Admission until 30 minutes before closing. Admission FeeGeneral 800 yen (tax included) / University students 400 yen (tax included) / Free for high school students and younger Students must present their student ID card or student ID book to enter the exhibition. This is a set of two tickets for admission to VOCA 2023, and is good for two people entering together or one person entering twice during the exhibition period. Ticket purchase information…https://www.ueno-mori.org/exhibitions/voca/2023/ *Sale period: January 6, 2023 (Fri.) 10:00 – March 15, 2023 (Wed.) 23:59
コラボレーション作品 金藤みなみ+VJ曽根安代 マスク街と蒸発 2020 The Mask City and the Word “Vaperized Yourself” 2020 RELABEL Shinsen 4F [東京] インスタレーション、パフォーマンス Medium: video(VJ by SONE Yasuyo), glue
INFO
2019年2月23日 (日曜･祝前日) 14:00-23:00
キュレーション:秋山佑太／トモトシ
参加アーティスト:青柳拓 、秋山佑太 、今井新、海野林太郎、金藤みなみ+VJ曽根安代、駒嶺ちひろ、齋藤はぢめ、高田冬彦、トモトシ、宮野かおり
公式ウェブサイト： http://4f.tvvt.tv/
This work is a retelling of the folk tale ” Hachi-Kaduki Hime “.
As a way of interpreting the process of “mother-daughter inheritance” as women’s self-reliance, I created an installation and performance using mainly embroidery and clothing.
In embroidery and sheathing, the work is carefully read to decipher the narrative, participating and following it as part of the work.
In her embroidery and performance, she references the Grimm version of Cinderella, highlighting the similarities and pointing out “the water’s edge as the impetus for her daughter to stand on her own.
On the day of the performance, a five-minute narrative was interrupted before the performance. The narrative explained the plot of Princess Hachikaduki, the different ways of expression and emphasis in different periods, and the movement of the performance. In the narration, he introduced the play by TSUBOUCHI Shoyo and Origuchi Nobuo’s interpretation. Also on display were some embroidery works that were interpreted as a “bird’s eye view of a mother” because the picture of Princess Hazakaduki painted in the Edo period is a bird’s eye view, and some embroidery works that were inspired by a conversation with Nobuo Origuchi and captured the princess with a motif of a kappa.
The performance flow is as follows.
I dragged the embroidery of my mother’s eyes, looked at it from above, walked over the bowl to the garden (my eyes followed me as I did so), acknowledged my self at the garden watering hole, took off the bowl, and ran lightly with a different gait than before.
As Tachibana Miki (Takamatsu City Museum of Art) points out in her review of the exhibition that includes this performance, “Weaving Stories and Meeting the Transformation of Culture: From Two Exhibitions in Shikoku,” there are many ways to re-tell stories today. In order to experience the immersive nature of narrative, objectivity is also required by presenting and interspersing the process of story generation. Both subjectivity and objectivity is what drives the story, isn’t it?
The encounter with the folklore that is the motif of this film goes back eight years. When I didn’t know this folktale yet, I created the work “ACHELA” from the completion of “feeling the red pain as a triangle”. The inspiration for the film came from the folk tale “Princess Hachi-Kaduki” when an audience member pointed out the resemblance, saying, “You look like Princess Hachi-Kaduki.
There must have been many different interpretations of the folk tales that have been handed down from time to time through various media. The performance presented new interpretations of “mother-daughter inheritance” and “waterfront as an opportunity for daughters to stand on their own” by interspersing and reconstructing these various forms.
An installation consisting of an edition 1/100 laser print with an artist sign, 99 laser prints (182 x 257 mm each) and a soft sculpture (190 x 100 x 48 mm) made with embroidery. Pieces of paper from edition 2/100 to 100/100 will be provided to all visitors one at a time, 1/100, and distribution will end as soon as the distribution forms are exhausted. No additional distribution forms are provided. The author holds the copyright, distribution right, modification right and adaptation right.
