(現状)
Asakusa opened in 2015, with an aim to co-curate exhibitions with researchers of diverse academic fields, and to focus on programmes which combine community-based initiatives with social and political agendas. The organisation is run by a small voluntary team —currently of two people— recruiting additional members to execute each project. This year, it launched “Asakusa Entertainments”, a serial exhibition of videos and films which critically reviews the history of mass culture and entertainment industries. The programme intends to promote discursive culture in the gallery’s neighborhoods, through inviting artists to deliver talk, performance and to produce new work in commission. Both print and digital publication of “Asakusa (Journal)” is currently under way.

(フォントサイズ　＋１ / 行間 1.5)

Asakusa opened in 2015, with an aim to co-curate exhibitions with researchers of diverse academic fields, and to focus on programmes which combine community-based initiatives with social and political agendas. The organisation is run by a small voluntary team —currently of two people— recruiting additional members to execute each project. This year, it launched “Asakusa Entertainments”, a serial exhibition of videos and films which critically reviews the history of mass culture and entertainment industries. The programme intends to promote discursive culture in the gallery’s neighborhoods, through inviting artists to deliver talk, performance and to produce new work in commission. Both print and digital publication of “Asakusa (Journal)” is currently under way.

(フォントサイズ　０ / 行間 1.5)

アサクサは、アーティストリリー・レイノー＝ドゥヴァールを招き、展覧会「わたしの疫病（本のように公共的な身体）」を開催いたします。レイノー＝ドゥヴァールは、友人や家族、自身が教える学生など身近な人々との「劇団」を疑似的に構成し、神話やアイデンティティ闘争の重要人物について、アーティストとしての立ち位置から婉曲的な接続を試みています。フィクションとして、形象として、ある象徴として紐付けられたこれらの出来事は、作品とアーティストの身体、そして人物の経歴とメディアを介した知覚など、拮抗する力の境界を曖昧にしていきます。レイノー＝ドゥヴァールは、こうしたパフォーマンスを「制度批判の慰みごと」の一形態と形容しています。