WORD
January_12 //
Started a year with a proper mochi, home made. A beautiful wooden mortar and pestle, made of fresh stump, are unsettling due to worries for possible cracks, and refreshing with a sense of life in the living room.
There are activities that one cannot do by oneself. Collect all those activities to master them and to mix them up.
October_11 //
Thinking metaphorically speaking.
What i need is third parties that helps me communicate.
August_11 //
Delhiの火葬場でその辺りで死体を焼いている人たちにインタビューしてみた。川縁で棒でつつかれ、薪の間から半焼の足がニョっとでる傍ら、汚染で濁った川にざる持って飛びこむ子ら。どうやら、死体から外れる金品を探っているようだった。死体を焼くのは丸３日かかるので、最近電気やガスの火葬が人気らしい。ガス火葬場で働く公務員に、いかにガス火葬がよいか、延々と語られる。
July_11 //
The mismatched feelings when speaking may not be due to translation. It feels misfit because the words just won't deliver the same content as other means of communication. How to deal with multiple perspectives?
How can i feel at ease with seemingly-polarized elements? Then the next step is to figure out how to utilize such dispositions.
looks - words (evil wording with a smile)
looks - emotion (muscle mass with a tender heart)
smell - taste (cheese and natto are stinky but tasty)
i saw myself in a mirror after a long time. (well, i have seen mirrors here and there, but this time i really SAW it.) i was training at the boxing gym, and was advancing towards a mirror, when somebody shouted to his trainee, "look at yourself in the mirror." Unprepared to avoid it, my gaze got fixed through the mirror, and i was shocked by a skinny, wimpy-looking girl in there, in a huge contrast to my feeling like Green Giant.
June_11 //
physical:
Right, left, front, back, top, bottom, then right, left, ...
Paying equal attention to surroundings has become increasing foreign, requiring methods. How to stop thinking about it again? Move as thinking. Balancing is difficult.
mental:
Something happens when a thought gets translated to words and goes out of the mouth. It gets twisted and there is no knowing what happens by the time it reaches your thought.
paranoid.
May_11 //
My disposition is mispositioned. i was standing in front of somebody i hate, and apparently i was smiling all the time. And that is why i am always surrounded by mosquitoes. The path for the successful mosquito netting is a hard one.
It is fascinating that the boarder between a self and another entity fattens as i approaches the goal. When i was learning how to swim at the age 7, my father stands a meter away, calling me to swim till there. As i approached him, he slowly stepped back. An eye opening moment that the goal i set out can move. And just like that, the boarder that i thought was mathematically non-existent can start to express its presence aloud.
Enneargram revival.
April_11 //
Developing a new work: E_O
Mirror - Ego = Spirit
February_11 //
From what point does something that seems nonsense, mundane, or mad become an ingredient for a work? Many things look stupid and insignificant. But maybe i get somewhere if i take what i do seriously. If so, how much am i to dig into it?
Dancing everyday, improvising to live music. The improvisational mind set is an attempt to take everything seriously.
December_10 //
１０年分の日本生活を取り戻し中
October_10 //
A little writing in Spike Art Quarterly, Issue 25
September_10 //
Started a new work, which is to do with beauty and boxing. A video related to Beauty Line
Also, re-realizing the importance of street performance. Communication on a horizontal plane is possible with strangers, and I must remember such a wake up call when the ground beneath my feet starts to tilt towards the virtical. Shall i plan on blending into Spanish streets next month...
August_10 //
August is a month of discipline and fun.
The conclusion of Beauty Project II (July 2010):
Boxing is Beauty.
July_10 //
i was asked: what parts of Japanese culture and American culture influence you? where do your ideas come from?
so i was thinking
- on cultural influence:
A culture, to me, is defined by the friction that occurs at the edge of it. i notice it when i am about to forget, about to go out of, about to escape from it.
