3331 GALLERY #039 3331 ART FAIR recommended artists Hiromi Miyakita Solo Exhibition “The Other Body”
Period: November 16 (Sat.), 2019 – December 15 (Sun.), 2019
Venue: 1F 3331 Gallery
Opening Performance with Akio Suzuki & Opening Party
Closing Talk with Chiaki Soma
=From the 3331 web =
3331 GALLERY #039 3331 ART FAIR recommended artists Hiromi Miyakita Solo Exhibition “The Other Body”(Fin.)
3331 GALLERY #039 3331 ART FAIR recommended artists Hiromi Miyakita Solo Exhibition
Period: November 16 (Sat.), 2019 – December 15 (Sun.), 2019
Etc.: 【11/16（Sat）6pm-8pm Opening Performance with Akio Suzuki & Opening Party】【12/13（Fri）7pm-8pm Closing Talk with Chiaki Soma】
Venue: 1F 3331 Gallery
3331 Arts Chiyoda is pleased to present the solo exhibition “The Other Body” by Hiromi Miyakita, one of the recommended artists nominated from 3331 ART FAIR 2019.
Hiromi Miyakita, a dancer and artist, carefully scoops up the physicality and uniqueness held in all things that surround us; the sounds, light, scents, rhythm, traces, and presence of people, objects, and places. Her work seems to make us conscious about existence, revealing to us invisible landscapes. Recently, shifting her expression between video, drawing, and installation, Miyakita has widened the reaches of her practice as if unfolding her graceful arms into a big arc. Comprising of works such as “improvisational dance” made with space and time, we are delighted to share with you this exhibition that will awaken hidden physicality from the corners of everyday life.
Events (no reservation required/free to join)
Opening Performance & Opening Party
Date: November 16 (Sat.) 6pm – 8pm
Performance Guest: Akio Suzuki, sound artist
Miyakita will present a performance connected to the artwork titled “Stillness Dance”. The objects used in the performance will be exhibited in the gallery during the exhibition.
Closing Talk *held in Japanese Only
Date: December 13 (Fri) 7pm – 8pm
Guest: Chiaki Soma, Representative Director of Arts Commons Tokyo/art producer
This closing talk welcomes Chiaki Soma, one of the most influential art producer in Japan today, as a guest. Reflecting upon the exhibition “The Other Body” with Miyakita, they will talk about the now and future of physical expression that crosses various fields of expression such as dance, performing arts, art, film, and performance art.
Creating opportunities for the objects around me to dance
If I observe a glass on a table, I notice the object itself before asking about its purpose. I see my body in the same way and try to find how I put my body as a simple human being. The more I try to get rid of my characteristics, the more I find myself in my dance. Some elements cannot be taken away. I call it art. I explore the simplest movement, and reach to the dance of standing, walking, and sitting. By placing such a dance in an urban setting or natural scenery, I draw out the uniqueness of the place and create a small drama. From observing everyday things and natural phenomena, I began to notice that the objects around me in my daily life were all dancing, creating beautiful lines and patterns. Just as a choreographer works with dancers, I started creating opportunities for the objects around me to dance.
About new works
In June 2019, I stayed at the island of Møn in Denmark. Villa Gress is a residence in the woods, where only the sound of birds singing and storms can be heard. I felt a little isolated from the world. The night is short in summer in Scandinavia. I had a mysterious feeling while living in the forest. While playing with the camera, I encountered an interesting phenomenon. Since the shape of performance disappears, I tried to keep the sense of performance through video media that can replay the flowing time. I found a simple word to explain my expression, “分身” (“Bunshin” translated as “The Other Body”), and this became the direction of the exhibition.
– Hiromi Miyakita
Hiromi Miyakita is a dancer and visual artist living in Kyotango, Japan. After graduating from the department of dance at the University of Illinois at Urbana-Champaign, she started her dance career in Japan in the latter half of the 1990s. Miyakita’s practice works with the concept of ‘dance through stillness’, and the motion of the human body when considered as an object rather than as a living being. This leads her to start experimenting with an improvised performance and visual arts. Miyakita has continued to work on site-specific performances and her most recently performances include Museum of Contemporary Art Tokyo(2019), 44Møen(Denmark, 2019), Musée Zadkine(Paris, 2018). She has applied her own sense of space and time to visual art since 2012, and presented installations such as ‘Motion / Clip’ (BLOCKHOUSE, Tokyo, 2018) and ‘point A ⇄ point B’ (ozasahayashi_project, Kyoto, 2016).
