Upcoming Shows and Events

  • Volcana Brainstorm, Yokohama Triennial
  • Leading workshop for East Timor photographers in Thailand supported by The Japan Foundation Asia Center
         Workshop (2 ~ 20 July 2020) 
Workshop by Ebata ( 8 ~11 July 2020)
Exhibition 21 July 2020 ~

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




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)gmail.com
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, luckyluckydice.com, 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。https://www.okuart.com/

江幡京子 Kyoko Ebata, artist

アーティスト。House of Ebata主宰 http://kyokoebata.com


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

pass: James


『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: http://www.facebook.com/pg/UnderLine-1183086218509161/

The Case of T & S (video)

Password:The Case of T&S

A documentation of my parents.

Shown at:

Do You Love Me?@NICA:Nihonbashi Institute of Contemporary Arts, Tokyo

『The Case of T&S』は作者自身である私と実家の両親の関係をドキュメントしたものである。父は20年近く脳出血の後遺症を抱えており、母はそんな父をサポートして来たのだが、私は子供の頃から母との関係に苦しんでいて、年末年始の挨拶以外にはほとんど実家に寄りついてこなかった。作品のストーリーは年始の挨拶に私がビデオカメラを持って実家を訪れるところから始まり、その後母が入院するところまでが描かれている。


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