豊嶋康子ミニ投資【合計】¥466,468___(+51.33%)
豊嶋康子ミニ投資【合計】¥461,694___(+49.78%)
豊嶋康子ミニ投資【合計】¥458,873___(+48.86%)
・株式は私の一生涯保持される。（私の死後、この作品の行方は、作品『意思表示』で設定されている。）
・銘柄の買い足しのみが続けられる。
・利ザヤ目的の売り／投機は一切行わない。（上場廃止による「売り」は例外。）
・「芸術」を観賞する空間に、この経過資料／変動記録を持ち込み「展示」し続ける。
特定のシステムを「私」のシステムとして内部化するための関連付け。
株式市場の成り行きを「アーティスト」の「表現/責任」として捉えてみるための条件設定。
私達自身が私達の価値、定義付けに無自覚のうちに関与している仕組みの確認。
re:meaning
I treat the investment in stocks as a creative practice, as it allows me to be included in, as well as be affected by, global economies. The publicized fluctuation of the stocks reflects these specific changes in my life. By participating in this system, I am logically part of these companies. Likewise, these companies’ activities, products, services, and ethics could be viewed as belonging to me, to be connected to me. These stocks are like the medium of my expression, my artistic intent. As an artist deciding to participate in the stock market, I become part of how the stock prices fluctuate. It could be said that the stock market is an ‘art’ collective by intent. To use the stock market is a way of gauging the individual’s limitations and degree of influence on society. The individual in the collective becomes defined, and by default could be positioned against the corporate collective. The individual and the collective are socially interdependent both harmoniously and discordantly. This system of correlation is what I observe and treat as an art concept.
re: what made me to start, how did this idea came up in my mind.
This concept was based on my study of a famous Japanese civil lawsuit, named the ‘one-stock movement’ in the Minamata disease case that triggered a consumer movement in 1970. A local group of citizens suffering from effects of mercury poisoning decided to gain access to control of the company that was poisoning them. They each bought a portion of the company’s stock, seizing enough shareholder’s control to influence the company’s decisions. Through their example, I see a method of ‘expression’ in society—a way of ‘playing,’ ‘expressing,’ and ‘living’ in society beyond the institutional art format.
豊嶋康子ミニ投資【合計】¥459,700___(+49.13%)
・株式は私の一生涯保持される。（私の死後、この作品の行方は、作品『意思表示』で設定されている。）
・銘柄の買い足しのみが続けられる。
・利ザヤ目的の売り／投機は一切行わない。（上場廃止による「売り」は例外。）
・「芸術」を観賞する空間に、この経過資料／変動記録を持ち込み「展示」し続ける。
特定のシステムを「私」のシステムとして内部化するための関連付け。
株式市場の成り行きを「アーティスト」の「表現/責任」として捉えてみるための条件設定。
私達自身が私達の価値、定義付けに無自覚のうちに関与している仕組みの確認。
re:meaning
I treat the investment in stocks as a creative practice, as it allows me to be included in, as well as be affected by, global economies. The publicized fluctuation of the stocks reflects these specific changes in my life. By participating in this system, I am logically part of these companies. Likewise, these companies’ activities, products, services, and ethics could be viewed as belonging to me, to be connected to me. These stocks are like the medium of my expression, my artistic intent. As an artist deciding to participate in the stock market, I become part of how the stock prices fluctuate. It could be said that the stock market is an ‘art’ collective by intent. To use the stock market is a way of gauging the individual’s limitations and degree of influence on society. The individual in the collective becomes defined, and by default could be positioned against the corporate collective. The individual and the collective are socially interdependent both harmoniously and discordantly. This system of correlation is what I observe and treat as an art concept.
re: what made me to start, how did this idea came up in my mind.
This concept was based on my study of a famous Japanese civil lawsuit, named the ‘one-stock movement’ in the Minamata disease case that triggered a consumer movement in 1970. A local group of citizens suffering from effects of mercury poisoning decided to gain access to control of the company that was poisoning them. They each bought a portion of the company’s stock, seizing enough shareholder’s control to influence the company’s decisions. Through their example, I see a method of ‘expression’ in society—a way of ‘playing,’ ‘expressing,’ and ‘living’ in society beyond the institutional art format.
