The Case of T&S 2020; Good Bye My Father


<<The Case of T&S; Good Bye Father>> was shown as a result of works shop which I was invited as a guest work shop a guest workshop leader on martial arts to investigate a relation between love and violence through working with martial art groups in Dili.

I was not sure what I could show next to the performance of violence by people from Timor-Leste. Only violence I can think of is that our family decided to watch my father’s death at home last year, and he suffered so much at the end of his life.Living in Japan, I don’t really see real violence in everyday life, rather violence does not take physical form anymore. For some people violence is a form of communication and entertainment, or we talk about harassment all the time. Japan is more or less in a peaceful state but I feel how we humans are helpless. We need to keep making new friends and learn from each other.


唯一の私が思いつく暴力といえば、昨年、私の父の死を家族で自宅で看取ったことです。父は人生の最後にとても苦し見ました。ビデオ作品<The Case of T&S 2020; Good Bye Father|お父さん、さようなら>>では父の最後の息を引き取るところを見せました。 


A Photography Exhibition’7,610-kilometer Distance: Finally, We’ve Met One Another’byREKREATIF photographers from Timor-LesteFine art students from Silpakorn Universityand Kyoko Ebata, a guest artist from Japan1-24 AprilPSG Art GallerySilapakorn University, Bangkok

Workshop for Young Timorese Photographers

Martial art performance photography

Workshop: Nu’udar Ema

How do you cope with being a human?


22-26 February 2021 

Online/Timor Leste and Japan


workshop reference

Silvestre Rudiyanto Soares

Exhibition opening Wednesday 31 March 2021, 15:00, PSG Art Gallery Faculty of Painting, Sculpture, and Graphic Arts, Silpakorn University, Exhibition period1-24 April 2021 10:00 – 18:00, Closed on Sundays, Mondays and Public Holidays




Hipolito Da Silva Baptista

“The virtue of all-in wrestling is that it is the spectacle of excess. Here we find a grandiloquence which must have been that of ancient theaters. And in fact wrestling is an open-air spectacle, for what makes the circus or the arena what they are is not the sky (a romantic value suited rather to fashionable occasions), it is the drenching and vertical quality of the flood of light. Even hidden in the most squalid Parisian halls, wrestling partakes of the nature of the great solar spectacles, Greek drama and bullfights: in both, a light without shadow generates an emotion without reserve.” R. Barthes, Analysis of wrestling from “Mythologies”

Goal: Understanding the culture of the participants with critical thinking and appreciate beauty and humanity

Definisaun: saida mak Arte Marsiais? / What is Martial Arts?

Historia: halo referensi ba realidade iha Timor / Reality in Timor-Leste

Solusaun: Dame/ Peace and  Unity

Workshop Reference 

To study love and violence in human nature, REKREATIF, a collective of young Timorese photographers will study forms of martial arts and document the movement each other as central players of the free practices and spectators of the practices.


Make something NEW

that only a contemporary Timor-leste can make.

Why there is the issue with martial arts groups in Timor-Leste?

A tradition is often created to unite a group of people. 

What is tradition to you?   

Investigate your feeling while the performance.

Do you also feel affection as well as excitement and anger?

War is there because of love, 

you love somebody so you protect him/her. 

That is the beginning.

We need to control the violence in ourselves,

that is why we made society and institutions.

How can we love our neighbour? 

Acacio Pinto

Silvestre Rudiyanto Soares

Hipolito Da Silva Baptista

Silvestre Pires Castro

Rofino Leandro Ferreira


“There is a miracle in every new beginning.”  Hermann Hesse

Because of the Covid 19, we had to find a way to do the workshop remotely. I wanted to take this challenge into a chance to do something that I don’t usually do. Every work of mine always has my strong ego as a female Japanese artist. 10 out of 11 participants in the workshop are men. I thought this is a chance for me to do something that only boys can do.

I never really had a problem being a woman,  but sometimes I felt I can’t join the boy’s club, like pro-wrestling  in school (Yes, it was the 80’s). I couldn’t help myself to stop them and I was called Eba-police, which comes from a children’s TV show combined with my surname Ebata. I envied the boys talking about their secret base. They seem to warm friendship through pain as a sign of accepting each other.So I wanted to propose a project that only boys can do.

