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Statement
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10周年を迎えるにあたり。
アートをマジでガチでやってきた最高の日々だったが、同様にまじで美術館や機関の検閲にクソみたいに屈し続けて来た最低の10年でもあった。
近年こういった問題が多く表に出回る様になったが、とはいえアーティストとキュレーターの個人的な資質に問題がシフトしたり、美術館が批判しやすい権力として単純化されてワイドショー的に盛り上がるなど、つまりは問題になった各々の作品が言及していたはずのバラエティーにとんだ社会的なイシューがフォーカスされることなく、20世紀的「表現の自由」をめぐるクソみたいな議論に終始しているように思う。
問題は、今突然おこった訳ではなく、これまでも実は人知れず繰り返されて来たクソみたいに理不尽な、しかし常識的だと水面下で交わされ続けて来たクソみたいな検閲と交渉の慣例にこそあり、その責任は、要求を伝えざるをえないクソみたいな事情を抱えている主催者だけでなく、「表現の自由」を表で謳いながらも、それらを受け入れ続けて来た全てのクソみたいなアーティストにもあったはず。
たしかにアートに関わるキュレーターや主催者は良い人ばっかだから、彼らとそんな低レベルな交渉するのはマジでクソみたいにめんどくさい。気まずい会議が長くなって、シリアスなうざい空気を吸ってお互いに寿命を縮めるくらいなら、代替案を考えますと外のフレッシュな空気に逃げた方がまだマシだった。
10周年を迎えるにあたり、そうやって積み重ねて来た自らの黒歴史を振り返り、Chim↑Pomは、改めてアートに本当に申し訳ないことをしたと思っている。そして結成以来ずっと向き合ってきたクソみたいな空気、更には現政権になって以来実際に、そしてとても具体的に厳しくなってきたアートへの介入、それと裏腹で進むクソみたいな戦後70年を前にして、堪え難きを耐え、忍び難きをを忍び、そんなクソみたいな黒歴史を10周年の記念として回顧したいと思う。
ちなみに本展で展示される5つのケースはChim↑Pomとしても氷山の一角であり、日本のアートシーン全体で言うと、この展覧会を広げていった先には途方も無く巨大な日本美術の回顧展が待ち受けるだろう。
僕らを支えて来てくれた日本のアートシーン、これまで本当にありがとう。そしてこれを機に前進できない組織とは、これでさようなら。



 Chim↑Pom
2015年8月7日
In greeting the 10th Anniversary, It was literally and seriously wonderful days for us to do art. However, it was also the worst and freaking 10 years as giving in to censorship by art museums and organs. Recent years, those kinds of issues are getting to circulate. However, they shift the problems to personal qualities of artists and curators, and art museums are simplied as power that is easily criticized like scandals in TV shows … etc. What we want to say is they are sticking to stupid discussions over the “freedom of expression” in the twentieth century without focusing on social issues which are rich in variety that are supposed to have referred to each controversial works. ose problems aren't new now, but actually it has been secretly repeated within the freaking outrageous convention of freaking censorship and negotiations, which have been passed below the surface in commonsense. ose responsibilities are not only within organizers who are in freaking situation that they have no choice but to tell the requests but also within all freaking artists who have accepted them. As a fact, those art curators and organizers are mostly nice, so it really bothers me to hold low-level negotiations with those people. I might as well have said “I’ m gonna think alternative idea” and escape into the fresh air outside rather than breathing in the serious annoying atmosphere of the long awkward meetings and shortening each other's lives. In greeting the 10th Anniversary, we look back over the dark history accumulated over the years and Chim↑Pom feels really sorry against art again. We would like to look back those freaking dark past in commemoration of the 10th anniversary, which we spent facing the atmosphere since we formed, furthermore the intervention for art of the present regime that is getting seriously harsh and very specic, and also enduring the unendurable and suering what is insuerable, the freaking 70 years going on behind since the end of World War II. By the way, 5 cases that are shown in this exhibition are the tip of the iceberg as even Chim↑Pom, and in terms of the whole art scene in Japan, an enormous retrospective exhibition of Japanese art will be awaiting ahead of the expansion of this exhibition. Dear the Japanese art scene which has supported us, thank you so much. And dear organizations that can’ t move on, I would say on this occasion, good bye.

