Monday 14 February – Sunday 13 March 2022, House of Ebata, Tokyo
Exploiting a friendship from John Chilver, <<Oak and Air>> 2012-2017, oil on panel, 40 × 40 cm, 2022, Kyoko Ebata (work in progress)
House of Ebata, Tokyo
Opening Reception on Monday 14 February| 2月14日オープニング
Closing Talk with ヘンドリック・ウィットコフ｜Hendrik Wittkopf on Sunday 13 March on Zoom 3月13日クロージングトーク(Zoom)
Open by appointments for other days (Max 2 people)| 予約制（最大２名）
ジョン・チルバー｜John Chilver www.johnchilver.co
岩竹理恵｜Rie Iwataki http://kataoka-iwatake.tank.jp/
サイモン・ウィレムス｜Simon Willems simonwillems.com
ダイアナ・ズルニク｜Diana Zrnic https://dianazrnic.myportfolio.com/
Atopon；No place|場所をもたない,2019, Rie Iwatake
‘Untitled (Dance/Work) 1, 2021,Simon Willems, 25 x 40cm, Oil on Linen
House of Ebata は大きな木に囲まれている。自然の大切さを日々思い知らされている今、外には自然の緑、中は人工の緑を鑑賞しつつ、より私的で親密な環境で自分達の中にあった縛りについて基礎から考え直すことができればと思う。
The group show <<Green>> will be themed around painting and generally around the problem of how to start a painting. It will be called ‘Green’. The plan is that all works in the exhibition will be green.
“painting is the most elemental and elementary was a colour decision. But the implications of any colour decision – given due attention – are emotionally and ontologically intense (John Chilver)”
Like after you see strong green, you see red afterimage, the green is supposed to calm people but it makes people upset and violent when they want to protect the green
Project spaces on a personal level are increasing in Japan because of the Corona disaster. This is probably due to the fact that it is safer to visit a small group of people in a private home than a large group of people in a public place.
House of Ebata is surrounded by large trees. At a time when we are being reminded every day of the importance of nature, we hope that we can rethink our own internal constraints in a more private and intimate environment, appreciating the natural greenery outside and the artificial greenery inside.
Supported by 文化芸術活動継続支援事業 |ARTS for the future！ Agency for Cultural Affairs.
Special Thanks: 岡本大河｜Taiga Okamoto, 中島 ふみえ| Fumie Nakashima
Workshop for Young Timorese Photographers
1-24 April Exhibition in Thailand: co-curate: Kyoko Ebata, Dow Wasiksiri, Ornin Ruangwattanasuk, Wannapong Surarochprajak : Host organization: The Faculty of Painting, Sculpture, and Graphic Arts, Silpakorn University,The Royal Photographic Society of Thailand, Funder: The Japan Foundation
more info>> workshop-for-young-timorese-photographershttp://kyokoebata.com/2021/02/workshop-for-young-timorese-photographers/
- Photography Workshop “The Man Who Mistook His Wife for a Hat”
By reading a quotation from “The Man Who Mistook His Wife for a Hat” 1985 by a British neurologist, Oliver Sacks, get inspiration by the way of seeing of Dr.P, take pictures and print out for presentation.
One day group show investigating the way of communication in public places inspired by a homeless woman living near a project space, House of Ebata.近所に住んでいるホームレスの女性についての作品。エヴァ・キエッツマンとの二人展。
A collaboration project between a physicist Tim Byrnes on a physics theory. 物理学者ティム・バーンズとのコラボレーションによる物理の原理の映像化。
An visual correspondence project with Alasdair Duncan
March 29 – April 13 2014
50 Lor 17 Geylang Singapore 388570
Opening Party: Fri 28 March 19:00 –
The show Anna is organized by a group of international artists based in Japan, Singapore and UK and is held at the studio of Dennis Tan based in Singapore.
Anna is about a hole and a fictional woman named Anna. The word “ana” means hole in Japanese. Throughout the show the artists will be showing the product of their neurotic mental journeys.
In connecting holes and Annas, perhaps the most famous Anna to come to mind is Anna O, a made up name for Bertha Pappenheim who’s treatment for hysteria, a form of neurosis, by Sigmund Freud’s colleague Joseph Breuer, and documented by Freud, is regarded as the starting point of psychoanalysis. The position of the hysteric can be understood as being characterised by a deep feeling that there is a hole that cannot be filled (with libidinal implications). The hysteric may tend to seek out knowledge to fill the hole, but since the hole cannot be filled the knowledge produced is inadequate to that task. Hysteria is an orientation that is typically but by no means exclusively taken by women, and what it is to be a woman, to take the feminine position, beyond biology, can be understood as a hole in what can be known.
