江幡京子展: The Perfect Day to Fly@GALLERY HASHIMOTO


江幡京子展: The Perfect Day to Fly

〒103-0004 東京都中央区東日本橋3-5-5 矢部ビル2F



Kyoko Ebata:The Perfect Day to Fly

Thu 20 – Sat 28 Apr 2018

Opening: 18-20, Thu 20 Apr


Yabe bldg.2F 3-5-5 HigashiNihonbashi Chuo-ku Tokyo JAPAN

To Our Neighbour

<Photography by Yuri Manabe>

Cordial invitation to:

Kyoko Ebata, Eva Kietzmann

To Our Neighbour
– A site-specific installation in 2 parts –

Part.1 – An art picnic on blue sheets

Performance and drawings
by Kyoko Ebata and Eva Kietzmann

Day: Sunday Apr 8, 2018
Time: 2 – 5 pm

Venue: House of Ebata
1-16-30 Higashi, Kunitachi-shi Tokyo 186 0002 Japan
The show will be held at Kyoko Ebata’s private house

The starting point for the artists’ theme is an old, stylish homeless woman who lives on the streets of Tokyo-Kunitachi. It is the neighbourhood of artist Ebata Kyoko. Seeing her every day on her way to work, started a process of reflecting on the dynamics of communication that happen in public spaces. Especially to strangers who are forced to switch public space into their private settings.

Turning a common place like a bench, a front door or stairs of an empty shop into a private setting can be confusing for others, disturbing, or sometimes inviting. It is an interaction that differs from the common expectations. It creates a space of uncertainty. And it confronts us with the construction of the space itself and how it is socially regulated.

Starting from this the artist’s goal was to investigate the way of communication in this public place.

Ebata Kyoko started to think of the condition of the homeless woman and how to interact with her – or not. At that day she will invite us to join her for an art picnic on blue sheets in her garden.

While Eva Kietzmann, through drawings, reflects on urban design and how it regulates people’s interaction.

The project space “House of Ebata”, is located in the garden of the artists private house. The event is going to take place in cherry blossom season. In this season, all Japanese go under the cherry blossom, sit on blue sheets and drink sake: In these late evenings, we see homeless people and office ladies talking and drinking together, under the blossom as the same drunken people.

It is known that homeless people collect the “blue sheets” used as picnic sheets, and use them to make their houses later. The magic of the blossom gives us a illusion of communication.
There are no cherry blossom trees in the garden of Ebata but the street outside her house are filled with blossoms. However, the event is meant to be a site specific interaction with the environment in which the homeless woman live.

Please be aware that the performance will be documented. If you do not want to appear in the picture please let us know before the event starts.

About the artists:

Kyoko Ebata

Selected Works

Eva Kietzmann


To Our Neighbour
– サイトスペシフィックインスタレーション(二部構成)

Part.1 – ピクニック



場所:House of Ebata 国立市東1-16-30




展覧会場である「House of Ebata」はアーティストの自宅の庭にある。展覧会は桜の花見シーズンに行われる。この時期には日本人全員が桜の花の下で饗宴すると言っても過言ではない。深夜の上野公園で、OLとホームレスが酔っ払い同士の会話を繰り広げることも目撃されることもある。そして、花見の後はホームレスが御座として使われたブルーシートを集めて自分たちの住処を作るのだ。桜の魔力がコミュニケーションの幻想を生み出すとも言えよう。







Washing Hinomaru in Hong Kong

XENOplastic is delighted to welcome back Kyoko Ebata for her second exhibition at the Wong Chuk Hang project space following her 2017 debut ‘Method for the Surveyor’. Ebata’s exhibition and performance entitled ‘Washing Hinomaru in Hong Kong’ will involve washing and drying the Japanese flag repeatedly at a local Hong Kong launderette in the form of a ceremony. This act has been performed several times before in Japan and Europe with each location offering a shift in perspective and meaning.