豊嶋康子ミニ投資【合計】¥457,171___(+48.31%)
豊嶋康子ミニ投資【合計】¥452,919___(+46.93%)
・株式は私の一生涯保持される。（私の死後、この作品の行方は、作品『意思表示』で設定されている。）
・銘柄の買い足しのみが続けられる。
・利ザヤ目的の売り／投機は一切行わない。（上場廃止による「売り」は例外。）
・「芸術」を観賞する空間に、この経過資料／変動記録を持ち込み「展示」し続ける。
特定のシステムを「私」のシステムとして内部化するための関連付け。
株式市場の成り行きを「アーティスト」の「表現/責任」として捉えてみるための条件設定。
私達自身が私達の価値、定義付けに無自覚のうちに関与している仕組みの確認。
re:meaning
I treat the investment in stocks as a creative practice, as it allows me to be included in, as well as be affected by, global economies. The publicized fluctuation of the stocks reflects these specific changes in my life. By participating in this system, I am logically part of these companies. Likewise, these companies’ activities, products, services, and ethics could be viewed as belonging to me, to be connected to me. These stocks are like the medium of my expression, my artistic intent. As an artist deciding to participate in the stock market, I become part of how the stock prices fluctuate. It could be said that the stock market is an ‘art’ collective by intent. To use the stock market is a way of gauging the individual’s limitations and degree of influence on society. The individual in the collective becomes defined, and by default could be positioned against the corporate collective. The individual and the collective are socially interdependent both harmoniously and discordantly. This system of correlation is what I observe and treat as an art concept.
re: what made me to start, how did this idea came up in my mind.
This concept was based on my study of a famous Japanese civil lawsuit, named the ‘one-stock movement’ in the Minamata disease case that triggered a consumer movement in 1970. A local group of citizens suffering from effects of mercury poisoning decided to gain access to control of the company that was poisoning them. They each bought a portion of the company’s stock, seizing enough shareholder’s control to influence the company’s decisions. Through their example, I see a method of ‘expression’ in society—a way of ‘playing,’ ‘expressing,’ and ‘living’ in society beyond the institutional art format.
豊嶋康子ミニ投資【合計】¥442,465___(+43.54%)
・株式は私の一生涯保持される。（私の死後、この作品の行方は、作品『意思表示』で設定されている。）
・銘柄の買い足しのみが続けられる。
・利ザヤ目的の売り／投機は一切行わない。（上場廃止による「売り」は例外。）
・「芸術」を観賞する空間に、この経過資料／変動記録を持ち込み「展示」し続ける。
特定のシステムを「私」のシステムとして内部化するための関連付け。
株式市場の成り行きを「アーティスト」の「表現/責任」として捉えてみるための条件設定。
私達自身が私達の価値、定義付けに無自覚のうちに関与している仕組みの確認。
re:meaning
I treat the investment in stocks as a creative practice, as it allows me to be included in, as well as be affected by, global economies. The publicized fluctuation of the stocks reflects these specific changes in my life. By participating in this system, I am logically part of these companies. Likewise, these companies’ activities, products, services, and ethics could be viewed as belonging to me, to be connected to me. These stocks are like the medium of my expression, my artistic intent. As an artist deciding to participate in the stock market, I become part of how the stock prices fluctuate. It could be said that the stock market is an ‘art’ collective by intent. To use the stock market is a way of gauging the individual’s limitations and degree of influence on society. The individual in the collective becomes defined, and by default could be positioned against the corporate collective. The individual and the collective are socially interdependent both harmoniously and discordantly. This system of correlation is what I observe and treat as an art concept.
re: what made me to start, how did this idea came up in my mind.
This concept was based on my study of a famous Japanese civil lawsuit, named the ‘one-stock movement’ in the Minamata disease case that triggered a consumer movement in 1970. A local group of citizens suffering from effects of mercury poisoning decided to gain access to control of the company that was poisoning them. They each bought a portion of the company’s stock, seizing enough shareholder’s control to influence the company’s decisions. Through their example, I see a method of ‘expression’ in society—a way of ‘playing,’ ‘expressing,’ and ‘living’ in society beyond the institutional art format.
