September 28, 2018

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EXHIBITION

2018.9.28-11.28
[ ̤Íè°äï÷ - Future Historical Site ART/EXPLORING/HISTORY]
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I will be presenting a new installation work for the exhibition [ ̤Íè°äï÷ - Future Historical Site ART/EXPLORING/HISTORY] @ National Museum of Prehistory/Park Site Exhibition Hall
:

WE MELT THEM AND POUR IT ON THE GROUND
- a polyphony for an archaeological report and an imaginary ritual -


2 channel video (1ch. 16:9, HD, stereo, 9¡Ç55", 2ch. 9:16, HD, silent, 5¡Ç46") on loop, mix media (12.7mm bullet cases, 105mm bullet cases, betel nuts, rice wine), dimension variable

2ch viewing ver.


About the work:

The flashing text slides appearing in the video are excerpts from "Research on a Prehistoric Site Near Peinan, Formosa"(ÂæÏÑÅ쳤´ßÈÜÆî°äÀ×ȯ·¡Êó¹ð) written by two Japanese ethno-archaeologist Takeo Kanasaki(¶âïð¾æÉ×) and Naoichi Kokubu(Ԣʬľ°ì) who came to Peinan Site in Taiwan in January 1945 and excavated the site under the air raids of US military force. The recordings of the interviews between the elders of Puyuma tribe and the artist, sample from the sound track of US propaganda film, and some other related filed recordings creates the soundscape for the archaeological report.

Inspired by the sight observed during the research, childhood stories of the elders and the myths around Peinan which was specifically documented during the very first years of Japanese colonial era, the objects are formulated in a ritual manner.

The whole installation is illuminated by mesmerising lighting patterns and accompanied by the electronic dance music produced by the artist. It creates an rhythmic apparatus for the visitor to revisit the an imaginary time-space related to the "January 1945" excavation at Peinan site.


September 24, 2018

¤¢¤ÎÃƴݤιÔÊý­¤¤È¥×¥æ¥Þ² and their amazing bricolage!

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9:00 in the morning, I drove down to a ݧϱ(betel nuts) shop before meeting the elders.
People suggested it when I asked what to bring.
I had wanted to meet them to ask about "January 1945" after reading the archaeological report by 2 Japanese archaeologists ¶â´Ø and Ԣʬ. They had come to Peinan and excavated under the air raid.

I introduced myself briefly in Japanese after the museum staff had introduced her and our visit in Mandarine.

Then one of the elder said to me that he wants to do a little ritual to tell the ancestor about my visit and he started to sprinkle and pour some rice wine on the ground while murmuring completely foreign words yet sounding familiar somehow.

We started talking in Japanese.

I have encountered many old people living here who can speak Japanese well and remember well but I was still impressed how the elders spoke. It was a living language and yet dated to certain era.

I was asking mainly about what they remember around the end of the war. I told them the stories of the archaeologists but they didn¡Çt recall about them. They were 6, 7, 14 years old that time.

One of the elder explain about the Grumman (F6F/Hellcat) air fighters machine-gunning towards the shrine in the hill side, back of today¡Çs Park Site, and the Taitung city center during the War. I asked if the kids in the village had picked up the bullets cases after the air fighters left.

"Oh! yes."

The question seemed to bring back a vivid memory to them and they started talking in their own language.

Then they told me that they gathered bullet cases and selling them to buyers for money. They also said that they melted the lead left in the bullet or bullet cases and dug a shape on the ground to pour the melted lead. It was an accessory for them to carry it around their waist.

I remembered a waist accessory that I saw in the museum in Taipei. Most of the tribes has distinctive fashion style and their clothes and ornaments are highly stylish, so I can easily imagine that this bricolage truly comes out of their tradition and spirit.

Don¡Çt you still have them? I asked.

It¡Çs been a long time. they said.

No one has it?¡¡I cannot give up.

Seems like! They laughed.

Yes, it has been 70 some years. I laughed, too.

We chatted for more while and they sang me several songs.
There was this one parody song which kind of making fun of Japanese soldiers a little.



When one of the elder started to sing a song of sending out a young soldier to the battle field, the other 2 joined helping him to sing through. This song has distinctive Puyuma melody pattern and scale with Japanese Lyrics.



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My brother, your Tobacco's smoke goes so far
lasting lasting
lasting till the end and afar don-don(rhythmic response)
Ah it is Tomorrow night
I will wait. I will wait. don-don(rhythmic response)

(*trascribed and translated by the author from the recording)

20180911

I bought some betel nuts and tea before visiting the elder again.

The eldest one welcomed me with his smile. He said he enjoyed talking with me in Japanese. I was happy to hear that because I respect him so much after hearing their stories last time and just his 3 names in Puyuma, Japanese, Chinese tells me how much he had to survive through all the turmoils.

I asked him again about the bullet cases in more detail.
How they melted lead. How long it took to do. What kind of shape and how big.
It seemed that one who had more complicated or beautiful shape got reputations. He said he was proud of his own objects and hang around his waist. It sounded more than just a kid¡Çs story. It sounded more than that. He melted the force and poured it on the ground and turned it into his own. There are some examples in contemporary art which transforms fire arms into something else; however, if it is something like shovels that has another practical function, it is different from Puyuma kids who turned fire arms that are the practical thing into accessory that proud not to be practical.