Learning about The 1999 East Timorese crisis, it seems to be appropriate to do something about violence , not to celebrate and as a disaster tourism, but to understand what is violence. A primitive violence can be a tool of communication and the physical power has been celebrated throughout human history. A love towards beauty, power usually encourages desire of possession and leads to violence. But love can survive as a noble mind.

It is great to have peace, in Japan physicality including violence becomes more like a fantasy rather than reality. But there is a downside of higher suiside rate and lower childbirth rate. To not have real space and real small violence, things can go crazy.

The sad history of the East Timorese crisis can be strong aura of the identity of the artists, and to think through physicality is very important part of martial arts, to have harmony in mind and body, which all of us feel strongly during the Covid 19 where everybody has to stay at home at the moment.

When I proposed the idea to the participants, they were shocked, saying it was dangerous. Apparently the martial arts groups are a hot issue in East Timor at the moment. It was a kind of miracle that I pointed out the important issue. 

Near the end of his last book Chaosmosis (1993), Félix Guattari asks: ‘how do you bring a classroom to life as if it were a work of art?’ For Guattari, art is an endlessly renewable source of vitalist energy and creation, a constant force of mutation and subversion. He lays out a tripartite schema of art’s development, arguing that we are on the brink of a new paradigm in which art is no longer beholden to Capital. In this new state of affairs, which he names the ‘ethico- aesthetic paradigm’, art should claim ‘a key position of transversality with respect to other Universes of value’, bringing about mutant forms of subjectivity and rehumanising disciplinary institutions. Transversality, for Guattari, denotes a ‘militant, social, undisciplined creativity’; it is a line rather than a point, a bridge or a movement, motored by group Eros.

In other words, I would like to investigate  love and violence in human nature with REKREATIF  studying physicality and emotion through forms of martial arts. Although I need more research I could somehow understand this martial arts movement needing to protect themselves among different political powers and after the crisis, and low employment rate of course. However I hear that there are positive sides of this group that they are uniting the community.  Young people are full of  energy. After all an martial arts suppose to unite body and soul. The energy of people is so attractive. 

I don’t consider workshop as a form of education, for me it is just making a project together as usual. But after I spent time talking to each participant and learnt a lot, it reminded of the do famous Paulo Freire’s education as a practice of freedom (educacao compo praticia) a little and made me like the idea of workshop. I am excited to see from this beautiful island East Timor.

– Kyoko Ebata, Tokyo,  17 February  2021

In the End

Through the Covid 19, I made a lot of  good friends without meeting in person from a country where the sun rises and  in same time zone as Japan but in completely different season. I feel I know them and I can trust them. What an interesting world. Although in terms of violence, I didn’t learn anything, I think. I only learned through conversation, book and photographies. I even admire them looking at the pictures that the participants took. I am not sure how I would feel  I were there in Timor-Leste. I guess there are things that we cannot learn without being there.

Through the workshop, we tried martial arts performance in a kind of mockumentary, and even invented one dancing like technique which I would like to call REKREATIF Dancing Puch (please collect me if is not cool) if no one object. One of the REKREATIF member succeeded invite a person from  different martial art group, which seems to be quite a difficult thing. I see this is as a kind of symbolic gesture of friendship of mart art groups in dispute, and very proud of them. 

Other discovery was that there are ao many strong women in Timor-Leste. The women there are so beautiful and healthy. The recent trend of plus size fashion models, they really should use the women from Timor-Leste, they look happy, beautiful proud and strong. Maybe this is another fantasy I build up from the pictures and not from the reality by not being there. I see so many possibility here where a democracy has just starting to grow and makes me excited..

But if they are interested, perhaps the performance can be developed into Capoeira, Afro-Brazilian martial art that combines elements of dance, acrobatics, and music. Or if there are next time for me to visit Timor-Leste, I would like to do something about dance that I like, exchanging  denser representatives from each tribes and learn another style from different tribe and have a dance festival. 

In the show we could only show a few works, I tired to show different emotions in the model, passion, pain, excitement, concentration, cares and affection. So pictures with similar expression were turned down, but it does not mean they are not good picture. REKREATIF produced many good pictures in very short time. And without  the members like Janicia and Binsar who helped for translation and solved communication problems, we could not do this workshop. Also in the first one on one interviews with all the members of the participants, I feel very welcomed especially there was one who brought his family support our challenging project. I learned about the history between Timor-Leste and Japan too.  I am so glad that nobody got injured in the end and I would remember all the words and smiles  that we exchanged. 

