Co-creating Cultures for the Future Week
Inherit & develop historical culture
Japan Association for the 2025 World Exposition
The programme, together with the General Sponsors, explores: 'How to inherit arts, culture, and language, and connect them with public opinion, innovation, science and technology, and economic public policy to preserve them for the future'
Discussion
- Others
| Transmission of simultaneous interpretation | Provided |
|---|---|
| Language of interpretation | Japanese and English |
Reservations are required for this programme.
Booking is available from the 2-month advance draw. Please check the site below for the timing of the booking start.
Please note that bookings may not be available due to the status.
For more information about making a reservation to watch a programme.
Please watch the Virtual Studio if you are outside the venue.
-
Agenda2025
Organised Programme
- * Programme times and content are subject to change. Any changes will be announced on this website and via the ticket booking system.
- * The schedule is subject to change depending on the organiser's circumstances.
- Time and
Date of
the event -
-
2025.05.05[Mon]
10:00 ～ 12:00
(Venue Open 09:30)
-
- Venue
- Theme Weeks Studio
Programme details
Have you heard of the term ‘cultural resources’? It refers to the totality of the diverse cultures created by human activity, and it is a concept that aims to utilise these resources to create a richer and more comfortable society. It is an important concept for understanding the values and sensibilities that we should share in order to learn about the lives of people who lived in the past and to move forward into the future, as well as those that have led humanity to misery. The speakers in this session are three artists who are attracting worldwide attention for their activities in places where societies have been shaken to the foundations by conflict, war, natural disasters and other events. They will discuss the significance of cultural resources in Japan, Ukraine, Israel, the Gaza Strip and other locations and consider their current situation. Can cultural assets and infrastructure that have been destroyed and reduced to fragments by disasters, and even language itself, become effective materials for bringing out and restoring the true nature of human beings? Can arts and crafts serve as a ‘shelter’ that links individuals and society and protects lives in times of emergency? How can expressions born in the midst of disasters and wars function as testimony of what happened beyond the disaster and in later times? We will have a lively discussion about the possibilities and challenges of cultural resources that can be archived, restored, and passed on in order to capture and share the changing times.
*Simultaneous interpretation is available in both English and Japanese. Please bring a smartphone, tablet or other internet-enabled device with earphones to listen.
Subtitles for this program are available at the URL below.
EXPO2025 Theme Weeks 「Inherit & develop historical culture」
<Subtitles URL> https://us06web.zoom.us/j/86586376336
Live streaming and subtitle may not be matched each other.
Please note that the accuracy of the translation results is not guaranteed.
Cast
Moderator
Robert Campbell
University Professor, Waseda University
Robert Campbell is a scholar of Japanese literature, Professor Emeritus at the University of Tokyo and former Director-General of the National Institute of Japanese Literature (NIJL).
Born in New York City, he studied in the Departments of Economics and Oriental Languages, University of California, Berkeley (B.A. 1981), and in the Department of East Asian Languages and Civilizations, Graduate School of Fine Arts, Harvard University (M.A. 1984; Ph.D. 1992).
In addition to writing, editing and contributing to numerous volumes on Japanese literature, art and drama, Robert is active in the Japanese media as television host, news commentator, newspaper columnist, book reviewer and radio personality.