▲ -企画展に参加します。I am going to join the Exhibition! -title 「ぬいぐるむ！」 -date 2019. MAR. 8 Friday-13 Wednesday 12:00～20:00（水曜日～17:00） ※木曜日休廊, Noon to 8p.m. , Only Wednesday would closed at 5p.m. -location 新宿眼科画廊スペースO/Shinjuku Ophthalmologist(Ganka) Gallery -plan 飯島モトハ -artists 雨宮沙月、菊村詩織、 金藤みなみ、高橋沙絵 、なみきなつみ、柳本悠花 For my friend. This is my comment. Title is Nui-gu-ru-mu, means teddy bear, thought it is not “noun” but “verb”.
document by tomotosidocument by tomotosidocument by tomotosidocument by KIM Jiyoungdocument by KIM Jiyoungdocument by tomotosidocument by tomotosidocument by tomotosi
Kinto minami’s exhibition was quite intriguing as the theme and location of her works covers not only Japan, but also the Korea, US and etc. It was fun aa I could enjoy various form of arts such as photography, videoclip, performance and so on. I could take a glimpse of contemporary young Japanese art scene which was meaningful point for me. 2018. Nov. 19
마스크, 새로운 성차별주의, 죽은 사람을 되살리는 향 냄새, 비무장지대(DMZ)… 제가 당신에게 제시하는 모든 것은, 이방인을 사랑하기 위한 방법입니다.
사람들은 가끔 이방인을 두려워하고, “그들은 우리와 같은 사람이 아니야.” 라고 말합니다. 이방인을 받아들이는 것은 어렵지만, 모든 문제는 다른 사람들과 함께 해결해야만 합니다.
저의 해답은, 외국인으로서, 여행자로서, 그리고 친구로서, 그들과 함께 외치는 것입니다. 동시에 이 모든 관계를, 같은 가치로써 동등하게 대하는 것은 매우 중요한 일입니다.
먼저, 소수파를 배제하는 사회의 가면을 만드는 방법을 알고, 얼굴, 몸, 행동을 에일리언alien-외지인으로서 바꾸어 움직이게 합니다. 저는 언제나 에일리언alien -이질적인 사람의 편에 서 있습니다. 저의 표현에는 아이러니컬한 면이 있습니다. 저처럼 사회의 모순적인 부분을 미워하고 두려워하는 것뿐만이 아니라, 그 점에 끊임없이 매료되어 이끌린다면, 저의 예술작품은 당신을 위한 것입니다.
전 거리를 사랑하는 방법을 당신에게 제시합니다. 전 외치며, 그들을 위해 하늘 아래 지면을 걸어갑니다.
이것이 저의 해답입니다.
（ 번역: 김지영 翻訳：金智暎 ）
How to love the stranger in the ironical society.
This is my first solo exhibition in Seoul. I will show you the old video installation works and new performance.
The mask, the new sexism, the back to life perfume, the DMZ…, everything I will show you is how to love the stranger. People are often afraid of strangers, they say “It is not one of us. ”, then accepting the stranger is hard, though all problem have to solve with other people. My answer is, to cry with them as the alien, as the tourist and as the friend. To treat those relationships as the same value at the same time is very important. First, I will know how to make the mask of the society which eliminate the minority, then I will change my face, body, behavior as an alien, and also move it. I am in the alien side always. There is a touch of irony in mine. If you’re as terrified of an irony of fate as I am but also endlessly fascinated by it, then my art works is for you.
I will show you how to love the town. I cry and walk on the lands, under heavens for them. This is my answer.
2011 년 여자 미술 대학 예술 학부 회화학과 (서양화) 졸업 2012 년 타마 미술 대학 대학원 미술 연구과 박사 전기 과정 입학 2013 년 홍익 미술 대학교 예술 학부 회화학과 교환 학생 프로그램 (한국) (타마 미술 대학 재학 중) 2013 년 타마 미술 대학 대학원 미술 연구과 박사 전기 과정 수료 2017 년 견론 카오스 * 라운지 새로운 예술 학교 고급 과정 수료
– 수상 경력 –
2010 년 제 5 회 여자 미술 대학 File? 전 최우수상2011 년 가토 成之 기념상, 여자 미술 대학 미술관 상 2012 년 제로다테 제로 전 입선 (나카무라 마사토 선) 2015 년 제 18 회 오카모토 다로 현대 예술상 입선 2015 년 시부카루스타 탄생 제 카파 스승 상 (엔도 이치로 선) 수상 2016 년 도쿄 원더 시드 2016 입선
—Scholarship—
2015, The Katzman scholarship to The league Residency at VYT (NY, U.S.)
