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Graphic Movements, 2019 (excerpt, 5 min)


It is an excerpt documenting the workshops of Graphic Movements, an exercise of humanity, in South Africa, with a family in Cape Town, children at a primary school, and viewers at an art institution in Johannesburg.


Encountering the philosophy of ‘Ubuntu’, and associating it with the form of a Chinese character for human ‘人’, I started to evolve workshops of a basic movement of contemporary dance, where two people stand back-to-back supporting and leaning on each other in South Africa, inspired by the dichotomies and affinities based on humanity I experienced. It uses workshop as an art form, and its documentation becomes the backdrop for the succeeding workshops.


Graphic Movements, 2019, workshops + installation

(metal grid structure [mobile art rack], light-weight cotton cloth, projector)
projection surface: 255x158 cm
part of the project After-Ripening & Corruption: Verbal Acts & Graphic Movements
at the Bag Factory, Johannesburg, South Africa

Purify the Air and Our Mind
- a conversation with Mako Ishizuka
, 2018 (4 min 41 sec)


It is an interview made by Clémence de Montgolfier for the BCC channel Episode 5 "Empathy, Knowledge, and (self-)Government" in 2018.


In the first half, I talk about the social intervention "Pure Diffusion" (2015-6), an antidote I implemented for 'bad atmosphere' in Paris - polluted air and people in bad mood.

 

In the latter half, I talk about my perspective and philosophy upon buying bananas - related to the concept of the project around translations, "After-Ripening & Corruption" (2018-).

Audio: English, Subtitle: French  ( 日本語字幕オプション有り [ "CC"をクリック ] )

Verbal Acts (Name-Giving Trilogue), 2019 (excerpt, 5 min)


It is an excerpt documenting the workshop where I invited two South African artists, whose interests and personality resonate with mine in a respective way, asking to give me a new name through discussion.

 

It is one of the ‘essays’ of my experiment in verbal acts, playing with my phonological affinity with the local languages (Bantu languages and Afrikaans) in South Africa, being liberated from the literal and logical.


Finding new name was not the actual goal: What I aimed was to create a discussion with three people with different backgrounds, where we present our own perspectives on names, name-giving traditions and rituals, and trying to find the meeting point where all can agree.


Verbal Acts (Name-Giving Trilogue), 2019, workshop + mixed-media installation (calligraphy, video, notebook, coin, fabric, plants, etc.)
discussion: ca. 60 min

part of the project After-Ripening & Corruption; Verbal Acts & Graphic Movements

Duet of Liness (side by side), 2019 (excerpt, 4 min 34 sec)


I invited two people, who had never known each other and whose backgrounds evoke the intricate international relations, to write words in their languages on the window: One writes a word that she translates from the word the other has written, and while one writes, the other traces, as R-L in Södertälje. They exchanges the roles to lead and follow alternately. I recorded their verbal exchange. At the presentation, the recording was replayed with the loudspeakers by the window, and another clean window was prepared for the public to experience the jam themselves.


Duet of Lines (side by side), 2019

workshop + trace installation (pigment marker on glass, sound recording playback on stereo loudspeakers)

sound: ca. 40 min

at Kunsthalle Exnergasse, Vienna, Austria

O-U, 2020 (2 min 32 sec, with transcript of Kansai dialect & English translation)


The sound is a vocal trace of recognising my distance from the language of the land where I was born and raised, and of rambling around where we could reconcile after the double experience of linguistic estrangement - having my native dialect ‘corrected’ as a child and my relocation overseas.

With a gliding vowel as a point of departure, I wrote a seemingly poetic text that recites our existence and relation to the surrounding world. I came to note subtle awkwardness in vocabularies, expressions, and intonations, and repeatedly pronounced certain words over and over in attempts to find ‘how they should sound’. In this process, I reflected on the amplifying encounters and connections I got in the distant places where I have been grafted.


O-U, 2020

act +sound installation (podium placed upside-down, loudspeakers)

sound: approx.2 min 30 sec per round, 15 min 10 sec in total)

at TOKAS Hongo, Tokyo, Japan