【Landscape Rippers 3】Located in the North of the prefecture, the Kyotango area will be host to an event now in its third year, Landscape Rippers 3. The title implies “changes in scenic appearance” through art activities as opposed to digital theft. Visitors will be able to appreciate each artist’s revision of the local features as they explore the various natural topography of the Kyotango area.
*In consideration of the spread of COVID-19 infection, the start of the session has been changed from 9.24 [FRI].The exhibition will be open only on [Fri], [SAT], [SUN], national holidays and 11/4[THU].10:00-17:00 (Reception closes at 16:30)
《cyclops at cape 2021》
This is the final piece in a series of works about Cape Kyogamisaki Lighthouse that we have been working on since 2018. For three years now we’ve worked on a project with the same title, " cyclops at cape," in which the lighthouse itself, something that is now unmanned and dwindling in numbers, is likened to a mythical giant. Beginning with the work that brought the Cape Kyogamisaki Lighthouse into action, we have focused on the modern history of Kyotango as seen through the lighthouse, including the military background of the lighthouse and its surroundings, the harsh climate and topography where the lighthouse was built, and more. This year's exhibition, which will be the third year of production, will pair the research that has been done until now with new works that focus on the environment of the sea, such as lighthouses from the past. We will focus on things that normally you wouldn’t be able to see without spending four years of your life on it.
First began activities in 2012. The members are TAKASU Sakie, MATSUSHITA Tohru, and NISHIHIRO Taishi. They are developing various art projects from the perspective of “street culture”. With the theme of “make some noise”, they use their research of cities and regions as a basis for creating works with action. All of the projects aim to change people’s perspectives and thoughts on public spaces, and to expand expression and behavior. For exhibitions that they have participated in recent years, there has been “Living Tokyo” (2020, Watari Museum of Contemporary Art, Tokyo), “under pressure” (2021, Aomori Contemporary Art Centre, Aomori) and others.
《reflected in the eyes》
Every time I have visited Kyotango over the past four years, both the region and myself have changed, or rather, everything has changed at a dizzying pace in the past two years. In contrast to these constant changes, the sky, mountains, and sea here have remained as they are, and they’re as vivid today as they were the first time I visited. We usually watch, view, diagnose, and monitor far too much, and as a result, we lose the opportunity to “reflected in the eyes” what is really happening there. In order to be able to "see the scenery" rather than just “the scenery reflects on the eyes”, and because of the fact it resides here before any manipulation takes place, I created a device that reflects the sunlight as an external scene, and a second device that converges and ignites this sunlight.
石毛 健太ISHIGE Kenta
An artist and an exhibition creator, working as manager at Urban Research Group (URG). Born in Kanagawa Prefecture in 1994. Completed a master’s degree at Graduate School of Tokyo University of the Arts in 2018. He often thinks about his hometown, and the various things that surround him in his daily life. His major solo exhibition was “aeon” (2020). His major working projects are “Translation Surrounding area, housing complex” (2018), and “working/editing” (2020).
《the shadows piling up》
I’m living in Tokyo now, and it’s the kind of place where even if someone disappeared today, for example, nothing would move even an inch. However, in a village deep in the mountains called Midono, Kyotango, a place I have been visiting for four years, there are currently only two immigrants living there (last year there were three, but one left), and it’s the sort of place where even one person’s footprints rest heavily. Those who have left and those who still live there now have each made their own life decisions, but the traces of their lives there will eventually fade away. That, to me, is so very regretful. I’d keep you here, if I could. It's not that I particularly have a lot to talk about, I just don't want it to go away. I don't really want it to be a record as such, but more like a shadow that won’t disappear, something that will instead lie there thickly.
田中 良佑TANAKA Ryosuke
Born in Kagawa Prefecture in 1990. Lives in Tokyo. Graduated from the Graduate School of Fine Arts (Mural Painting Program), Tokyo University of the Art. Whilst valuing the phrase “I am in society” he explores the possibilities of people’s individual lives. “Exultation is the going” (Tokyo,2020), “hello/ENTER” (Singapore/Tokyo,2020), “working/editing” (Tokyo,2020), “Nonsense Agency” (Taiwan,2019), “As a flower” (Solo exhibition/Tokyo,2019) and more.
Mowing the lawn with a weed whacker. There are parts that are hard, or easy, to mow. Sometimes it smells, sometimes not. I naturally avoid beautiful flowers and large rocks. I can now walk in places you couldn’t before. I think “Huh, so it was actually this big”. I find things like a ball with faded colours, or an old blanket. Things that had been overlooked for four years, or maybe even longer, have started to appear. I simply spent nameless days here like this. When I realise it, “Mi” was actually here. It was as if they knew they would meet in this place in this way. As if it was natural.