Thank you very much Ms. Toeingam Guptabutra, Faculty of Painting, Sculpture, and Graphic Arts, Silpakorn University, The Royal Photographic Society of Thailand, The Japan Foundation Asia Centre for giving me wonderful opportunity.


– Kyoko Ebata, Tokyo,  25 March  2021

Eyestalk Ablation, Yokohama

Eyestalk Ablation
by Tim Byrnes and Kyoko Ebata
for Volcana Brainstorm or, How to Make Shrimp Feel Sexy
by Elena Knox (Yokohama Triennale 2020 edition),
Ladies 2F, PLOT48, Yokohama Triennale 2020  
会場: 横浜トリエンナーレ 2020 PLOT48, 2F 婦人トイレ 



ノックスの課題に答えたティム ・バーンズと江幡京子は、一般的に繁殖を促すために養殖のエビに施されている眼柄除去の技術をハロカリディナ・ルブラ(ハワイ原産の体長2ミリ程のエビ)に施こし、ウランガラスでできたエコスフィアに放した。



An ecosphere is closed, self-regulating system containing ecosystem. There is a problem, even though  the system is balanced, shrimps stop making offsprings. 

“Keep your species alive in the sphere by making offspring!” This is an assignment given from a workshop, Volcana Brainstorm organised by Elna Knox. 

Tim Byrnes and Kyoko Ebata have applied eyestalk ablation which is used frequently in in aqua farming to encourage reproduction, to Halocaridina rubra Holthuis, a small Hawaiian shrimp of approx. 2 mm in length, and placed to an ecosphere made of uranium glass carafe. 

 A baby shrimp may be born during the Triannual and the regendry problem since 60s may be solved. 

Here is a question, do females have to have a scar to reproduce in the closed system= the earth? Do we reproduce if a female is scared?

DIY operation tools| DIY手術道具
cubicle 1
cubicle 2
cubicle 3
cubicle 3
cubicle 4
cubicle 4
cubicle 4

Eyestalk ablation is the removal of one or both eyestalks from a crustacean. It is routinely practiced on female shrimps in almost every marine shrimp maturation or reproduction facility in the world, both research and commercial. 

The aim of ablation under these circumstances is to stimulate the female shrimp to develop mature ovaries and spawn. Most captive conditions for shrimp cause inhibitions in females that prevent them from developing mature ovaries. Even in conditions where a given species will develop ovaries and spawn in captivity, use of eyestalk ablation increases total egg production and increases the percentage of females in a given population that will participate in reproduction. Once females have been subjected to eyestalk ablation, complete ovarian development often ensues within as little as 3 to 10 days. 

Halocaridina rubra, the Hawaiian red shrimp or volcano shrimp is a small red shrimp (less than 15 mm) of the family Atyidae, with the common Hawaiian name ‘Opae’ula. Halocaridina rubra is endemic to the Hawaiian islands, and most commonly found in anchialine pools in fresh lava substrates. They are very strong and commonly used in demonstrations of completely closed self-sustaining ecological systems. 

An ecosphere is materially closed ecological systems which are self-sustaining over a period of years.  At room temperature, and with only low inputs of light, the algae produce oxygen which supports the shrimp and bacteria. Bacteria break down the shrimps’ wastes. The breakdown products provide nutrients to the algae and bacteria upon which the shrimp feed. The manufacturer states that shrimp live in the EcoSphere for an average of 2 to 3 years, and are known to live over 10 years.

Such systems are not indefinitely sustainable in the sense that the reproductive capability of the shrimp is highly suppressed and the ecosystem perishes after a single generation. For a truly self-sustaining closed system one therefore must demand that the participating species have the ability to reproduce. As one of the most common techniques employed to enhance the reproductive ability of crustaceans in aquaculture, eyestalk ablation is a prime candidate for realizing a truly self-sustaining ecological system. 

For the work <<Eyestalk Ablation>> Tim Byrnes and Kyoko Ebata performed DIY eyestalk ablation on Halocaridina rubra Holthuis and placed in a carafe made from uranium glass. Following their work<< Nutopia 2011>>, where they created a biotope containing a nuclear powered energy source after the Fukushima Daiichi disaster, the uranium carafe is a symbol of the toxified environment of the modern world. 

