Uwe Jonas

Installation Setting in the Urasabaku Desert

 

The current program guidelines for Art Islands Tokyo 2020 disclose novel issues to think about presence of art in public consciousness. If we presume a general orientation towards meaning and truth in artistic action, we can raise questions that seem to be imposed on our present. In my view, this is the question of how art can be possible without an audience and also what significance it can have in competition within the field of ecological debates. I would like to answer the first question as briefly as possible: Any form of emerging art manifests the vital spirit of human beings already in its formation and development and thus becomes part of the boundless archive of meaningful human performance. Whether or not there is a public forum for this, whether or not a community capable of criticism creates a necessary corrective, is not important at first.

 

The past ten years of the Art Islands Tokyo have shown why and how artists on the two islands of Oshima and Nishima have reacted to ecological questions. For the islands themselves, with their historical and social development, their climatic and geological qualities, pose the questions of the present in their own specific way.