Chim↑Pom
7 August, 2015
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Index
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耐え難きスーパーラット 2015
耐え難きReal Times 2015
堪え難きBLACK OF DEATH 2015
堪え難きヒロシマの空をピカッとさせる 2015
耐え難き気合い100連発 2015
Enduring the Unendurable Super Rat 2015
Enduring the Unendurable Real Times 2015
Enduring the Unendurable BLACK OF DEATH 2015
Enduring the Unendurable Making the sky of Hiroshima “PIKA!” 2015
Enduring the Unendurable KI-AI 100 2015

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耐え難きスーパーラットEnduring the Unendurable Super Rat
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とにかくこれまで何度も色んな角度から展示や雑誌掲載断念の憂き目にあってきた本作。

動物愛護、著作権問題は当然のこと、単純に動物系の作品を展示することをオープニング前日までもめて展示に至らなかったケースもある。今年1月のシンガポールでのアワード展でもそれが起き、キュレーターからの依頼で本作出品を用意していたが、動物を展示する許可が国から下りないとの事で結局直前で気合い100連発に展示替えした。日本に比べてアート先進国とはいえ流石は一党独裁の国である、とかボヤきつつ涙を飲んでやさぐれたものの、なんとうっかりそれが功を奏したのかは知らないが、見事グランプリをゲットしたから皮肉なものである。ちなみに小学館からは本作の発表当時、それが小さなギャラリーでの1日3人しかこなかったデビュー展であったにも関わらず、雑誌に出た瞬間に内容証明がきた。いま考えればシカトするなり戦うなりすればよかったが、経験も少なくうっかりギャラリーとしてサインをしてしまった。内容としては、剥製を広報物に使わない、販売しないなど。広報物というのが難問で、例えば作品集や美術手帖の表紙などで度々ラット案が協議されるが、それがメディアに掲載された時に広報活動と見なされてしまう恐れがあるとのことで何度も断念。が、10周年を迎えた2015年、スーパーラットはChim↑Pomの手を離れて、シンガポール、イギリス、カンボジアなど海外のアート雑誌の表紙を飾っている・・・。
We have had bitter experiences of seeing this work being abandoned exhibitions and publications in magazines many times and in many ways. Problems of copyright and animal welfare as a matter of course, there has also been a case that we had a dispute over simply exhibiting works about animals until the day before the opening and in the end, we couldn’ t show them. this is also happened in Singapore this year in January. We switched works from the Super Rat to the KI-AI 100 in the award exhibition in the last minute because the government didn’ t allow us to exhibit animals even we had prepared the Super Rat since the curator requested it. We were sulked and held back our tears, muttering that Singapore is a typical totalitarian country though it is an art advanced country compared to Japan. However, it’ s ironic that we surprisingly won the grand prize, which we don’ t know it has borne fruit or not.

By the way, the Shogakkan, which is a publishing company of “Pokemon” , sent us a content-certificate right after a magazine featured the Super Rat in spite of our debut exhibition that only a few people came in a day at a small gallery. Looking back now, we should have ignored that or fought with them. As it was our debut show and we were inexperienced, we signed it rashly as a gallery. It said that “I agree not to sell them” and “I agree not to use the stued animal for advertisement” … etc. It’ s hard to define what is “for advertisement” . For example, we have discussed the use of the Super Rat pictures for covers of magazines and portfolio but have abandoned for many times since it could be “for advertisement” when published in the media. However, in 2015 of our 10th anniversary, the Super Rat is unexpectedly out of our hands and they are on the covers of art magazines in countries such as Singapore, UK, and Cambodia.