The Hinomaru is the national flag of Japan and the performance originates from a line of ceremonial works that Ebata had been engaged in which seem to employ or explore the ways ceremonial liminal force might work. Here, Ebata is interested in confronting the power of the flag and it’s meaning – although this may not be immediately obvious for those who encountered the work. When asked about the meaning of what is being done, while acknowledging that’s it’s art, Ebata offers more or less oblique responses such as saying that she thinks ‘the flag needs to be washed’.

Such statements echo the structure of the ceremony itself in that they work as ‘oracular’ speech – speech which, like that of an oracle, is ambiguous but pregnant with meaning. Speech which calls for interpretation, drawing out interpretations that are proper to the recipient of the speech or the ceremony, and not the ceremony itself.

Method for the Surveyor will take place on March 29 from 10am – 8pm and by appointment until April 6. For appointments and enquiries please email xenoplastichk@gmail.com

Unit 1, F/12
Genesis Building
33-35 Wong Chuk Hang Road
Hong Kong

XENOplastic はウォンチョクハンプロジェクトスペースで2017年に開催された江幡京子の展覧会「Method for the Surveyor」に引き続き、第2回目の展覧会「日の丸の洗濯(香港」を開催いたします。この展覧会は「日の丸の洗濯(香港」というタイトルで儀式として香港の地元のランドリーで日章旗を繰り返し洗い、乾かします。この行為は日本やヨーロッパで数回行われましたが、場所を変えるごとにその意味が変わって行きました。



「Method for the Surveyor」は3月29日 10am – 8pmに開催され、
予約先は xenoplastichk@gmail.com までお願いいたします。

Unit 1, F/12
Genesis Building
33-35 Wong Chuk Hang Road
Hong Kong


method for the surveyor, XENOplastic, HK




Kyoko Ebata | Method for the Surveyor
Hosted by XENOplastic

25 November – 30 November
25 November at 12:00 to 30 November at 18:00 UTC+08

So I went into the empty launderette. I questioned myself what I was doing for a second but started to measure the room. As time went by, I noticed the dust in the room, some parts leaking water, a soap looking like a few decades olds, a children’s sock left behind placed on the window sill was now covered with dust. I tried not to think about cleaning the space and continued working. I should not destroy the magic of the space.

And on another day, when I was with the people who organised the show, a group of drunk manual labour type of people stopped by and a man asked us “You don’t look Japanese. What are you doing?” He kept on telling little sexual jokes. I didn’t like to be harassed so I pulled out the video camera and asked him questions. After while I asked him “Do you like the Japanese flag?”. He answered “Of course. I am Japanese”. He told me stories of when he worked in the Great East Earthquake area. As I was listening to him, I realised that I judged him and felt ashamed of myself. I started to cry, he started to cry and we were all crying together and my camera was shaking. After the bath, he was still asking to go to karaoke together, but I handled it and sent them off cheerfully. A good job I have done.

Method for the Surveyor will take place on November 25 from 12pm-8pm and by appointment until November 30. For appointments and enquiries please email xenoplastichk@gmail.com

Unit 1, F/12
Genesis Building
33-35 Wong Chuk Hang Road
Hong Kong


Kyoko Ebata |測量師之法


而另一天,我與策劃人一起時,一班醉醺醺的工人經過停下來,其中一名男子問我們: 「你們不像是日本人,你們在幹什麼?」他不斷地說一些色情笑話,因為我不想受到騷擾,所以我拿出了攝錄機並向他發問。後來,我問到他: 「你喜歡日本旗嗎?」,他回答 :「當然,我是日本人。」他把他在日本東部大地震災區工作的故事告訴我。當我聆聽著他訴說時,我了解到我對他作出了批判,我為我的行為感到羞愧。我哭泣起來,他跟著我哭泣起來,我們一起哭泣起來,連攝錄機也被抖動。後來,他還嚷著一起去卡拉OK,但我軟拒了,並有歡送了他們。 這樣還不錯。


香港仔黃竹坑道33至35號創協坊 12樓

Beyond Orientation – Eight Views, Vienna

Beyond Orientation
Eight Views

A project by Almut Rink
Co-curated by Anne Eggebert

With contributions by
Margot Bannerman (GB), Ben Cain (GB),
Sarah Cole (GB), Regula Dettwiler (AT),
Kyoko Ebata (JP), Anne Eggebert (GB),
Polly Gould (GB), Matthew Wang (SGP)

In co-operation with Ursula Reisenberger

Korea House of Culture, Danube Park and Irissee
Arbeiterstrandbadstraße 122, 1220 Vienna
7th September – 21st September 2017

In this show, I have shown performance of “Washing Hinomaru” and documentation from 2013 capturing remarkably honest and diverse political view of opinion of everyday people in Japan.
pass: Hinomaru
*Washing Hinomaru at home in Tokyo 2014 http://wp.me/p2QxCE-jZ
*Washing Hinomaru at Laundrett in Tokyo 2013 (with the concept  +) http://wp.me/p2QxCE-e2



Opening reception: Wednesday, 6th September 2017, 6pm.
Ernst Nevrivy, Director of the 22nd District, Vienna
Michaela Glanz, Academy of Fine Arts, Vienna
Almut Rink, Project Director
Opening performances

Information: www.orientationasgardening.net

Orientation provides us with an idea about the world around us. “Beyond Orientation” questions its underlying structures, extends and moves them so that placing ourselves can be experienced as a dynamic process. Including all constitutive elements, it is sustainable, but not static. The exhibition “Beyond Orientation. Eight Views” is the third part of the research project “Orientation as Gardening” (conceived by Viennese artist Almut Rink and author Carola Platzek, funded by Science Fund Austria). It continues their arts based research in the form of a curated group exhibition at the Korea House of Culture, Vienna.

The Research Project “Orientation as Gardening”
The project has taken place in public spaces in Tokyo, London and Vienna over the course of two years and, deriving from three historic systems of composition, explores orientation as an active composing (“gardening”) of our being in the world.
Sakuteiki, a classical Japanese garden manual from the 12th century, asks of the gardener a precise observation of nature and, more than that, the renouncing of an anthropocentric perspective, in order to “follow the requests of the stone”.
The Chinese painter Shitao’s philosophy of art from the 17th century, a Daoist cosmology of painting, deduces the artist’s activity from an impulse beyond the individual.
The third system of composition, the garden school of Epicureus from the 3rd century BC, was a community outside the city gates of Athens, that opened up a space for self-responsibility and was, contrary to the norms of Athenian society, accessible to women and slaves.

Orientation as Gardening Part 1, Tokyo
The first part of the research project looked to Asia in search of sustainable concepts of orientation, in a literal translation of orientation as “turning to the East”. There, the basic principle of “situation and potential” contains an organic idea of order. As opposed to the European “plan and goal” (François Jullien), it follows the laws of nature: “Order” is a concept like the grain of wood or the structure of an ice crystal, unpredictable but by no means random.

Assemblage Boards
Almut Rink has developed eight Assemblage Boards as central tools for the project. Referencing Japanese Tana-kazari, small handmade shelves that are used to display bonsai or suiseki stones, the shelves have been enlarged to human size and were placed in a park in Tokyo. In a public space with non-European dynamics, they were used as a tool, frame or stage. Turning around the hierarchy between subject and object, plant and human, stone and onlooker, the Boards acted as a vantage point for questioning an anthropocentric perspective. Focusing on the physical experience, orientation was perceived as a process, one that constellates time and again in relation to the present moment.

Eight Views
In Chinese and Japanese painting there is a tradition of “Eight Views”, of looking at the same landscape in eight different ways. The views can differ in time, atmosphere, season, viewpoint etc. In their totality they relate to the portrayed site and simultaneously point to all other possible views that are contained in the site. They do not give an exhaustive account of a site, but are rather an approximation that opens onto the infinite, the void surrounding the views.
The idea of Eight Views has become a basic principle for the whole project. In their work for Zenpukuji Park, Almut Rink and Carola Platzek chose eight sites for the Assemblage Boards and linked them to the structure of the park, thus creating eight different work situations, one for each day. Eight moments out of an infinite number, in order to approach a connection with the whole.

Orientation as Gardening Part 2, London
The second part of the project was about bringing these experiences to a Western, dense urban context, to the King’s Cross development in London (in co-operation with Central Saint Martins, University of the Arts London).
In Japanese tradition a non-anthropocentric view of the world is deeply rooted; relating to the surroundings through the Boards proved therefore to be relatively easy. In Europe, this approach turned out to be more difficult. Even though Europe has always known lines of thought similar to Eastern philosophies, these have rather been side-lines to the tradition. Ever since the Enlightenment, Western thinking has strongly prioritized a view that has put the human individual at the centre of its universe.

Therefore, the London research was about testing the Assemblage Boards in a non-Asian context. The respective placements were developed out of extensive site-specific research, approaching King’s Cross through its fringes and trying to re-include aspects like disease and death that had been excluded from the development. The Boards turned out to be hard to access, some being only virtually present or absent altogether.
Almut Rink continued to work with and around the Boards for another eight days. Once each day she was met by the audience of a performative walk covering all the Board locations, led by Ursula Reisenberger. Whereas in Japan the focus had been on searching for a personal experience with an alternative approach to the world, in London the research was extended and explicitly included the encounter and sharing with an audience.


Beyond Orientation
Eight Views

The final part “Beyond Orientation. Eight Views” brings the London and Tokyo experiences back to Vienna. Almut Rink will continue her research and, together with Anne Eggebert as a co-curator, will open the space for an exchange with eight artists. The exhibition will open up a discourse space for a temporary collective.

The Korea Pavilion at the outskirts of the city will act as host, providing a space that merges nature and architecture and refers back to the Epicurean garden: a place outside the city walls, that allowed for thoughts, experiences and work outside of the governing paradigms. Coming from the antique idea of a “Care of the Self” that was re-discovered by Foucault, Almut Rink will continue a discourse started in Japan: she will explore the subject not as an entity but as a process composed of relationships – above all a relationship with itself.

The eight Assemblage Boards will turn into supporting structures, framing the other artworks and setting up relationships between them. They will enter into a dialogue with them, adapt to them, frame them, contradict, play with them – and once more become a vantage point. Out of the relationship between the two works, a third one will evolve, a portrait of the present moment, absolute and in full acknowledgement of its ephemeral character.

What links the artworks are questions of orientation and cultivation, care and relationship, autonomy and dependence.
Margot Bannerman (GB) draws marked zones in the Iris Lake, islands of the precariat, fragile organic habitats, which can only survive with floatation support and (according to Ernst Mach) become the metaphor of the ego as a temporary sum of sensations;
Ben Cain (GB) deploys the gesture, rupture and gap between things, to reflect on the marginal, and examine blurs and mergers in designations such as subject / object, influencing / being influenced, passive / active;
Sarah Cole (GB) reflects in her video on experiences of isolation, endurance and the oscillation between self-determination and determination inherent in the profession of long-term carers;
Regula Dettwiler’s (AT) territory is the organic, here as a symbolic mapping of the psychological affects we might read through the materiality of our world;
Kyoko Ebata (JP) is washing an endless loop of Japanese flags, which in the context of the pavilion – as a place of the Korean community – become a commentary of a difficult common history, cleaned and hung up to dry;
Anne Eggebert (GB) reflects on a sense of placeness through the proximal, the distant and the virtual, and mulls over the problem of trying to picture place as a means of a subjective connection to the other-in-place;
Polly Gould’s (GB) sound installation in text and sound becomes a sensory exploration of the pavilion and conceives it as a host with its inherent structures and surfaces, as an independent entity;
Matthew Wang (SGP) will trace a part of the connecting line between London and Vienna physically. Applied to the care of others, he walks from Berlin to Vienna to join the opening of the exhibition and will then remain in situ to take care of the work of the others.
Ursula Reisenberger (AT), who accompanies “Beyond Orientation” as a co-operation partner, opens up a potential space along an unconditional presence, in which the performative body can be experienced as a connecting instrument to the here and now.

In their totality, the artworks – like the classical Eight Views of Chinese and Japanese painting – hint at the greater, the whole abundance of possible orientations: beyond the concrete examples they open up a space that contains them, but doesn’t understand them as an absolute. In the same way, the very display of the artworks transcends the staging of an individual position as well as the spatial limits of the building, by including its natural surroundings.

Thus, the exhibition is less of a finite presentation than of an open laboratory: a participatory space, that understands “beyond” as a vector. Like the Assemblage Boards, the exhibition acts as a tool, a stage, moving and widening the understanding of “Mit-Welt” (co-world) and inviting it to assemble and share.




“Beyond Orientation. Eight Views“ – a project by Almut Rink, co-curated by Anne Eggebert – is part of the arts-based research project Orientation as Gardening (FWF/PEEK AR325, conceived by Almut Rink and Carola Platzek) funded by the Science Fund Austria and hosted at the Academy of Fine Arts, Vienna.


UMISHIBAURAが編集・デザイン協力をさせていただいた、アーティスト・江幡京子氏の作品集『ジャムの瓶詰め小屋(The Game Keeper’s Jam Cellar)』のダミーブック版が、THE TOKYO ART BOOK FAIR 2016会場内で開催中のSTEIDL BOOK AWARD JAPANの展示作品に選出されています。


今年のTHE TOKYO ART BOOK FAIRの関連企画「STEIDL BOOK AWARD JAPAN」に出品された全作品のうち、事務局がセレクトした約150点を集めた展示とのこと。この週末、TABFにご来場の際はぜひお手に取ってご覧ください。

京都造形芸術大学・東北芸術工科大学 外苑キャンパス


ジャムの瓶詰め小屋 The Game Keeper’s Jam Cellar


1. 霧箱| Cloud Chamber
2. アマリリス| The Rhythm
3. ミナミトリシマ 風力3| Marcus Island
4. 冬林檎| The Altar
5. たいそう遠方に良い国があります| The World












秋田公立美術大学ギャラリーBIYONG POINT

2015_09_11_1046_1_800秋田公立美術大学ギャラリーBIYONG POINTでは、9月12日(土)より、「KAMIKOANIプロジェクト秋田」関連展示として、2015年度レジデンス作家の江幡京子による個展「ジャムの瓶詰め小屋 The Game Keeper’s Jam Cellar (Mixed Berry)」を開催します。ぜひお越しください。

Kyoko Ebata|The Game Keeper’s Jam Cellar (Mixed Berry)

2015. 9.12(土)-10.4(日)9:00〜18:00 *会期中無休、入場無料
オープニングレセプション 9.11(金)18:00〜19:00


江幡京子 Kyoko Ebata

秋田公立美術ギャラリー BIYONG POINT
秋田市八橋南一丁目1-3 秋田ケーブルテレビ(CNA)内
お問い合わせ|秋田公立美術大学事務局企画課 tel. 018-888-8478(平日8:30〜17:00)https://www.facebook.com/biyongpoint

As a related event of Kamikoani Project, a solo show “The Game Keeper’s Jam Cellar (Mixed Berry 33)” will be held at BIYONG POINT Of Akita University of Art in Akita-city. Mixing the new works and previous works, an experimental approach to show the experience of seeing by building looking mechanism model  in collaboration with the curator, Yuka Keino and the architect, Eijiro Kosugi.

Kyoko Ebata|”The Game Keeper’s Jam Cellar (Mixed Berry)”

12 Sep – 4 Oct 2015

Akita University of Art Gallery, BIYONG POINT


About work: http://kyokoebata.blogspot.jp/

2015_09_12_1134_2_8002015_09_12_1147_1_800 展示プラン

 >more info