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This is the one of my favorite piece. In this piece I covered my eyes because I wanted to concentrate and focus on listening to sound.
Once I was so surprised to hear a particular sound. It was so impressive at that moment I got the inspiration from it for my artwork. The sound was like an echo in my small garden. I realized something truth that it was a moment at which a cicada just finished his short life and fell down on the dry earth. I had never thought before that even a small cicada had weight. I also found that all of nature's material must have a different impressive sound when it falls. All are different. In different time, different space, their sounds are different. We can listen to them clearly. But we donft name to each of them, because we donft need distinguishing them for daily life in society. I am saying the world that we have and we can feel is larger and more possibility than world of human society.
Especially Living creatures have such a nice sound, I think. I wanted to feel every sound from every living thing on the earth. And we know falling fruits and grain and seeds pass lives onto the next generation. I wanted imagine their sound more, so I made performance as a very small realistic sound drama on the chain of life and death. I am a part of these creatures.
I performed this piece in Japan, Germany, Belarus and the Czech Republic.
This is a guerrilla performance of sleep in real banks, especially in booths containing ATMs. I took photos and documented it on video. Spaces in banks are private, not public. But they have the money we have saved and also public money, the taxes we have paid to the Government. Therefore, if our bodies belong to the Government, I think we should be able to spend a little bit of time and utilize the space in banks. Why shouldnft we? I enjoy and like to explore the juxtaposition of a lazy human body and a hard machine that never sleeps.
I performed this in Japan, Thailand, Germany, Canada and the U.S.A.
This piece is a kind of participation version of "Best Place to Sleep". We worked at not only banks but also traffic intersections or in railway stations, rather say in public space. We also performed the piece in the Museum of Fine Art, Boston, U.S.A. These performances should I say, "out of fun" and the participants enjoy doing them.
It is about the association between weight and sound and lives. I invited the audience to listen to one anotherfs heartbeats. This piece might seem very friendly on the surface. But to be honest, I got the inspiration and planned this piece when I heard an interview with a Japanese person who had survived lying under a pile of corpses of people who had been shot while trying to escape from China to Japan during the Second World War. I imagined that if these dead people on top of him had been alive during that time, they must have listened to one another's heartbeats and smelt one anotherfs sweat. The sound of so many heartbeats together would have created some interesting rhythms and harmony, if they had been alive. I worked this piece in Poland and Germany.
In this piece also, I listen to the sound made by falling material and I gaze at the material that is broken up little by little and slowly transformed into something else. In the act of gazing I wanted to express action and time as a sculpture. It was a long piece, lasting nearly one hour.
I did this piece in the Czech Republic, Germany, Singapore, Japan, Mexico.
iThis is an uncompleted piece.jIt is a kind of lecture performance about body. The video I show is not piece; it is material for my performance. The theme is about the body as controlled by government. In Japan we had an inferiority complex with westerners when we started to westernize in the 19th century. The Ministry of Welfare started a Radio Gymnastic Program which took place every morning all over Japan; it was the same period when Japan started to invade the world. It was 1928 and health care for the nation was one of most important projects for the Government. The project was not just about happiness for the individual but for the nation. "Why should we have to have a healthy body?" is my question for this piece. I did this piece in Tokyo, Helsinki and Boston.
iThis is an uncompleted piece.j It is a video and installation piece which is also about Japanese modernization. Historically, there were few Polish immigrants in Japan, but there was a contact point in Dalian which was a port in China that had been colonized by Japan from 1905 to 1945. It had been a Russian ice free port from 1898 to 1905, which Japan had got after the Japan-Russian War.
In this piece, the performer that is a woman who believes she is a Polish walking around in 2007 Yokohama which was the first International port in Japan. Her father was born in Dalian. Her father might have been Polish, though this is just a possibility and I am exploiting this to explore about the international activity of Japan at that time.
But I didn't think deeply enough about gherh personality. By chance, another Polish filmmaker came to Yokohama in this time when she walked around and he was looking for something new and found her and decided to use her as the main character in his new film. And then he completed the film in Poland later showed it in Poland. The title is "Phenomena of Truth" (Fiction)and "Missing Self" (Documetation). I donft like his story, to be honest, but I have to accept it, because although it was my duty to look after her, I left her on the street and did not put a personality inside of her. So someone else did. It was my fault. "We should not lose our shell on the street". This is what I learn from this piece.
I did this performance in a small village near Jogjakarta in Indonesia in 2007. One year before this area had been hit by a serious earthquake. In this village, most of the houses had been destroyed and some people had died. A group of young artists in Jogjakarta helped rebuild the village. A year later, after their peaceful life returned, these artists worked on an art project together with the villagers. The condition for artists who were invited was to use only material in this village for the art-work.
What I did was interview with the village people and made an art piece with them. It was about what appropriate action was needed for the 21st century. I said that the 20th century had been too aggressive. We often raised our fists up to the sky. Then I asked them what kind of gesture or body stance would be suitable for this century. Now that we are in the 21st century, we would be friendly and elegant, I think.
For now and the future, we did a performance together in their cemetery. In our search for a gesture to represent "elegant", we were a little awkward and felt embarrassed. It was nice work with people.
I did this piece in small villages in Indonesia and Croatia.