If I look at the history of Puyumas and other aboriginal people, it looks as if they have lost the game being ruled by different foreign forces one after another. But such bricolage and their toughness makes me think that they might have not lost entirely and the most importantly they are surviving.

Just a thought.
¡Ä¡Ä¡Ä..
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image: one of the elder's drawing from his memory and teaching me some Puyuma words

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September 21, 2018

¤¢¤ÎÃƴݤιÔÊý­£¤ÈÂæÏÑÀ轻̱¥³¥ì¥¯¥·¥ç¥ó and the creativity of the indigenous people of Taiwan!

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¤¢¤ÎÃƴݤιÔÊý­¢¤ÈçÊßÔ¿·Êó and decaying images and texts

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One of the tasks I had for my Taipei trip was to check the wartime newspaper çÊßÔ¿·Êó(Taiwan-Shinpo). Based on one of the memoir I found from an interview clip, there should be a newspaper article, possibly with a photo, about the 1945 Peinan excavation by 2 Japanese archaeologists. I wanted to check if the Taiwan-Shinpo have it.

I came to the Taipei National Central Library. It only took me a few min to register after giving my inquiry.
I find libraryan in many countries very helpful and has benifitted from them but this one was fast!

I went upstairs to the Japanese Korean section.

There were only republished anthologies of the old newspaper or to be precise scanned or photocopied old newspapers. I found the volume that contains all of the 1945 and went through the possible dates one after another. The result... you can guess from the image above.

No words to express.

No way to check it further?

Well there must be an original if there is a print of the scan of a copy it...

Maybe I can find the original paper in the Taiwan National Librarry? or possibly in Japan.

Though there are images and letters that I could recognise, it just made me think that it was actually almost impossible for this newspaper to post an article of archaeological excavation... everything else are all about propagated-battle-reports and agitation for the suicidal attack of Kamikaze.

The time is up. They are closing.

Maybe next time.

I have more places to go...

September 20, 2018

¤¢¤ÎÃƴݤιÔÊý­¡¤ÈÇîʪ´Û and visiting Taiwan's oldest museum!

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September 09, 2018

ÈÜÆî²Ï¸ý¤Î²»É÷·Ê and I hear the thunder roaring from the North!

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22nd Aug

Not so hot, I thought and I waited Dr. Í̾®ÀÄ who is a geo-archeologist. Outside of the cafe next to the exhibition hall in the Peinan Site Park.

Many cicada was already singing their noisy choir but because it was cloudy from the morning, the air wasn¡Çt so hot.

We sat outside, table that is next to a big tree, because the music in the cafe was not what I wanted on my recording. There were some breeze going by where we sat. It was ok though the air was getting a little hotter as the sun goes up.

I started asking questions I had...

According to her, the landscape around Peinan hasn¡Çt change so much from 5000 BP including the delta of 3 rivers, which now locates Taitung city center.

During the conversation, which off course meanders around the subjects, I was very inspired to hear about the tectonic activities detected in this region. In fact, we can see two plates confronting each other in Peinan. The °­ÃÏ(badland) on the north side of Peinan river is where the border between Philippines plate and Eurasian plate meet. The land goes up 1cm every year.

The hill or terrace of the hill where we sat, Peinan culture site, is found without any trace of confronting the water directly, she said. They were always meters higher than the water surface. It was kept safer than the deltas, which might have experienced some over flooding of the river.

It made me think that the safety and the energy/active level of the land might have attracted people to settle here, for possibly more than 1000 years.

What made them like to live here?

....
The following sentences is transcribed at the mouth of the Peinan river, looking towards the river on its south bank, listening to its soundscape on the 5th Aug from 16:13 about 10minutes
....

Offshore wind not very strong
I heard the thunder roaring from the mountain afar
from the West and the North

Birds are chirping here and there

I hear no waves, it doesn't reach me
but cars on the bridge instead

A guy singing out loud on his motor pass by

Thunder roaring again
from the North and the West
lower and longer than the ones before

Two men taking a walk chatting in Taiwanese or Mandarine
I can¡Çt tell

A thunder again from the North

A fly passing by

Another thunder from the North

In a distance, fire crackers
and a helicopter hovering behind me

A sound on the water
a small fish jumped up from the river a few times
....


µðÀÐʸ²½¤Î»Ä¶Á and I am listening to the prehistory!!

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September 03, 2018

¤¢¤ëÅÚ´ï¤ËÉÕ¤µ¤ì¤¿µì¤¤ÆüËܸì¤Î¶Á¤­ and I am listening to Taiwan and Hokkaido!!

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December 23, 2017

¤¢¤ë¡ÊĶÆñ¤·¤¤¡Ë¶Á¤­¤Ë¤Ä¤¤¤Æ & I started taking Suona lesson!

