現在、日本の文化政策は、一方で文化観光や文化GDP、「稼ぐ文化」といった経済的合理性や効率性を重視する新自由主義的性格を強めながら、他方では、SDGs のような誰一人排除しないとする社会包摂的な活動をも促進させている。「アート」には様々な矛盾や難題を解決する万能薬のような役割が期待されるが、アートが開くのは、解決策に向かって一直線に進む場ではなく、人々が逡巡できる時間と空間ではなかろうか。

本フォーラムでは、二木泉氏（カナダ、トロント大学大学院社会学部博士課程在籍、オンタリオ州認定ソーシャルワーカー）をゲストスピーカーに迎え、ソーシャルワークの文脈で発展してきたAnti-Oppressive Practice（反抑圧的実践）を参照しながら、アートの現場を捉えなおす。これまでの「アート/ケア/文化政策」研究会の議論を振り返りつつ、「支援する/される」の関係性を固定化せず、人々の逡巡に向き合う時間と空間の可能性や課題を共に考えたい。

ゲストスピーカー：二木泉 （にき・いずみ）
大学卒業後、民間企業を経て、国際基督教大学博士前期課程修了（行政学修士）。介護福祉士として認知症専門デイサービス、訪問介護、専門学校講師などに従事。2014年に小学生の子ども2人と共にカナダに渡り、トロント大学大学院に留学（ソーシャルワーク修士）。現在はトロント郊外の高齢者入所施設にてレク担当スタッフとしてアクティビティケアを実践しながら、トロント大学博士課程（社会学）に在籍。著書に「脱『いい子』のソーシャルワーク―反抑圧的な実践と理論 」（現代書館・共著）。

企画者 ：「アート/ケア/文化政策」研究会
齋藤梨津子（シンガポール国立大学）、南田明美（静岡文化芸術大学）、風間勇助（東京大学）、大蔵真由美（松本大学）、竹丸草子（長岡造形大学）
問い合わせ先：「アート/ケア/文化政策」研究会

※本フォーラムはJSPS科研費22K13019, 20J22827の助成を受けています。

This study aimed to elucidate the processes and structures of collaborative learning within an art project involving mothers as co-creators.Research Subject The research focused on two subjects: the art project Dismantling Motherhood (co-organized with artist Natsumi Sakamoto), which consists of a series of workshops and reflective activities with six publicly recruited participants who are currently raising children (hereafter “members”), and the screening of Sakamoto’s films.Method The study employed Arts-Based Research (ABR). Data was generated through artistic exploration beginning with the viewing of artworks that emerged from the collaborative process of the art project. Learners’ transformations were analyzed through the lens of feminist pedagogy, which emphasizes both structural and internalized forms of sexism and oppression.Activities① Viewing a group exhibition at the Tokyo Metropolitan Art Museum, featuring works created by the artist through the project and zines produced by the members (two visits with members in June 2025).②A collective reflection session on the viewing experience (July, one online session with Sakamoto and the members).③Documentation of the reflection by the members (August–October).④Planning and hosting of a screening event with the members (September–November).⑤A film screening and reflection with third-party participants at Hibarigaoka Community Center (March 2026; 22 participants for the screening, 9 for the workshop). A pilot workshop was also conducted at the Tokyo National Museum (January 19 and February 26–27, 2026; 9 participants).Results From the perspective of feminist pedagogy, the study examined a collective learning experience composed of two types of learners:A. Members directly participating in the project (①–④)B. New learners encountering the project for the first time through artworks or zines (⑤)For Group A, viewing the exhibition in a museum visited by a large and unspecified public (over 13,000 visitors) served as a catalyst for members to become active agents—producing reflective documentation and collaborating in organizing the screening event.For Group B, participants re-experienced the project’s process through Sakamoto’s video works and responded to the same questions posed to the members. Their dialogues were compiled into written records and shared with both the new learners and the members. This exchange revealed a form of “reciprocal gifting” between the members—who were not physically present—and these new learners.ConclusionThe study successfully achieved its aim. Future research will focus on how to collaboratively create a safe learning space when participants join who do not share positionalities (intersectional oppressions), such as motherhood.