例のホワイトチャペルギャラリーから出版されているシリーズです。
今、欧米でアーティスト及びアート関係者が考えていることがよーくわかる
このシリーズ。今回は"Everyday Life"、つまり「日常」に関して考察してあります。
多数のアーティストや批評家の論文をピックアップして編集してあります。
90年代に、各地のビエンナーレなどで「日常」を取り上げた作品が増えました。
素人が撮ったようなスナップショット写真、
アマチュアな作品、DIY的工作スキル
「日常」を展示するということはなんなのでしょうか。
"WHAT HAPPENS WHEN NOTHING HAPPENS?" (Paul Virilio)
以下の文章は、ソフィー・カルがホテルでメイドをして他人のプライヴェート（日記）を盗み見た作品の一節です。
I clean the room and start to read his diary. His handwriting is poor, heavy, irregular. I re-read his remarks about Venice: 'Sunday 15 February 1981. We arrived in Venice this morning. We took the train. it is really spectacular. No cars, just pretty little streets and small bridges over the canals. We sat outside and had drinks of various strange things. We went back to the hotel. i am in a tiny room by myself. Ran out and bought a kilo of oranges and apples and put them on my windowsill. We went out and had very good walk. I ate a good soup, noodles with tomato sauce, and drank a lot of white wine. Went to piazza San Marco, had a grappa. made me feel not too good. Went back to hotel C. I slept a bit. Rob and I went to strolling. Strayed at a bar and had a beer. Came back. Rob went up. Got a postcard from the desk and went to hotel bar and had a beer + cig. I wrote a long postcard to OI. Up to my room, had a bath, ate some oranges and apples, and will crash. I have told the desk to wake me up at 8:30...' Sounds in the hallway. I close the diary. As I put it down it down, someone enters the room. i pick up my rags, my bucket (where my camera and tape recorder are hidden), lower my gaze and leave.
(Sophie Calle, The Hotel. 1981 )
観客は、日記を他人に見られることの気まずさと、他人の日記（プライヴェートな情報）見ることの新鮮さを同時に味あわされます。
オサレな直島で口当たりのいい作品を見るのも良いでしょうが、欧米のアートシーンにおけるリアルな日常の意義について考えてみませんか。
