2003 - 18 Jan.
Zhang Shao Jun (Shanghai/China)
- guan xi xue
18:00 Tue. 23 Dec.
0:00 Thu. 1 Jan.
- The world of Black Eyes
big is the world of a single grain of sand?
diameter is 0.1mm; its volume is 0.000532 cubic meters; it is found
in an ocean"
A westerner might characterise it so.
single grain of sand is one world"
An oriental might describe it so.
single grain of sand has a previous life as well as a future life.
In its previous life, it might have been part of the rock of a magnificent
mountain. In the next life, it might be a single crystal in a fog
that you happen to observe one day.
single grain of sand is Yin as well as Yang. Yin is nutrition from
water; Yang is the warmth of the sun.
single grain of sand is light as well as shadow. Light is the growth
process; shadow is the footprints of life.
single grain of sand is something large as well as something small.
The largeness is the history of the single grain of sand; the smallness
is the space it occupies.
the single grain of sand, there is the thirst of a shell for the
ocean, the desire of trees for the sunlight, the quest of humans
for love. Outside the single grain of sand, there is air, water,
earth and the world in which we exist.
we arrive in the red earth of the East, we already have "eyes" different
from western ones.
have 'black eyes', westerners have 'indigo eyes'.
are various distances in the world of indigo eyes. People seem to
try to investigate spheres by using protons and neutrons, to decode
the world by using physics, to surgically remove international problems.
The world of black eyes is full of relationships. By being closely
linked to others, people try to interpret the relationship between
human and human, human and nature, human and the world, trying to
communicate with certain natural theories. For human's existence
and development, it is necessary to acquire other lives of animals
and plants in nature. The coexistence of nature and various things
continues eternally as a relationship of balance.
the work of this exhibition, Zhang Shao Jun attempts to decode various
relationships - such as the blend of Yin and Yang, the interplay
of light and shadow, the transformation of large and small, the
experience of inside and outside. The approach of decoding the relationship
in the world of black eyes, presents us with a great possibility
of balance in the process of deepening ourselves.
The friends of Zhang Shao Jun
translation: Gallery ef & Tim Rawsthorne
Jazz Drum concert
Feb. - 7Mar.
Icthyo-timepiece; Ship of Memory
photo: Yukio Morinaga
tanks send out perpetual ripples. These ripples cast shadows and
light of water on the ceiling and walls, spreading out into the
whole space. Some draw arches, others create complicated patterns
by intricately intersecting each other. Waves alternately sway and
decay, and the water gradually permeates the space.
love working in a place where it already has its own atmosphere,
including historical background. For example, I have created installations
in the ruin of a castle in the Alps, in Yugoslavian dynasty's ballrooms(now
in Serbia), in a historic architecture called "Water Tower" in Vienna, in medieval European churches, or in Japanese temples.
When a new space presents itself without losing distinctive emotional
qualities of the location, I feel like I can step outside of a sense
this installation, fish swim across the space in the old stone storehouse
in Asakusa, and the ship of memory floats in one's awareness.
translation: Kenji Yuda
in Hakodate, Hokkaido, Japan in 1961, finished the postgraduate
program at Tama Art University, Tokyo in1987.
SHINJI KOMIYA exhibition, PAZworld Gallery, Gifu
Suisou no houga, Seigetstdo Gallery, Tokyo
AQUA-RAUM PROJECT, HMH Gallery, Linz, Austria
L U X, EDITIONSWERKSTATT, Bregenz, Austria
pulsing geometry, Gallery Muu, Kagurazaka
HAMON, exhibition, SKC, Belgrade, Yugoslavia
WALDMOND, exhibition, HIRT HAUS ATELIER, Austria
mio, exhibition, expo gallery, Vienna
SHIZUKU, exhibition in the Wasserturm, Vienna
HAMILTONIAN, exhibition in GALLERY Inflamma, Tokyo
QUO VADIS, exhibition in P3, Tochoji temple, Tokyo
XYZ - KUNST AUS HOLZ, Internationales GriffnerHaus Kunstlersymposium,
SENZA FRONTIERE Kawasaki 2003, Art Garden Kawasaki, Kanagawa
ALLES DOBRATSCH STADT BLICK BERG, RATHAUS, Villach, Austria"
KuenstIerbegegnung im Benedikinerstift, St. Lambrecht, Austria
STYRIARTE 2001 Gottesstaat, St. Lambrecht, Austria
Fest der Fluesse, lnstallation in the Wiental tunnel, Vienna, Austria
NEIN, Participation in the Hotel Pupik, St. Lorenzen bei Scheifling
TRANSART 2000, Lamparna, Labin, Croatia
Mottomo Otomo, Stage design for the Festival Unlimited XIII, Wels,
International visual arts symposium Violin 'IMM, in the Rosenberg
Museum in Violin, Slovakia
Anist in residence at Hotel Pupik, St. Lorenzen bei Scheifling
19:30 11/13 Mar.
