimes curator, collector, art educator and community advocator. Takeya’s praxis is comprised of the exploration of nature and plausibility in contemporary society, and hinges on all kinds of double meanings. He has participated in numerous solo and group exhibitions internationally. He is the representative and the curator of Field Trip Project/ Field Trip Project Asia, POWER TO THE PEOPLE, Fukushima NO ALICE, Multi Layered Surfaces, and DAICHI Projects. He is the executive director of Responding: International Performance Art Festival and Meeting.
1.2020这一年你生活在哪里？
头两个月我在日本的工作室，然后2月底我飞往加拿大多伦多，以便在加拿大蒙特利尔举办一个名为“未完成的匿名女性研究”的个展。由于疫情开始在加拿大蔓延，展览被推迟到8月份。从那以后，我就一直呆在多伦多的公寓里。
2 新冠疫情对你所在国家及其对策对你个人有什么影响？
日本很早就对边境进行了严格管控，关闭了所有学校，向国民提供10万日元的生活补贴（不清楚这是否对所有人），并设立名为“Go to”（前往）的国内旅游补贴套餐等措施，但效果是否成功还有待商榷。现在，2020-2021跨年之际，这个国家正面临着病毒的第三次传播浪潮。
3 今年你最享受的某个地方是哪里？你如何在那里度过时光？能否描述一下那里什么样子。
我公寓里的厕所没人打扰我，我在那儿用手机看新闻。
4 这一年你去到最远的地方是哪儿？
在日本的时候是去了加拿大多伦多。到了多伦多之后是去了一家超市。
5 这一年你主要和谁生活在一起？
在日本是我父母，在加拿大是我的两个室友。
6 新冠大流行对你的工作方式产生了怎样的影响？
我的三个展览和驻地计划都被推迟（其中一个在2020年内还是举办了），一个教学职位被取消。我策划的一个国际艺术节被延期，然后规模缩小成了在线展示和本地项目。我已经习惯了在线会议、讲座，也包括创作作品。大多数时候我只是在我的公寓里画画，制作表演视频。
7 你的工作是否获得了某种推进？
我参加了两次在线行为艺术活动，一次是实物作品（绘画）展览，另一次是在中国的静态图像展览。他们差不多都是通过社交网站进行推广。
Performed in 2020 at the back alley somewhere downtown Toronto, Ontario, Canada. 5 minutes, HD video, mixed media (a pan, fire, toilet paper, masks), courtesy of the artist. Premiered for for GO ON Performance Festival. https://samaracontemporary.com/Festival-Programme
武谷大介，燃烧的平底锅
2020年在加拿大安大略省多伦多市中心某处的后巷演出。5分钟，高清视频，混合媒体(平底锅、火、卫生纸、口罩)，由艺术家提供。为Go On行为艺术节首演。Https://samaracontemporary.com/Festival-Programme
Oil on linen, 2020, 18 x 15 cm.
In unfinished studies of anonymous women, my portraits are not the usual beautiful female figures to look at. On the contrary, all portraits stare at the viewer, and can perhaps make the viewer feel intimidated. The figures look rather uncomfortable, serious or upset, enhancing this reversal of the artwork-viewer positions. This series of female figure paintings is my first attempt in re-evaluating the meaning of “women in art by male artists,” carefully not going through the male gaze. The series will be showcased in various contexts in different parts of the world over the coming years.
武谷大介，未完成的匿名女性研究，布面油画，18 x 15 cm，2020
在“未完成的匿名女性研究”中，我的肖像画并不是常见的漂亮女性形象。相反，所有的肖像画都是盯着观众看，也许会让观众感到害怕。这些人物看起来相当不舒服、严肃或不安，强化了艺术品观赏者立场的颠倒。这一系列女性人物画是我第一次尝试重新评估“男性艺术家手中的女性形象”的含义，小心地避免了男性的凝视。未来几年，该系列将在世界不同地区不同语境下展出。
8 这一年你是否比往年更焦虑？如果是，你是如何缓解焦虑的？
我的艺术实践强调过程的重要性。从艺术语境、教育背景、社区活力、灾难现场等方面，我适应了我的媒介和工作方式。因此，与去年相比，我没有更多的焦虑。然而，我一直对我的财务状况感到焦虑（而且很可能在未来几年都会保持不变）。
9 推荐几部这一年你看过的电影或是书，也可以是一段诗歌。也可以简单说明一下为什么。
1997年的美国反乌托邦科幻电影《千钧一发》(Gattaca)由安德鲁·尼科尔编剧和导演，内森·霍克、裘德·洛和乌玛·瑟曼饰演。这部电影发生在不远的未来，那里的社会以优生学为基础，并造成了基因歧视。主人公，霍克演的角色，试图克服他实现梦想的潜力。也许，在新冠大流行下，这种韧性是需要的，而这部电影给了观众一种希望。
10 你是否想象过新冠大流行结束后的人类生活会怎样？
这是一个重要的问题。我反过来问你：我们是不是可以放弃我们花了很长时间和努力建立起来的东西，或者，你想回到新冠大流行之前的样子吗？
关于艺术家
武谷大介 (Daisuke Takeya)是一位住在多伦多和东京的跨学科艺术家，活跃的策展人、收藏家、艺术教育家和社区倡导者。武谷大介的实践包含了对当代社会的合理性和自然的探索，并常常混淆着双重意义。他在国际上广泛举办个展和群展。他是“实地旅行项目/亚洲实地考察项目”、“人民力量”、“福岛没有爱丽丝”、“多层表面”和“大池项目”的策展人，也是“响应：国际表演艺术节与论坛”的执行总监。
“住在2020”系列访谈策划/翻译：罗菲
本文图片由艺术家提供