豊嶋康子ミニ投資【合計】¥440,019___(+42.75%)
・株式は私の一生涯保持される。（私の死後、この作品の行方は、作品『意思表示』で設定されている。）
・銘柄の買い足しのみが続けられる。
・利ザヤ目的の売り／投機は一切行わない。（上場廃止による「売り」は例外。）
・「芸術」を観賞する空間に、この経過資料／変動記録を持ち込み「展示」し続ける。
特定のシステムを「私」のシステムとして内部化するための関連付け。
株式市場の成り行きを「アーティスト」の「表現/責任」として捉えてみるための条件設定。
私達自身が私達の価値、定義付けに無自覚のうちに関与している仕組みの確認。
re:meaning
I treat the investment in stocks as a creative practice, as it allows me to be included in, as well as be affected by, global economies. The publicized fluctuation of the stocks reflects these specific changes in my life. By participating in this system, I am logically part of these companies. Likewise, these companies’ activities, products, services, and ethics could be viewed as belonging to me, to be connected to me. These stocks are like the medium of my expression, my artistic intent. As an artist deciding to participate in the stock market, I become part of how the stock prices fluctuate. It could be said that the stock market is an ‘art’ collective by intent. To use the stock market is a way of gauging the individual’s limitations and degree of influence on society. The individual in the collective becomes defined, and by default could be positioned against the corporate collective. The individual and the collective are socially interdependent both harmoniously and discordantly. This system of correlation is what I observe and treat as an art concept.
re: what made me to start, how did this idea came up in my mind.
This concept was based on my study of a famous Japanese civil lawsuit, named the ‘one-stock movement’ in the Minamata disease case that triggered a consumer movement in 1970. A local group of citizens suffering from effects of mercury poisoning decided to gain access to control of the company that was poisoning them. They each bought a portion of the company’s stock, seizing enough shareholder’s control to influence the company’s decisions. Through their example, I see a method of ‘expression’ in society—a way of ‘playing,’ ‘expressing,’ and ‘living’ in society beyond the institutional art format.
豊嶋康子ミニ投資【合計】¥444,354___(+44.15%)
・株式は私の一生涯保持される。（私の死後、この作品の行方は、作品『意思表示』で設定されている。）
・銘柄の買い足しのみが続けられる。
・利ザヤ目的の売り／投機は一切行わない。（上場廃止による「売り」は例外。）
・「芸術」を観賞する空間に、この経過資料／変動記録を持ち込み「展示」し続ける。
特定のシステムを「私」のシステムとして内部化するための関連付け。
株式市場の成り行きを「アーティスト」の「表現/責任」として捉えてみるための条件設定。
私達自身が私達の価値、定義付けに無自覚のうちに関与している仕組みの確認。
re:meaning
I treat the investment in stocks as a creative practice, as it allows me to be included in, as well as be affected by, global economies. The publicized fluctuation of the stocks reflects these specific changes in my life. By participating in this system, I am logically part of these companies. Likewise, these companies’ activities, products, services, and ethics could be viewed as belonging to me, to be connected to me. These stocks are like the medium of my expression, my artistic intent. As an artist deciding to participate in the stock market, I become part of how the stock prices fluctuate. It could be said that the stock market is an ‘art’ collective by intent. To use the stock market is a way of gauging the individual’s limitations and degree of influence on society. The individual in the collective becomes defined, and by default could be positioned against the corporate collective. The individual and the collective are socially interdependent both harmoniously and discordantly. This system of correlation is what I observe and treat as an art concept.
re: what made me to start, how did this idea came up in my mind.
This concept was based on my study of a famous Japanese civil lawsuit, named the ‘one-stock movement’ in the Minamata disease case that triggered a consumer movement in 1970. A local group of citizens suffering from effects of mercury poisoning decided to gain access to control of the company that was poisoning them. They each bought a portion of the company’s stock, seizing enough shareholder’s control to influence the company’s decisions. Through their example, I see a method of ‘expression’ in society—a way of ‘playing,’ ‘expressing,’ and ‘living’ in society beyond the institutional art format.