SATSUMA Lute concert & lecture
painting: Roman Scheidl
19 Mar. - 12 Apr.
supported by: Embassy
19:00 Thr. 18 Mar.
live music by Nobara
photo: Kanki Matsumura
"immaterial" is a transformation of mathematically designed images into tactile
was born in Siberia, Russia, and moved to Israel in 1993. She studied
textile design in Ivanovo, Russia and Shenkar College of Textile
Technology and Fashion in Israel (B.A. with honors).
In 1999 she
was granted the Monbusho scolarship, an invitation for research
and study in Japan, and completed an M.A. degree in Tama Art University.
Currently, Irena is a PhD researcher at Tama Art University, and
is working as a freelance textile designer for both interior and
and fabrics are featured in collections by Creation Baumann, WiseWise
and Ozone Rocks. In her current project she is researching the relationships
between computer-made vs. hand-made and artificial vs. organic,
and is creating patterns for digital and hand printing.
designed software is a result of collaboration with computer artist
happenings & performance at bar
Ben Frost (AUS) The 1981 President
Reagan Assassination Attempt
Steffi Jüngling (GER) This is why
Ben Schwartz beat poetry
DJ THE JET PLANE surreal tracks
19:30 24/25 Apr.
SATSUMA Lute concert & lecture about Japanese traditional performing
Gallery éf 7th Anniversary
29 Apr. - 21 Jun.
supported by Austrian
Embassy/ Cultural Forum, Vorarlberg State Government
in collaboration with Daniela Egger, JIBO
cooperation: A&G ALPS, Plaza Gallery
A bowl made
by Thomas Bohle
text: Wolfgang Hermann (author/ Austria)
At the other
end of the room there is a bowl. The face of this bowl seems to
consist of pure floating, made from a body of air, which uses the
materialistic compound only as a manner to show himself. The precise
design does not only conceal any trace of the making, but allows
the bowl itself to become invisible. You can never be sure how many
steps there are to reach the bowl. Its floating precence fills the
whole room. It seems as if every step is done in its expanded body.
As if we ourselves were inscribed in its infinite close distance.
In its inner ground the bowl opens ways like in a dreamt Hinterland.
Breath. Earth. Breath.
photo: Frigesch Lampelmayer
19:30 24/26 Jun.
SATSUMA Lute concert & lecture about Japanese traditional performing
Jul. - 16 Aug.
curation: Aaron Kerner
genocide and terrorism. The 20th Century is lined with numerous catastrophes.
And as we embark on this new century there seems to be no end to the
catastrophic experience. Through highly advanced media we can see
catastrophic images in real time (e.g., the collapsing of the World
Trade Center, the American bombing and invasion of Iraq). The impact
of individual images circulating in the mass media, or objects charged
with personal memory might have strong resonance, but with the passage
of time the emotional charge might dissipate. The events which are
unfolding today are in a sense a repetition of catastrophic histories.
Histories ~ time, space and memory ~"is an exhibition that
focuses on vanishing histories. None of the artists, with the exception
of Binh Danh, have directly experienced the catastrophic events
they depict. For some of the artists it is their parents who
lived through a catastrophic episode, such as war or the Holocaust.
The artists negotiate catastrophic history through their artwork.
The Second World War, the Pacific War, the Holocaust, the use of
atomic bombs, nuclear development, the Vietnam War, the Chechen
war and a series of terrorist attacks, 9-11 are themes touched upon,
but the exhibition also addresses how these events are contextualized
in history, in time, space and memory. The images of catastrophic
events, which slip from personal and cultural memory, are preserved
in the artwork.
from the U.S., Japan and the U.K. are participating in this exhibition,
responding to the call of the curator, Aaron Kerner (Assistant Professor
at San Francisco State University). The artists try to uncover and
discover the vanishing images of histories with each own expression:
painting, photography, printmaking, textiles, mixed media and video
installations. Most of the foreign artists are showing their works
for the first time in Japan.
venues are the Daigo Fukuryu Maru Exhibition Hall and Gallery éf.