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54
image: ÏÒ(it means cup) for Suona

Now I am in Taipei. So cloudy and unexpectedly cold(not as much as Japan off course). To be precise, I am participating in an exchange research residency between ARCUS(Moriya, Japan) and Kuandu Museum(Taipei, Taiwan). Kuandu Museum is located in the north of Taipei near Tamsui. In the northern part of Taipei, there were several Spanish colonies which were then taken by Dutch and later by Chinese, English, Japanese and partly English again... such complex colonial histories are a part of my 17th century research.

The Museum is a part of Taipei National University of Arts. It's up on a hill, 10-15min away from 3 stations but somehow many easy-hikers on weekends. Winds are strong and you have a great view towards the city of Taipei. It means... I am far away from downtown Taipei. Well just an hour or so to be fair.

There are fine art, music, dance, theatre, and new media department. I am staying in the guest house of the university which is in the campus, so I often eat at the student canteen. It makes me feel like I am back in school again. Very proper for research residency environment? but being in school had an advantage in cases like finding a teacher for learning instrument.

I wrote a letter explaining my desire and reasons for learning the instrument to find some people who would be willing to help my search into to the sound of Suona. Soon after my letter was handed to the staff of museum, they passed it to traditional music department in the campus. Luckily one of the graduate student, Chi-yi, found it interesting and contacted the office.

I met to-be-my teacher in the museum office for the first time. There were already several Suona on the table. The instrument has a tiny wooden body called ´É (pipe) and a metal cup ÏÒ and the reed is rather small for making that massive sound. Seeing it for the first time, it looked well made and yet primitive at the same time.

31


The curators and staff at the museum were gathered around the table chatting with Chi-yi. It was nice to see them getting interested in the instrument. Although in Tainan and also elsewhere, I feel that the temple and people lives are connected strongly even among young people, the enthusiastic conversation kind of revealed the distance between the "traditional instrument" and people who are not engaged with it.

Musicians of traditional music(include Western traditional music "classical" music) often becomes elite group and at the same time, sometimes, segregated given some "special" tasks to carry out rituals etc. So it is not just the fast pace modern or contemporary urban life and rational(for production) society that separated these music from people but l personally feel the gap or closeness between this type of music and people hints something about the condition of our society. Not quite sure what it reveals but maybe how much extra(but necessary to breath) space it has?

I feel that we all need a space and time that cannot be named. Music may have provided it. Some time-space that refuses any claim and remain unknown. Maybe... and why am I writing this?

28
image: Chi-yi instructing me how to read and play

Anyway, I started taking Suona lesson. It requires certain amount of breath to produce the sound and to control the pitch. It is so difficult and loud that my ear started ringing after several notes I played.

Suona_score
image: notation for "¾å´ÉÉ÷Æþ¾¾

hope to upload my recording soon! or not...TBA.

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-hello
-hello is this mamoru?
-yes
-ok. TA at the traditional music department contacted us that they found a musician interested in your project and she is in the library now. Are you still sleeping?!
-no no. wow that¡Çs great.
-can you come now?
-sure. in 10min.

¤¹¤°¤Ë¥Ù¥Ã¥É¤«¤é½Ð¤Æ¡¢¤«¤Ð¤ó¤Ë¥«¥á¥é¤ä¥é¥Ã¥×¥È¥Ã¥×¤òµÍ¤á¹þ¤à¡£Æ¬¤¬½Å¤¤¡¦¡¦¡¦¾¯¤·¥³¡¼¥Ò¡¼¤ò°û¤ó¤Ç¤«¤é¤Ë¤·¤è¤¦¤«¡¢¿ôÆüÁ°¤ËÇã¤Ã¤¿àÝàêƦ¤òÈÔ¤­¡¢¥¦¥©¡¼¥¿¡¼¥µ¡¼¥Ð¡¼¤«¤éÇ®Åò¤ò»ý¤Ã¤Æ¤­¤Æ¡¢àÝàê¤òÞ»¤ì¤¿¡£¸½ºß¡¢¤¢¤ë¥ê¥µ¡¼¥Á¥ì¥¸¥Ç¥ó¥¹¥×¥í¥°¥é¥à¤Ë¾·ÂÔ¤µ¤ìÂæË̹ñΩ麽ÑÂç³Ø¤ËÂÚºßÃæ¤Ç¡¢¤È¤¢¤ë³Ú´ï¤Ë¤Ä¤¤¤ÆÄ´¤Ù¤Ï¤¸¤á¤¿¤È¤³¤í¤À¤Ã¤¿¤Î¤Ç¹¬À褬¤¤¤¤ÃΤ餻¤À¡£

-I will be coming to the office in 5 min. Is she already there?
-yes but it¡Çs ok. take your time~

¾®±«¤¬¹ß¤ëÃæ¡¢Èþ½Ñ´Û¤Ø¤È¸þ¤«¤¦¤È¥ª¥Õ¥£¥¹¤Ë¤Ä¤Ê¤¬¤ëÏ­²¼¤Ë¤ÏÏä·À¼¤¬¶Á¤¤¤Æ¤¤¤Æ¡¢¥ª¥Õ¥£¥¹¤Î¥Æ¡¼¥Ö¥ë¤Ë¤Ï³Ú´ï¤¬ÃÖ¤«¤ì¡¢¥¹¥¿¥Ã¥Õ¤ÈÃ̾Ф¹¤ë´¶¤¸¤ÎÎɤ¤¼ã¼Ô¤¬ÌܤËÆþ¤ë¡¦¡¦¡¦

-hi nice to meet you. my name is mamoru
-oh hi, my name is Chi-yi

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December 10, 2017

¤¢¤ë¶Á¤­¤Ë¤Ä¤¤¤Æ & wondering what I heard in that moment

mamoru_tainan_firework
image: sky above a street in Tainan, 2017

A sentence may tell you the beginning of my recent search...