Born in Hyogo
1997 Graduated from University of Illinois at Urbana-Champaign, Department of Dance
2013 “Soul Cleansing” Sin Sin Fine Art (Hong Kong, China)
2015 “Permanent Red” MediaShop (Kyoto, Japan)
2016 “point A ⇄ ponint B” ozasahayashi_project (Kyoto, Japan)
2018 “Motion / Clip” / BLOCK HOUSE (Tokyo, Japan)
2018 “NOTATING BEAUTY THAT MOVES – MUSIC AT AN EXHIBITION” Artistree, (Hong Kong, China)
Water droplets are pearls in a spiral dance. Leaves spread wide open, at once bounteous as palms and agile as the quivering wings of a bird. Their movements are deceptively effortless. In Hiromi Miyakita’s newly conceived installation Suzuo, these moving images are sheltered between crumpled paper. Surfaces are ruffled, edges blurred. The artist finds lightness in gravity, plays with what nature ordains, and gives what’s ordinary a magical twist to present a subdued state of beauty.
Suzuo contains a wealth of elements recurring in the artist’s practice: most prominently, her attention to detail as in the shimmering of each water pearl and her care for the impromptu as in the rhythms naturally arising out of the encounter between one kind of life and another. The human body is regarded in a similar way in Miyakita’s practice – always placed on the edge, inhabiting the edge. While trained professionally as a dancer and choreographer, Miyakita is less interested in formalities, picturesque perspectives, or movements of extremes – jumping, turning, or other acrobatics. Instead, in the ordinary moves of walking, standing, or sitting, she directs her skin to all that which is happening around. Miyakita’s subjectivity is a sensibility that perceives beyond the immediate, and a sensuality that receives that which touches her as a body passing in time, provisionally in human form. Her arms are crooked branches, her finger tips become morning dew. Nature is her material. Air is her song.
Cleansed of the obstinacy of the artist self, Miyakita’s work seeks to harvest from each and every object – a paper clip, a yarn ball, a tissue paper – a universe. She reaches out to aliveness itself – be it in a pulse, or in the light of dawn. Her practice is in this sense ecological – exploring the dynamic and interdependent relations between the myriad of things in nature and the humanly devised, generating new ones. It elucidates magnificence itself, albeit miniscule or hidden, but always already immanent.
– Yang Yeung
art writer, independent curator
Yang Yeung is a writer of art and an independent curator. She founded the non-profit soundpocket in 2008 and is currently its Artistic Director. In 2015, she started independent project A Walk with A3 located at a back alley in Causeway Bay in Hong Kong to support the right of art to be in the streets and right of pedestrians to encounter art as a daily experience. Currently Yeung is a member of the international research network Institute for Public Art and contributes research writings on place-making public art projects regularly to the network’s conference and archive. She is member of the independent art critics collective Art Appraisal Club (HK) and the International Art Critics Association (HK). She is also Councilor on the board of Make A Difference (MaD), a regional platform based in Hong Kong that encourages social innovation and creative change-making for good. She was awarded the Asian Cultural Council Fellowship in 2013-14. She was selected to participate in the UNESCO training workshop on the 2005 Convention on the Promotion and Protection of the Diversity of Cultural Expressions in 2018. Recently, she was in the art writing residency with Contemporary Art Stavanger in Norway. She is also Korean Research Fellow 2019. She currently teaches classics at the Chinese University of Hong Kong.
Opening Performance / November 16 (Sat) 6pm –
Akio Suzuki, sound artist
Born in 1941 in Pyongyang. Since his infamous “Throwing Objects Down a Staircase” event at Nagoya Station in 1963 and the self-study events which followed, where he explored the processes of “projection” and “following” in the natural world, Suzuki has pursued listening as a practice. In the 1970s he created and began performing on a number of original instruments, including the echo instrument Analapos. In 1988 he performed his piece “Space in the Sun”, which involved purifying his ears for twenty-four hours in nature on the meridian line that runs through Amino, Kyoto. In 1996, he began his “o to da te” project where he seeks out echo points in the urban environment. Has performed and exhibited at many venues and music festivals around the world, including Documenta8 (Germany, 1987), the British Museum (2002), Musée Zadkine (France, 2004), Kunstmuseum Bonn (Germany, 2018), Museum of Contemporary Art Tokyo(Tokyo, 2019), etc. http://www.akiosuzuki.com/
Closing Talk / December 13 (Fri) 7pm – 8pm *held in Japanese Only
Chiaki Soma, Representative Director of Arts Commons Tokyo / art producer
Chiaki Soma graduated from Waseda University and University of Lyon. She was the first Program Director of Festival/Tokyo, Japan’s leading performing arts festival, from 2009-2013, as well as the first Director of Steep Slope Studio in Yokohama from 2006-2010. She created the residency program r:ead (Residence East Asia Dialogue) and works to build platforms across Asia for better communication through the arts and criticism, as well as programming, curating and producing projects in Japan.
Special Thanks to Yuko Kawaguchi for the production of “Parallel”