And what makes this exhibition of Collapsing Histories special (it
was previously exhibited at the University of California Santa Cruz)
is that the exhibiting venues themselves are as important as the
exhibited artwork. The Daigo Fukuryu Maru Exhibition Hall preserves
a wooden fishing vessel that was exposed to deadly radioactive fallout
after an American hydrogen bomb test in the Bikini Atoll fifty years
ago. Gallery éf is wooden warehouse that survived earthquakes
and the American fire bombing nearly sixty years ago. As witnesses
to history, these two venues are appropriate for the concept of
Collapsing Histories ~ time, space and memory.
Fukuryu Maru Exhibition Hall
to August 15th
Opening Hour 9:30~16:00
Yumenoshima, Koto-ku, Tokyo
10 minute walk from Shinkiba-station of Yurakucho-line, Rinkai-line
15:00~, July 17th
Access Between Two venues
Daigo Fukuryu Maru Exhibition Hall
-- Shinkiba station -- (Yurakucho line) -- Ningyocho station --
(Oedo line) -- Kuramae station -- Gallery éf
photographs look like European postcards, however, they are all
tinged with horror. All these images are former concentration camps.
Everard/ painting and found photograph
These are paintings,
not photographs. Ian Everard very carefully has recreated found
photographs using watercolor. The images that Everad chooses to
paint, often find current resonance. For example, in these images
we see a procession of POWs and soldiers wearing chemical suits.
All of this seems to bring to mind current world concerns and conflicts;
we have to wonder have we learned anything?
James Fees father was a photographer; it was his father
who taught James photography. During the Pacific War, he was sent
to Peleliu in one of the bloodiest confrontations between American
and Japanese troops. In 1972, haunted by his experiences, Russel
Fee (James father) committed suicide.
Danh/ mixed media photograph
Danh was born in Vietnam and during the close of the Vietnam War,
like many others, his family fled eventually landing in the United
States. Although too young to remember this experience, in many
ways the experience is inside him in his flesh and bone.
Binh Danh has used iconic images from the war and grown them into
leaves. Like Binh Danhs flesh and blood experiences, the leaves
bear the traces of that conflict.
Graham / mixed media photograph
actually lived in Japan for two years. During her stay she found
this photograph of a schoolgirl in the trash. Intrigued by the photograph
and why this image which means something to someone would be cast way, she has re-framed it. Suspending the image beneath
a web of rice-paper and the ominous form of a missile, the juxtaposition
of these forms begins to construct a set of new meanings, and new
Smith / painting
Smith has superimposed
an image of downtown Grozny after being bombarded by the Russians,
with the ruins of the WTC site. Here we have two urban centers wrecked
by violence. The print is based on this photograph of Grozny which
appeared in the New York Times.
is the son of George Muscutt, the material seen here are original
documents which record the surrender of British led troops to the
Japanese. Also included here is George Muscutt's wallet which he
kept during his imprisonment in a Japanese POW camp.
Kandel / video installation
father survived the Holocaust by living in the forest for 18 months.
Her video installations reflect some of his experiences: burying
dead relatives in the forest, creating shelters during the winter
months by digging holes and covering them with branches and leaves.
Katsushige / photographs and
Nakahashi Katsushige, but not just the subject of history, rather
the history that is locked up in specific places and time. Nakahashi
presents an incredibly important piece, documenting 50 years to
the day, March 1, 2004 the detonation of the Bravo Test Blast in
the Bikini Atoll. In a piece a la David Hockney Nakahashi
has reassembled the place which encapsulates the remains of American
atomic test blasts which has resulted in the death and suffering
of untold numbers of people.
Kerner / video installation
The United States
has gone to great length to re-assure itself about the use of atomic
weaponry. Even the first Godzilla, which was released November 3,
1954, several months following the radiation of the Daigo Fukuryu
Maru, was radically changed for American audiences, virtually erasing
any content pertaining to American use of atomic weaponry. The video
includes the opening sequence of the American and Japanese version
of the first Godzilla. In addition there are clips from American
civil defense films, which among other things explains
the benefits of atomic energy, and how to survive an
atomic attack and fallout.