  • 耐え難きスーパーラット Enduring the Unendurable Super Rat ビデオ、キャプション
 2015
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  • 耐え難きスーパーラット Enduring the Unendurable Super Rat ビデオ、キャプション
 2015
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耐え難きReal TimesEnduring the Unendurable Real Times
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2012年の上海ビエンナーレの際、キュレーターから「Real Times」の展示をリクエストされる。快諾したのち合意したにも関わらず、直前になって展示作品の変更を要請される。理由としては当時激化していた尖閣諸島問題で、何故本作がその対象になったかというと、メンバーが原発の近くで旗に改変していくマークをスプレーで描くのだが、一度日の丸になっているのが問題とのこと。どちらかというと日本Disと受け取られがちな本作にしては珍しいタイプのクレームだった。とはいえビエンナーレ直前にも大規模なデモが上海で起き、ユニクロなど日系企業の窓などが割られていたし、日本人観光客も激減していた時だった。ビエンナーレに参加する日本人作家たちの作品はあまりにもな扱いを受けていたし、メンバーの林は怪しげなバーで軟禁されて屈強な男に尖閣諸島の地図を指差されながら「これはどこの国の島?」とクイズを出されてぼったくられていた。つまり確かに危ない時期ではあった。仲良くしてほしいと思う。ちなみに本作品 は赤い旗にプロジェクションをして日の丸の赤を相殺するバージョンである。 We got a request of exhibiting the “Real Times” from a curator of the Shanghai Biennale in 2012. Although we readily agreed, we were required to change the exhibiting work at the last minute. e reason was the Senkaku island dispute which was intensifying at the time. Why this work became an object of it was the sun-flag which appears while one of the Chim↑Pom member drew a nuclear mark with a spray near the nuclear power plant in Fukushima. This was a rare complaint as this work is rather seen as Japanese-diss. However, massive street demonstrations were happenning in Shanghai just before the biennale and windows of Japanese companies such as UNIQLO were being broken, and it was at the time when the number of Japanese tourists were dropping sharply. The works of Japanese artists joining the biennale were treated terribly and Hayashi, who is a member of Chimpom, was under house arrest in a creepy bar and was given a quiz by a tough-looking hombre (guy) with his finger pointing at the Senkaku islands on the map saying “Whose islands are those?” and he got ripped off. Certainly it was a dangerous time. We wish they are going to get along. By the way, this work was a version which was to be projected on a red flag to neutralize the red of Japanese flag
  • 耐え難きReal Times Enduring the Unendurable Real Times ビデオ、キャプション
 2015
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堪え難きBLACK OF DEATHEnduring the Unendurable BLACK OF DEATH
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ありがたいことに東京都現代美術館が本作を収蔵してくれて、コレクション展にも出品してくれた。しかしコレクションする際と展示する際に打診されたのは、通称ナベツネハウス(読売新聞グループ会長・渡邉恒雄氏の自宅マンション)上空にカラスを集めたシーンをカットすること。真意は今だに定かではないが、ジブリ展などで讀賣との関係が深い故かと勘ぐり最初は拒否してみた。が、別に個人攻撃が目的でないしカットしたからといって作品全体のコンセプトにも影響はない、なにより面倒くさかったので、時期(彼がお亡くなりになった後)がきたら元に戻すように指示して合意。意図せずして「死」が作品に影響を与えたこのバージョンこそは、まさにタイトル通りの「BLACK OF DEATH」。 Mercifully, this work has been owned by the Museum of Contemporary Art Tokyo and was exhibited in the MOT collection. However, what was sounded out on the occasion of owning and exhibiting the work was to cut the scene where crows gather above the “Nabe-tsune House” : the apartment of Tsuneo Watanabe, chairman of the Yomiuri Newspaper. We are yet unsure about their true intentions, but we refused at first because we suspected that it was due to a deep relationship between Yomiuri and the MOT through exhibitions such as GHIBLI. However, it’ s not supposed to attack someone individually and also it doesn’ t effect to the whole concept of the work. More than anything it was a hassle for us, so we agreed on cutting the scene and putting it back to original when the time comes (meaning, after his death). In this version, “death” unintentionally affected this work. It is exactly “BLACK OF DEATH” as the name.
