[Photo: Tomoko Hojo]This work departs from on an oral history interview with John Lennon and Yoko Ono made on 6 December 1980, two days before Lennon’s death. Whereas John had been talking without interruption, Yoko was often muted and mostly accompanied his speech by laughing with high soft small voice. In Japanese society, people insert ‘aizuchi’ - a sort of backchannel such as ’huh’ or ‘yeah’ - quite often during the conversation, to let the other speaker know that they are actively listening. Although Yoko seems to inhabit this specific behaviour, there is equally an absence, a meandering in a different time and place. Listening becomes the act of imagining unspoken words, and gradually shifts into a fluidity between listening and speaking.I am listening to you | Tomoko HojoMaterial: archival materials, John Lennon and Yoko Ono's interview on the 6th of December 1980, Score, Two self-made instruments with 9 channels, One self-made instrument, Stereo, two other speakers put throughout the space.Length: Approximately 15 minsPremiere: LUX, London, 2018 as a part of the exhibition ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE
INNERN (2018) navigates acoustically from Scuol village to Nairs or vice versa with an app and your own headphones. We follow the winding path along the river Inn through the enchanting and mystical landscape of the Lower Engadine, a remote area of the Swiss Alps. In this sensory experience fiction merges with our immediate environment. The fictive listening journey of Hojo and Kraft is based on talks with local inhabitants. Combined with site-specific performances, field recordings, text and composed sounds, this walking and listening experience allows one to immerse oneself in one's own, deep perception.The inner is influenced by the external environment, place, nature, culture, history and language. Conversely, the inner perception influences the awareness of the outer world. Everything is similar to the cycle of water. It evaporates from oceans, rivers and lakes and transforms into clouds, rain and snow, infiltrates and flows and comes back again and again. Hojo and Kraft invent stories and musical events that we discover along the way. INNERN (2018) | Tomoko Hojo and Rahel KraftAudiowalk between Scuol Village and Contemporary Art Center Nairs, 30 - 40 min.Collaboration: Christian Reiner/Voice, Urban Lienert/Geolocated Playback-Algorithm and ProgrammingOpening weeks 17. March - 01. April 2018, App is available until 2020.Photo by Mayk Wendt
[Photo: Janine Schranz]Please feel free to walk around while you listen to the audio work.You may find 15 postcards on your way.How does the process of transforming a personal memory into someone else’s work? After an event has passed by, it is impossible to share places, sceneries and sounds exactly in the same way. However, through revealing and sharing one's memory, it is recreated in the listener’s imagination, based on her/his own experiences. It may be very concrete or even imaginary. Reborn Homes Through My Voice was presented at the Japanese sculptor Denchu Hirakushi's House and atelier in April 2017. The audio material is based on recordings in the venue and interviews with local inhabitants around the Ueno Sakuragi area, Tokyo, Japan. It was originally composed as a narrative 4-channel-installation. This site-specific work is adapted to Nairs through a German translation and 16 postcards scattered throughout the space. The small aural episodes on the postcards function as a visual supplement of the audio, as well as inviting for own interpretations.Exhibited at the group show SPOT ON Nairs, Contemporary Art Center Nairs, Scuol, Switzerland in 2017-2018
[Photo: Livia B Garcia]This is a listening practice mainly for the performers. Through moving one’s mouth, tongue, nose, teeth, eyes, eyelash, eyebrow, and all of the facial muscles, performers listen and correspond to the sounds which resonate in their skulls. Sounds which are produced with closed ears are individual, private and inaudible to anyone else. Where do these sounds come from? What organs listen to these sounds? It is an attempt to make ears free from its original function.Music for the Skull | Tomoko HojoMaterials: Microphones, