Category: Projects (page 1 of 1)

Tsukuba Biennale 10|22

Opening on October 18th, the Biennale was held at Tsukuba Art Museum in Ibaraki prefecture. Postponed for several times, eleven artists participated in the exhibition curated by Takashi Ikezawa and Mitsuko Shinohara. Some of us who came from India, Japan, Bulgaria, Estonia and South Korea were in residence together for two weeks before the opening. My works were produced in Austria and at my second residence in Japan. So, after almost three years of waiting, I was facing a happy premiere myself. 

After a few tedious days of completion in Tsukuba, the exhibition was finally opened with a wonderful performance. My two main works were produced in Japan and Austria and premiered at the Tsukuba Museum of Art, organized by the Art Center. Beside these two sculptures three black and white photographies of my former residencies in Estonia and Finland were shown beside four digital prints from Japan.

Pina-Odori: Sit down and Smile | 2022-23

The project is an intercultural encounter based on the artistic overlap of Pina Bausch’s “Kontakthof” and the Japanese Bon-Odori dance. For this purpose, we will rehearse a corresponding dance piece with a group of elderly people at Atelier Furusato in Japan and perform it next summer at a public venue in Onishi/ Fujioka.

このプロジェクトは、ピナ・バウシュの「コンタックトフ」と日本の盆踊りとの芸術的な重なりをもとにした異文化間の出会いです。そのために、日本のアトリエふるさとで高齢者グループと対応するダンス作品をリハーサルし、来年の夏、尾西・藤岡の公共の場で上演します。

For several years now as an artist, I have been developing wearable sculptures made of paper in my artistic work, often based on Japanese designs. For Pina-Odori, I will design performative clothing for about seven people and realise it at Atelier Furusato.

私はアーティストとして数年前から、和柄をベースにした紙製のウェアラブルスカルプチャーを芸術作品の中で展開しています。今回の「Pina-Odori」では、7人程度のパフォーマティブな服をデザインし、アトリエ・ふるさとで実現します。

My interest in Pina Bausch‘s piece is partly due to its depiction of mimetic processes by which we as spectators internalise this piece. The exaggerated display of perfect body control confronts the audience with the automatism of non-verbal behaviour patterns and gestures that reflect the social code in the everyday world. The focus is on the staging and rhythmic performance of body-based scenes and movements and their approach. However, the mostly cross-gender gestures often fail. The bodies perform the movements directed at each other, but they do not reach their counterparts. The spectator also senses the intention and at the same time experiences the failure of its realisation. Thus, men and women have to keep repeating their game, even though they know, like Sisyphus, that there are no successful encounters.

Partly funded by

Anita – Paper Work 09/19

Exhibition

Go Uta-Karuta: Garment made from antique Instructions for Go-play and Uta-Karuta playing cards. A traditional set of uta-garuta contains 100 cards, with a waka poem written on each. The standard collection of poems used is the Hyakunin Isshu, chosen by poet Fujiwara no Teika in the Heian period.
Cuculla – Fixing the stone whisperer:  Repentance robe out of a loan book of a stone merchant. Washi Paper. Scripted in Japanese ca 1890. Inspired by a cowl garment. Developed during the early Middle Ages, the formal garment for those in monastic life.
Switching sleeves for the sovereign: Shemale garment made out of a kabuki play script about betrayal and murder.
Memorial Obi for Izumo no Okuni: Izumo no Okuni is believed to have invented the new theatrical art form of kabuki (“the art of singing and dancing”). She created a new style of an exclusively female troupe, but in 1629 shōgun Tokugawa Iemitsu forbade women from performing in kabuki. As young men as performer generated the same issues of prostitution and corruption of morals, the performances were restricted to older men, which is a standing practice even today.
Skinning (the silkbreeder): Cocooning garment made out of a inventory ledger of a silk merchant. scripted ca 1890.