- I was in Tainan.

Not sure what triggers you by the sentence but with the image above and if you have ever been there, I am sure you can recall/imagine/hear some sound other than the fireworks and the passers by.

There was this sound. It was festive, loud, and uplifting.
I heard the sound everyday somewhere.

It's so identical that I would not miss it. It gave me this timeless feeling somehow, probably deriving from its primitive acoustic energy produced by the intense breath of the player and for sure by something more.

mamoru_17th_charumera
image: excerpt of The Trading Post at Dejima (Japan, c.1840, brush and ink on silk), Rijksmuseum

It's called 唢呐(Suona) in Taiwan. The names and the descriptions of the instrument and its history/origin varies. It can be found in various cultures along the silk road then all over the world, including Japan. Just like many other instruments. So what's so unique about it then?

It is interesting to note that in 16th century, the instrument was introduced to Japanese as "Åâ¿ÍÅ«"(flute of Tang) but later Portuguese came and called the instrument as "charmela", then more people seems to adopt the European name gradually. But it wasn't so much about this kind of information I can find easily on Wiki or my personal nostalgia that I remembered the sound of the street vendor selling noodles playing this instrument maybe 30 years ago or so. In the chorus of this instrument, I heard something more. Probably another history that I don't know yet.

One thing related to what I am hearing may be found in the following image I have been looking into for several years.

mamoru_17thJpmusicians
image: *engraved image from Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ¡Çt Vereenigde Nederland, aan de Kaisaren van Japan, Arnoldus Montanus, 1669

I have been inspired by the images created in the Netherlands about Japan(or East) by Europeans who gathered information and imagined it; its culture, history, and geography. It first looked odd, then made me judging that it's wrong and later caused me to wonder on what bases I was judging. I had to question myself what and by what means I assumed that I knew about the 17th Century Japan. Movies? Text book provided by schools? Can I say that I know something about it then?

Could it be true that I am less informed than those Dutch people who made that geography book?

It could. The distance between me and 17th century Japan is so far away in time and cannot compare with the geographical distance those Dutch people had back in 17th century. However, if they wish, they could go on a ship and spend 8 months to reach it(apparently with a lot of luck) while I would have no chance to travel there.

I became curious about their process, so I started gathering many materials about 17th-21st century Japan(or East) from the Netherlands, Indonesia, and now Taiwan to imagine possible histories of Japan or the world. I came to Taiwan (and will be here for a while) hoping to reflect and deepen my understanding of histories especially from 16/17th century onwards. I want to somehow pluralize the world(or my world view maybe) into worlds. Not a Japan but Japan-s. Simply to give space to breathe for myself and for other people who might also be suffocating by the standardisation or more like a singularization of nationalistic identity promoted/propagated by the authority over personal.

What did I hear in the chorus of 唢呐(Suona)?

It was festive, loud, and uplifting. It went on and on and faded out. I was walking away and they were marching on to the next temple. Though the sound faded out, it made my ears more indulged into the details of what I had experienced. And I am in this search of the name for it.

I want to know it.

August 12, 2017

Åìµþ¤Çµ×¡¹¤Î¸ÄŸ¤Ç¤¹ and my latest music-work will be exibited!

solo exhibition¡¿¸ÄŸ¡¡"»¶²Ú ¾åÃÊ-Upper Sange 2017"
2017.Sep.02 - Oct.07 @Yuka Tsuruno Gallery
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image: excerpt from a video "becomings / Åꤲ½Ð¤µ¤ì¤¿¿ÈÂÎ"(HD, silent, 2017)

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I will be showing my new work @ Yuka Tsuruno Gallery in Tokyo.
(Please scroll down for the rest of English greetings!)

