On the November 14-17 we, ARCUS Project open 2024 resident artists’ studios; Eva Seiler, Hyphen—, and Tanji Rie. We cordially invite you to come and join us as they share their works-in-progress of 90-days in Moriya, Ibaraki.
2024 Open Studios
22.Oct.2024
- Period
- November 14th (Thurs) — November 17th (Sun) 13:00 -18:00
- Place
- ARCUS Studio
- Admission Fee
- Free
- Artist
- Eva Seiler
Hyphen—
Rie Tanji
- Contact
- TEL 0297-46-2600 (ARCUS Studio)
※The programs and timetable are subject to change
PROGRAM
November 17 (Sun) 11:00-12:15
Kids Tour
Guided Tour for Kids ※In Japanese. Booking required.
November 16 (Sat) 14:00 – 15:00
Studio Tour
Studio Guided Tour by the Director
※In Japanese and English. No booking required
November 16 (Sat) 16:00 – 18:00
Talk | Ecology and the Common
Speaker:
Alicja Rogalska (Artist *online)
Fujimoto Yumiko (Coordinator, ARCUS Project)
The practice of Polish-born, Berlin-based artist Alicja Rogalska considers the relationship between art and the current time of multiple crises, including the climate and ecological crises. Based on insights into social structures and political backgrounds from the perspective of labor in Eastern Europe and beyond, Rogalska has continued to work together with diverse people such as farmers and migrant workers to offer concrete ideas for addressing social issues faced by local communities. We will introduce projects that deal with ecological issues in which politics and science are complexly intertwined, and imagine a society that differs from both global capitalism, which has accelerated global warming, and state-led socialism. This may, even on a small scale, start from grappling with the living environment and ecosystems that surround us in a more practical and autonomous way.
※In Japanese and English. Booking required for participating online
▸ Reservation for online participation（No booking required for onsite participation）
Alicja Rogalska
Photo: Alina Żemojdzin
Alicja Rogalska is a Polish-British interdisciplinary artist based in Berlin and working internationally. Her practice is research-led and focuses on social structures and the political subtext of the everyday; she mostly works in specific contexts making situations, performances, videos and installations in collaboration with other people to collectively search for emancipatory ideas for the future. She recently presented her work at Biennale Matter of Art (Prague, 2024), Kunsthalle Recklinghausen (2024), Biennial Videobrasil (São Paulo, 2023-24), New Contemporaries (London & Blackpool, 2023-24), Jogja Biennale (Yogyakarta, 2023), Urbane Künste Ruhr (Essen, 2023), Scherben/Berlin Art Prize (2022, main prize), Manifesta 14 Prishtina (2022), Temporary Gallery (2021-22), Kunsthalle Wien (2020-21) and OFF Biennale (2020-21). Rogalska is currently a PhD researcher in the Art Department at Goldsmiths College and was a fellow of the DAAD Artists-in-Berlin program in 2020-21. In early 2025 she will be an artist in residence at the Villa Kamogawa in Kyoto.
2024 Resident Artists
Eva Seiler
Born in 1979 in Germany, and based in Vienna, Austria. Through objects created from organic materials and manufactured goods, Seiler’s works interrogate the relationship between humans and animals. They recontextualize the socio-culturally constructed relationship between the two, while actually being used on both. Based on literature and field research, her works are not material documents which trace theoretical or academic discourses, but rather, are representations of the organic and active relationship between humans and the actors they engage with. Seiler’s strong figurative technique and understanding of space gained through studying sculpture, combined with her curiosity of new relationships of humans through research, come together in her creative work to illuminate the potential of the post-modern age. Past exhibitions and activities include Tuesdays@Secession, with Johanna Tinzl (Secession, Vienna, 2022), BMKOES scholarship (2022), and collection for the Wien Museum.
https://www.evaseiler.com
Hyphenー
A seven-member research group co-initiated in 2011, working from Yogyakarta, Indonesia. Their research-focused artistic activities take various forms such as publishing, exhibition-making, archiving, open-ended conversations, karaoke, barbecue nights and feasts. Selecting a particular person and unraveling Indonesia’s history and identity through the achievements of that individual, the group strives to capture the complexities of the nation state. Among their previous works is the film Visualization of the National History: From, by and for whom?, which features dioramas made under the supervision of the eminent sculptor Edhi Sunarso to take another look at Indonesia’s national history. This depicts the contradictions in the construction of a unified identity of the Indonesian nation due to colonial influences, geographical conditions as a group of islands, state violence and vengeance, as well as its diverse languages. Past exhibitions and activities include As if there is no sun (curation) in the 58th Carnegie International (Pittsburgh, USA, 2022-2023), Jakarta International Literature Festival (As Danarto dkk, Taman Ismail Marzuki, Indonesia, 2022), and Danarto dkk (participation in the Buzdokuz Magazine’s project in the 17th Istanbul Biennial, Turkey, 2022).
https://hyphen.web.id
Tanji Rie
Born in Fukushima Prefecture in 1983, and living in Okinawa Prefecture. Drawing attention to the similar circumstances in social structure of Fukushima where she was born and raised, and Okinawa where she now lives, Tanji creates temporary structures to investigate the relationship between humans and things, as well as humans and the environment. Both Fukushima and Okinawa share a history of having their course determined not through the will of the citizens but through political decisions of the state. When power is asserted, sudden shifts in values can take place, rendering what was once useful no longer relevant. Tanji is concerned with the structures deriving from such social dynamics, as well as the personal happenings which are overlooked in the shadows of those structures, creating works that shake people’s senses of things and of places. In Scenery in Memory (2023), she recreated the interior of her family home which was destroyed by natural disaster, through arranging similar items based on remnant photographs, then photographing this to create her artwork. How reminiscent is this of her now gone family home? Her work represents the geopolitics of Japan’s local communities, interrogating the perceptions of the audience. Past exhibitions and activities include REDRAW TRAGEDY (Künstlerforum Bonn, Germany, 2022), commission work for Hotel Anteroom Naha (2020).
https://rie-tanji.com