Creative Archive

Utilizing past expressions in new projects and productions, Tokyo University of the Arts intentionally circulates and creates a “creative archive” that actively engages with people outside the university. We discussed with him the underlying issues and possibilities involved.

A Secret Recipe to Create a Future

Ueno no Mori boasts numerous art galleries and museums, with Tokyo University of the Arts standing prominently in the background. Established in 1887, it holds the distinction of being Japan’s sole National University of Arts, radiating a somewhat enigmatic and exclusive atmosphere.

Near the entrance, the University Art Museum displays graduation and alumni exhibitions, along with artworks and materials from the university’s collection accessible to the public. However, Tokyo University of the Arts offers more than just paintings and sculptures. It also preserves invaluable Creative Archive artifacts, including course materials studied by artists currently active worldwide.

In essence, the daily education imparted at Tokyo University of the Arts could be likened to a “secret recipe.” Both the tangible and intangible artistic resources held by these institutions will be shared with and utilized by society. The goal is not just preservation, but Creative Archive utilization for the future. Leading this initiative is Yoshitaka Mori, director of the Center for Future Creation and Succession.

A Center for the Future of Art: Creating the Past for the Future

Originally, at Tokyo University of the Arts, the University Art Museum, the Fumio Koizumi Memorial Archives, and the faculties of Fine Arts and Music each housed paintings, music, and other works accessible to the public. Among these, the center was established to integrate information, materials, and archives concerning the university’s history. Its goal is to preserve and transmit the Creative Archive processes and production environments within their contexts. On the website, Mori states, “Creating the past for the future.”

Mori, a professor of sociology and cultural studies specializing in the intersection of media, culture, and politics, was selected despite not being an archivist. His appointment stemmed from his alignment with the university’s ethos encapsulated in the slogan “Art is effective for the future!” President Katsuhiko Hibino leads the university’s social collaboration platform, the Institute for the Future of Art, which prioritizes creative archives among its five focal areas. Hibino actively explores archives and creativity, endeavoring to preserve and leverage not only his works but also his creative environments and thought processes. This effort includes initiatives like the “Preserving Katsuhiko Hibino” project.

Sceneries seen and sounds heard by Ryuichi Sakamoto

“It is natural for the University of the Arts to prioritize new creations over simply accumulating the past. However, since the 1980s, art itself has evolved significantly with the rise of workshops, fieldwork, and diverse forms of output like performances and installations. Concepts such as graffiti, which acknowledge the transient nature of records within the Creative Archive process, are gaining prominence, necessitating a shift in our approach to preserving history.”

At the “Art Future Research Center Exhibition” held last November, Ryuichi Sakamoto showcased materials from Fumio Koizumi’s ethnomusicology class, which he engaged with during his student years at the University of the Arts. Also featured were compositions assigned to him during his first year as a composition student. This exhibition contextualized the fragments of information Sakamoto encountered, listened to, and drew influence from. Current first-year music students experienced these exhibits, connecting with the same musical pieces that shaped Sakamoto’s early education.

Mori emphasizes, “To circulate creative archives effectively, recontextualizing the past and finding suitable outlets are crucial. Stored information evolves over time, shaped by current artistic and social contexts.” He aims to expand the pool of skilled individuals capable of exploring and contextualizing the University of the Arts’ hidden historical resources from fresh perspectives. Looking ahead, Mori plans to compile a book featuring insights from alumni such as Sakamoto, reflecting on their eras, and to organize special exhibitions and educational courses utilizing the archives.

Turning the uniqueness of Geidai into a breakthrough in business

Mori highlights, “The ecosystem within Tokyo University of the Arts is inherently valuable,” viewing it from an outsider’s perspective. However, he also expresses concern, noting, “While the book ‘The Last Unexplored Region: Tokyo University of the Arts’ has sold well, the term ‘unexplored region’ loses its significance if it remains unexplored.”

It’s been some time since the emphasis shifted towards creative management and thinking methods exemplified by Steve Jobs, yet few graduates from Tokyo University of the Arts find employment in conventional companies. The solitude necessary for creative work often conflicts with the collaborative nature expected in business settings. However, in an era where efficiency alone no longer suffices, the keen observational skills, creativity, and ability of art students to synthesize complex concepts into cohesive narratives are increasingly admired by business professionals.

The Creative Archive: A Place to Share the Knowledge and the Knowledge

Furthermore, the concepts and methodologies of creative archives can be extended to companies as well. Traditionally, corporate archives primarily document company history. Yet, by reassessing these archives, they can potentially serve as seeds for creativity. Rather than presenting history chronologically or through documents, reinterpreting it via visual mediums, performances, or interactive workshops can inspire future innovation and ideas.

In addition, Mori aims to explore not only the temporal axis of past, present, and future but also to collaborate horizontally with local governments, NPOs, and other organizations. He views the University of the Arts environment as pure culture in the best sense, a treasure trove of possibilities. This perspective opens up opportunities to engage with fields and themes previously considered distant from art and music. Mori believes innovation can arise from co-creation, advocating for the circulation of creative archives to contribute meaningfully to society through art.

Yoshitaka Mouri is a sociologist specializing in media and cultural studies. He serves as a professor at the Graduate School of International Arts and the Department of Music and Environmental Creation at Tokyo University of the Arts. Additionally, he is the Director of the Center for Future Creation and Succession. His research interests encompass contemporary culture, including contemporary art, music, and media, as well as the organization of urban space and social movements. His portrait was captured at the Fumio Koizumi Memorial Archives.

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