An artist b.1988 in Tokushima, Japan. Starting a career as a costume / a prop artist, She is approaching with embroidery, novels, etc. mainly focusing on the performance that represents the clothing that is cut off by consumption.2013, member of art collective Shibuhouse (～2016). The main solo exhibition is “THE DOUBLE KISS, Sumida river Kisu Kiss 2A ” Awoba-so (Tokyo, 2013).The group exhibitions are KINTO Minami + Gili Lavy “Croquettes from Israel” Nao Nakamura (Tokyo, 2016), “HAN-GON-KOH” Saihouji (Tokyo, 2017), “BOYS LOVE – Flower- ” Nogata’s blank (Tokyo, 2017), “Alternative, Change, Exhibition” GALLERY X BY PARCO (Tokyo, 2017), “DMZ art festival” DMZ Arts Festival (Korea, 2017) and others.The main performance is “Real pure land of Minami and prostitutes” Outdoor (Tokyo, 2017), the main video work screening “A-ru–ku” TAV GALLERY (Tokyo, 2015) .
“Mask”, to protect from germs and to hide the appearance. This is a photographic work collaborated with the model from 2009.I hear “What you hate in your face?” “How do you want to become?” to the model and I create a mask while listening to their favorite color and material.It is not a Selfie but a SELFIED. I am interested on how to create a better public image. c. Crying women with the pepperAn installation including a photo document (W297 H420 D2), costumes. variable size, 2018About a new way to resist rape. Pepper spray is useful but in the case of getting a sharp blow during whip up it, it doesn’t work. We have to use the mask to protect by the monster. But commonly, the rapist is not looks like the monster. This pepper have also mean the rape case the famous restaurant of the “Pepper lunch” in Japan. d-1. Mars, d-2. Mask of Plaster Acrylics and fabrics on canvas, W970 H1940 D4Acrylics on a plaster, W30 H70 D35
▶︎B2
e-1. BOYS LOVE PERFORMANCE
Photo documents.W 841 H 1189, 2017
performance document by IIJIMA Motoharu
중세 화가 안톤 라파엘 멘구스(Anton Raphael Mengs)가 그린 「제우스와 나르키소스」를 주제로 「B.L(Boys Love)의 세계에 빠져들어 가는 여성의 모습」 그 자체를 새로운 성의 존재 방식으로 표현했다. 「나르키소스=수선화 그 자체」에 몸으로 가까워지려고 하는 것을 표현한 퍼포먼스다.
This work takes as its theme “Zeus and Narcissus,” as commonly painted by medieval artists, while capturing the “figure of the woman drowning in the world of boys’ love” through the perspective of a new gender. Depicting Narcissus as a narcissus flower (commonly known as a daffodil), the performer depicts the act of attempting to draw nearer through the use of the body.
e-2. To see as the alien W358 H434 D23 , 2011 A photo document by Aika Odaqawa교환 학생 때 만든 퍼포먼스다. I made this performance when I was the exchange student in Seoul.
f. NEW PERFORMANCE The crying women look up into the heavens A performance and an installation. W1400 H1300 D2400, 2018
The performance about clean the room and the street. The big face made by wool.
g-1. HAN-GON-KOH, Takao A single channel video installation including the sound, 05:21min loop., 2017 A collaboration work with UMEDA Yutaka.g-2. HAN-GON-KOH, DoutetsuA photo document W358 H434 D23 , 2017 비디오 설치 작품 「한곤코(反魂香, HAN-GON-KO)」는 고전 만담 「한곤코(反魂香, HAN-GON-KO)」를 주제로 두 차례에 걸쳐 발표되었다. 사이호지(西方寺)라고 하는 절은 에도 시대에 친척이 없는 유녀들을 이름이 없는 채로 장사지내는 무덤으로 알려졌으며, 만담이나 가부키로 유명한 인기 있는 유녀 「다카오(高尾) 2대손」의 무덤이 안치되어 있다. 본 작품은 부부의 인연을 맺었지만, 센다이의 번주(藩主, 한슈) 다테츠나무네(伊藤綱宗)에 의해 사이가 갈라진 다카오(高尾)와 도테츠(道哲)의 역할을 킨토(金藤)와 우메다(梅田)가 연기하는 구조다. 한곤코(反魂香, HAN-GON-KO)는 죽은 사람을 소생시키는 「향」으로, 다카오는 「향」이 타오르는 동안에만 소생한다. The video installation “Hangonkoh,” twice expresses the theme of “hangonkoh” from classical “rakugo” (a traditional Japanese form of performance, wherein a lone actor tells a story). The temple known as Saihouji is known as the burial place for courtesans in the Edo era who died without family or renown, and it is there that the remains of “Nidaime Takao,” a courtesan who became famous and popular through “rakugo” and “kabuki” (a traditional Japanese theater form), are enshrined. This work depicts Kinto and Umeda portraying Takao and Doutetsu, who have been torn apart by Tsunamune Date, lord of Sendai, after exchanging marital vows. “Hangonkoh” is an “incense,” which, when burned, brings Takao back to life.
