KYOTOGRAPHIE Co-Founders and Directors
京都国際写真祭の共同創設者・共同代表
born 生まれ 1973 & 1968

The main criterion in selecting Lucille Reyboz & NAKANISHI Yusuke as a JCATP recipient was their visionary curatorial practice with extraordinary sensibility and fearless intellect.

Subcriteria:
– Redefining how photography and cross-disciplinary projects can be made, experienced, and sustained
– Focussing on diversity concepts and ethnicity consciousness
– Excellent networking, building cultural bridges in the local-global art scene
– Advancing the photo-historical narrative

jcatp.com/recipients/reyboz-nakanishi

Art Consultant・Art Dealer
アートコンサルタント・アートディーラー
born 生まれ 1962

The main criterion in selecting SHIOBARA Masashi 塩原将志 as a JCATP recipient was his contemporary art commitment to helping artists of color, particularly from Brazil and South Africa.

Subcriteria:
– Promoting the freedom and diversity of curatorial and art collecting practice
– Ambitious, anti-colonial, pluriversum approach by reorienting the art canon towards the Global South
– Excellent networking, building cultural bridges in the global art scene
– Teaching children in schools about works of art and helping them to engage with contemporary art (Art Delivery Project by TAGUCHI Miwa 田口美和)
– Constantly art-educating his audiences via magazine articles and social media
– Introducing Charlie Finch (1953-2022) and the book “most art sucks (1998)” in ‘Art People Players’ @ Art Collectors’ No.163, October 2022 issue
Charlie Finch (1953-2022) and the book「most art sucks (1998)」の紹介 in ‘Art people プレイヤーたち’ @ アートコレクターズ No.163、2022年10月号
– Conversation: SHIOBARA Masashi x MIYATSU Daisuke. “What happened to the contemporary art scene of the ‘Heisei-era’? – What Japan has achieved, what it has lost, and challenges for the ‘Reiwa-era'” @ Art Collectors’ No.122, May 2019 issue, pages 59-62
対談：塩原将志 × 宮津大輔.「平成の現代美術シーンに何が起こったのか? ー 日本が成し遂げたこと、失ったこと、令和への課題」@ アートコレクターズ　No.122、2019年5月号、ページ 59-62
– “Basic knowledge about collections: How do you create one?” in ‘Become an art collector!’ @ Bijutsu Techo, April 2007 issue, pages 34+35
「コレクションの基礎知識：どうつくりあげる？」in ‘アートコレクターになる！’ @ 美術手帖、2007年4月号、ページ 34+35

jcatp.com/recipients/shiobara-masashi

Curator キュレーター
born 生まれ 1975
(photo courtesy ToLoLo studio)

Main criteria in selecting IIDA Shihoko 飯田志保子 as JCATP recipient was her professionalism as responsible chief curator regarding the organisation, the reopening, the transparency in communication, the “fire extinguisher” diplomacy with the excruciating Aichi Triennale 2019.

Subcriteria:
– Excellent networking in the local and global art scene. One special achievement is the endorsement of the Indonesian documenta 15 curatorial team
– Bridge builder with excellent communication skills, socially-wise and in English amongst international curators
– With the help of Mori Art Museum Director KATAOKA Mami 片岡真実, re-establishing the good reputation of the Aichi Triennale 2022
– Official curator of Japan participation for The 15th Asian Art Biennale Bangladesh 2012
– Co-curator of “Japan. Body_Perform_Live – Resistance And Resilience In Japanese Contemporary Art” 2022, Milano, Italy

jcatp.com/recipients/iida-shihoko

Artist アーティスト
born 生まれ 1968

Main criteria in selecting OKAMOTO Mitsuhiro 岡本光博 as JCATP recipient was his sociological, intriguing artistic and curatorial practice via the group show “ART with EMPEROR”「天覧美術」2020 (Artists: OKAMOTO Mitsuhiro 岡本光博, KIMURA Ryoko 木村了子, KOIZUMI Meiro 小泉明郎, SHIGI Goh 鴫剛, FUJII Takehito 藤井健仁) @ KUNST ARZT, Kyoto and eitoeiko, Tokyo.

http://www.kunstarzt.com/VvK/319ARTwithEMPEROR/319VvK27ARTwithEmperorVer2.pdf
https://artscape.jp/report/review/10162330_1735.html
https://artscape.jp/report/review/10162868_1735.html

Subcriteria:

