
Bauhaus on the Beach 07.2026 :: MotoeKa 川島一恵 群馬県富岡市を拠点に活動。分断や孤立として認識される事象の奥に潜む見えない連関に関心を持つ。一見すると切り離され ている存在や記憶、時間や空間が、実は複雑な網の目のように結びついている。その気配を、ド ローイング、切り絵、インスタレーションによるモノクロームの表現を通して探っている。 幼い頃から神楽舞に親しんできた彼女は、アニタ・ガラッツァの作品を身に着けてパフォーマン スを行ったことをきっかけに、身体表現と視覚芸術の境界を越える実験的な動きの実践を探求し 始めた Based in Tomioka City, Gunma, Motoe Kawashima is interested in the invisible connections that lie beneath phenomena often perceived as separation or isolation. Entities, memories, times, and spaces that appear disconnected are, in fact, interwoven through complex networks of relationships.…

BUAHAUS on the Beach – performances :: 今年は新潟市の「ゆいぽーと(新潟市芸術創造村·国際青少年体験ハウス)」に2ヶ月間レジデンス滞在し、現地の文化界の要職の方々と深く交流しながら共同で制作を行いました。来年は、これまでの経験を活かし、佐渡島を舞台にした新たなアートプロジェクトを展開したいと考えております。永谷寺 住職 吉原東玄 — Tougen Yoshihara齋藤 達也 • 能楽研究家 – Tatsuya Saito

Exhibition :: BAUHAUS on the Beach – For some time I am studying the historical elements of the Triadic Ballet by Bauhaus teacher Oskar Schlemmer. In Niigata I produced costumes, which picked up his original ideas and principles of the corresponding relationship between figure and space. They were transformed through my experience with Niigata’s craft…

28.1 – 1.2.2026 | 18 rue de Turenne, 75004 Paris

11.2025 | Photoshooting at Mizuno beach with artist Motoe Kawashima. Clothing is Aeronautic Hakama.

Changing Rituals In my interest on Japanese clothing tradition my works are made of handwritten papers which are over 100 years old, combined with handwoven textiles like silk, hemp and cotton. Centerpiece are seven layers of clothing which refer to a festive Junihitoe 十二単.

The work at Nakanojo Biennale features stationary garments as textile sculptures for visitors, referencing Western influence on Japan’s clothing customs since 1871. These works, combining antique paper with textiles like silk and hemp, highlight the shift from egalitarian attire to Western standards, reflecting women’s association with tradition and the commercialization of kimono aesthetics.
< > After WWII, Japanese culture became increasingly Americanized. As cloth rationing persisted until 1951, people stopped wearing kimono as they had to be made at home from repurposed fabrics. The Japanese government feared the decline of historic techniques, so in the 1950s, laws were promulgated to protect cultural properties, such as particular techniques of weaving and…
< > Until the 1930s, the majority of Japanese woman still wore kimono, and Western clothes were mainly worn out of home and on certain occasions. As early as 1939, cotton shortages prompted regulations in textile production. Kimono factories shut down, and the government encouraged instead woman to wear monpe trousers constructed from old kimono. Popular women’s magazines provided…
< > In the Japanese colonies Korea and Taiwan, the imperial policy from 1910 onwards required people to undergo cultural assimilation by eradicating their own national identity. This was enforced by the educational systems and policies which also regulated public behavior and clothing. In Taiwan, Western, Japanese, and Taiwanese-style dress coexisted at the same time. Women…
< > Towards the Meiji period, people were trying more to adapt, and at the same time maintain a collective identity. Aware of the changes in society people were trying to reduce the influence of the West by leading a double life 二重生 活 nijyuu seikatsu , with a private Japanese and a public Western part. Yofuku clothing were…
< > During Meiji era kimonos imported from Japan became increasingly fashionable in the West. Modern clothing reform movements in Europe and America at the time popularized the kimono as a garment alternative to the tight-fitting corsets. Those were being seen as uncomfortable and unhealthy and also as symbols of confinement of women to their traditional…