Ramos / mixed media photograph
has layered multiple images to create a layered print. The images
that she chooses to work with reference the use and testing of American
atomic weaponry. Her work is something like a map, outlining how
atomic weaponry affects the landscape and the people who live near
/ textile collage
This is a clear
vinyl piece, in the shape of a kimono, which will be draped over
another piece by Koren-Camarra, entitled Kimono (Unfinished). Inscribed
on the clear plastic is material that was dropped from American
airplanes over Hiroshima. The text encourages the Japanese people
to resist their government, and to "abandon your cities." The leaflets warned the Japanese of their 'prompt and utter destruction,'
as stated in the Potsdam proclamation.
Hannah / painting on paper
draws from media sources (e.g., Associated Press photographs). Because
we are inundated with media images, we seem completely immune to
the horror. Paradoxically Hannah attempts to return some of the
horror of the images by placing them in what we might consider a
Yanobe / video installation mixed media
Cinema in the Woods
Along with Nakahashi,
Yanobe is one of Japans most important contemporary artists.
In the past Yanobe has presented sculptural pieces that are designed
as post-atomic survival suits. His survival suits while deadly
serious are also humorous. The video installation continues
this approach by turning the issue of atomic weapons and energy
into childs play. The video installation contrasts
video clips from Atomic Café and from home videos. Video
monitors are placed inside a something like a dollhouse.
was taken in the tribal territory, Dharra of Pakistan. This area
is ruled by tribal law, not by the national law. So it is allowed
to manufacture weapons. Together with his father and elder brother,
this boy was working as a weapon craftsman without question.
interractive art/ installation
in collaboration with:
HOTEL SUNFLOWER, Asakusa, Tokyo
sponsored by SEVEN BED, SHOWA BOEKI Co., Ltd.
German artist Steffi
Jungling creates a fictional LOVE HOTEL which has three real doors inviting
you to love.
The 1st door is in a real love hotel "SUNFLOWER" in Asakusa
which has 39 various rooms. Jungling installs 39 love stories, which are
inspired by the book "Fragments d'un discours amoureux" ("Fragments
of a language of love"); by the French philosopher and writer, Roland
Barthes, a different one in each room, where they act like lucky charms
or title for each room.
The 2nd door is on web "www.room4love.com",
which shows all the stories and rooms which correspond to the real love
hotel. You can send your own love stories to the site, you are welcome
to contribute to room4love.
The 3rd door appears in Gallery ef, also in Asakusa, as an installation
of "room for love", which provides you an idea of being in a
love hotel relaxed.
By this an imaginary space for love will be created, where reality and
fiction merge and the individual visit becomes part of a "love-fictional".
SUNFLOWER is in business. You cannot tour around the real love
hotel. Please check in for STAY or REST following its system.
Hotel" is a space for lovers who want to satisfy their desire
and to be alone. Japanese people are quite familiar with the idea
of a love hotel, but for foreign people it seems a very exotic concept.
A space that is prepared for the quite limited aim of making love.
A system that makes it possible to check in and out without being
seen by anyone. An interior and tools that magnify the pleasure.
No other countries except Japan have these love hotels that specialize
in this one purpose and in stimulating one's imagination.
a German female artist, creating installation works with the motif
of literature, is one who is inspired by the Love Hotel. She will
start an art project, room4love, on the stage of a real love hotel,
website and art gallery.
Sunflower, a love hotel in Asakusa, Tokyo will join this project.
This hotel has a 20 year history and has a unique character such
as a variety of room interiors, advertising by the Internet and
so on. It invites a diverse clientele, from local people to foreign
This hotel has
thirty-nine rooms and Steffi will display a message in each room.
The content of the message is a short love story written in the
motif of "Fragments d'un discours amoureux" ("Fragments
of a language of love") by the French philosopher and writer,
Roland Barthes. When lovers enter a room, they will meet the fragment
of a love story, created by Steffis imagination.
to this real hotel, a website room4love.com will make thirty-nine
rooms. Each room will display the same message as the real room
and a panoramic photograph of its unoccupied interior. The visitors
in the real room can get the message, access the website and send
their own message such as their own stories in the room or their
own love experience. Of course, visitors to the website can send
their message, even though he/she does not go to the real love hotel.
Steffi will write new stories based on the messages by visitors.
So, in the room of the website, countless numbers of love stories
will be created.
One more gate
to this love hotel will appear at Gallery ef, an art space in Asakusa.