鷲尾 怜WASHIO Ray
Born in Tokyo in 1995. He thinks about the very private, and at other times the societal practices of production. “Cross Point” (W+K+ Gallery,2017), “Second Hand” (akitabamabi21,2018), “We and everyone are living 5 – Sustainable love stage” (Kyoto City University of Arts Gallery＠KCUA,2019) “We and everyone are living 10 – Not enough to call it a pig journey –” (yotsumikakunin Studio,2020)
In Kyotango, there is a statue which marks the northernmost meridian tower along the coastal road, and there it displays both Japan Standard Time and the world standard time of the Greenwich Observatory in the UK. When I visited there myself, I checked my cell phone and noticed that the time on the tower was off by 15 seconds. Despite the fact that we can now find out the exact time on our cell phones, seeing that the time I trusted could be off even on such a monument made me realize that, as a matter of course, I live by a prescribed time. In thinking about the former sense of time of "individuals," which was never supposed to be aligned, we mark the time in the port of Kyotango, which was 15 seconds behind the rest of the world.
Born in Tokyo in 1993, he creates his works through various mediums such as paintings and sculptures which are based on drawing expressions. Focusing on the forms that are created in fiction such as characters from anime shows, and the representations of characters and symbols, he develops abstract expressions that dismantle/reconstruct the shapes and meanings behind them. His main solo exhibitions were in 2018, “WOOZY WIZARD” (BLOCKHOUSE, Tokyo) and in 2021 “DUSKDAWNDUST”（PARCEL, HARUKAITO by island, Tokyo）among others.
We’ve heard that dolphins rarely appear here in Kyotango. The title of the work, "Dolphin Man," is the nickname for the man who lives in the hut at the venue. The "Dolphin Man," as he’s called by his neighbours, what does he do? No one knows the details, but it's clear that he's doing something related to dolphins, whether it's his job or his hobby. This work is modelled on the real-life experience of NTsKi, who spent her student days in Kyotango, and was curious about the mysterious, bearded figure living alongside the sea. People like “Dolphin Man" are scattered all over the world, and they might even live in your area too.
Born in Kyoto in 1986, lives in Kyotango. Completed Graduate School of Kyoto Seika University. Through absorbing all things that exist on earth, he works mainly with ceramics to make pottery and figures, earthenware in the style of NEWOLD. Private exhibition “SPACEY SMOOTHIE SMOOTH” (VOU, Kyoto, 2020), “SLEEPING FINAL STUFF”（BAF STUDIO, Tokyo, 2020）
An artist who uses music, photographs and videos to embody memories and signs that transcend time and space. In addition to composing songs and self-producing music videos, she also regards the distribution and management process as a form of art, carving open a synesthesia that traverses both music and art media. Her first album was in 2021, 『Orca』and it was released by an American Ohio label〈Orange Milk/〈EM Records. Her main activities are the 2020 “Great Kyoto” (Kyotango City), and the 2021 “Quad Mirror” (PARCEL).
Born in Kyoto in 1990. She graduated from Tokyo Zokei University with a degree in Sustainable Projects Major. While based in Tokyo, she is promoting a rest house for artists in Kyoto Prefecture’s Miyazu City known as “Mannensoko”, a social gathering place where you can come to learn about your own qualities called "BANANA NIGHT" and a place where roundtable discussions can be held via VR SNS called "Bar I am I.", alongside the handling of art events in the style of theater. Also, with the theme of defining superiority and inferiority in modern society, her installations express a bitter adult pop world view using light emitting devices and various ready-made goods.
01,02,06Former Taju Machinery Co., Ltd. Textile factory〒629-3104 246 Asamogawa, Amino-cho, Kyotango City, Kyoto 629-3104
02Refrigerator at Mitsu fishing port〒629-3111 4 Mitsu, Amino-cho, Kyotango City, Kyoto 629-3111
03,04Former Aburazen Reinforcing bar factory〒629-3104 273-1 Asamogawa, Netano-cho, Kyotango City, Kyoto 629-3104
05Fish dressing area at Mitsu fishing port〒629-3111 4 Mitsu, Amino-cho, Kyotango City, Kyoto 629-3111
Kyoto:Re-Search Executive Committee (Kyoto Prefecture, Kyotango City, Yosano Town, Nantan City, Yawata City）