If we, as humans, interpret that the violent ablation constitutes a significant individual threat, can we assume that the shrimp farm females need to be in crisis in order to “feel like” reproductive sex? Moreover, might physical safety and bodily autonomy even prevent child-bearing in closed environments? 

Do females have to have a scar to reproduce in the ecosphere= the earth? Ebata and Byrnes seek for a solution of the declining birthrate.


Eyestalk ablation とは甲殻類の目がついている細い棒状の部分である眼柄 除去のことで、リサーチ、商用等の目的に関わらず、世界中ほぼ全ての海洋性のエビの成熟・繁殖施設で、日常的にメスのエビに対して行われている。 


ハロカリディナ・ルブラはヌマエビ科の小さなエビで、ハワイの固有種である。 その体長は最大1.5cmに満たない。原産地のハワイではオパエウラと呼ばれ、 溶岩が流れ出ているアンキアライン池に生息する。他に多くの名前があり、ハ ワイアンレッドシュリンプ、スカーレットシュリンプ、ピクシーシュリンプ、ホロホ ロシュリプなどがある。ハロカリディナ・ルブラは非常に強いことから、完全に密閉されたエコシステムの実演に使われることが多い。 

しかし、この密閉されたエコシステムではハロカリディナ・ルブラが産卵がしないので、本当の意味で持続可能なエコシステムとは言えない。密閉された環境ではエビの生殖能力が抑圧され、一世代のみしか生き延びることがないからだ。真に種の継続が可能な密閉されたエコシステムを作り出すために、一般的に最もよく行われている生殖を促す技術である眼柄除去をハロカリディナ・ル ブラにも施すことは、不妊問題の解決の有力な候補であると言えよう。 

<<Eyestalk Ablation>> において、ティム ・バーンズと江幡京子はハロカリディナ・ルブラにDIYで眼柄除去を施し、更にエビをウランガラスでできた水差しに放した。

ウラングラスはごく少量のウランを含有していて、紫外線で光る特質がある。バーンズと江幡が福島第一発電所事故の後に作った作品<<Nutopia 2011>>で、原子力を利用したエネルギー源をビオトープに設置したように、ビオトープを現代の世界と見立て、ウランの水差しを毒されてしまった環境の象徴とした。


メスのエビ=女性は閉じられたエコシステムの中=地球では、傷がなければ生殖することができないのか、傷つけられ、 弱い立場であれば生殖するのか?バーンズと江幡は種としての人類の生存について問う。

Texts on the walls

entrancebut we are not shrimpだけどわたしたちエビじゃないし
mirrorAre you happy now?
cubicle 1
you walk around me like a dog
I order myself to be still in love and at the same time to be no longer in love. 

The sense of belonging and collective mind brings the group of people to stability.
When a modern person realises his/her independence, the desire for love becomes deeper.

In the contemporary world, where not only female but also male are excluded from labour; there everybody wishes to be beautiful and loved

cubicle 2
you hum like a monkey

We kept on killing the sacrificed  shrimp. Because we found a fictional story and cannot go back before we found it. Moreover, we believe that to keep on doing this is the freedom of choice and gives us reason to live.

I don’t need porno, I just want to give what a man want. In fact all the porno actress are my enemies who steal my man.

cubicle 3
you giggle like a cat

We might have lost our ability to tolerate confusion, doubts and contradictions.

We regard abnegation as something to keep within the enclosure of our my Image-repertoire.

The lover who loves me the most is the other who harts me the most



cubicle 4
We’re going home

Show me whom to desire

We should get pregnant when we are young and stupid, and beautiful and biologically at the height of the physical strength..  And we, the society should look after like the wise elephants do.
Japan may sank after the next large earthquake or nuclear power station accidents.

Japanese would wonder around the world like the old time Jewish people who lost their country. The key to unite Japanese together would be food as a religion. 

Objects: the memory of a date of my father





Special Thanks; Elea Himmelsbach, Tomoaki Asano, Taiga Okamoto and my father many others.

SqW: Lab 2020, India

Core fellows Charlie Levine, Katsushi Goto, Rose Van Mierlo and Vishwa Shroff will be returning with 2020 invitees Adam Nathaniel Furman, Kyoko Ebata, Ana Čavić and Veeranganakumari Solanki.