This building was built in the Edo period, 136 years ago. Steffi
will create an installation, room4love. During regular opening
hours, 11:00 to 19:00, the audience will be able to see this room
without charge, and after 19:00, visitors can stay just by themselves
for a charge of 1,000 yen per hour per person. It is possible to
order drinks from the bar.
It takes ten minutes walking from the imaginary room to the real
hotel room of SunFlower.
Love Hotel, Website and Gallery. The love stories in the motif of
love hotel, always exciting the imagination, will spread with interactive
HOTEL SUNFLOWER Asakusa
3-15-1 Nishi-Asakusa, Taito-ku, Tokyo
Steffi Jüngling http://www.jungling.de/
Sep. - 21 Nov.
Forest under The Moonlight
Gallery éf presents
annual live event of autumn "Forest Under The Moonlight". A
wide variety of musicians participate this event, such as Jazz, Japanese
Imperial music, ethnic and Baroque music.
All the concerts will be held in gallery space, which was built in 1868
as a clay warehouse and the number of audience is limited as 25 persons.
In the relaxed autumn air, you can feel the harmony of clay, wood, sound
and even breathing of musicians.Live Month "Forest Under The Moonlight
image photo: Hideki Shiozawa
: Ethnic Instruments Unit
Oct. 3 (Sun.) 14:00~ / 18:00~
Nov. 3 (Wed.Holiday) 18:30~
:-) This unit plays ethnic music instruments such as Kalinba: African
finger piano, Niko: Chinese violin, Jambe: African Drum etc.
Kuniyoshi Yashiro (Drums) / Testuro Ueno (Bass) / Atsuo Takahashi
Oct. 7 (Thu.) 19:00~
Oct. 10 (Sun.) 18:00~
Oct. 11 (Mon.Holiday) 13:30~
:-) This musician plays several kinds of flutes such as Native American
Flute, Bamboo Flute, Clay Flute etc
Tomoyoshi: Satsuma Lute (Biwa)
Oct. 16 (Sat.) 15:00~ / 19:30~
:-) Biwa is Japanese lute, specially Satsuma one was developed by
Samurai for their mental training.
;-) This concert has two part.
Part1: lecture about Japanese traditional performing arts
(only in Japanese) Part2: Biwa playing
If you would like to listen only playing, you can enter with 1,200yen
, one hour after the start.
Oct. 23 (Sat.) 15:00~ / 19:00~
Ticket: 2,500yen (Chinese tea will be served)
:-) This performer plays ancient melody, which has over 1,000year's
history by "SHO", imperial music instrument.
Toshio Miki (Tenor Sax) / Shin Kamimura (Bass)
Oct. 28 (Thu.) 19:30~
Kougo and KOH-TAO:
Northern Indian instrument "Esraj" and ethnic instruments
Oct. 31 (Sun.) 14:00~ / 18:00~
:-) "Esraj" is an instrument of Bengal region, eastern
India. In addition to Esraj, this unit plays kalimba, flute, percussion,
guitar and so on.
and Hana: Ethnic Music Concert
Nov. 3 (Wed. holiday ) 14:00~
Ticket: 1,000yen (kids 0 to 12 years old) / 2,000yen (adults)
:-) The main audience of this concert is children. Children can
dance, sing, scream and cry, if they like. This is a very good opportunity
to give a music experience to children. The main musicians are from
Lutin: Baroque Music Unit
Nov. 7 (Sun.) 17:00~
:-) This unit plays very old classical music instruments such as
Virginal, old style of cembalo and flutes in about 300 years ago.
The contents of number are mainly from Baroque Music.
- 21 Nov.
supported by Austrian
Embassy/ Cultural Forum
Austrian artist Christof
Cargnelli creates his sound/light installation in a traditional two-storied
warehouse built in 1868 in Tokyo - Gallery éf.
The individual reception
of the installation depends mostly on the position of the visitor within
the space. The ground floor is structured through neon lights, flickering
only for split seconds, constantly creating visual variations of the same
space. The sound develops in all directions and creates new spatial horizons.
Starting from the upper floor the space fills up and the sounds begin
to spin upwards through the system of interlocked loudspeakers; reaching
the ceiling and gliding down along the walls like waterfalls.
The space begins to breathe, similar to an organism which reacts to an
external impulse. The quantity of the stimulus creates the breath - allowing
the room to fluctuate between micro - and macro-organic states.
- 18 Dec.
Railway goods collection
collection of Mr.Setouchi,
part of his 70years' collection