If i am influenced by a culture, it is mostly defined by what parts of me are not fitting in that culture. When i notice i am not fitted to its social norm, i trace such a trait, engrave it, to own it. i become extra obstinate, as a by-product of it. The resulting affect is somewhat skewed to its original culture. i have a lot of Japan in me, while i am hyper conscious of my position as an outsider.
i cannot speak for the whole American culture, but i associate myself with New York City-based artists' mind set. Japan and New York share a fast-paced cultures, which i am much influenced by. i see a commonality in absorbability of Japanese and American cultures. Having witnessed a decade of each culture through my small viewfinder of experiences, i would make a note of the speed of cultural and commercial consumption of each place. People portray the high level of curiosity to new things and will try anything. They absorb and invasively call it their cultures. Claiming, reclaiming, naming, and renaming.
More specifically,
1.
i would say i inherited some good portion of OCD-ness from Japanese culture. In particular, a kind of obsession to personalize my own space by peculiar habits or activities. i clean my space in a specific order, which seemingly aligns the space in an orderly fashion, but sometimes is unnecessary. i tend to micromanage objects.
2.
i have always enjoyed studying classical Japanese literature in junior and high schools, which later helped me in learning various classical art forms, such as Koto (musical instrument), Kyogen (theater), and Buyo (dance). ...well, now it is starting to sound fake or forced or something... At the times of learning, i was not particularly concerned about 'Japan,' other than the fact that i like those forms. So these are Japanese influences on me, if i am to think about 'Japan.' When forms are involved, it is easy to state i have connections to a culture. But for me, a culture is defined by where one's heart is, and not by what forms i know. So this #2 is a tricky things to mention, …
3.
So where my heart is. In the end, that comes down to food. i do like to eat Japanese food the day before i die, which probably means my heart is in Japanese culture. Inside a pickling pot. i believe that the food comes with landscape; the same dish tastes different depending on the surrounding landscapes. So my heart is still in Japanese landscape. i would like to eat good Japanese home food and drink a real good cup of rice wine at the crucial moment of life, the death.
A.
i am fascinated with the variety of stories in American culture. i meet so many self-defined outsiders, which comforts me.
B.
i embrace and struggle with American entitlement. There is an ease here to take in whatever around, and create your 'own' things. In making work, i take this attitude, collecting objects from streets and employing new mediums and construction techniques to accomplish a new piece. i do not stick with a particular materials, which i feel is pretty American.
- on the origin of idea:
My recent works come from personal episodes. It is not necessarily apparent in the final products, and that is okay for me, in some cases almost necessary. So i am interested in making installation/performance works that derive from my banal life, but digested enough, so that it works as its own story.
Practical concerns force such digestion most of the times. Objects have say in installations and time managements naturally make a score of performance, which push and pull my personal stories. i also infuse the work with other mundane interests from daily life, something i'm obsessed about at the time of making, such as people's habits, a mathematical concept, or food.
July_10 //
running Beauty Project II with Actor, Jessica Weinstein this month. Thinking how to align the inner and outer attitudes. How to create spare space in life? The key word seems to be a 'guest room.'
The activities so far include; training at boxing gym; wearing a mini skirt, which i quietly protested growing up; going to different states just to watch star configurations; listening to new music; moving slower than usual; talking to people i usually don't, and delay judgments; drinking rose wine, wear gray tone
The discussions so far include; line between cute, sexy, handsome, funny; relationship with health; purposes of being beautiful
June_10 //
Co-curated Movement Research Spring Festival: HARDCORPS with Walter Dundervill, Melanie Maar, and A.L Steiner. It has been interesting to be on a different side of a production. Multiple Personalities is a state of being.
An interview about the panel discussion at the festival.
May_10 //
Whitney Biennial was a series of quiet discoveries into and inside my own installation. It is very nice to have a space where personal discoveries occurs in the same space where other humans pass through. It was oddly humbling experience, performing there many times.
January_10 //
A video that has something to do with my new work, "Strange Attractors."
December_09 //
Can i 'feel' graphs and mathematical concepts? What is the form of understandings that bridges a gap between clarity of the language and complexity of reality-gunk?