– Participating @ “After Freedom of Expression?” Aichi Triennale 2019
「表現の不自由展・その後」あいちトリエンナーレ2019
– Art Project in Okinawa 沖縄のアートプロジェクト 2017
– “Okinawan Steak”「オキナワ・ステーキ」2021 solo exhibition @ eitoeiko, Tokyo
– “Cherry Blossom Party”「桜を見る会」group exhibition 2020/2021/2022 @ eitoeiko, Tokyo

jcatp.com/recipients/okamoto-mitsuhiro

Curator at the Marugame Genichiro-Inokuma Museum of Contemporary Art
丸亀市猪熊弦一郎現代美術館学芸員
born 生まれ 1970

Main criteria in selecting FURUNO Kanako 古野華奈子 as JCATP recipient is her long-sighted curatorial practice, critically unbiased, scholarly research and systematic documentation about INOKUMA Genichiro 猪熊弦一郎, leading artist of modernism in Japan.
Giving authoritative lectures, without fear or favour, on the genre “war painting” (戦争画) and its implications for Japanese artists and their practices before, during and after war.

Subcriteria:
– FURUNO Kanako on “INOKUMA Genichiro ‘Freedom’ – The Door To Peace” (Critical review by KAGEYAMA Koichi in artscape 2017/9/15)
影山幸一：猪熊弦一郎《自由》──平和への扉「古野華奈子」artscape 2017年09月15日号
– Lecture at the Tokyo University of the Arts “INOKUMA Genichiro and FOUJITA (Léonard)” 2018/8/4
講義：「猪熊弦一郎と藤田」@ 東京芸術大学、2018年8月4日
– FURUNO Kanako “Marugame Genichiro-Inokuma Museum of Contemporary Art” in the Asahi Newspaper 2021/6/29
「丸亀市猪熊弦一郎現代美術館」古野華奈子 @ 朝日新聞 2021年6月29日

jcatp.com/recipients/furuno-kanako

Art Historian, Arts and Culture Senior Specialist at the Agency for Cultural Affairs, Government of Japan
美術史家、文化庁芸術文化調査官
born 生まれ 1965

Main criteria in selecting HAYASHI Yoko 林 洋子 as JCATP recipient was her success in bringing two “war paintings” (戦争画) by painter and, in our opinion, war criminal Léonard Foujita (レオナール・フジタ) for the first time to an exhibition outside of Japan. 
“Final Fighting on Attu”「アッツ島玉砕」(1943) and “Compatriots on Saipan Island Remain Faithful to the End”「サイパン島同胞臣節を全うす」(1945) had been prominently installed in her curated show “Foujita, Œuvres d’une vie (1886-1968)” in Paris, 2019.

Subcriteria:
– Chief curator of “Foujita: A Retrospective ― Commemorating the 50th Anniversary of his Death” Tokyo, Kyoto 2018
　展覧会の企画「没後50年　藤田嗣治展」東京、京都 2018年
– Book: “FOUJITA Tsuguharu Wartime Writings 1935-1956 – Compilation of Newspaper and Magazine Articles” 2018
書籍：「藤田嗣治　戦時下に書く ー　新聞・雑誌寄稿集　1935～1956年」2018年
– “Personally experiencing the Japanese-French Painter FOUJITA Tsuguharu in Paris” (written article in the Asahi Newspaper, Evening Edition, 2019/2/12 page 4)
「日仏の画家・藤田嗣治 パリで実感」朝日新聞夕刊、2019年2月12日、文化面、ページ 4
– “Foujita Exhibition A Fulfilled Wish” (Review by YAMAGUCHI Hiroko, in the Asahi Newspaper, Evening Edition, 2019/3/19 page 2)
「藤田展、果たされた宿願」山口宏子 朝日新聞夕刊、2019年3月19日、ページ 2
– Since 2015 curatorial practice @ “DOMANI: The Art of Tomorrow” (Contemporary Japanese Artists from the Overseas Study Program of the Agency for Cultural Affairs)
2015年 〜 キュラトリアル・プラクティス @「DOMANI・明日展 ー 文化庁新進芸術家海外研修制度の作家たち」
– Keynote Speech during the Presentation Ceremony of the 30th Takashimaya Cultural Foundation Art Award in 2020
基調演説 @ 第 30 回 タカシマヤ文化基金受賞の贈呈式、2020年
– Excellent networking in the local art scene; fine troubleshooter (damage limitation) in the context of the Aichi Triennale 2019
ローカル・アート・シーンで素晴らしいネットワーキング、あいちトリエンナーレ2019年度を巡って、優しいトラブルシュータ（ダメージ制限）

jcatp.com/recipients/hayashi-yoko

(Art) Journalist at the Asahi Newspaper 朝日新聞の記者 (アート関係)
born 生まれ 1980

Main criteria in selecting MARUYAMA Hikari 丸山ひかり as JCATP recipient was her written article「タブーの表現に挑む」(Tackling Taboo Expressions) in the evening edition of the Asahi Newspaper 朝日新聞夕刊, 17th of May 2016.

