UNDER・LINE: An Exhibition in Search for Veins and Fringe

As part of a touring exhibition after Hong Kong and Den Haag, and before Rotterdam and Sydney, three artists from Hong Kong, Jamsen LAW, Julvian HO and LEE Suet Ying will conduct an experimental project for outdoor artworks in the garden of House of Ebata in Tokyo.
Curated by Jamsen LAW

Exhibition Date: 30/6/2019~30/12/2019 (By appointment)
Opening Tea Gathering 15-18h 30/6/2019

More details of the previous Under.Line: http://www.facebook.com/pg/UnderLine-1183086218509161/

Do You Love Me?, NICA, Tokyo

ギャラリートーク 5月12日(日)18:00-19:30 入場無料・予約不要
クロージング・パーティー 5月18日(土)19:00-21:00

NICA:Nihonbashi Institute of Contemporary Arts
〒103-0011 東京都中央区日本橋大伝馬町13-1 PUBLICUS B1F


Do You Love Me?展は父親、母親、その子供達との関係性をテーマにしたグループ展です。日本、イギリス、ドイツ、ベトナムを拠点に活動する6名のアーティストがそれぞれ個として親や子と向き合いつつ、テキスタイル、写真、ミクストメディア など様々な表現方法で作品を展開させます。

今回日本で初の作品展示を行うアニー・バンガロス(Annie Bungeroth)は『Fred』(2000)と題した写真シリーズを介し、認知症である父親の日々の生活をつぶさに観察し、その過程を通して新たな親子の関係性を築き上げました。ベトナム出身アーティスト、バン・ニャット・リン(Bang Nhat Linh)は、家父長制について個人的な経験と社会構造の両側面から迫った映像作品『Untitled』 (2019)を発表します。さくまはなのインスタレーション作品では、ジャワ舞踊家になった実兄の影響でインドネシアに通いつめるようになった実父のバティックシャツのコレクションを陳列し、父、息子、それを俯瞰する娘という家族図を浮かび上がらせます。大竹純子は、自宅にある子供の古着や日用品で制作したパーティーの輪飾りのような鎖状の造形を通して、「理想の子供像」への願いや執着を示唆します。ジョン・L・トランの写真 『đánh chết (I’ll Hit You Dead) 』 (2018)は、ビジュアル・アートの表現(representation)も人間の生殖活動も、複製(reproduction)のメディアであることを端的に示します。江幡京子の映像『The Case of T & S (2019)』 は子供としての義務と、親と離れて暮らすことができ、ある意味で特権的な立場からの観察者として、父と母の姿、あるいは、夫婦間の揺れ動く関係性を記録しつつ、自分自身を見つめる作業をしています。

12:00-19:30 Wednesday 8 – Sunday 19 May 2019
Gallery talk: 18:00-19:30 Sunday, 12 May 2019
Closing party: 19:00-21:00 Saturday, 18 May 2019

Annie Bungeroth 
Kyoko Ebata 
Bang Nhat Linh
Junko Otake 
Hana Sakuma 
John L Tran

Using textiles, photography and video, this group exhibition focuses on relationships between mothers, fathers and children. Annie Bungeroth used photography in her series ‘Fred’ to create an intimate observation of her father’s dementia and found that through this process their relationship was also able to reach new levels. Vietnamese artist Bang Nhat Ling’s video work looks at patriarchy as both personal experience and social construction. Hana Sakuma uses her father’s collection of Indonesian Batik shirts as a consideration of connection and selfhood in parent-child relations. Junko Otake’s birthday party paper chains, created with used family clothing, is ambivalent about the ‘ties that bind’, being both celebratory and portentous. In John L Tran’s photos, visual representation and biological offspring are considered as media of reproduction, and Kyoko Ebata documents the dynamics of her parent’s relationship from the point of view of a privileged, but obligatory observer.

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


江幡京子展: The Perfect Day to Fly




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

Room 1


Room 2 (暗室)ビデオプロジェクション

「日の丸の洗濯」 2013 38:19

「日の丸の洗濯 (香港)」2018 18:02

「Nutopia 2011」プロトタイプ IV (iv) 2012-2019





「ジャムの瓶詰小屋(この世界と背中合わせに )」2010

「Nutopia 2011」Prototype III 2012


To Our Neighbour, House of Ebata, Tokyo

In 2010 scientists conducted an unusually touching rat experiment. They locked a rat in a tiny cage, placed the cage within a much larger cell and allowed another rat to roam freely through that cell. The caged rat gave out distress signals, which caused the free rat also to exhibit signs of anxiety and stress. In most cases, the free rat proceeded to help her trapped companion, and after several attempts usually succeeded in opening the cage and liberating the prisoner. The researchers then repeated the experiment, this time placing chocolate in the cell. The free rat now had to choose between either liberating the prisoner, or enjoying the chocolate all by herself. Many rats preferred to first free their companion and share the chocolate (though quite a few behaved more selfishly, proving perhaps that some rats are meaner than others).

Sceptics dismissed these results, arguing that the free rat liberated the prisoner not out of empathy, but simply in order to stop the annoying distress signals. The rats were motivated by the unpleasant sensations they felt, and they sought nothing grander than ending these sensations. Maybe. But we could say exactly the same thing about us humans. When I donate money to a beggar, am I not reacting to the unpleasant sensations that the sight of the beggar causes me to feel? Do I really care about the beggar, or do I simply want to feel better myself?

From Yuval Noah Harari, Homo Deus A Brief History of Tomorrow


『ホモ・デウス』ユヴァル・ノア・ハラリ、P162、第3章 人間の輝き、賢い馬より(要約)

<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

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 http://houseofebata.blogspot.jp/




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。



I have been living here
for nearly 10 year altogether in and out.

On the way to the station
and on the way back from the station
is quite pleasant
because of trees and flowers
with French street lumps along the street.

This town was designed
in utopian style as a cultural town after the war,
and it is rotten in contemporary world.
People who cannot deal with the reality
seem to live here in beautiful way.

In the morning on the way to station,
university students full of life
are walking towards my direction.
I like looking at them
imagining their hopes and prospects.
Sometime there is an old lady I see among the crowds.

The old woman looks like a girl
with white bob hair
dressed stylish
like red wind barker
with red framed glasses.

But she always looks in bad mood.
The expression in Japanese,
“as if chewed down bitter worm”
could be the most suitable
for her facial expression.

I realized that she was a homeless
when I saw her sitting down
or lying down on a same spot
for several times.

I see her almost every day.

She is a noize in this beautiful neighbourhood.

A kind of guilt makes me not enjoy the scenery fully.
I am happy but there is someone who is not happy.

I might be able to help her but might not?

Is she all right?
Is she cold?
Does she need me to say hello to her?

Once I saw her with people
who looked like from the local council.

But she is still there.

Not sure if she wants help.

Not sure if she is happy on street either.

When I am sick and poor,
becoming a homeless
is not far fetched idea.

Once I panicked.

I thought I could not receive unemployment benefits
because my parents have too much income
and I really didn’t want to ask my mother for help.
I went to the local municipal office
and asked if it was possible.

It was:
there are some restrictions of course but it was..
I bursted into tears at the office.

The homeless woman chooses good spots where I would:
princess style stairs
with western style white banister.
Underneath modern grey concrete staircase of a hairdresser.
On wooden street bench in front of hip cafe
close to the university
but not on the busy side.

She is always alone.

Once, I had an argument with my friend from London
whether she needed help or not.
We saw her in the middle of winter
and she was shivering really hard.
To me she looked like
she was warming herself up
by shaking at the same time.

We felt really sorry for her,
and I told him
homeless people do have their dignity
and liked to be left alone.
He is a son of a vicar
so may be the idea of donating to the poor in Christianity
was in my mind
and I wanted to explain there is a different way to approach in my country.

Or I am not very strong physically
so I know I would die in a few days if I live on street
so maybe I was a little jealous of people
who had strength even to think about living on street.

I am not sure about my opinion anymore though.
I have met a few former homeless people
and discovered that they didn’t think about asking for help
and they are ashamed of getting government money.
They simply don’t feel that
they have right to live as a human…
And the way of thinking comes from
the way they were brought up.

He couldn’t pay the rent and went to live in a park.

I don’t want to assume all the homeless
are unfortunate, unhappy and victim of society
or make them a symbol like Jesus.

I feel saying that does not respect the person
and not to see the individuals.
I guess I am fantasising her

I take photography time to time
and I am aware of my violence of gaze
with my photography
but I have been making excuses
that I capture the happy moment.
May be if they don’t like it at the moment
but they would love it in 20 years time,
like I do.

But with this woman,
I clearly crossed the line knowingly.
I knew she wouldn’t like it
but I felt stupid talking about it so much
and not doing it as an artist.

It is my first intentional crime.

Every time I see her
sitting down on the stairs,
I am relieved
that she is still there
and I feel bad
that I do nothing about it.

 ここに住んで出たり入ったりを含めて、 10年近くになる。 並木通り沿いを 家から駅に向かう時、 駅から家に帰る時には、 緑や色とりどりの花々が目に映って 気がなごむ。 フランス製らしい こじゃれた金色のランプも本当は嫌いではない。 この町は戦後ユートピア的な文化都市として開発され、 その理想が現代社会で 美しく腐敗してきているような雰囲気があって、 現代社会に対応できない人々が住んでいるような印象を受ける。 朝、駅に向かうと、 元気な大学生の集団がこちらに向かって歩いて来る。 きっと夢や希望でいっぱいなんじゃないかなと思いながら眺める。 その集団中で、 時々お年寄りの女性を見かけることがある。 その女性はいつもオシャレで、 白髪をボブにして、 赤いウィンドブレーカーと 赤いフレームのメガネを合わせていたりする。 彼女はいつも機嫌が悪そうだ。 「苦虫を噛み潰したよう」 という表現がぴったりする。 同じ場所で座っていたり、 横になっているのを何度か見かけ、 彼女がホームレスだということに気づき、 今ではほぼ毎日彼女を見かけるようになった。 彼女は心地よい場所のノイズとも言えるかもしれない。 自分が楽しい時に、 苦しんでいる人が目に入ると、 なんだか申し訳ないような。 何か自分にできることがあるのか? あるいは、ないのか? 大丈夫? さむくない? 声掛けた方がいい? 一度、市役所の人らしい感じの人と一緒にいるのを見かけたことがあるが、 まだそこにいる。 助けて欲しいのかわからない。 でも、幸せなのかもわからない。

自分か病気だったり、 お金がなかったりすると、 ホームレスになるかもしれないという考えは、 そこまで自分と無関係なことではない。 一度パニックしたことがある。 仕事が見つからなかった時、 私の両親がある程度の収入があるので、 生活保護をもらえないのではないか と思い、 どうしていいかわからなくなった。 そこで、市役所に生活保護が受けられるか 聞きに行った。 結論としては可能だった。 いくつか条件はあるが可能だった。 安堵の余り、その場で泣きだしてしまった。 そのホームレスの女性は、 いつも私がホームレスだったら 座りそうな場所に座っている。 お姫さまっぽい、 西洋っぽい白い手すりのついた階段の上 美容院のコンクリート造りのモダンな建物の階段の下。 大学の近くだけれども、 混んでない方の道にあるおしゃれなカフェの前の期のベンチ。 その人はいつも一人でいる。 一度ロンドンから来ている友人と、 彼女が助けを必要としているかで、 言い争いをしたことがある。 冬の寒い時で、 彼女はぶるぶる震えながら、 体を上下にゆすぶりながら 激しくさすっていた。 私には彼女が温まるために 体を動かしているようにも見えた。 私達は彼女が大丈夫か心配したが、 私は友人に ホームレスの人はプライドがあるから、 ほっておいてもらいたいのだ と言った。 友人の父が牧師さんだったので、 キリスト教の慈善の考え方とは 違う考え方がある と主張したかったのかもしれない。 もしくは、自分があまり体が強くないので、 道端で寝泊まりしたら 数日も持たないことがわかっていて、 道端に寝泊まりすることを オプションとして考えられる人のことが 羨ましいと思っていたのかもしれない。 でももう、あの時の自分の意見は 違ったかもしれないと思っている。 それは、元ホームレスの人々と 何回か会う機会があったからだ。 彼らは助けを求めようとは思わないし、 生活保護を受けることを 恥ずかしいと思っている。 家賃が払えなくなったからと、 家を出て上野に住み始めた人がいた。 人間として生きる権利がある とは考えないのだ。 彼らの考えは育った環境から来てるのだろう。 ホームレスの人々が 不幸で悲しみに満ちた 被害者であると決めつけたり、 キリストの様な 象徴に仕立て上げたくないと思う。 そういう言い方をするのは、 その人をリスペクトしていないような 気がするからだ。 そんな私もホームレスに 自分の幻想を投影しているだけ なのだろうが。

自分が写真を撮る時の、 視線の暴力みたいなことは自覚しているつもりだ。 「でも、幸せな瞬間を撮ってるからいいの」 と言い訳をしている。 「今は嫌でも20年後はいい思い出になるよ。 私もそうだもん」 と。 でも、このホームレスの場合は違う。 彼女の写真を撮った時、 意識的に一線を越えた。 写真を撮られるのは嫌だろうなと思った。 でも、もうこんなに長く彼女について悩みながら、 写真を撮らないのは、 作家としてどうかと思った。 この行為は私が意識的に行った犯罪だ。 彼女が階段に座っているのを見るたびに ああ、良かった。まだあそこにいる。 と胸をなでおろす。

Washing Hinomaru in Hong Kong, XENOplastic, HK

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


Instalation View



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.