The aims for this second Laboratory are similar to the first – to examine the domestic through drawing while encouraging dialogue around creative practices and processes across disciplines. We continue with a new series of Play Projects that explore curatorial methods, the dolls house and (fictional) narratives.

from “Tender Buttons

Anxiety+ トーク 粟田大輔 

トーク 粟田大輔 

Talk w/ Daisuke Awata
19:00-21:00 JPT Sun 12 Jan
Performance w/ 奥誠之他 Masayuki Oku +: Sat 11 Jan

Questions and comments from Awata-san’ on James’s work

“Confession of pain” from your video is interesting that pain from physical disorder is common but from mental disorder is not studied very much yet. Confession was area for religions in old time and we don’t know what to do with it.

Medium: Awata-san got impression that your project is like Ustream, rather than Youtube because YouTube has idea of currency earning from obtaining “Like it!” , although you are asking for “like it”, your do not look like you are seeking it.

“Repetition” which Warhol used a lot indicating change of physicality and anxiety from media change (introduction of TV culture at that time) . He also reminded of “Super Size Me (2004)”.

Do animals and alien have emotions? e.g. when an elephant is captured (*1), it cries. Are they trying to emphasize in group? e.g. bee

Do tattoos indicate anxieties? Is it like “Hoichi the Earless”, by having magical texts on body you can avoid bad things? Why is it in fashion?

CPR is a kind of physical ritual and it works. Repetition is a way to get rid of anxieties like many sport players do without questioning, and it works.

Generalization and Individualization; Medicine tend to generalize individuality to cure. Whereas anxieties tend to be quite individual. Are you trying to generalize your individual problem via YouTube?

Can we generalize or share subjective view, feeling or anxiety?

In 19th Century, recording and visualizing emotions started to be possible including archiving heartbeat. Taking individual data is a form of power.

There is needs/desires to share emotions, the genre of hanky movie (touching movie). The genre also indicate that people feel cleansed and enjoy by crying physically with tears.

Shared behaviour (*3) of a language-game (言語ゲーム) by Wittgenstein: the idea of beauty or delicious can only been understand by mutual agreement but never really be shared.

In UK, Edmund Burke defined a notion of sublime which is also related to anxiety and fear. There are also notable literatures including Lewis Carroll and history of witches. In 19C, many inventions including photography made it possible to visualize unseen.

Japanese horror movie Ring and Rasen got ideas from ghost experiments in UK. Do you think there is something particular about UK culture?


*1 痛みと感情のイギリス史 (日本語) 単行本 – 2017/3/31 伊東 剛史 (著, 編集), 後藤 はる美 (著, 編集)より「Ⅵ 観察 ダーウィンとゾウの涙(伊東剛史)」

“V Observation: Darwin and tears of elephants” from “Pain and Emotion in British History” by Takashi Itoh and Harumi Goto written in Japanese

*2 Hoichi the Earless (耳なし芳一)

*3 ふるまいの一致 shared behaviour

Anxiety Plus 不安障害 + by James Howard ジェームズ・ハワード

installation view
pass: James



House of Ebata w/



トーク 粟田大輔 

Talk w/ Daisuke Awata
19:00-21:00 JPT Sun 12 Jan
Performance w/ 奥誠之他 Masayuki Oku +: Sat 11 Jan

問い合わせ kyoko.ebata(a)
開場 土・日 13:00~ 19:00 Sat/Sun

および事前予約 and by appointments

会場 House of Ebata

アクセス JR中央線国立駅南口徒歩5分 

* 会場アクセス詳細等はお問い合わせください。


ジェームズ・ハワード(Jamaes Howard)がHouse of Ebata(ハウス・オブ・エバタ)にて最新作『Anxiety Plus(アンキザイエティ・プラス)|不安障害 +』を発表する。『Anxiety Plus|不安障害 +』で、ハワードは自身のウェブサイトluckyluckydice.comにおいて、不安障害を抱えて生きる毎日について告白する。その後ハワードはYouTuberとして、不安感に対処する方法などを動画で解説するに至る。不安感・不安障害はこれまでにハワードが探究してきたテーマ、ネット上のスパムなど世の中の暗黒をまた別の形で表現しているといえるだろう。本展示では、Youtubeの動画から数点を選んで上映、またロンドンからハワードが東京のアーティスト達と遠隔でコラボレーションをし、新作Yutube動画および絵画を制作する予定だ。