豊嶋康子ミニ投資【合計】 ¥446,008___(+44.69%)
・株式は私の一生涯保持される。（私の死後、この作品の行方は、作品 『意思表示』で設定されている。）
・銘柄の買い足しのみが続けられる。
・利ザヤ目的の売り／投機は一切行わない。（上場廃止による「売り」は例外。）
・「芸術」を観賞する空間に、この経過資料／変動記録を持ち込み「展示」し続ける。
特定のシステムを「私」のシステムとして内部化するための関連付け。
株式市場の成り行きを「アーティスト」の「表現/責任」として捉えてみるための条件設定。
私達自身が私達の価値、定義付けに無自覚のうちに関与している仕組みの確認。
re:meaning
I treat the investment in stocks as a creative practice, as it allows me to be included in, as well as be affected by, global economies. The publicized fluctuation of the stocks reflects these specific changes in my life. By participating in this system, I am logically part of these companies. Likewise, these companies’ activities, products, services, and ethics could be viewed as belonging to me, to be connected to me. These stocks are like the medium of my expression, my artistic intent. As an artist deciding to participate in the stock market, I become part of how the stock prices fluctuate. It could be said that the stock market is an ‘art’ collective by intent. To use the stock market is a way of gauging the individual’s limitations and degree of influence on society. The individual in the collective becomes defined, and by default could be positioned against the corporate collective. The individual and the collective are socially interdependent both harmoniously and discordantly. This system of correlation is what I observe and treat as an art concept.
re: what made me to start, how did this idea came up in my mind.
This concept was based on my study of a famous Japanese civil lawsuit, named the ‘one-stock movement’ in the Minamata disease case that triggered a consumer movement in 1970. A local group of citizens suffering from effects of mercury poisoning decided to gain access to control of the company that was poisoning them. They each bought a portion of the company’s stock, seizing enough shareholder’s control to influence the company’s decisions. Through their example, I see a method of ‘expression’ in society—a way of ‘playing,’ ‘expressing,’ and ‘living’ in society beyond the institutional art format.
豊嶋康子ミニ投資【合計】¥454,426___(+47.42%)
【豊嶋康子ミニ投資（1996~)】 特定のシステムを「私」のシステムとして内部化するための関連付け。 株式市場の成り行きを「アーティスト」の「表現/責任」として捉えてみるための条件設定。 私達自身が私達の価値、定義付けに無自覚のうちに関与している仕組みの確認。
【TOYOSHIMA Yasuko Mini-Investment（1996~)】 I have declared that these stocks will be frozen throughout my lifetime. I will not buy or sell to gain a profit. I will not resell. The purpose of this project is not speculation but to keep these stocks for the rest of my life. As an ongoing project, I periodically include records of these stocks in my exhibitions to show its progression. The statements of account issued by the companies and reported on the online financial portfolios of my private investments are made open to the public through these exhibitions.
5450.T住友金属工業（株）→5401新日鐵住金（株）
5450.T住友金属工業（株）＿単価¥49で100株→ 新日鐵住金（株）＿単価￥70で0.5株。
【訂正】
5450.T住友金属工業（株）単価¥49で100株→ 新日鐵住金（株）単価￥70で73株。
(2012.10.01入庫）
豊嶋康子ミニ投資【合計】¥460,155___(+49.38%)
【訂正↓】
豊嶋康子ミニ投資【合計】¥448,534___(+47.95%)
住友金属工業（株）は2012年9月25日まで。
新日鐵の株式と割当交付。
2012年10月１日付で新日鐵住金株式会社（5401)に商号変更。
住友金属工業（株）が新日鐵住金（株）に.
豊嶋康子ミニ投資【合計】¥457,245___(+48.43%)
住友金属工業株式会社は新日鐵株式会社と合併。2012年10月1日付けで１株に付き0.735株の割合をもって株式の割当交付。
豊嶋康子ミニ投資【合計】¥451,783___(+46.66%)
豊嶋康子ミニ投資【合計】¥457,192___(+48.42%)
豊嶋康子ミニ投資【合計】¥458,399___(+48.81%)
豊嶋康子ミニ投資【合計】¥465,874___(+51.24%)
豊嶋康子ミニ投資【合計】¥466,935___(+51.58%)
豊嶋康子ミニ投資【合計】¥468,882___(+52.21%)
豊嶋康子ミニ投資【合計】¥392,712___(+27.49%)
豊嶋康子ミニ投資【合計】¥390,998___(+26.93%)
豊嶋康子ミニ投資【合計】¥395,865___(+28.51%)
豊嶋康子ミニ投資【合計】¥396,436___(+28.69%)
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