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자이니치의 외침 - 리정옥 <BLUEPRINT> (아트인컬처, 2023년 7월호)

Cry of Zainichi - Ri Jongok 'Blueprint' (Art in Culture, Vol.24, no.7, Jul 2023)

세계의 교실, 전시라는 이름의 배움의 장 - WORLD CLASSROOM: Contemporary Art through School Subjects (퍼블릭아트, 2023년 7월호)

The world's classroom, a place of learning through exhibitions-WORLD CLASSROOM: Contemporary Art through School Subjects (PUBLIC ART MAGAZINE, Issue 202, Jul 2023)


The Way of Objects Traced by the Sense of Embrace - Yoshiya Yoshimitsu 'Object Theatre' (Exhibition pamphlet)

『太陽との対話(VR)』 アピチャッポン・ウィーラセタクン(タイ)× 坂本龍一(『令和4年度 舞台芸術国際共同制作事業 プロセスオブザーバー報告書』、2023年)

“A Conversation with the Sun (VR)" Apichatpong Weerasethakul (Thailand) & SAKAMOTO Ryuichi (International Creations in Performing Arts 2022, Process Observer Report, 2023)

유연한 무대가 체현하는 다원적 목소리 - Wendelien van Oldenborgh unset on-set (퍼블릭아트, 2023년 1월호)

"A Soft Stage that Embodies Polyphonic Voices - Wendelien van Oldenborgh unset on-set" (PUBLIC ART MAGAZINE, Issue 196, Jan 2023)

예술로 상상하는 팬데믹 이후 삶 꼴 - Listen to the Sound of the Earth Turning: Our Wellbeing since the Pandemic (퍼블릭아트, 2022년 9월호)

"Forms of Life after the Pandemic Imagined through Art - Listen to the Sound of the Earth Turning: Our Wellbeing since the Pandemic" (PUBLIC ART MAGAZINE, Issue 192, Sep 2022)


"A Patchwork of Sounds and Dialogues: Ryota Toyokawa Macht nichts" (Subterranean, Aug 2022)

共有地を求める省察の身振りムン・キョンウォン&チョン・ジュンホ:どこにもない場所のこと(ART iT、2022年7月28日)

"Gestures of Reflection Seeking Commons - MOON Kyungwon and JEON Joonho: News from Nowhere" (ART iT, 2022.7.28)

행복한 봄을 위한 길러냄의 시간 (미발표, 2022년 5월)

"Cultivating Time for a Happy Spring" (unreleased, 2022.5)

マダン劇小史―タルチュム、マダン劇、東九条マダン​(ART RESEARCH ONLINE、2021年11月号)

"A brief history of Madangguk-Talchum, Madangguk, Higashikujo Madang" (ART RESEARCH ONLINE, 2011. 11)

力をはかる技法―加藤康司「For Whom We Fight“A面”、“B面”」(加藤康司「For Whom We Fight“A面”、“B面”」展覧会冊子、2021年)

"Arts for measuring power - Koji Kato: For Whom We Fight "A", "B"" (Koji Kato: For Whom We Fight "A", "B" exhibition pamphlet, 2021)


"The Destined of the Earth" (The Destined of the Earth exhibition pamphlet, 2019)





パフォーマンスの場づくりのためのキュラトリアル実践ースティルライブ(Stilllive)を事例にー(『GA Journal vol.4』、2023年)

“Curatorial Practice for Making Performance Place: A Case Study of Stilllive” (GA Journal Vo.4, 2023)

李禹煥における「仕草」に関する研究 -生きた構造としてのパフォーマンス-(『東京藝術大学美術学部論叢第19号』、2023年)

“A Study of ‘Shigusa’ in Lee Ufan: Performance as a Living Structure” (Journal of the Faculty of Fine Arts, Tokyo National University of Fine Arts and Music Vol.19, 2023)

東アジアにおける歴史実践の場としてのパフォーマンスーイム・ミヌク、高山明(Port B)、ワン・ホンカイを中心にー

(東京藝術大学 博士学位論文、2022年)

“Performance as a Place of Historical Practice in East Asia: Minouk Lim, Akira Takayama (Port B) and Hong-Kai Wang”

(Tokyo University of the Arts, doctoral dissertation, 2022)

​浮遊する共同体と遂行される歴史-イム・ミヌクの「O Tannenbaum」(2018)をめぐって(『GA Journal vol.1』、2019年)

“Drifting Community and Embodied History Centered on O Tannenbaum (2018) by Minouk Lim” (GA Journal vol.1, 2019)

李禹煥と菅木志雄における「場」ーもの派の指向性についてー(東京藝術大学 修士学位論文、2018年)

“The Intentionality of Mono-ha: "Place (Ba)" in the Works of Lee Ufan and Suga Kishio” (Tokyo University of the Arts, master's thesis, 2018)

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