奥村 雄樹

1978年 青森県生まれ・マーストリヒトとブリュッセルを拠点に活動



Born 1978 in Aomori, based in Maastricht and Brussels.
Overseas Study Program: 2012 (one year) in Antwerp.

I’ve been part of Artists’ Guild (AG), a form of “social experiment” that “explores new possibilities of art support,” although I’m more like a ghost member these days. On the occasion of “Life, Living and Livelihood of the Artist,” a series of intensive talk sessions at the Museum of Contemporary Art Tokyo (MOT), organized by AG and MOT jointly in February 2015, I chose to take charge of Life Plan Radio, a makeshift radio station set up in a small conference room, instead of chairing one of the heated debates in the main hall. What I discussed with the two invited guests in our modest programming was the essential politicality of our “life plan”—we “plan” our life through our own individual labor but we also have it “planned” by the government’s tax and social security system—a real and critical problem for more people than ever (including myself) in these times of lockdown or “requested self-restraint.” Documented entirely in my video is a conversation between Dan Perjovschi and myself, amid his own installation for the exhibition “Loose Lips Save Ships,” another collaboration between AG and MOT, in March 2016. Now the topics have shifted to freedom of expression and (self-)censorship, but the discussion’s core remains the relationship between the individual and the system, the actuality of which is even greater today. What strikes us so deeply after watching it, however, is not those now-relevant words like “virus” and “vaccine” coming to the Romanian artist’s lips as metaphors, but the sense of absolute “isolation”—not only from the “eve” prior to incidents like the unrelenting attacks on Aichi Triennale 2019 since last summer and the total erasure of the Tokyo 2020 Olympic Games this summer, but also from the “day after” that was supposed to come in due course, or in other words, this very “present day” in a timeline that is no longer ours.