  • 堪え難きBLACK OF DEATH nduring the Unendurable BLACK OF DEATH ビデオ、キャプション
 2015
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  • 堪え難きBLACK OF DEATH nduring the Unendurable BLACK OF DEATH ビデオ、キャプション
 2015
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堪え難きヒロシマの空をピカッとさせるEnduring the Unendurable Making the sky of Hiroshima “PIKA!”
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広島市現代美術館での個展のために制作した本作が騒動となり、美術館から個展の自粛の要請を受ける。セットで展示する予定で製作中だった千羽鶴をモチーフにしたプロジェクトも、千羽鶴を折ってくれた学校などから素材の提供を拒否され展示を断念。「ピカッ」も含めて何も展示物がないのにオーディエンスはそれなりにいそう、、という超コンセプチュアルな状況を予想し、それでは全く真意が伝わらないと開催自粛に同意。作品はのちに原宿で自主開催した展覧会にて発表し、2013年の旧日本銀行広島支店にまで5回の巡回を遂げている。これを期にChim↑Pomは主催者の意図に縛られないオルタナティブな道を常套手段として好むようになる。 This work, which was produced for our solo exhibition at the Hiroshima City Museum of Contemporary Art, caused controversy and we received a request to forgo the exhibition. The project which was based on 1000 paper cranes and had been planned to be exhibited along with the other work, also had to be given up, because the schools of the students who made the cranes rejected providing the materials. We thought of a very conceptual situation that even if there is no art work, including “PIKA” , a certain number of people might come. However, we agreed to the request because there is no way to convey adequately the true intention of this exhibition. Later on the work has been showed in Harajuku at an exhibition we hold by ourselves. And it has already accomplished being shown 5 times and in 2013 it went back to be shown at the Former Bank of Japan, Hiroshima Branch. With this as a starting point, Chim Pom became to prefer this alternative way against organizers’ aims as the general practice.
  • 堪え難きヒロシマの空をピカッとさせる Enduring the Unendurable Making the sky of Hiroshima “PIKA!” ビデオ、キャプション
 2015
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  • 堪え難きヒロシマの空をピカッとさせる Enduring the Unendurable Making the sky of Hiroshima “PIKA!” ビデオ、キャプション
 2015
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  • 堪え難きBLACK OF DEATH nduring the Unendurable BLACK OF DEATH ビデオ、キャプション
 2015
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耐え難き気合い100連発Enduring the Unendurable KI-AI 100
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これまで20カ国ほどで展示されてきた本作であるが、ある国でのビエンナーレへの出品をキュレーターから打診された際に、主催者の国際交流基金よりNGが出た。スタッフからオフレコとして理由を話してくれたのに、その内容を反映したバージョンとして今回作品を展示しちゃって本当に申し訳ないが、つまりは「安倍政権になってから、海外での事業へのチェックが厳しくなっている。書類としての通達はないが、最近は放射能、福島、慰安婦、朝鮮などのNGワードがあり、それに背くと首相に近い部署の人間から直接クレームがくる。」とのこと。NGワードをぼかすような編集も提案されたが、結局は他の作品を出品することで合意。今回はその提案にのっとったバージョンを展示。「今は我慢するしかない」との職員の悔しそうな言葉に戦前のような響きを感じた。 Although this work has been shown in 20 countries, the Japan Foundation of the organizer rejected it when a curator offered us exhibiting at a biennale in a certain country. We are so sorry for showing this work including the details of the reason that the staff told us secretly, but In short, “ since the Abe Administration took the reins of government, the government checks business for overseas strictly. They don’ t send any notification in paper, but there are forbidden words, like radioactive, Fukushima, sex slaves, north Korea etc., and if we use those words, a man from a department close to Abe sends us complaints about it directly.” Although we suggested re-editing to beep those words, we agreed to exhibit something else after all. This time we are showing the suggested version. We felt a nostalgic ring like the times before war in the words of a staff who said disappointedly, “We just have to grin and bear it” .
  • 耐え難き気合い100連発 Enduring the Unendurable KI-AI 100 ビデオ、キャプション
 2015
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