“A mole is well adapted to holes. It feels no need to understand them.”
A hole is something that is not there, it can’t be seen in itself – it is constituted to our senses by the materials which circumscribe it. This kind of circumscribed inexperience that makes a hole might lend itself to a sentiment of the sublime – a relation of awe towards the unknowable as experienced through limits. It may evoke a sense of investigation or adventure. In an old Buddhist tradition monks used to go into a hole in the ground and stay there until they die in order to become a self-mummified living Buddha, there might be a sense of being close to the death and the sublime in the act of being in the hole.
(Text written by Alasdair Duncan and Kyoko Ebata)
Ebata has moved into an old house in Tokyo where her grand parents used to live. There is a hole in the garden but the purpose of the construction is unknown. When a gardener came to the garden, she asked him what was the purpose of the hole. He wasn’t sure the purpose but had a quick look of the hole. Ebata thought there was a dark perfect cuboid under the ground and wondered why since there should be roots of trees underground. She needed to check what it was inside.
So when she met a painter who was a karate black belt holder at a dinner party, she thought he was strong enough to open the lid and asked him to help her out. The painter came to her house and opened the lid and they discussed what it the purpose of the hole. The process is documented in the video. There was the moment that he questioned what he was doing with a stranger. The meaning of the hole changes according to their interpretation and the shallow establishment of the trust with each other.The trust is based on a fictional story made in each other’s mind.
The Right Hole
Ebata looks for holes and document holes, searching for the right hole, what constitutes the right hole is not at all clear, and she cannot find the right hole, only a series of holes which are not right, there may be many reasons that the hole is not right, although why they are wrong is not much more clear than the question of what the right hole might be. What is clear is that these holes are not the right ones. The piece will thus be a collection of photographic documentation of the wrong holes.
The first show was conducted in Singapore and varieties of holes in Singapore and Japan were exhibited. Some of the holes have historical values, such as Bukit Brown (Chinese cemetery), a former Shinto shrine located at MacRitchie Reservoir in Singapore, as well as The Hundred Caves of Yoshimi and the cave dug by Korean people during the WWII in Japan. But they are all treated as parallel hole juxtaposed next to swede, dust shoot of HDB (housing council in Singapore), and holes of walls.
Sunday, 14 July 2013 13:00 – 20:00
Kyoko Ebata / Tim Byrnes
Tatsuo Majima’s performace starting from 15:00
How we Dance in the Wind is a one day show of three artists concerned with how, in the way we relate to them, we can deal with what is troubling about the unknown, undetermined or unseen; including those of the social, political, technological, or environmental. The show will be held in the garden of a house was built before WWII which has been maintained over the years in the spirit of getting by, in a place where it looks like time has stopped.
Alasdair Duncan makes colour saturated signs in a variety of mediums as broadly optimistic stand-ins for the unknown of the future. He is producing two new, light weight, large scale banners to hang from trees in the garden. The signs float in the wind.
Artist Kyoko Ebata and physicist Tim Byrnes have been working on a series of experiments and studies, Nutopia (http://nutopia.kyokoebata.com) including making sealed bottle environments, simple power plants – towards making a simple nuclear powered device to illuminate a small quasi-natural scene, Ebata has also been inventing ceremonies. These activities are recorded as photographs. Their activities work as ways of making of the invisible consequences of Fukushima something quite immediate, something that can be engaged with to understand the world.
Tatsuo Majima has been undertaking a series of idiosyncratic danced, Dance of the Day – a different two minute dance every day, each set in a different location, filmed and posted on YouTube. The project started from the General Election and which will finish on the Election of the House of Councillors coming on the 21st of July.
Formally these three artists have very different practices, however their work can be understood as sharing a progressive structural approach to how we deal with what is difficult to digest in the unsayable, unseeable, or unknowable around us.
Thank you: blanClass, TARO NASU, Chiaki Sakaguchi, Miho Shimizu
2013年７月14日（日） 13:00 – 20:00
アレスデール・ダンカン Alasdair Duncan
江幡京子／ティム・バーンズ Kyoko Ebata / Tim Byrnes
眞島竜男 Tatsuo Majima
How we Dance in the Windは、戦前に建てられた古い一軒家の庭で行われる一日限りの展覧会です。鬱蒼と木々が繁る時間のエアポケットのような空間で、社会的、政治的、技術的、環境等を含め、わからないもの、未確定なもの、見えないものへの関わり方をテーマに、3組のアーティストがそれぞれのアプローチを展開します。
Amerika: idea / fantasy / dream / myth / image
What America means for non-Americans
Camberwell Space, Camberwell College of Art, London
Jan 7- Feb 14 2014