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À©ºî¤Ë¤¢¤¿¤Ã¤ÆÁêÃ̤˾è¤Ã¤Æ¤¯¤À¤µ¤Ã¤¿¤¿¤¯¤µ¤ó¤ÎÊý¡¹¤Ë´¶¼Õ¤·¤Þ¤¹¡£¤½¤·¤Æ²÷¤¯¼èºà¤Ë¶¨ÎϤ·¡¢»ý¤Æ¤ëÃ諤òÀˤ·¤ß¤Ê¤¯ÈäϪ¤·¤Æ¤¯¤ì¡¢¥ì¥³¡¼¥Ç¥£¥ó¥°¤â²÷Âú¤·¤Æ¤¯¤ì¤¿²Ï¹ç ¿¿¿Í¾å¿Í¡¢¤½¤·¤ÆË»¤·¤¤¥¹¥±¥¸¥å¡¼¥ë¤Î¹ç´Ö¤òË¥¤Ã¤ÆÁÇÀ²¤é¤·¤¤ºîÉʲò¼á¤È±éÁÕ¤ò¤·¤Æ¤¯¤ì¤¿¥¬¥à¥é¥óÁÕ¼ÔWelly Hendratmoko¡¢¥Ñ¡¼¥«¥Ã¥·¥ç¥óÁÕ¼ÔAlfin Satriani¤Î2¿Í¤Ë¿´¤«¤é´¶¼Õ¤·¤Þ¤¹¡£¤Þ¤¿¥¤¥ó¥É¥Í¥·¥¢¤Ç¤ÎÏ¿²»¤Ë´Ø¤·¤Æ¥³¡¼¥Ç¥£¥Í¡¼¥È¤È¥¢¥·¥¹¥¿¥ó¥È¤ò¤ä¤Ã¤Æ¤¯¤ì¤¿ Rangga Purnama Aji¤Ë¤â²þ¤á¤Æ¤¢¤ê¤¬¤È¤¦¡ªºÇ¸å¤Ë¥Ó¥¸¥å¥¢¥ë¡¦¥ê¥ß¥Ã¥¯¥¹Ã´Åö Hyuntae Lee¤Ë¤â´¶¼Õ!¡Ê¤Þ¤À¸½ºß¿Ê¹Ô·Ï¤Ç¤¹¤¬¡¦¡¦¡¦£÷¡Ë
¤Þ¤¿Å¸¼¨¤Î²»¶Á¤Ï¤³¤ì¤Þ¤Ç»ä¤ÎºîÉʤò¤¤¤Ä¤â¥µ¥Ý¡¼¥È¤·¤Æ¤¯¤ì¤Æ¤¤¤ë¾®¾¾²»¶Á¸¦µæ½ê¤¬Ã´Åö¤·¤Æ¤¯¤ì¤ë¤Î¤ÇºÇ¹â¤Î²»¤Ë¤Ê¤ë¤³¤È´Ö°ã¤¤¤¢¤ê¤Þ¤»¤ó¡£¤¼¤ÒÂ䶤·¤ËÍè¤Æ¤¯¤À¤µ¤¤¡£¥¤¥Ù¥ó¥È¤â´ë²è¤·¤Æ¤ë¤Î¤Ç¤Þ¤¿¥¢¥Ê¥¦¥ó¥¹¤·¤Þ¤¹¡ª
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image: excerpt of the illustration from "Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ¡Çt Vereenigde Nederland, aan de Kaisaren van Japan"(1669, Amsterdam)

//////////////////

I will be showing my newest work "»¶²Ú ¾åÃÊ - Upper Sange 2017" at my mother gallery in Tokyo, Yuka Tsuruno Gallery. Please come take a look or actually to listen to since it is a piece of "music" that I made with fabulous musicians from Yogyakarta and a monk from Kyoto.

The work features sutra chanting of Rev. Mahito Kawai(head of Zuirin temple of Jyodo sect) whom I met and collaborated with at a music festival in Austria more than 15 years ago! Anyway, it is the 5th chapter of my series called "a long listening journey of a Possible thiStory especially of Japanese & Dutch & something more". The recording was inspired by several illustrations in the Dutch geography book published in 1669, Amsterdam, which has been one of the most important inspiration for the entire series. Some of them shows "temples" of their-imaginary-Japan where people dance around the fire in trance and others contains instruments that are truly similar to Java gamelan instruments. I had tried to graft these inspirations with the world of 2017.

Big Thanks to all who helped me and gave advised and making this piece possible. Especially ²Ï¹ç ¿¿¿Í (Mahito Kawai) for putting his expertise and willingness to create the piece, and Welly Hendratmoko & Alfin Satriani for understanding the concept and expressing it into great performance!! Also Rangga Purnama Aji for giving me so much time and energy coordinating and be willing to assist me during recording sessions in Yogyakarta. Last but not least, Hyuntae Lee for remixing all the images for the projection.(still in progress at this very momoment!) and not to forget Komatsu Sound Lab, who would make the sound system in the exhibition space, be sure to experience the sound if you are around Tokyo! I guarantee you will not regret to experience their sound system even if you don't like my music! ;)

December 04, 2016

¥ì¥¯¥Á¥ã¡¼¡÷¹ñΩ̱²³ØÇîʪ´Û & I will talk about my latest project at National Museum of Ethnology!

