Chris Campion “Punk prosthetics: the mesmerising art of living sculpture Mari Katayama” https://www.theguardian.com/artanddesign/2017/mar/06/mari-katayama-japanese-artist-disabilities-interview


1987年埼玉県生まれ。群馬県太田市で育つ。太田市立商業高校在学中の2005年、「群馬青年ビエンナーレ'05」(群馬県立近代美術館)で奨励賞受賞。2010年群馬県立女子大学文学部美学美術史学科卒業。同年「identity, body it. ―curated by Takashi Azumaya―」(nca、東京)に出品。2012年東京藝術大学大学院美術研究科先端芸術表現専攻修了。同年「アートアワードトーキョー丸の内2012」でグランプリ受賞。2013年「あいちトリエンナーレ2013」出品。2014年、小谷元彦個展「TERMINAL MOMENT」(京都芸術センター)に出品された《Terminal Impact (featuring Mari Katayama "tools")》に制作協力。2014-2015年、アーツ前橋の「地域アートプロジェクト」により前橋にて滞在制作。同時期に初個展「you're mine」(TRAUMARIS│SPACE、東京)開催。2016年は「六本木クロッシング2016」(森美術館、東京)、個展「shadow puppet」(3331ギャラリー、東京)、「瀬戸内国際芸術祭2016」参加企画「アーティスト in 六区2016 vol.3 片山真理 bystander」(宮浦ギャラリー六区、直島)、アートプロジェクトおかやま「片山真理展 セルフポートレートとオブジェ」(ルネスホール、岡山)と各地で作品を発表。ほかにも歌手、モデルとして、また執筆、講演など、多方面で活躍している。太田市在住。
彼女は先天性の四肢疾患のために9歳の時に両足を切断し、それ以来、義足を使って生きている。彼女の作品は装飾された義足をつけた自撮り写真や自らを象った立体作品。但し、「私の障碍からアートを作っているのではない」という。自らの身体を「生ける彫刻(living sculpture)」として使用している。

Simon Baker, curator of photography at Tate Modern, was struck by Katayama’s work when he first saw it at the Unseen photography fair in Amsterdam last year. “It really stood out,” he says. “There are ideas about identity and performance, as well as obvious references – art historical references to previous artists.” He cites Cindy Sherman*2, Jeff Wall*3 and Matthew Barney*4. At the same time, he adds, Katayama’s work stands alone. “She’s touching on things without being derivative of them. There’s also this incredible personal story.”

A recent trip to Naoshima, a tiny island in the Seto Inland Sea of southern Japan, opened her eyes to Naoshima Onna Bunraku, an all-female style of traditional puppet theatre. “The dolls for bunraku don’t have legs,” says Katayama. “They use elbows and hand movements to express themselves instead. It made me think how versatile hands are.”

She photographed the hands, printed them on to material, and sewed these new creations into a multi-armed, many-handed entity. It was the first time a body other than her own has featured in her work and she confesses to feeling somewhat baffled by it. “Foreign bodies had entered my work,” she says, and recalls how she would photograph herself lying on the beach, phone in hand, with the arms and hands of this alien creature sprouting from her own like the legs of a crustacean, a pose inspired by Botticelli’s Birth of Venus.

As she was completing the project, another new body presented itself, this one living inside her. Katayama is pregnant – and tickled that her child will be born under the sign of the crab, though she is uncertain how this will affect her art. It is, however, unlikely to alter the principle that has underpinned all her work, an ethos she sums up with the words: “All human bodies – including ones like mine that have been altered by human hands – are perfect.”
ところで、この記事ではインタヴューした場所が明記されている――GATEAU FESTA HARADA*5