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GA has released the first issue of GA Journal: Journal of Global Arts Studies and Curatorial Practices<\/em>.<\/p>\n This academic journal contains papers and special contributions by faculty members and graduate students of GA. These articles reflect some of the cross-disciplinary studies and practices conducted in GA. We want to introduce this journal to those who are interested in the fields of\u00a0 arts management, arts and culture studies, or curation.<\/p>\n <\/p>\n \u25cfWhere\/How to access<\/strong><\/p>\n \u2474 Available in the GA faculty room (Ueno\/Senju) .<\/p>\n \u2475 Free distribution in the GA faculty room (Ueno\/Senju). (* Limited number of copies.)<\/p>\n *Currently, entry to campus is prohibited due to the COVID-19 outbreak. All of the above will be possible when the admission is permitted.<\/p>\n *For a limited time, we provide online browsing serves of full-text. Please contact us for more details. <\/p>\n \u25cfTable of contents<\/strong><\/p>\n \u6771\u4eac\u85dd\u8853\u5927\u5b66\u5927\u5b66\u9662\u56fd\u969b\u82b8\u8853\u5275\u9020\u7814\u7a76\u79d1\u8ad6\u96c6<\/strong> \u7b2c<\/strong>1<\/strong>\u53f7<\/strong> 2020<\/strong>\u5e74<\/strong> <\/p>\n \u7279\u5225\u5bc4\u7a3f\u3000Special Contribution<\/strong><\/span><\/p>\n \u9577\u8c37\u5ddd \u7950\u5b50\uff5cYuko HASEGAWA<\/strong><\/p>\n \u65b0\u3057\u3044\u30a8\u30b3\u30ed\u30b8\u30fc\u3068\u30a2\u30fc\u30c8\u2014\u2014<\/span>Clouds\u21c4Forests\u5c55\u306b\u305d\u3063\u3066\u2014\u2014<\/span><\/p>\n A New Ecology and Art: on the\u00a0Clouds\u21c4Forests\u00a0<\/em>exhibition<\/p>\n Read the full-text<\/a><\/span><\/p>\n <\/p>\n \u8ad6\u6587\u3000Articles<\/strong><\/span><\/p>\n \u72e9\u91ce \u611b\uff5cAi KAN\u014c<\/strong><\/p>\n \u30d0\u30a4\u30aa\u30c6\u30af\u30ce\u30ed\u30b8\u30fc\u3001\u30a2\u30fc\u30c8\u3001\u30a2\u30af\u30c6\u30a3\u30f4\u30a3\u30ba\u30e0\u3092\u3081\u3050\u308b\u6587\u5316\u6f6e\u6d41 Critical Art Ensemble and Emerging Art and Culture Scenes\u00a0Traversing Biotechnology, Art and Activism<\/p>\n *This paper is written only\u00a0 in Japanese (with English abstract).<\/span><\/p>\n <\/p>\n YEUNG Tin Shui<\/strong><\/p>\n Hong Kong House in the Echigo-Tsumari Art Field: <\/p>\n \u6a29 \u7965\u6d77\uff5cKWON Sanghae<\/strong><\/p>\n \u6d6e\u904a\u3059\u308b\u5171\u540c\u4f53\u3068\u9042\u884c\u3055\u308c\u308b\u6b74\u53f2 Drifting Community and Embodied History Centered on\u00a0O Tannenbaum<\/em>\u00a0(2018) by Minouk Lim<\/p>\n *This paper is written only\u00a0 in Japanese (with English abstract).<\/span><\/p>\n <\/p>\n \u91d1 \u5949\u6d19\uff5cKIM Bongsou<\/strong><\/p>\n \u6587\u5316\u82b8\u8853\u65bd\u8a2d\u3068\u3057\u3066\u306e\u8fd1\u4ee3\u5316\u7523\u696d\u907a\u7523 A study on preservation and renovation of modern industrial heritage as culture and arts facilities in Japan and Korea<\/p>\n *This paper is written only\u00a0 in Japanese (with English abstract).<\/span><\/p>\n <\/p>\n \u6c5f\u4e0a \u8ce2\u4e00\u90ce\uff5cEGAMI Kenichir\u014d<\/strong><\/p>\n \u9999\u6e2f\u300c\u53cd\u9001\u4e2d\u300d\u904b\u52d5\u306b\u304a\u3051\u308b\u7a7a\u9593\u7684\u30fb\u6587\u5316\u7684\u5b9f\u8df5\u306b\u95a2\u3059\u308b\u30ce\u30fc\u30c8<\/p>\n Notes on Spatial and Cultural Practices in the Hong Kong \u201cAnti-Extradition Law\u201d Protest<\/p>\n *This paper is written only\u00a0 in Japanese\u00a0(with English abstract).<\/span><\/p>\n <\/p>\n \u6fa4\u7530 \u8056\u4e5f\uff5cSAWADA Seiya<\/strong><\/p>\n \u6c96\u7e04\u30ed\u30c3\u30af\u3068\u306f\u4f55\u304b\u00a0\u2014\u2014<\/span>1970\u5e74\u4ee3\u524d\u5f8c\u3092\u5bfe\u8c61\u306b\u2014\u2014<\/span><\/p>\n What is Okinawa Rock?\u00a0\u2014\u2014<\/span>\u00a0around the 1970s\u00a0\u2014\u2014\u00a0<\/b><\/span><\/p>\n *This paper is written only\u00a0 in Japanese (with English abstract).