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image: lecture performance @ National Museum of Art, Osaka(2016)

Âçºå¤ÎÀéΤÃæ±û¡¢ËüÇîµ­Ç°¸ø±à¤Ë¤¢¤ë¹ñΩ̱²³ØÇîʪ´Û¤Ë¤ÆAnthro Film Lab*¼çºÅ¤Î¥»¥ß¥Ê¡¼¡ÖAnthro-film Laboratory 21¡×¤Ë¤Æ¸½ºß¿Ê¹ÔÃæ¤Î¥×¥í¥¸¥§¥¯¥È¡Ö¤¢¤êÆÀ¤¿¡Ê¤ë¡Ë¤«¤â¤·¤ì¤Ê¤¤¤½¤ÎÎò»Ë¤òÄ°¤­¼è¤í¤¦¤È¤·Â³¤±¤ë¤¢¤ë¼ï¤ÎŤ¤Î¹Ï©¡¢ÆäËÆüËܿͤ䥪¥é¥ó¥À¿Í¡¢¤½¤Î¾¤â¤í¤â¤í¤Ë¤Ä¤¤¤Æ¡×¤Î»ö¤Ê¤É¡¢¼Âºî¤Î¥×¥í¥¸¥§¥¯¥·¥ç¥ó¤ò¸ò¤¨¤Ä¤ÄÏä·¤Þ¤¹¡£

I will talk about my latest project "a long listening journey of a Possible thiStory especially of Japanese & Dutch & something more" at National Museum of Ethnology, a seminar organized by Anthro Film Lab*.

.....

¡ÖAnthro-film Laboratory 21¡×
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Date: Dec. 18, 2016, 14:00-
Venue: National Museum of Ethnology, 2F, Seminor Room 7, Osaka

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http://www.itsushikawase.com/anthro-film_lab/news.html

*Anthro-film Laboratory

Anthro-film Laboratory¤Ï¡¢¿ÍÎà³Ø¡¢±Ç²è¡¢¥³¥ó¥Æ¥ó¥Ý¥é¥ê¡¼¥¢¡¼¥È¤¬¸òºµ¤¹¤ë¼ÂÁ©¤Î¤Ê¤«¤Ç¡¢¸À¸ì¤Ë°Íµò¤¹¤ë¤À¤±¤Ç¤ÏÅÁ㤵¤ì¤¨¤Ê¤¤ÃΤä·Ð¸³¤ÎÎΰè¤òõµá¤·¡¢¿Íʸ³Ø¤Ë¤ª¤±¤ë¿·¤¿¤ÊÃΤÎÁϤ¤È¸ì¤ê¤Î¿·ÃÏÊ¿¤òÀڤ곫¤¯¤³¤È¤òÌܻؤ·¤Þ¤¹¡£

Anthro-film Laboratory aims to explore the knowledge and human experience that can be transmitted through non-textual form; expanding the practice of knowledge creation and storytelling in the humanities in conjunction with film, contemporary art and anthropology


October 07, 2016

¤¢¤êÆÀ¤¿¡Ê¤ë¡Ë¤«¤â¤·¤ì¤Ê¤¤Îò»Ë¤Ë¤Þ¤Ä¤ï¤ëºîÉÊȯɽ¡ª & I will show works I have made in The Netherlands!

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left: video still, detail, Further(2016), dancer: Madoka Kariya, right: research material, engraved illustration, detail, Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ¡Çt Vereenigde Nederland, aan de Kaisaren van Japan(Arnoldus Montanus, 1669, Amsterdam)

(Please scroll down for English)

¡Öa long listening journey of a Possible thiStory especially of Japanese & Dutch & something more / ¤¢¤êÆÀ¤¿¡Ê¤ë¡Ë¤«¤â¤·¤ì¤Ê¤¤¤½¤ÎÎò»Ë¤òÄ°¤­¼è¤í¤¦¤È¤·Â³¤±¤ë¤¢¤ë¼ï¤ÎŤ¤Î¹Ï©¡¢ÆäËÆüËܿͤ䥪¥é¥ó¥À¿Í¤½¤Î¾¤â¤í¤â¤í¤Ë´Ø¤·¤Æ¡×

viewing space vol.002: mamoru
²ñ´ü: 2016ǯ10·î29Æü¡ÊÅÚ¡Ë - 12·î3Æü¡ÊÅÚ¡Ë
Yuka Tsuruno Gallery
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tel. 03-5781-2525
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*1669ǯ¤Ë¥¢¥à¥¹¥Æ¥ë¥À¥à¤Ç½ÐÈÇ¡Ê¥¢¥ë¥Î¥ë¥É¥¹¡¦¥â¥ó¥¿¥Ì¥¹Ãø¡Ë¸¶Âê¤Ï¡ÖGedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ¡Çt Vereenigde Nederland, aan de Kaisaren van Japan¡×¡£ÆüËܸì¤Ç¤Ï¡ÖÆüËÜ»ï¡×¤È¤«¡ÖÅ쥤¥ó¥É²ñ¼Ò¸¯Æü»È¡×Åù¤È¸Æ¤Ð¤ì¤ë¡£

¡Ê¥¹¥¯¥ê¡¼¥Ë¥ó¥°¥¿¥¤¥È¥ë¤Ï±Ñ¸ìʸ¤ÎºÇ¸å¤Ëµ­ºÜ¡Ë
.............

I will be showing my works I have made in the Netherlands in the past year, screening a documentation video of my lecture performance(20.5min) and 2 video works(10 + 3.5min). All together about 35-40min.