Logic supports imagined experiences. It's the linguistic structures. It holds pieces of memory together for me. But i know deep down it makes no sense. I may well be just making up a thread of incidents, just to cope with the otherwise-lonely being.
i have started to experiment with not giving out my logic. i am not telling my stories. i am not providing those who i care with my reasonings. Because then this person has to look at me at an educated set of eyes. i want no explanations. No instructions. Perhaps that will let me focus on the present.
November_09 //
Influences from completely different plane, tangentially touches where i am. i am spinning, because of the torque you give me. i am recently obssessed about Dynamical Systems.
October_09 //
Thoughts on documentation:
To be honest, thinking about documentation bores me and tires me. i do it, because it does aid me to show what i'd done when i introduce my work to somebody. But documentation for me never beat the live introduction, so i use it only as a tool.
i have presented some documentations (still or moving images) as art works, but i consider those as second-degree presentations, just to introduce myself to strangers.
My installation is not documentation. It should occupy the equal weight as performance and should function by its own. It is activated and/or interacts with performance side of it, but i try to make it work as an installation as well. Since the undertone of a possible live performance is always there, this can be considered another form of invitation to the live as well.
Either in a documentation form or in an installation form, i consider non-live elements of my presentation as invitations to the 'future' performances. To conclude, documentation for me, is not about the past, but a tool to talk about the future.
September_09 //
i've added a new part for "Secrets of My Mother's Child"
A cardboard cylinder. Fit inside, go through, wonder about, get down, come out.
This is the only time i get out of the X-Y plane. It's the time to get lost. It's inside the pickling pot.
July_09 //
Here is an article i wrote about "thiis worlds, thaat worlds, and the void amongst" on ArtForum online.
To add to the article:
How do my friends deal with thiis and thaat?
Hanae is a doctor in Tokyo.
Aki: What is the relationship between your thiis and thaat worlds?
Hanae: I practice smiling in a manner of thaat world (hiking, after-five, music, friends) in thiis world (job, patients, boss).
(Aki: A different model! I thought thaat world is in a different dimension, in a galactic scale. But Hanae suggests the possibility of insertion, like a cream puff.)
Peter is an engineer in Sweden.
Aki: Is it possible to bring thaat world into thiis world?
Peter: As for me I am so glad at times that I have thaat world (dreams) all by myself not materialized.
(Aki: Do artists desire or need to actualize thaat worlds in thiis worlds? If not, does that dismantle the model of artist as citizen altogether? Can I keep thaat art to myself?)
Dominic is a painter in New York.
Aki: Is it necessary to separate thiis and thaat worlds?
Dominic: I prefer constant distraction of having a studio in my living space, rather than a writer’s retreat model of separation. Going back and forth stimulates a kind of schizophrenic personality, which works for me.
(Aki: Funny rhythmic patterns!)
I am a performer/sculptor in New York.
Books: says that artists tried to blend art and life in 60s’ America.
Aki: I like Fluxus art, is that what you’re asking? I split my art and the work for my art organization. Having an outlet to think about others actually intensifies the internality of my own work. Right now, I have an urge to compartmentalize art and life, or thiis and thaat art.
(Aki: I think about the fact that I can study and pretend to understand these terms in the dimension of books. Maybe my current situation around art/life is different. It would be a lie if I claim a rebellion to bridge the impossible combination of the two. I can empathetically agree with but cannot attempt to relive the politics that is not in me, at least in ways others have done. That would be like wearing tattoos and a mohawk when I don’t have any teenage angst inside, or like eating soy burgers despite love for meat. So I decided not to join the art historical conversation when I perform, even though I do not avoid studying. I love contexts and concepts in thiis world, but not when I am in thaat world. Let me separate thiis and thaat, to see what happens in between. Because I don't understand what is art or life, really.)
June_09:
Dance doesn't look good in video documentations. Why's that? Maybe because it is not performed for the camera?
There are more dance that can be captured well in the video, but those are often works directed towards filming.
And there are more eyes that discover dance in moving images. It's the work of eyes that operate in filming logic.
