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DTSTART;TZID=America/Toronto:20240214T193000
DTEND;TZID=America/Toronto:20241204T203000
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SUMMARY:VSS Chat Event
DESCRIPTION:Japanese Chat Event\nAre you a Japanese language learner over 18 and located in Canada (or studying at one of the Japan Foundation overseas offices)? \nIn our Virtual Study Space\, we hold regular chat events where you can practice speaking Japanese with native-level volunteers and other students. \nParticipants are divided into groups of 3-5 according to their Japanese level\, where our volunteers facilitate the conversation. A topic is preassigned every week but you can also opt to do free talk. (View Topic Schedule) \nRegister for our Virtual Study Space to gain access: https://tr.jpf.go.jp/language/jft-virtual-study-space/ \nWhat is the JFT Virtual Study Space?\nThe JFT virtual study space is a free 24/7 online space where Japanese language learners can get together to improve their Japanese language skills by experiencing the language outside of class. (Event Calendar)
URL:https://tr.jpf.go.jp/event/vss-chat-event/
LOCATION:Virtual
CATEGORIES:Language Class,Other JFT Events
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DTSTART;TZID=America/Toronto:20240718T113000
DTEND;TZID=America/Toronto:20241011T163000
DTSTAMP:20260930T001400
CREATED:20240624T172036Z
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SUMMARY:Photographic Images and Matter: Japanese Prints of the 1970s
DESCRIPTION:  \n \n「映像と物質: 版画の1970年代・日本」\nCurated by Kyoji Takizawa\, Machida City Museum of Graphic Arts\nProduced by The Japan Foundation in 2015 \nIn 1957\, the Japanese government launched the International Biennial Exhibition of Prints in Tokyo as a special feature of its postwar culture policy. Awarded the International Grand Prize in the sixth edition of the biennale in 1968\, Tetsuya Noda transformed photographic portraits of his family into prints. His works were significant in that they exemplified the huge changes that were underway in prints internationally\, confirmed that there were parallels between trends in contemporary prints and contemporary art\, and suggested future developments in contemporary art. In the 1970s\, there was a rapid increase in Japanese works that adopted Noda’s method of converting photographs into prints\, leading to a golden age in the medium. The era also saw the rise of works that placed special importance on allowing the materials (matter) used in printmaking (print blocks\, paper\, ink\, etc.) to speak for themselves\, which was lauded as a new trend in the medium. Another significant trend was the emergence of prints with an extremely strong materiality in which the image was transformed into a material. \nThese autonomous expressions of photographic images and matter in the 1970s dramatically expanded the field of prints and also exerted a strong influence on trends in contemporary art. While introducing important trends in prints during the 1970s\, this exhibition focuses on print-inspired trends in contemporary art of the same period. \nSection 1: An Age of Photographic Expression\nWith the increase in photographs and printing\, and the proliferation of the powerful medium of television\, which accompanied the expansion of production and consumption in the 1960s and ’70s\, Japanese society came to be overrun with images. During this period\, new techniques such as silkscreening and offset printing\, which made it easy to transform photographic images\, quickly took hold. Under these circumstances\, numerous works emerged in which photographic images were converted into prints through the use of photoengraving\, leading to a new mainstream in printmaking. In many of these works\, all traces of handiwork were eliminated in order to suppress emotional content and encode the image. \nExhibiting artists: \nTetsuya Noda野田哲也\, Kosuke Kimura木村光佑\, Akira Matsumoto松本旻\, Satoru Saito斎藤智\, Hideki Kimura木村秀樹\, and Sakumi Hagiwara萩原朔美 \nSection 2: Images of Autonomous Matter\nBetween about 1968 and the early 1970s\, a new trend emerged in art in which simple substances such as stone\, wood\, paper\, cotton\, and steel sheets were presented as works\, sometimes alone and sometimes in combination with each other. As an extension of this movement\, print works\, which limited human involvement and manipulation of the image to a bare minimum\, and set out to allow materials (matter) such as print blocks\, paper\, and ink to speak for themselves\, received attention for expanding the concept of the print and giving rise to a new trend in the medium. This period also saw the materialization of images\, a conscious movement that had begun in the 1950s\, and an approach to production that centered on expressing something spiritual through matter\, which resulted in works with a strong material quality. \nExhibiting artists: \nJiro Takamatsu高松次郎\, Katsuro Yoshida吉田克朗\, Koji Enokura榎倉康二\, Shoichi Ida井田照一\, Tatsuo Kawaguchi河口龍夫\, Lee Ufan李禹煥\, Mitsuo Kano加納光於\, and Arinori Ichihara一原有徳 \n\nAdmission: FREE \nAdvanced\, time-specific reservations are recommended. \nBook your visit here \nHand-sanitization at the entry and wearing face-coverings on our premises are recommended. \nGallery Hours: Open on Tuesdays\, Thursdays\, Fridays\, and Saturdays. Hourly timeslots starting at 11:30 AM\, 12:30 PM\, 1:30PM\, 2:30 PM\, 3:30 PM (4:30 PM and 5:30 PM on Thursdays) \nClosed on select days: August 3 (Civic Holiday weekend)\, August 31 (Labour Day weekend)\, September 28 (National Day for Truth and Reconciliation weekend) \nExhibition Period: July 18 – October 11\, 2024\nLibrary & Gallery Opening Hours\n\n\n\n\n	MondayCLOSED\n\n\n	Tuesday11:30am to 4:30pm\n\n\n	WednesdayCLOSED\n\n\n	Thursday11:30am to 6:30pm\n\n\n	Friday11:30am to 4:30pm\n\n\n	Saturday11:30am to 4:30pm *Closed on select Saturdays\n\n\n\n	SundayCLOSED\n\n\n\n\n*September 21: Open from 11:30 am to 2:00 pm \n*Closed on