The project is inspired by a geography book published in Amsterdam in 1669, titled "Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ¡Çt Vereenigde Nederland, aan de Kaisaren van Japan." This book, 456 pages of text with 71 engraved illustrations and 23 double-paged engravings folded in, comprehensively showcased Japanese people, culture and history and introduced to Western society. I have been making a series of works that, in some way or another, graft today, the world of 2016, to the Possible history that these Dutch book makers had once generated.

The screening will take place in the viewing space of the new art complex, TERADA Art Complex, in which my gallery has moved in. It will run for 5 weeks and the videos would all together be about 30min long so please plan to visit when you have time! I have the privilege of having Komatsu Sound Lab. to assist my sound set ups. It is sounding. (By the way, I am already making a new chapter of this series, and it will be shown in 2017.)

Screening will include the following¡¿¥¹¥¯¥ê¡¼¥Ë¥ó¥°¤ÎÆâÍÆ:

The 1st chapter:¡¡
this voice¡¦a place¡¦all that is resonating¡¿¤³¤ÎÀ¼¡¦¤¢¤ë¾ì½ê¡¦»Ä¶Á¤¹¤ë¤¹¤Ù¤Æ (2016)
a lecture performance, 9:30, language English
viewing link: https://youtu.be/8DyEZ7TMYOI
Documentation of a lecture performance¡¿¥ì¥¯¥Á¥ã¡¼¡¦¥Ñ¥Õ¥©¡¼¥Þ¥ó¥¹¤Î¥É¥­¥å¥á¥ó¥Æ¡¼¥·¥ç¥ó±ÇÁü

The 2nd chapter:¡¡
The Art of Japanese Bowing¡¿(¥¸)¥ä¥Ñ¥Ë¡¼¥º¤Î¤ª¼­µ· (2016)
a lecture performance, 10:41, language English
viewing link: https://youtu.be/VuQmsxKO-zE
Documentation of a lecture performance¡¿¥ì¥¯¥Á¥ã¡¼¡¦¥Ñ¥Õ¥©¡¼¥Þ¥ó¥¹¤Î¥É¥­¥å¥á¥ó¥Æ¡¼¥·¥ç¥ó±ÇÁü

The 3rd chapter: Further¡¿±ó¤¯¤Ø(2016)
HD 16:9, stereo sound, 10'10", dancer: Madoka Kariya, camera: Sol Archer
viewing link: https://youtu.be/91QRUELHkQE

The 4th chapter: outstretched¡¿¿­¤Ð¤·¤¿¼ê(2016)
HD 9:16, silent, 3'20", camera: Sol Archer
viewing link: https://youtu.be/Hp8_mPrEYYU

image: a excerpt from "Gedenkwaerdige Gezantschappen der Oost-Indische Maatschappy in ¡Çt Vereenigde Nederland, aan de Kaisaren van Japan." (Arnoldus Montanus, Jacob van Meurs, Amsterdam, 1669)¡¢²èÁü¡§¥â¥ó¥¿¥Ì¥¹ÆüËܻ¥¢¥ë¥Î¥ë¥É¥¹¡¦¥â¥ó¥¿¥Ì¥¹¡¢1669

September 16, 2016

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soundartist77 at 09:38¡Ã¤³¤Îµ­»ö¤ÎURL¨¢Comments(0)¨¢field notes 

June 01, 2016

ºîÉʼý¢¤Î¤´Êó¹ð&Time of Others exhibition travelling to Australia, Brisbane!

20150525-27 copy

photo: (C) mamoru, Museum of Contemporary Art Tokyo, Courtesy of YUKA TSURUNO GALLERY

Exhibition@Queensland Art Gallery¡ÃGallery of Modern Art, Brisbane
https://www.qagoma.qld.gov.au/whats-on/exhibitions/time-of-others

It¡Çs June! How are you doing? I am about to finish my master in a month meanwhile¡Ä my work "THE WAY I HEAR, B.S.LYMAN 5th Movement Polyphony for Collective Imagination" will be exhibited again. "Time of Others", a travelling exhibition which opened in April 2015 and went around, is now going to be re-opened for the last time in Australia, Queensland Art Gallery¡ÃGallery of Modern Art, Brisbane, from June 11 and ends in September 18, 2016. Thanks to all the artists, curators, staff, and visitors that I got(will get) in contact through this exhibition. The work has been acquired by Museum of Contemporary Art Tokyo and now a part of their collection, so I hope that they would show it sometime in the future. Special thanks to all the people I collaborated during the research and MOT and my gallery YUKA TSURUNO GALLERY.

Here is 1min Trailer/Prelude, using the very first part of the whole work(15min). Please have a look!
https://vimeo.com/168648575

More about the work(pdf 1.3MB): http://www.afewnotes.com/TWIH_LYMAN_1-4.pdf

¡Ä.

