Director of the Mori Art Museum. Born in Tokyo in 1949. Graduated from the Department of Economics, Keio University, and the Department of Philosophy (aesthetics and art history) of the same university. Assumed his present position after working for the Japan Foundation and other organizations. The major projects for which he had responsibility include commissioner for the Japan Pavilion at the Venice Biennale in 1997, commissioner for the Taipei Biennale, and judge for Turner Prize (UK) in 1998, co-curator for Asia Pacific Triennial (Australia) in 1999, international selection committee member for the Sydney Triennial, and exhibition expert for the Japan Pavilion at the Hanover International Exposition in 2000, and artistic director for the Yokohama Triennale in 2001. Currently Nanjo is making preparations, as an artistic director, for the 1st Singapore Biennale to be held in September 2006. He also worked as a consultant for projects of public art and corporate art, a selection committee member for foundations and funds, and an adviser for artist−in −residence programs. In 2005, Fumio Nanjo acted as a member of the Gold Lion Award selection committee at the 51st Venice Biennale. He is also vice − chairman of AICA (the International Association of Art Critics), trustee of CIMAM (International Committee for Museums and Collections of Modern Art), and lecturer of Keio University. His books include “From Art to City ∼ following the footsteps of an independent curator over 15 years,” (Kashima Shuppan-kai, 1997)

-In your view, how has New Cosmos of Photography grown and changed since it began?

When the competition began, the line between photography and art was very clear, but became less so as the ‘90s progressed - a trend that I think is also evident in New Cosmos of Photography. I have participated as a judge since the first competition and I would say that I am inclined to select artistic pieces. Looking back, it seems there were more submissions in the early days that seemed like art − T−shirts with photos printed on them for example. I think the reason we see fewer of them today is probably because such art − oriented pieces don’t end up taking the grand prize.

-What points do you focus on when judging a piece?

As a curator, I’ve been looking at art for a long time. I start by seeing whether or not a piece possesses at least one unique aspect. But the fact is, this is rather difficult to do with photography: anyone can take a picture, all they have to do is point the camera at something and press the shutter button.
But with photography, a person can also create something utterly unique. Past competition winner Hiromix is a good example. She submitted work that was in the form of a small album. It consisted of quite a large number of photos pasted to its pages that at first glance doesn’t seem at all professional. But, leafing through the album, one finds that it eloquently expresses the private life of young women today.
And when I was thinking if I should really select such a work for an award, Araki came out and declared that it was his choice. Judges all have their own perspective, but will nonetheless be drawn to the same piece. Such occasions are very satisfying for me. It may be that I am looking for those kinds of moments when judging.

-Would you say that New Cosmos of Photography functions as a forum for discovering new talent?

It’s a forum where a wide range of artwork and artists rise up. We have made the format one in which the judges can each give their own awards. This is because deciding through a process of consulting with each other leads to compromises and other less than satisfactory results. The piece I selected for the last competition was created based on an initial concept, which I think is a major trend in photography and should be included in our perspective. Being able to give my own prize makes judging such works easier.
Looking at a great number of submissions every year makes one able to understand the mood of a particular era. The method of taking photographs, color coordination - these things end up shifting and changing with the times. With recent submissions, I’ve been struck by the presence of transparent elements and subdued emotions.

-What kind of submissions do you hope to see in the upcoming competition?

Well, I think works that present a new vision, that capture the essence of changing times. It wouldn’t be right for me to give examples of works that I think do that. But let’s say, rather than simply bizarre pieces, I’d like to see pieces that present some kind of different possibility or perspective, or works that make me feel something new. So, then, what is a “new feeling”? That’s hard to say, but it does have to be more than just presenting a new theme. If what an artist wants to express is truly new, then the mode of expression needed to achieve it will have to be new as well. I’m looking for pieces that say “I want to say this, so this is the form my piece must assume.” It is common to separate form and substance and then explicate meaning, but I think good art unifies the two.