ハワードは金沢に滞在したことがあり、そこで人生最低の時期を過ごしたと語る。かの有名なジェームス・ジョイスだけではなく、日本にも芥川龍之介、北 杜夫、中島らも、吾妻ひでおなど、心の病と芸術のロマンチックな関係性を題材とした作家が多く存在する。アルコール中毒者としての作家生活をおもしろおかしく表現した漫画家の滝田ゆうなどは、かつてプロジェクトスペースのある国立に住んでいたことがある。

彼らと比べると、ハワードの「不安ハック」はより最近の健康ブームに則り、ゲーム的で脳科学、自己啓発、カルト宗教などを彷彿とさせ、より現代的である。実際にYouTube上ではMentalist Daigoをはじめ類似する動画にあふれ、その真否が問われて炎上したりしている。ローマ法王も電子ロザリオでデジタルに挑戦する時代に、元ハッカーと逸話を持つハワードがロンドンの安全なソファから、かつての暗黒時代を過ごしてた極東の地で何を表現するか楽しみである。



House of Ebata presents the new series “Anxiety Plus” by James Howard. After sharing a series of written confessions on this website,, about the truth of living with anxiety, Howard became a YouTuber. In his videos he talks to his audience how he deals with anxiety, a dark matter of our universe which he has been exploring throughout his works. A set of Howard’s videos will be presented in the show along with new YouTube videos and paintings created in collaboration with artists in Tokyo, in Howard’s absence. 

While looking through Howard’s videos, we wonder if he is being completely serious and trying to be productive as an artist, or if he is toying with us. Whichever it is, we eventually get swamped in our own paranoia. Meanwhile, he keeps uploading videos and asks us nicely to “like”them.

Nowadays, the issue of anxiety is becoming more serious and widespread. Almost everyone is aware of their own anxiety and becoming more conscious about it than everbefore. Is anxiety a sign of humans who cannot deal with peace? Is it just giving name to states which have always existed? Or is it a new issue that has emerged with the internet era?

Howard says in his videos that he hit the “rock bottom” of his life while he was living in Japan. Like the famous James Joyce, there is a long tradition of romantic understanding of the relationship between art and disease amongst Japanese writers and artists, including Ryunosuke Akutagawa, Morio Kita, Ramo Nakajima and Hideo Azuma. Yu Takita, a manga writer who depicted the everyday life of an alcoholic writer, used to live in Kunitachi where the House of Ebata project space is located.

Compared to those literary figures, former hacker Howard’s approach to the “anxiety hack” looks more like brain science delivered as a set of how-tos. Or even cult teachings which we are more familiar with these days. In fact, there are similar videos on YouTube that come under fire for being inauthentic. In this era when the Pope tries a digital rosary, we look forward to seeing the outcome of Howard’s reinterpretation of the darkest times in his life in the Far East and beyond, from a safe sofa in London.

Kyoko Ebata




2007年の卒業制作展でチャールズ・サーチの目に留まり、サーチギャラリーのグループ展に度々選ばれる。本年度は『BLACK MIRROR: ART AS SOCIAL SATIRE』に参加。その他国内外で精力的に作品を発表している。




James Howard

Howard graduated from the Royal Academy Schools, London, and now lives and works in London. Howard lived in Kanazawa (Japan) for three years where he covered his body in tattoos before going back home.

In 2007, Saatchi became interested in Howard’s work from his graduation show. Howard has since participated in several group shows at the Saatchi Gallery including “BLACK MIRROR: ART AS SOCIAL SATIRE” this year. His works are also shown internationally. 

Howard works with conceptual materials that appear hidden but actually exist everywhere in everyday life, such as spam, digital currencies and anxieties, overall giving us a familiar but disturbing impression. 

In an interview with Guardian, Howard said “The (internet) systems we have now are still part of the wild west of the internet, (… my) process of manipulating digital materials (is) to open up new ways of thinking. Social norms are turned inside-out, leading to a tangle of surreal juxtapositions which expose all the energy of what it means to be living right now in the universe.”


粟田大輔 Daisuke Awata. Art critic, member of Art Think-tank. 