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Speakers
©︎ Oleksandr Laskin
Ostap Slyvynsky
PEN Ukraine
Ostap Slyvynsky is a Ukrainian poet, translator, essayist, and scholar. He authored five books of poetry: Sacrifice of Big Fish (1998), The Midday Line (2004), Ball in Darkness (2008), Adam (2012), The Winter King (2018), as well as The Dictionary of War (2023), a documentary book based on a testimony of participants and witnesses of the Russian aggression against Ukraine. His books have been published in the USA (The Winter King, Lost Horse Press 2023), Germany, Poland, Czech Republic, Bulgaria, Slovakia, and Macedonia. He is also known for translating the works by Derek Walcott, William Carlos Williams, Charles Simic, Czesław Miłosz, Olga Tokarczuk, Georgi Gospodinov, and many others. Ostap Slyvynsky is Associate Professor at the Department of Philology, Ukrainian Catholic University (Lviv). In 2007, he earned a PhD degree in Humanities (with thesis on the silence in contemporary Bulgarian prose). The main areas of his research interests are intercultural communication, the comparative history of Slavic literatures of Central and Eastern Europe, and translation studies. He published numerous papers on comparative literature and intercultural communication. Since 2021, he is part of the international research team working on anticipation of catastrophe in Eastern European literatures before 1939. He was the editor of the bilingual Ukrainian-Bulgarian anthology Ukrainian Poetic Avant-Garde (2018), the anthology of contemporary essays The Ark Named Titanic. 20 essays about humanity of AD 2020 (2020) and the anthology of modern Ukrainian poetry Among Sirens. New poems of war (2023).Ostap Slyvynsky initiated and/or participated in several human rights actions and campaigns in Ukraine, including public actions in support of Oleg Sentsov (2018–2019) and Solidarity Words, a campaign in support of Crimean Tatar journalists illegally imprisoned in the occupied Crimea and Russian Federation (since 2021).Since 2015, he collaborated with fellow artists and writers on several performances and media projects: Preparation (2015), The Winter King (2018), Windows Opened (2021), Return Is (Im)possible (2023).Ostap Slyvynsky was the first program director of the International Literary Festival in Lviv in 2006–2007. In 2016–2018, he organized the public discussion platform Stories of Otherness (the series of public interviews with writers, intellectualists and civic activists who suffered from different kinds of social exclusion). Since 2021, he organizes PEN Ukraine’s festival Propysy (The Writings) aimed at novice authors. He was elected the Vice President of PEN Ukraine in 2022.
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©Goni Riskin
Ruth Patir
Artist
Artist Ruth Patir fuses documentary with computer-generated imagery in a quest to expand the possibilities of realism. Her works often begin with the artist’s autobiography, and gradually open up to address larger societal issues, such as the politics of gender, technology, and the hidden mechanisms of power.
Patir is a Professor for experimental film at the Bezalel Academy and at Sapir College in Sderot. She received her MFA in New Genres from Columbia University in New York (2015) and her BFA from the Bezalel Academy of Art and Design in Jerusalem (2011). In 2023 Patir was the artist chosen to exhibit at the Israeli pavilion for the 60th edition of the Venice Biennial. However as long as there was no cease fire and hostage release agreement the artist and curators chose that the exhibit would remained in a perpetual state of pause until the biennials closing. Her previous shows include Gwangju Biennial, Israel Museum, Tel Aviv Museum of modern art, OnCurating projects Zurich, the Center for Contemporary Art in Tel Aviv Yafo, Hamidrasha Gallery Tel Aviv Yafo, New Director New Film at MoMa, The Jerusalem Film Festival and Danspace Projects in New York.
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©Sang Hun Lee
Kei Takemura
Contemporary artist
Born in Tokyo in 1975, Takemura graduated from the Tokyo University of the Arts, Department of Painting, majoring in oil painting. She completed her graduate studies at the same university and the Free University of Berlin, where she studied at the Faculty of Liberal Arts, and lived in Berlin from 2000 to 2015. She currently lives and works in Takasaki. For Takemura, the act of embroidery is intended to create a state of "what if," sublimating lost things and fragments of memories into a more concrete existence. She has expanded her field of activities while gaining international acclaim, including solo exhibitions such as "How Can It Be Recovered?" at Maitland Regional Art Gallery (Sydney, 2020), "Floating on the river" at the National Museum of Modern Art, Kyoto (Kyoto, 2021), "15th Sydney Biennale" (2005), "Yokohama Triennale" (2020), and "Does the Future Sleep Here?" at the National Museum of Western Art (Tokyo, 2024).
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Co-creating Cultures for the Future Week
Inherit & develop historical culture
The programme, together with the General Sponsors, explores: 'How to inherit arts, culture, and language, and connect them with public opinion, innovation, science and technology, and economic public policy to preserve them for the future'
-
2025.05.05[Mon]
10:00～12:00
(Venue Open 09:30)
- Theme Weeks Studio
- * Programme times and content are subject to change. Any changes will be announced on this website and via the ticket booking system.
- * The schedule is subject to change depending on the organiser's circumstances.
Reservations are required for this programme.
Booking is available from the 2-month advance draw. Please check the site below for the timing of the booking start.
Please note that bookings may not be available due to the status.
For more information about making a reservation to watch a programme.
Please watch the Virtual Studio if you are outside the venue.
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Co-creating Cultures for the Future Week