Sundays\, Mondays\, Wednesdays\, and Select Saturdays:\nCanada Day weekend June 29- July 1\nCivic Holiday weekend August 3-5\nLabour Day weekend August 31- September 2\nNational Day for Truth and Reconciliation weekend: September 28-30\nThanksgiving Day weekend October 12-14 \n  \n\nRelated Programming: \n \nDive Deeper into the 1970s Japanese Prints with JFT Library Books! \nWhether you are planning to visit or have already been fascinated by the JFT Gallery exhibition “Photographic Images and Matter: Japanese Prints of the 1970s“\, add an extra layer of appreciation by checking out JFT Library’s books! To enrich your art experience\, we have curated a library book list\, which includes: Contemporary Japanese Prints 1\, a comprehensive catalogue highlighting the inventive techniques and artists of the 1970s like NODA Tetsuya\, ICHIHARA Arinori\, IDA Shōichi\, and KAWAGUCHI Tatsuo; Japanese Art after 1945: Scream Against the Sky\, an illustrated survey revealing vibrant avant-garde movements that shaped postwar art scene including Mono-ha (“School of Things”); Hideki Kimura: Works\, 1972-1990\, a catalogue raisonné showcasing Kimura’s innovative use of photoengraving and silkscreen techniques\, reflecting his exploration of reality’s fragmented nature; and more! These curated books are currently on display in our library right next to the gallery. Don’t miss this opportunity to delve deeper into this pivotal period in printmaking! \nApply for a new library card or renew your expired card here. \nFull Booklist
URL:https://tr.jpf.go.jp/event/photographic-images-and-matter-japanese-prints-of-the-1970s/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Exhibition
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DTSTART;TZID=America/Toronto:20240730T180000
DTEND;TZID=America/Toronto:20240730T201500
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SUMMARY:Remembering the Island of the Gods: Izaihō in Film\, Memory\, and History
DESCRIPTION:Reservations are now closed. Thank you for your interest. We will have a rush line before the event\, and will start to release unclaimed seats 10 minutes before the event. \n \nRemembering the Island of the Gods: Izaihō in Film\, Memory\, and History \nTuesday\, July 30\, 6:00PM (ET) \nDoors open 5:30PM | Film Screening & Lecture Event | In-Person | JFT Event Hall \nNOMURA Gakuya’s film Izaihō vividly captures the rhythms of everyday life on Kudaka Island\, as well as the planning and performance of one of the final Izaihō. The experience of watching the film is so fascinating that we might not give much thought to its historical context. And yet\, in 1968\, the main island of Okinawa\, only a few kilometers to the west\, was in the midst of significant social and political turmoil. Ordinary people still struggled to come to grips with the consequences of the Battle of Okinawa\, only two decades earlier\, in which 150\,000 Okinawan civilians were killed\, and most cities and villages destroyed. Unlike mainland Japan\, Okinawa remained under American military occupation. Rebuilding homes and businesses was difficult\, and the future was unclear. Charged debates over independence\, continued subordination to the United States\, or return to Japanese rule took place everywhere\, from public meetings to the kitchen table. Citizens took to the streets to protest economic disparity\, the use of Okinawan bases to fight the war in Vietnam\, and their lack of political self-determination. How does an understanding of this context shape our understanding of Nomura’s film? How can the film help us to have a more complex understanding of that moment in time? \n\nSpeaker Profile: \n \nChristopher T. Nelson is a cultural anthropologist at the University of North Carolina at Chapel Hill. For nearly three decades\, he has done ethnographic fieldwork in Okinawa\, Japan. His work focuses on the relationship between history and memory\, and he has a deep interest in storytelling\, ritual and performance. \nHis new book\, When the Bones Speak: The Living\, the Dead\, and the Sacrifice of Okinawa\, an ethnography of laborers\, artists\, ethnologists\, political activists\, shaman and the dead in Japan\, will be published by Duke University Press in the spring of 2025. \n\nAbout the film: \n \nIzaihō \nDirected by NOMURA Gakuya • 1967 • Documentary • 49 minutes • Presented in Japanese with English subtitles • Trailer \nKudaka Island is a half-agricultural and half-fishing remote island where the men run the fishing industry and the women do the agriculture. Life on the small island is not easy. They share the scarce water and share the land fairly with an allotment system. When the boys become men\, they all go out the sea. The women come together around the rituals\, praying for the safety of the journeying men and protection of the island. The men are fishermen and travelers\, and the women are priestesses who protect them. Kudaka Island has long been known as the “island of the gods\,” and 30 yearly rituals embedded into island life are solemnly passed down by the islanders even to this day. Held once every 12 years on the year of the horse\, Izaihō is Kudaka Island’s greatest ritual. During Izaihō\, women from the ages of 30 to 41 who were born on and live on the island become gods.  \nThis film captures the Izaihō performed in 1966. The ritual was held once more in 1978 and then vanished — an unusual occurrence. While many of Japan’s festivals and rituals are becoming mere charades as they transform into tourist attractions in order to survive\, Izaihō disappeared while it was still in practice and remained representative of the spirit of the people of Kudaka Island. \n\nThis is the final event of our Keep Dancin’\, Okinawa! film series\, in celebration of Okinawan stories\, culture\, and history. \nFree admission. Register below.
URL:https://tr.jpf.go.jp/event/izaiho/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Film Screening,Lecture
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