１.How have the materials come to IPAMIA?
The keyword is “encounter”. The collection consists of a lot of moving images data that Yamaoka and Kitayama (IPAMIA members) have documented during their careers. The second most significant material is moving images donated by artists to whom we made an offer. We plan to collect this type of material more in the future. There are also a few cases of donations from the relatives of deceased artists. Paper materials such as flyers and books, as well as digital images and interview datas are also in our collection because they are essential for understanding performance art and projects.
2.Contents and the objectives
We do not intend to encompass the whole genre of the ‘performance art’ (a contradiction in terms in itself). We do not have a large collection of works by globally renowned artists, such as those collected by museums, universities and institutions, although we do hold them when available. If you visit this site to learn about performance art as a whole, you may be disappointed. However, there are plenty of important “bargains” in our archive and network. The artists’ network is full of unexpected encounters. In addition, performance art is often witnessed only by a small number of audience, which tends to be a melancholy experience that may or may not remain in memory and rumour. It is a noble idea to dismiss it as fate, but we find it very interesting to see and experience the works again over time. It is also interesting from a sociological point of view to see how people expressed what was on their minds at that time. IPAMIA would like to send them as far into the future as possible. We would like to continue to have various encounters as artists and also archivists so as to develop/enrich our archive.
Many of them are still in process to be featured on this site.It is because introducing them on the internet requires a permission process with the artists and/or copyright holders. We hope to introduce them in due course.
3.Data list in the collection
Unpublished works are not marked ”open” in “access” section.
The web pages in which the artists and their projects are presented
4.Request for donations of materials
Since the 2000’s, when video cameras have become more readily available, many people have been taking video recordings of performance art. What are you doing with them? You may also have VHS materials left somewhere in your room. It would be a shame if these valuable and interesting videos end up in a private closet and eventually disposed by someone who doesn’t understand their value. Please send us your information.
The digital data adopts the Creative Commons 4.0 policy, of which IPAMIA organizes data based on the rules of “display, non-commercial, no modification” and displays it when it is published. Please refer to 5-2. about CC4.0.
５.How to use
The materials available on our website can be used in a variety of ways, not just for viewing.
5-1. Examples of use
● Sharing on the internet
● Showing at events and screenings
● Quotation in research papers, articles, books, etc.
We will contact the artists and copyright holders in advance, so please contact us.
◎Use of high resolution recorded images
If you would like to use a higher resolution version of the moving images available on the website, please contact us. If the artist owns it, we will introduce you to the artist. If the artist does not own them, and it is held solely by our archive, we will share it with you, subject to a written agreement on how it can be used.
5-2. about CC4.0
BY : Credit must be given to the creator ( Source of supply, artists or directors of art events/festivals)
NC：Only noncommercial uses of the work are permitted
ND：No derivatives or adaptations of the work are permitted
For more information on the CC licence, please visit this site.