青柳菜摘《亡船記》レクチャーパフォーマンスバージョン
Natsumi Aoyagi “Logbook of a Sea Goddess” Lecture Performance Version
(2026) Performance

《亡船記》は、2022年に十和田市現代美術館周辺で発表された、都市空間を回遊しながら鑑賞する作品です。中国発祥の航海の女神・媽祖を起点に、海を越えて伝播する信仰や船が時を経ることで変容していくすがたを手がかりに、複数の地点に映像や物語が散在する構成で展開されました。再現の難しい本作を、本発表ではレクチャーパフォーマンスとして再構成します。資料や映像、語りを往還しながら、世界各地に静かに佇む媽祖や航海の歴史、船の名称や物語を辿り、分散していた断片を一つの時間に束ね直します。船とともに移動する人間や動物、貨物、記憶と言語が重なり合い、海を越えて連なっていく想像上の航海を、現在の場に呼び戻す試みです。海は領地や国家、思想を隔てるのではなく、水際として繋ぎ続けているのではないかということを、「在らざる船」というキーワードをもとに語ります。

Logbook of a Sea Goddess is a work first presented in 2022 in and around Towada Art Center, conceived for audiences to experience while wandering through urban space. Taking as its starting point Mazu — the goddess of the sea originating in China — the work traced the ways in which faith and vessels that cross the ocean undergo transformation over time, unfolding across multiple sites where video and narrative were scattered throughout the city.
Due to the difficulty of restaging the original work, this presentation reconstructs it as a lecture performance. Moving between documents, footage, and spoken word, it traces the history of seafaring, the names and stories of ships, and the figures of Mazu quietly present in various corners of the world — gathering the dispersed fragments back into a single continuous time.
An imagined voyage in which humans, animals, cargo, memory, and language travel together aboard a ship — layering and connecting across the sea — is summoned back into the present. The work speaks through the keyword “the absent ship,” proposing that the sea does not divide territories, nations, or ideologies, but continues to connect them, as a shoreline that never ceases to join.