Performativity can do well when the moving images when its meant to be that way. But right now, for me, i don't think i handle performance for the screen view. Partially use it, but i'd like to make something in a spatial logic that defies cameras or that can be interesting if cameras/eyes apply their own logic to it to make it interesting again. i have to refuse flat. i want to invite volumes. For today in studio, anyway.
It involves hiding. This is hiding is not the hiding from the camera. But hiding, just hiding anyway and many ways. It will end up not good in the video if there happen to be a camera, but that's the kind of hiding that has a possibility for performance i like to make.
May_09 //
Figuring out through performing. Going back to the time of street performance.
i apply the same piece (concepts) to different venues, and try to see where the center of the piece is.
A work of piece is fluid, moving around in this invisible container.
A fairytale is made as a result of somebody/ies voicing it thousands of times, with different settings, different locations, different listners...
And a story stays in a certain fashion for a while, like a water in the pot before evaporating again.
April_09 //
Just finished the production at Chocolate Factory Theater. Realizing what i am doing is storytelling.
Storytelling happens after actually living the story.
The quality of stories depend upon the quality of life, the ingredient.
Life happens, then
Life events and all the thoughts are put into the pickling pot,
so that later these ingredients cook well and taste better.
The art of story:
1. storyliving
2. storymaking
3. storytelling
Feb_09 //
i'm teaching a Sculpture course at Columbia University this semester, which has been inspiring. What's teaching? -What a durational perofrmance!
Here is the article i wrote about teaching "Art in Academia" in Columbia Spectator
Dec_08 //
Made initial sketches for Secrets of my mother's child.
Sept_08 //
Why is it more fulfilling to see old friends? How do we construct the comfort around certain people?
August_08 //
As working on the new piece, Modified Habits, i am;
Looking at a lab assistant who has too many pens in his coat pocket.
Looking at a waitress handling dishes at a dim sum restaurant.
Looking at a business man walking in worn-out shoes at Grand Central Station.
Weird gestures people carry turn into the expression of their beings.
Started a year with a proper mochi, home made. A beautiful wooden mortar and pestle, made of fresh stump, are unsettling due to worries for possible cracks, and refreshing with a sense of life in the living room.
There are activities that one cannot do by oneself. Collect all those activities to master them and to mix them up.
October_11 //
Thinking metaphorically speaking.
What i need is third parties that helps me communicate.
August_11 //
Delhiの火葬場でその辺りで死体を焼いている人たちにインタビューしてみた。川縁で棒でつつかれ、薪の間から半焼の足がニョっとでる傍ら、汚染で濁った川にざる持って飛びこむ子ら。どうやら、死体から外れる金品を探っているようだった。死体を焼くのは丸３日かかるので、最近電気やガスの火葬が人気らしい。ガス火葬場で働く公務員に、いかにガス火葬がよいか、延々と語られる。
July_11 //
The mismatched feelings when speaking may not be due to translation. It feels misfit because the words just won't deliver the same content as other means of communication. How to deal with multiple perspectives?
How can i feel at ease with seemingly-polarized elements? Then the next step is to figure out how to utilize such dispositions.
looks - words (evil wording with a smile)
looks - emotion (muscle mass with a tender heart)
smell - taste (cheese and natto are stinky but tasty)
i saw myself in a mirror after a long time. (well, i have seen mirrors here and there, but this time i really SAW it.) i was training at the boxing gym, and was advancing towards a mirror, when somebody shouted to his trainee, "look at yourself in the mirror." Unprepared to avoid it, my gaze got fixed through the mirror, and i was shocked by a skinny, wimpy-looking girl in there, in a huge contrast to my feeling like Green Giant.
June_11 //
physical:
Right, left, front, back, top, bottom, then right, left, ...
Paying equal attention to surroundings has become increasing foreign, requiring methods. How to stop thinking about it again? Move as thinking. Balancing is difficult.
mental:
Something happens when a thought gets translated to words and goes out of the mouth. It gets twisted and there is no knowing what happens by the time it reaches your thought.
paranoid.
May_11 //
My disposition is mispositioned. i was standing in front of somebody i hate, and apparently i was smiling all the time. And that is why i am always surrounded by mosquitoes. The path for the successful mosquito netting is a hard one.
It is fascinating that the boarder between a self and another entity fattens as i approaches the goal. When i was learning how to swim at the age 7, my father stands a meter away, calling me to swim till there. As i approached him, he slowly stepped back. An eye opening moment that the goal i set out can move. And just like that, the boarder that i thought was mathematically non-existent can start to express its presence aloud.
Enneargram revival.
April_11 //
Developing a new work: E_O
Mirror - Ego = Spirit
February_11 //
From what point does something that seems nonsense, mundane, or mad become an ingredient for a work? Many things look stupid and insignificant. But maybe i get somewhere if i take what i do seriously. If so, how much am i to dig into it?
Dancing everyday, improvising to live music. The improvisational mind set is an attempt to take everything seriously.
December_10 //
１０年分の日本生活を取り戻し中
October_10 //
A little writing in Spike Art Quarterly, Issue 25
September_10 //
Started a new work, which is to do with beauty and boxing. A video related to Beauty Line
Also, re-realizing the importance of street performance. Communication on a horizontal plane is possible with strangers, and I must remember such a wake up call when the ground beneath my feet starts to tilt towards the virtical. Shall i plan on blending into Spanish streets next month...
August_10 //
August is a month of discipline and fun.
The conclusion of Beauty Project II (July 2010):
Boxing is Beauty.
July_10 //
i was asked: what parts of Japanese culture and American culture influence you? where do your ideas come from?
so i was thinking
- on cultural influence:
A culture, to me, is defined by the friction that occurs at the edge of it. i notice it when i am about to forget, about to go out of, about to escape from it.
If i am influenced by a culture, it is mostly defined by what parts of me are not fitting in that culture. When i notice i am not fitted to its social norm, i trace such a trait, engrave it, to own it. i become extra obstinate, as a by-product of it. The resulting affect is somewhat skewed to its original culture. i have a lot of Japan in me, while i am hyper conscious of my position as an outsider.
i cannot speak for the whole American culture, but i associate myself with New York City-based artists' mind set. Japan and New York share a fast-paced cultures, which i am much influenced by. i see a commonality in absorbability of Japanese and American cultures. Having witnessed a decade of each culture through my small viewfinder of experiences, i would make a note of the speed of cultural and commercial consumption of each place. People portray the high level of curiosity to new things and will try anything. They absorb and invasively call it their cultures. Claiming, reclaiming, naming, and renaming.
More specifically,
1.
i would say i inherited some good portion of OCD-ness from Japanese culture. In particular, a kind of obsession to personalize my own space by peculiar habits or activities. i clean my space in a specific order, which seemingly aligns the space in an orderly fashion, but sometimes is unnecessary. i tend to micromanage objects.
2.
i have always enjoyed studying classical Japanese literature in junior and high schools, which later helped me in learning various classical art forms, such as Koto (musical instrument), Kyogen (theater), and Buyo (dance). ...well, now it is starting to sound fake or forced or something... At the times of learning, i was not particularly concerned about 'Japan,' other than the fact that i like those forms. So these are Japanese influences on me, if i am to think about 'Japan.' When forms are involved, it is easy to state i have connections to a culture. But for me, a culture is defined by where one's heart is, and not by what forms i know. So this #2 is a tricky things to mention, …
3.
So where my heart is. In the end, that comes down to food. i do like to eat Japanese food the day before i die, which probably means my heart is in Japanese culture. Inside a pickling pot. i believe that the food comes with landscape; the same dish tastes different depending on the surrounding landscapes. So my heart is still in Japanese landscape. i would like to eat good Japanese home food and drink a real good cup of rice wine at the crucial moment of life, the death.
A.
i am fascinated with the variety of stories in American culture. i meet so many self-defined outsiders, which comforts me.
B.
i embrace and struggle with American entitlement. There is an ease here to take in whatever around, and create your 'own' things. In making work, i take this attitude, collecting objects from streets and employing new mediums and construction techniques to accomplish a new piece. i do not stick with a particular materials, which i feel is pretty American.
- on the origin of idea:
My recent works come from personal episodes. It is not necessarily apparent in the final products, and that is okay for me, in some cases almost necessary. So i am interested in making installation/performance works that derive from my banal life, but digested enough, so that it works as its own story.
Practical concerns force such digestion most of the times. Objects have say in installations and time managements naturally make a score of performance, which push and pull my personal stories. i also infuse the work with other mundane interests from daily life, something i'm obsessed about at the time of making, such as people's habits, a mathematical concept, or food.
July_10 //
running Beauty Project II with Actor, Jessica Weinstein this month. Thinking how to align the inner and outer attitudes. How to create spare space in life? The key word seems to be a 'guest room.'
The activities so far include; training at boxing gym; wearing a mini skirt, which i quietly protested growing up; going to different states just to watch star configurations; listening to new music; moving slower than usual; talking to people i usually don't, and delay judgments; drinking rose wine, wear gray tone
The discussions so far include; line between cute, sexy, handsome, funny; relationship with health; purposes of being beautiful
June_10 //
Co-curated Movement Research Spring Festival: HARDCORPS with Walter Dundervill, Melanie Maar, and A.L Steiner. It has been interesting to be on a different side of a production. Multiple Personalities is a state of being.
An interview about the panel discussion at the festival.
May_10 //
Whitney Biennial was a series of quiet discoveries into and inside my own installation. It is very nice to have a space where personal discoveries occurs in the same space where other humans pass through. It was oddly humbling experience, performing there many times.
January_10 //
A video that has something to do with my new work, "Strange Attractors."
December_09 //
Can i 'feel' graphs and mathematical concepts? What is the form of understandings that bridges a gap between clarity of the language and complexity of reality-gunk?
Logic supports imagined experiences. It's the linguistic structures. It holds pieces of memory together for me. But i know deep down it makes no sense. I may well be just making up a thread of incidents, just to cope with the otherwise-lonely being.
i have started to experiment with not giving out my logic. i am not telling my stories. i am not providing those who i care with my reasonings. Because then this person has to look at me at an educated set of eyes. i want no explanations. No instructions. Perhaps that will let me focus on the present.
November_09 //
Influences from completely different plane, tangentially touches where i am. i am spinning, because of the torque you give me. i am recently obssessed about Dynamical Systems.
October_09 //
Thoughts on documentation:
To be honest, thinking about documentation bores me and tires me. i do it, because it does aid me to show what i'd done when i introduce my work to somebody. But documentation for me never beat the live introduction, so i use it only as a tool.
i have presented some documentations (still or moving images) as art works, but i consider those as second-degree presentations, just to introduce myself to strangers.
My installation is not documentation. It should occupy the equal weight as performance and should function by its own. It is activated and/or interacts with performance side of it, but i try to make it work as an installation as well. Since the undertone of a possible live performance is always there, this can be considered another form of invitation to the live as well.
Either in a documentation form or in an installation form, i consider non-live elements of my presentation as invitations to the 'future' performances. To conclude, documentation for me, is not about the past, but a tool to talk about the future.
September_09 //
i've added a new part for "Secrets of My Mother's Child"
A cardboard cylinder. Fit inside, go through, wonder about, get down, come out.
This is the only time i get out of the X-Y plane. It's the time to get lost. It's inside the pickling pot.
July_09 //
Here is an article i wrote about "thiis worlds, thaat worlds, and the void amongst" on ArtForum online.
To add to the article:
How do my friends deal with thiis and thaat?
Hanae is a doctor in Tokyo.
Aki: What is the relationship between your thiis and thaat worlds?
Hanae: I practice smiling in a manner of thaat world (hiking, after-five, music, friends) in thiis world (job, patients, boss).
(Aki: A different model! I thought thaat world is in a different dimension, in a galactic scale. But Hanae suggests the possibility of insertion, like a cream puff.)
Peter is an engineer in Sweden.
Aki: Is it possible to bring thaat world into thiis world?
Peter: As for me I am so glad at times that I have thaat world (dreams) all by myself not materialized.
(Aki: Do artists desire or need to actualize thaat worlds in thiis worlds? If not, does that dismantle the model of artist as citizen altogether? Can I keep thaat art to myself?)
Dominic is a painter in New York.
Aki: Is it necessary to separate thiis and thaat worlds?
Dominic: I prefer constant distraction of having a studio in my living space, rather than a writer’s retreat model of separation. Going back and forth stimulates a kind of schizophrenic personality, which works for me.
(Aki: Funny rhythmic patterns!)
I am a performer/sculptor in New York.
Books: says that artists tried to blend art and life in 60s’ America.
Aki: I like Fluxus art, is that what you’re asking? I split my art and the work for my art organization. Having an outlet to think about others actually intensifies the internality of my own work. Right now, I have an urge to compartmentalize art and life, or thiis and thaat art.
(Aki: I think about the fact that I can study and pretend to understand these terms in the dimension of books. Maybe my current situation around art/life is different. It would be a lie if I claim a rebellion to bridge the impossible combination of the two. I can empathetically agree with but cannot attempt to relive the politics that is not in me, at least in ways others have done. That would be like wearing tattoos and a mohawk when I don’t have any teenage angst inside, or like eating soy burgers despite love for meat. So I decided not to join the art historical conversation when I perform, even though I do not avoid studying. I love contexts and concepts in thiis world, but not when I am in thaat world. Let me separate thiis and thaat, to see what happens in between. Because I don't understand what is art or life, really.)
June_09:
Dance doesn't look good in video documentations. Why's that? Maybe because it is not performed for the camera?
There are more dance that can be captured well in the video, but those are often works directed towards filming.
And there are more eyes that discover dance in moving images. It's the work of eyes that operate in filming logic.
Performativity can do well when the moving images when its meant to be that way. But right now, for me, i don't think i handle performance for the screen view. Partially use it, but i'd like to make something in a spatial logic that defies cameras or that can be interesting if cameras/eyes apply their own logic to it to make it interesting again. i have to refuse flat. i want to invite volumes. For today in studio, anyway.
It involves hiding. This is hiding is not the hiding from the camera. But hiding, just hiding anyway and many ways. It will end up not good in the video if there happen to be a camera, but that's the kind of hiding that has a possibility for performance i like to make.
May_09 //
Figuring out through performing. Going back to the time of street performance.
i apply the same piece (concepts) to different venues, and try to see where the center of the piece is.
A work of piece is fluid, moving around in this invisible container.
A fairytale is made as a result of somebody/ies voicing it thousands of times, with different settings, different locations, different listners...
And a story stays in a certain fashion for a while, like a water in the pot before evaporating again.
April_09 //
Just finished the production at Chocolate Factory Theater. Realizing what i am doing is storytelling.
Storytelling happens after actually living the story.
The quality of stories depend upon the quality of life, the ingredient.
Life happens, then
Life events and all the thoughts are put into the pickling pot,
so that later these ingredients cook well and taste better.
The art of story:
1. storyliving
2. storymaking
3. storytelling
Feb_09 //
i'm teaching a Sculpture course at Columbia University this semester, which has been inspiring. What's teaching? -What a durational perofrmance!
Here is the article i wrote about teaching "Art in Academia" in Columbia Spectator
Dec_08 //
Made initial sketches for Secrets of my mother's child.
Sept_08 //
Why is it more fulfilling to see old friends? How do we construct the comfort around certain people?
August_08 //
As working on the new piece, Modified Habits, i am;
Looking at a lab assistant who has too many pens in his coat pocket.
Looking at a waitress handling dishes at a dim sum restaurant.
Looking at a business man walking in worn-out shoes at Grand Central Station.
Weird gestures people carry turn into the expression of their beings.