¥¯¥¤¡¼¥ó¥º¥é¥ó¥É½£Î©Èþ½Ñ´Û¡¦¸½ÂåÈþ½Ñ´Û¤Ç¤ÎŸ¼¨¤Ë»²²Ã¤·¤Þ¤¹¡ª
https://www.qagoma.qld.gov.au/whats-on/exhibitions/time-of-others

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July 31, 2015

ÁÛÁü¤Î¤¿¤á¤Î´ö¤Ä¤«¤Î¥¹¥³¥¢ and upcoming lecture-performance!

mamoru150127_002
image: performance view: "THE WAY I HEAR/Several Scores for Imagination" 2015.Jan.27th, Tokyo

(Please scroll down for English)

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.................

Lecture Performance

"THE WAY I HEAR / Scores for Collective Imaginations"

performer: mamoru(text, talk), Daisuke Kino-shita(flute, talk)
date: 8th, August 2015, 14:00 - 16:00 (with intermission)
venue: The National Museum of Art, Osaka
admission: free, register at the reception from 10:00 -

sound: Komatsu Sound Lab.
photo: NOET PHOTO VISUALS
organised: The National Museum of Art, Osaka
special thanks: YUKA TSURUNO GALLERY, Asian Contemporary Music Society (ADOK)

.....

Dear readers!
Here is an INVITATION to my upcoming lecture-performance! As a part of "TIME OF OTHERS" exhibition now taking place at The National Museum, Osaka, the lecture-performance will include several projects that I have been working on as I briefly introduce below. I am very much excited to work with DAISUKE-Kinoshita, an excellent Japanese flute player and composer, who will be performing "polyphonic-talk" with me. He will also introduce special techniques of wind-instruments in relation to my WIND STUDY.

-about the "Scores for Collective Imagination"-

"Arnoldus Montanus and Andries Beeckman"
17C Dutch writer, Arnoldus Montanus was the author of "Atlas Japannensis being remarkable addresses by way of Embassy from the East India Company of the United Provinces, to the Emperor of Japan", so-called first Western book of Japanese Historical account and a painter who was his contemporary and went around East Indies as a soldier of Dutch East Indies(VOC).

"B.S.Lyman" (>related posts)
It is based on the research I have been doing over the past 3 years about an American geologist/mine engineer who were hired by the Japanese government in late 19C and conducted an important geological survey and made the first modernised geological map in Japanese history. I will introduce the work I presenting at the Museum of Contemporary Art Tokyo, titled "THE WAY I HEAR, B.S.LYMAN, The 5th Movements Polyphony for Collective Imagination". It is 2ch bilingual text-projection with bilingual narration and some field recording.

"WIND STUDY"(>related posts)
It is a fascinating borderless-timeless subject of curiosity and I have indulged into the subject for years; trying out sailing and paragliding, learning science of it, visiting windy locations, researching stories/myths and wind that changed the history. I am so pleased to have an opportunity to invite Daisuke Kino-shita again after the performance we did in earlier this year as a "wind player". He will tell/play us about his thoughts around wind instruments!

April 30, 2015

¶¨ÁۤΤ¿¤á¤Î¥Ý¥ê¥Õ¥©¥Ë¡¼ and about TIME OF OTHERS exhibition

(for English scroll down please!)
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group exhibition "Time Of Others"

I went back to Japan for a little while to install my recent work for the exhibition at MOT, The Museum of Contemporary Art Tokyo. I am presenting a work titled "THE WAY I HEAR, B.S.LYMAN, The 5th Movements Polyphony for Collective Imagination". It is based on the research I have been doing over the past 3 years about an American geologist/mine engineer who were hired by the Japanese government in late 19C and conducted an important geological survey. A continuous chapter from the one I exhibited in 2014; Score for solo imaginative listener. The new chapter consists of several narrations that you hear from wireless headphones, series of short Bilingual(EN/JP) texts on two screen, and edited field recordings and a few other sound. It is 2ch text-projection with stereo sound.

I named the piece as polyphony for "collective imagination" thinking that the installation would become sort of a "score" to inspire collective people in the exhibition space, inviting them into their own imaginary soundscape. I am curious how/whether their imaginations would resonate each other in the space or may be they would not? then becomes parallel imagination?

Speaking of imaginary hearing, I had a very interesting moment when I was editing one part of the text-film. I "heard" one sound that B.S.Lyman might have imagined. Based on different types of research, I am now able to imagine what was like to be there and what you might hear if you were there, but "imagining the imagination of other" was a new layer for me. I have tried to included this sound in the work.

The exhibition runs until the end of June, so if you are ever in Tokyo please visit and see/listen to the work!

"Time Of Others" @ The Museum of Contemporary Art Tokyo
http://www.mot-art-museum.jp/eng/exhibition/timeofothers.html
exhibition period: April 11th - June 28th
more about the exhibition > e-flux/announcement

* Although the exhibition will travel to 3 other museums, my installation is planned to be shown only in Tokyo and Brisbane. However, a lecture performance related to the work is going to take place in National Museum of Art Osaka on the 8th Aug!

-National Museum of Art, Osaka
25 July - 23 September 2015
*8th Aug - lecture performance "THE WAY I HEAR"

-Singapore Art Museum
November 19, 2015–February 28, 2016

-Queensland Art Gallery¡ÃGallery of Modern Art, Brisbane
June 11–September 18, 2016