{"id":2593,"date":"2022-08-16T16:53:21","date_gmt":"2022-08-16T14:53:21","guid":{"rendered":"https:\/\/taifun-plus.org\/?post_type=programm&p=2593"},"modified":"2023-09-20T13:19:56","modified_gmt":"2023-09-20T11:19:56","slug":"presentations-osaka","status":"publish","type":"programm","link":"https:\/\/taifun-plus.org\/en\/programm\/presentations-osaka\/","title":{"rendered":"Presentations Osaka"},"content":{"rendered":"\n

5, 6, 7 August 2022<\/strong><\/p>\n\n\n\n

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Juergen Staack<\/strong><\/p>\n\n\n\n

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SELF<\/strong>
Installation
5\u20137 August 2022
Socio 1 \u2013 BANK Zone<\/strong>

For his installation \u00bbSELF,\u00ab Juergen Staack chose a large shop window that faces directly onto the intersection of Ibaraki’s main Hankyu Station. The shop window, which is almost completely covered in black, offers visitors a small spyglass that allows those looking in to become the object of observation.

The installation \u00bbSELF\u00ab can still be seen in Ibaraki City.

Photos: TAIFUN (copyright)


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TIME<\/strong>
Installation, Performance<\/strong>
5\u20137 August 2022
Socio 1 \u2013 BANK Zone, 3rd Floor
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An almost completely empty room, windowless. On each of three walls a clock. In front of them, on a chair, a person sitting under a lamp \u2013 the only one. Her gaze is fixed on one of the clocks \u2026 Watching the time. Sometimes reading it out. Meanwhile, silence \u2013 apart from the beat of the pendulum of one of the clocks \u2026 For three days, Juergen Staack invited people to experience time in a special way together with the participants of his performance. In the former treasury room of Socio 1, he turned the burning glass on its passing \u2013 and on the value of time in the face of a limited lifespan.

Photos: TAIFUN (copyright)


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Tableaux<\/strong>
Exposed wooden panels<\/strong>
5\u20137 August 2022
GLAN FABRIQUE la galerie
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Photos: TAIFUN (copyright)






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Yuko Kaseki, Miho Tsujii & Kanako Sehara<\/strong><\/p>\n\n\n\n

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KOTOHOGI Ondo<\/strong>
Performance
6 August 2022, 18.30
IBALAB
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\u00bbThe word \u203akotohogi\u2039 originally means prayer or spell. Each of the sounds and names of the syllabary is also a spell. Originally, words were used to communicate with the gods. The sound comes from an oath with the gods. It is also about making invisible things happen.\u00ab (Y. Kaseki, M. Tsujii & K. Sehara)

For two weeks, Yuko Kaseki<\/a>, Miho Tsujii <\/a>and Kanako Sehara<\/a> hosted the \u00bbKOTOHOGI Salon\u00ab<\/a> at the Create Center of Ibaraki City and visited twice the Shoei Elderly Day Care Center<\/a>. During this time, the artists experienced and processed the words, movements, sounds (on the subject of ageing) and lifestyles of about 150 residents and created the performance \u00bbKOTOHOGI Ondo\u00ab.

Photos: TAIFUN (copyright)


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Stitch the Bag of Tenchi (Heaven & Earth) \u2013\u300c\u5929\u5730\u3092\u888b\u306b\u7e2b\u3046\u300d
Installation<\/strong>
7 August 2022
Socio 1 \u2013 BANK Zone, 1st Floor
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Photos: TAIFUN (copyright)






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Jan Grashof<\/strong><\/p>\n\n\n\n

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Life: A Narrative Guide
Wall text, video installation<\/strong>
5\u20137 August 2022
Socio 1 \u2013 BANK Zone, 2nd Floor
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Jan Grashof’s <\/a>wall text \u00bbLife \u2013 A Narrative Guide\u00ab is based on the three-part text series of the same name, which was created in the first phase of the PLUS project and formed the basis of his performance lecture in October 2021. At its centre are the personal human experiences of ageing, which for Grashof are directly interwoven with the narratives that people unconsciously tell themselves about themselves, as well as the question of what it takes to rewrite these narratives \u2013 and thus the personal experience of age(ing). Grashof has written a series of questions that he believes should be asked in order to tackle this task in Japanese on the walls on the 2nd floor in Socio 1 and flanked them with excerpts from the text from which they were taken. This was written, in German, over a total length of more than 30 metres (corresponding to the writing direction of German) from left to right on the interior walls on the 2nd floor. In contrast, the questions translated into Japanese, which interrupted the German text, were read from right to left. In this way, where the German text met a Japanese question, both writing systems and content met.