美術批評、芸術学(美術解剖学)、基礎芸術 Contemporary Art Think-tank。論考に第13回『BT/美術手帖』芸術評論募集佳作『榎倉康二における出来事性と層の構成』,『書き換えられるシステム』『金縛りと夢』『顔徴』などがある。

奥 誠之 Masayuki Oku, artist

アーティスト。絵描きとして活動しつつ、周りの人を幸せにするためにさまざまなコレクティブの活動に参加。精力的にイベント企画などに関わる。2018年東京藝術大学大学院美術研究科卒業、2014年武蔵野美術大学卒業制作展優秀賞 受賞。2016年石橋財団国際交流油画奨学制度助成。主な展覧会に『引込線2017』、『Assistants (OTA FINE ARTS)』などがある。

江幡京子 Kyoko Ebata, artist

アーティスト。House of Ebata主宰


大久保あり、奥誠之、東間嶺、引込線/放射線サテライトチーム、John L Tran, Abi&ARi、池端規恵子、佐賀建、佐野誠 他


『涙入れ』 “Tears Container” @エビ専(黄金町バザール)

黄金町バザールの『エビ専』に出Nutopia 2011シリーズ『Funeral I I (Melted in the Sea of Tears)』より『涙入れ』を出品

Showing “Tears Container” from “Funeral I I (Melted in the Sea of Tears)” from Nutopia 2011 made with Tim Byrnes at “Volcano Brainstorming” in Koganecho Bazaar.


A Shrimp Couple and a Tanishi Family
投稿日:01/27/2013 作成者: Kyoko

It was full of life and death this weekend.

We have started to try out with the biotope to go with the nuclear power station and went to buy stuff from a pet shop in Kabukicho.

There were beautiful waterweed and all these beautiful fish in tank. But it was rather strange to see fish and weed from Brazil or Africa. A bit of a flesh trade that was, like what is going on upstairs in Kabukicho, the biggest red light district in Asia.

In the end we bought a pair of shrimp which was next to Amano shrimp around 2 cm which we were going to buy initially. The Amano shrimp was bigger than we expected. They all come in a beautiful plastic bags separately, beautifully brown up in a round shape.

We brought back a couple of Amano shrimp- alike, a couple of shell (Tanishi) and waterweed home: The shrimp and shell happen to be originated in Japan and we were proud of our choice. As soon as we got home, we have added stone from garden and water from the store and little animals to the glass jar.

We watched for a while and discovered that there are man and woman in these spices. Couldn’t tell which one is which but it was so nice to imagine that the shrimp and shell are on date.

After a while we have made another discovery that there were baby shells. Apparently, if a shell get pregnant, she keeps her babies inside herself until hard shells are formed and then she releases the babies into water. So the shell was pregnant when we bought her and she was in labour while we were having a drink.

It was looking good for a while but after the dinner, we noticed that the shrimp was upside down and moving only a little and the shell was also not climbing the glass as it suppose to be. And the shrimp sunk into the bottom of the jar and hardly moved.

It might be the stones from my garden, we suspected. The red brick stones in my garden were bought via internet, a pretty ones but cheap. I bought the stones via Internet and we don’t know where the stones come from. Even if it is from Japan, no, if it is from Japan, then might have radioactive stuff (still hard to understand how to say this right) on them, or nobody checks what is going on at the actual site.
We don’t know how it was treated to make them look clean. It should be better if it is toxic, it means less weeds. I rescued the shrimp which was alive with a spoon in a hurry and thinking it would also heart him/her, but better than being in the toxic water.

The shrimp and the shells were the first pet I ever paid money for. I had a cat and birds when I was a child. But the birds flew in from the sky and stood on my arm, and the cat came with my father on a rainy day. I was responsible to look after a bird. One day I forgot to take the birdcage back on winter night. The next morning, the bird was dead, lying on the bottom of golden cage. It was a white Java sparrow with red eyes. The closed eyelids were greyish pink. Since then I swore myself never to keep a pet if I cannot look after. The first pets ever since then were reproduced and was dead soon after in few hours.

On the following day, the other shrimp was dead. We researched the courses and I went to get freshwater from the local shrine, it supposes to be better to use water which has many bacterias. After placing everything back, the shrimp in better condition and the shell family is happy sticking on the glass wall. I am wondering if I should add a new shrimp to make a couple, it might be too crowded in there.

