誰もが自分の生まれる前に起きた出来事を遠い過去と認識するでしょう。しかし、1950-1970年代に起きた日本戦後芸術の出来事は魅力的で、強く惹かれてきました。なぜなら、その時代は私たちの置かれた環境とは全く違ったものであり、そこで生み出された芸術は私達の目に新鮮に映ったのです。「実践考古学」として活動する以前から、それぞれの異なる経験によって、1950-1970年代の芸術活動に刺激を受けてきました。一人は美術から、一人は舞踊から、一人は文学から。日本戦後芸術の関係者へのインタビューやそれら活動が起こった場所でのリサーチを通して、自らが実践的に理解する姿勢で臨んでいます。それは、現代に残る日本戦後芸術の欠片を見つけ、それらの再解釈を試みることです。
検証、展示、アーカイブに及ぶ一連の実践的活動は、出来事の重層性を見出すことであり、芸術における考古学的作業…と捉え、私たちはこの活動を「実践考古学」としました。
Everyone probably recognizes events that took place before we were born as the distant past. However, the events of postwar Japanese art in the 1950s-1970s are fascinating for us and we have been strongly attracted to them. This is because that period was completely different from our own surroundings, and the art that was produced when appeared fresh in our eyes. Even before we started working as “Practical Archaeology,” we each were inspired by the artistic activities of the 1950s-1970s through our different experiences : one from art, one from dance, and one from literature. Through interviews with people involved in Japanese post-war art and research in the places where their activities took place, we have attempted to understand them practically by ourselves. The idea is to find the fragments of Japanese postwar art that remain today, and try to reinterpret them.
The series of practical activities, including verification, exhibition, and archiving, is to find the multilayered nature of events, and is archaeological work in art. We call this activity “Jissen kokogaku – Practical Archaeology”