Photos: TAIFUN (copyright)


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Life: A Narrative Guide
Wall text, audio installation<\/strong>
5\u20137 August 2022
Honmachi Center
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At Honmachi Center in Ibaraki City, Jan Grashof presented an audio installation in combination with a wall text. The German reading of a few minutes from the text series \u00bbLife \u2013 A Narrative Guide\u00ab, which could be heard in an endless loop for three days in an openly accessible space in the middle of the shopping street, led to various questions that were discarded by the author at the end as inadequate. What remained was only one: \u00bbWhere are the questions that need to be asked?\u00ab This question was found written in Japanese translation on a wall of the exhibition space. It was also a reference to the continuation of the exhibition in Socio 1.

Photos: TAIFUN (copyright)






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Motonori Inagaki<\/strong><\/p>\n\n\n\n

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Dialog With Time
Installation<\/strong>
5\u20137 August 2022
Socio 1 \u2013 BANK Zone, 3rd Floor
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On the 3rd floor of Socio 1 (BANK Zone), Motonori Inagaki<\/a> exhibited a large drawing installation from his German-Japanese drawing workshops. The drawings show how people of different ages, nationalities and genders express their understanding of time. At the same time, both a comparative perspective and a deliberate concealment were at work, to the extent that the artist rearranged the order in which the drawings were exhibited in such a way that at first glance no clear assignment of the groups of drawings could be discerned.

Photos: TAIFUN (copyright)


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100 Years
Video installation, photographies<\/strong>
5\u20137 August 2022
Socio 1 \u2013 BANK Zone, 3rd Floor
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The works of \u00bb100 Years\u00ab in the treasury room of Socio 1 included video and photographic works created during Inagaki’s stay in D\u00fcsseldorf in 2021. The dark chamber created a contrasting atmosphere in comparison to the bright space of the drawing installation. Together, they revealed a kind of double understanding of the artist in relation to the theme of ageing: the urgent need to bring the issue more into the light for society to pay more attention to it, and a form of acknowledgement of the sensitive and intimate aspect of old age that affects each individual.

Photos: TAIFUN (copyright)






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Subaru Moriwaki<\/strong><\/p>\n\n\n\n

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PLUS Conversations<\/strong>
Interview series in cooperation with TAIFUN Project<\/strong>
5\u20137 August 2022
Socio 1 \u2013 SHOP Zone, 2nd Floor
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Photos: Subaru Moriwaki (copyright)


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Messages for Heaven <\/strong>
Video installation in cooperation with Klaus Boegel<\/strong>
5\u20137 August 2022
Socio 1 \u2013 SHOP Zone, 2nd Floor <\/strong>

Photos: Subaru Moriwaki (copyright)






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Miki Kadokura<\/strong><\/p>\n\n\n\n

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Future \u2013 Felicity \u2013 Past<\/strong><\/strong>
Installation, video<\/strong>
5\u20137 August 2022
Socio 1 \u2013 SHOP Zone, 2nd Floor <\/strong>

The exhibition \u00bbFuture \u2013 Felicity \u2013 Past\u00ab by Miki Kadokura at Socio 1 (SHOP Zone) showed six charcoal drawings that were created in her workshop \u00bbWe, Memory Players 1\u00ab in D\u00fcsseldorf in 2021, as well as a video work demonstrating the drawing process and reflecting core aspects of the intergenerational exercise.

\u00bbCharcoal is a symbol of condensed time. We draw with charcoal on a large piece of paper. In duet. The participating seniors lead the joint drawing process. With their eyes closed, they draw memories. Their duet partners try to follow or support the movements \u2013 like in Aikido or other couple dances. We may find a synchronous moment in the movement.\u00ab (M. Kadokura)

Photos: TAIFUN (copyright)






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Lorenzo Pompa<\/strong><\/p>\n\n\n\n

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Ombra di sera<\/strong>, Outsider’s Island & We the People<\/strong>
Sculptures and drawing<\/strong>
5\u20137 August 2022
GLAN FABRIQUE la galerie
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Lorenzo Pompa’s works: \u00bbOmbra di sera\u00ab (2021, 23 cm with a diameter of about 2 cm, bronze cast), \u00bbOutsider’s Island\u00ab (2021, 32 x 21 x 15 cm, aluminum cast), and \u00bbWe the People\u00ab (2022, inkjet edition, A4) interacted to form a scenario that deals with questions about human relationships in their inevitable ephemerality.

Photos: TAIFUN (copyright)






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Klaus Boegel<\/strong><\/p>\n\n\n\n

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Messages for Heaven<\/strong>
Performance
7 August 2022, 18.00
GLAN FABRIQUE la galerie
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Klaus Boegel<\/a> presented a further development of his performative work begun in D\u00fcsseldorf in 2021, in which he expands the theme of ageing to include a spiritual dimension. In Ibaraki, Klaus Boegel collected wishes, dreams and fears about growing old in an exchange with local young people. In a workshop<\/a>, his interlocutors wrote these down as messages on origami paper before they were folded as cranes and sent up to the sky in a final ritual.

Photos: TAIFUN (copyright)






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