Shrimp #5
投稿日:01/29/2013 作成者: Kyoko

In the end, I bought another shrimp. I asked the shopkeeper about the shrimp. The shop keeper said “shrimp is sensitive with water and not good at lack of oxygen. It would be difficult to keep it without air pump. It would be better to keep killifish (medaka) .” But, the how-to for a biotope with shrimps says it is possible. So I have decided to follow the textbook. I placed the duck weed in a separate bucket for a week and changed water a few times hoping that it would wash away the pesticide by now. But I am not sure any more. I bought the shrimp by knowing that I might kill it.

Came home and of course
投稿日:01/30/2013 作成者: Kyoko

I think a shrimp is dying. It’s neck is turning into red. I am so so so sorry…

Oh, no. 
投稿日:01/31/2013 作成者: Kyoko

Yesterday morning, I thought, one of the shrimp was dead. In the end it was lying on the bottom of the jar not moving at all. I was very sad. I was thinking to give a name for a grave. Then I remembered a saying that a scientist does not give a name to an animal for experiments. I now know why.

When I got back home, I tried to get the dead shrimp out from the jar but I was too tired so I added the new couple without weeds to the jar so that they won’t die of hunger, and then went to bed.

This morning, I checked the jar. Then I couldn’t find the dead shrimp, but instead, I found a shrimp with reddish neck. I am totally puzzled. I called the pet shop, found out the name of the shrimp next to the Numaebi (Amano shrimp), it was mimami numaebi (Southern Amano Shrimp). According to the shopkeeper, Amano Shrimp does change its color into the blue or red. If a shrimp is sick, it also change the color into red.

Oh, no. He/she is suffering. Oh, no. I should hurry and rescue my poor shrimp.

Shrimp Funeral a la cocktail

All the shrimps were dead again. I am afraid it sounds a bit weird but I wanted to do a little funeral for the shrimps. I realised that I had so much variety for the funeral, Buddhism, Christian, Voodoo, and so many others, as well as Burial or Cremation. Though, I didn’t have enough time to prepare much for this because the shrimps were getting rotten. Decided to improvise with things I could find around my house..

It was unusually warm day for February. I set up a trey with incenses, candles, flowers, alcohol. The one glass contained duckweed, the other one contained Campari soda, three glass in the middle contained Sake, and on the top 3 shrimps lied with flower. It represents this life, the next life and purification (oh, I sound mad). Frankly, the incense was necessary, because the “body” smelled. Only religious song I could sing was a catholic song in Latin which I remember from school. I felt very strange but it was necessary and beautiful in a way. And the ritual was in Buddhism I guess because only funeral I attended was Buddhism for my grandparents. I have to admit that it is a bit sick that in the end it turned out as a shrimp cocktail.

The next step was a cremation. I found a leftover charcoal from BBQ so I put the shrimps on top and burned it in the garden. Soon, they smelled rather yummy. I could have eaten as a part of ceremony but I am not that brave or crazy, so I continued to burn them until they were black and to the ash. I have buried them and poured sake over. And the ritual was finished. I was very drank by the end of it. I thought the idea was completely kitschy and damn but it was not too bad in the end. I guess it was the power of rituals.

Ceremony II 葬儀手順 その2

Afterwards, I kept on making experiments and kept on failing them. So it was quite natural that I had to hold another ceremony. I was easy to cry those days and sometime I cried so much because there were quite a few sad events happened including my mother’s hospitalization. I thought if I cry so much I should be able to keep the tears in a container to make ice. I think I was influenced by a story on radio that a radio announcer collected his sweat to make salt at home.

Following is the second funeral evolved version:

I. Collect tears into the container when ever tear drops
II. Add the collected tears to the ice cube maker together with the deceased shrimps
III. Freeze the ice cube maker
IV. Take the ice out and place in the glasses
V. Place the glasses together with candles, incense and flowers
VI. Light up the candles and incense
VII. Pray
VIII. Sing any kind of religious song
IX. Drink alcohol while the ice is melting

The 2nd Tanishi
投稿日:02/23/2013 作成者: Kyoko

The 2nd tanishi now has children. Quite a few of them, I think.
The condition of the glass is not that good. Strange web like thing is growing in there.

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: