Machitobi Festival Artist project
Collaborated works exhibition
“Ta chi ta sa_” Exhibition 2000
Date
October 15 ~ 22 2000
Venue
Old Japanese house in Kagurazaka, Shinjuku-ku, Tokyo
Artists
Sakae Oguma (photograph)
Eiji Kikuchi (photograph)
Masahiko Nishimura(images)
Yoshiko Mano (illustration, picture book)
Shinya Yamada (photograph)
Eiji Kikuchi (photograph)
Masahiko Nishimura(images)
Yoshiko Mano (illustration, picture book)
Shinya Yamada (photograph)
Events
October 15 Performance "Stand up at the Exhibition Space"
October 22 Workshop "Find the horizon!" on the slope
October 22 Workshop "Find the horizon!" on the slope
Open Performance "Stand up on the Slope" in Kagurazaka
“Ta chi ta sa” × Sakae Oguma (photographer)
“Ta chi ta sa” × Eiji Kikuchi (photographer)
“Ta chi ta sa” × Masahiko Nishimura(Videographer)
“Ta chi ta sa” × Yoshiko Mano (illustrator)
“Ta chi ta sa” × Shinya Yamada (photographer)
Comment
Review
Tenko
GetUp,StandUp
What Does 'Standing' Mean in This Point in Time
Standing is becoming difficult. Children are crouching down to the ground. Such times, even the adults are unable to withstand, but, no wonder. Especially in Japan, this economic superpower, people bred without realizing they were people. Despite pulling ourselves through the days cheered up on our own, no power and no freshness in the standing posture of Japanese can be found today.
The theme of Takako Ihoda's art was able to come into being because of this time and this place. It also represents one of the biggest challenges of now. The everyday action of 'standing'. But. This is the action we need to rethink anew amidst the present times.
Taking time to move that body from a horizontal position into vertical. Immeasurable interest of developing a performance centered around the most extremely simple movement buried in daily life. Physical activities occurring due to the movement of 'standing'. Of fingers, legs, arms, chest, hips, back, muscles and bones regardless of the sizes. The willpower connecting the body into erection, and the resistance, the conflict, the movements we repeat inadvertently on a daily basis, how wonderfully they complement each other. Dramatic. And lovely.
Another treasure of this performance is time. Everyone knows the stupidity in focusing on making it faster and faster. When tasting uneasiness, time fast-forwards. We cannot become strong by being quiet, by not contemplating. The drowsy passage of time created by Ms Ihoda confronts us with pondering about why we are trying to pursue speed.
The attachment to 'standing' comes into life through performance. Rather than a magnificently pretentious expression, there is hope for this reflective 'Tachitasa' in the next century.
GetUp,StandUp
What Does 'Standing' Mean in This Point in Time
December 8 2000
Standing is becoming difficult. Children are crouching down to the ground. Such times, even the adults are unable to withstand, but, no wonder. Especially in Japan, this economic superpower, people bred without realizing they were people. Despite pulling ourselves through the days cheered up on our own, no power and no freshness in the standing posture of Japanese can be found today.
The theme of Takako Ihoda's art was able to come into being because of this time and this place. It also represents one of the biggest challenges of now. The everyday action of 'standing'. But. This is the action we need to rethink anew amidst the present times.
Taking time to move that body from a horizontal position into vertical. Immeasurable interest of developing a performance centered around the most extremely simple movement buried in daily life. Physical activities occurring due to the movement of 'standing'. Of fingers, legs, arms, chest, hips, back, muscles and bones regardless of the sizes. The willpower connecting the body into erection, and the resistance, the conflict, the movements we repeat inadvertently on a daily basis, how wonderfully they complement each other. Dramatic. And lovely.
Another treasure of this performance is time. Everyone knows the stupidity in focusing on making it faster and faster. When tasting uneasiness, time fast-forwards. We cannot become strong by being quiet, by not contemplating. The drowsy passage of time created by Ms Ihoda confronts us with pondering about why we are trying to pursue speed.
The attachment to 'standing' comes into life through performance. Rather than a magnificently pretentious expression, there is hope for this reflective 'Tachitasa' in the next century.
Workshop "Find the horizon!" on the slope
Open Performance "Stand up on the Slope" in Kagurazaka
Date
October 22 2000
Site
The steepest slope in Kagurazaka
Comment