[ 梅田裕 Umeda Yutaka 우메다 유타카 profile ]Gardener. Exhibitions he participated are the Chaos * Lounge 2014 Chara Crash !, 2016 Setouchi International Art Festival 2016 Chaos * Lounge ‘Oni no Kita’, 2016 Chaos * Lounge New Arts Festival 2016 City Story ‘Hell “Gate of God”, 2017 “HAN-GON-KOH”, 2017 – 2018 “Solitude of 150 Years”.
h-1. The barrier is(in) the language – 6days stayed in the DMZ- The novel installation variable size. 번역: 콘노 유키 翻訳：紺野 優希、 번역 협력： 송이랑 翻訳協力： 宋イラン
h-2. A SHIN-OKUBO BOOMERANG : a demonstration march A single channel video installation including the sound, 04:01min loop., 2013
작은 저항에 대해서.
도쿄의 코리안 스트리트(한인타운) 에서, 혐한 데모가 일어났던 겨울의 새벽, 저도 1인 시위를 하기로 결심했습니다.
그 거리의 이름은, 「신오쿠보 新大久保」 입니다.
저는 빨대에 작은 하얀 플랜카드를 붙이고, 비눗방울을 불며, 「뒤로 걷기」 를 했습니다. 맨발로, 그 데모 현장이었던 거리를 걸었습니다. 「뒤로 걷기」 이기 때문에, 사람들과 사물에 부딪치지 않기 위해서 친구들이 “왼쪽이야, 오른쪽이야…” 라고 알려주었고, 그 목소리를 따라 계속 나아갔습니다. 좌파・우파 라는 용어는 일본에서도 정치적인 의미를 갖습니다.
또, 「부메랑」에선 ‘자신이 발설한 비판과 욕설이, 그대로 자신에게 되돌아오는 현상’을 나타내는 일본의 인터넷 언어입니다.
목소리가 되지 않는 목소리가, 비눗방울과 같이 사라져가는 모습과, 타인의 목소리를 의심해나가며, 일단은 믿고 나아간다는 이야기의 작품입니다.
（ 번역: 김지영 翻訳：金智暎 ） About the small against. In the morning during the winter season, some Japanese who do not like Koreans did a demonstration. Then, I did a solo demonstration that I went back be barefoot and my friend said “Go straight, go left, right…” And we had a little plastic-card, a bubble came from that. The town name is “Shin-Okubo” that is Korean street in Japan.
(1)Novel, 언어는 벽 -한국 비무장지대에 체류한 6일간- (후원해주시는 분들에게는 책을 선물로 드립니다. Present for you when you donate to this exhibition.) (2)Print photo series, New skin. 3prints set. 3000W (3)The tool box. 3000W (4)PinBack button. 3000W (5)T-shirt 3000W
I am studying prostitutes in the 1800s in Japan.
And made the performance about it.
This theme is going back to real pure land.
・Probably, In the root of a prostitute has a perverted feeling that “It can not be beautiful if it does not get dirty?”
・My work and love to think into the poor prince ‘s spirit.
・The reason for having a river is to spread water to Edo. To “reversely flow” the river in a video gimmick means that the prostitute who lost herself was released from slavery to Edo and headed for Pure Land in a new sense.
タイトル：「六本木ヒルズを守る一族」inブランクラス［岸井戯曲を上演する。］