<\/span><\/p>\n <\/p>\n \u52a0\u85e4 \u5922\u751f\uff5cMui KATO<\/strong><\/p>\n 1960\u5e74\u4ee3\u521d\u671f\u306e\u65e5\u672c\u306b\u304a\u3051\u308b\u30e1\u30c7\u30a3\u30a2\u8868\u8c61\u3092\u901a\u3057\u305f\u30b8\u30e3\u30ba\u30fb\u30d5\u30a7\u30b9\u30c6\u30a3\u30d0\u30eb\u306e\u610f\u5473\u5f62\u6210 Organizing the Meaning of Jazz Festivals in early 1960s\u2019 Japan through Media: *This paper is written only\u00a0 in Japanese (with English abstract).<\/span><\/p>\n <\/p>\n \u7279\u5225\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc\u3000Special Interview<\/b><\/span><\/p>\n \u30d6\u30ea\u30e5\u30ce\u30fb\u30e9\u30c8\u30a5\u30fc\u30eb\uff5cBruno Latour\u00a0 \u00a0\u805e\u304d\u624b\uff1a\u9234\u6728 \u8449\u4e8c<\/strong><\/p>\n \u300c\u30af\u30ea\u30c6\u30a3\u30ab\u30eb\u30be\u30fc\u30f3\u300d\u3092\u7acb\u3061\u4e0a\u3052\u308b<\/p>\n Booting up the Critical Zone \u00a0 Interviewed by SUZUKI Yohji<\/p>\n Read the full-text<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":" GA has released the first issue of GA Journal: Journal of Global Arts Studies and Curatorial Practices. This academic journal contains papers and special contributions by faculty members and graduate students of GA. These articles reflect some of the cross-disciplinary studies and practices conducted in GA. We want to introduce this journal to those who are interested in the fields of\u00a0 arts management, arts and culture studies, or curation. \u25cfWhere\/How to access \u2474 Available in the GA faculty room (Ueno\/Senju) . \u2475 Free distribution in the GA faculty room (Ueno\/Senju). (* Limited number of copies.) *Currently, entry to campus is prohibited due to the COVID-19 outbreak. All of the… Continue reading New Publication: “Journal of Global Arts Studies and Curatorial Practices” vol.1<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":8990,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"post_series":[],"class_list":["post-8925","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events-en","entry"],"_links":{"self":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/8925","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/comments?post=8925"}],"version-history":[{"count":0,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/8925\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media\/8990"}],"wp:attachment":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media?parent=8925"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/categories?post=8925"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/tags?post=8925"},{"taxonomy":"post_series","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/post_series?post=8925"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nContact: info-ga@ml.geidai.ac.jp<\/a><\/p>\n
\nJournal of Global Arts Studies and Curatorial Practices vol.1 2020<\/strong><\/p>\n
\n\u2014\u2014<\/span>\u30af\u30ea\u30c6\u30a3\u30ab\u30eb\u30fb\u30a2\u30fc\u30c8\u30fb\u30a2\u30f3\u30b5\u30f3\u30d6\u30eb\u3092\u4e8b\u4f8b\u3068\u3057\u3066\u2014\u2014<\/span><\/p>\n
\nA case study of curating socially engaged art and atistic autonomy<\/p>\n
\n\u2014\u2014<\/span>\u30a4\u30e0\u30fb\u30df\u30cc\u30af\u306e\u300aO Tannenbaum\u300b\uff082018\uff09\u3092\u3081\u3050\u3063\u3066\u2014\u2014<\/span><\/p>\n
\n\u2014\u2014<\/span>\u4fdd\u5b58\u3068\u30ea\u30ce\u30d9\u30fc\u30b7\u30e7\u30f3\u306b\u95a2\u3059\u308b\u65e5\u97d3\u306e\u4e8b\u4f8b\u7814\u7a76\u2014\u2014<\/span><\/p>\n
\n\u2014\u2014<\/span>\u8efd\u4e95\u6ca2\u30cb\u30e5\u30fc\u30bf\u30a6\u30f3\u30fb\u30b8\u30e3\u30ba\u30fb\u30d5\u30a7\u30b9\u30c6\u30a3\u30d0\u30eb\uff081963\uff09\u306b\u7126\u70b9\u3092\u3042\u3066\u3066\u2014\u2014<\/span><\/p>\n
\nA Case Study of the 1963 Karuizawa Newtown Jazz Festival<\/p>\n