Subcriteria:
–「他人ごとでないフェミニズム」(Feminism is not other People’s Affairs) 朝日新聞夕刊、2018年5月18日
–「「日本人」のまなざし 100年前と今」(Appearance of the ‘Japanese’, 100 Years ago and now) 朝日新聞夕刊、2017年10月17日
– 「原爆・原発 アートで向き合う」(Facing Atomic Bomb – Nuclear Power via Art Works) 朝日新聞夕刊、2016年12月17日
–「9条 アートに」(Expressing the Article 9 of the Japanese Constitution through Art) 朝日新聞夕刊、2018年5月2日
–「福島市　防護服着た像撤去へ」(Removal of a Sculpture with a Protective Suit in the City of Fukushima) 朝日新聞、2018年8月29日
–「美術館　せめぎ合う境界線」(Museum Exhibitions: Clash of Opinions about Imposing Limits) 朝日新聞夕刊、2016年6月7日
–「表現の自由めぐり危機感」(A Sense of Crisis Regarding the Freedom of (Artistic) Expression) 朝日新聞夕刊、2016年8月2日
–「報道とアートの境目 原発事故の現実写す」(A Realistic Close-up of the Nuclear Accident at the Convergence of Art and Journalism) 朝日新聞夕刊、2016年7月12日

jcatp.com/recipients/maruyama-hikari

Contemporary art collector 現代アートコレクター
born 生まれ 1981

Main criteria in selecting SHIMABAYASHI Hideyuki 島林秀行 as JCATP recipient was his curated group exhibition “Unclear nuclear”「Unclear nuclear」at the gallery URANO, Tokyo, 2016/7.

https://urano.tokyo/exhibitions/archive/68/
https://urano.tokyo/en/exhibitions/archive/68/

Subcriteria:
– lecture at the (Collectors’) ‘One Piece Club’, Tokyo, 2017
レクチャー @ ワンピース倶楽部、東京、2017年
– co-curation of the group exhibition “TOTALTOPIA” @ TAV GALLERY, Tokyo, 2018
「TOTALTOPIA」グループ展の共同企画 @ TAV GALLERY、東京、2018年
– attendance of “Q+A” by Hito Steyerl @ ASAKUSA (Asakusa Toyokan), Tokyo, 2018
「ヒト・シュタイエル：Q&A」の出席 @ アサクサ（浅草演芸ホール 東洋館）、東京、2018年

jcatp.com/recipients/shimabayashi-hideyuki

Artist アーティスト
born 生まれ 1976

Main criteria in selecting KOIZUMI Meiro 小泉明郎 as JCATP recipient was his solo exhibition “Today My Empire Sings” 「帝国は今日も歌う」at VACANT, Tokyo, 2017.

https://www.vacant.vc/todaymyempiresings

Subcriteria:
– “Air” MUJIN-TO Production, Tokyo 2016 (solo exhibition)
「空気」 無人島プロダクション、東京 2016 (個展)
– “MOT Annual 2016, Loose Lips Save Ships”, Museum of Contemporary Art Tokyo, Tokyo, 2016 (group exhibition)
「MOTアニュアル2016 キセイノセイキ」東京都現代美術館、東京 2016 (グループ展)

Reuben Keehan “Out of Site: Japanese Art After Censorship” in d ɪˈv a n A Journal of Accounts, Sydney, December 2017, pp. 40-51

引用 Quote:
Promoted virally, attendance more than doubled the artist’s modest expectations for the exhibition’s nine-day-run, and in November the project garnered Koizumi the inaugural Japanese Contemporary Art Transparency Prize for facilitating “debate about actual censorship, corruption, nepotism, discrimination or stimulates freedom of curatorial practice in the local art world”(1).
Notes
(1) Japanese Contemporary Art Transparency Prize; https://jcatp.com

https://issuu.com/unswartdesign/docs/di_van_issue_3_no_crops

jcatp.com/recipients/koizumi-meiro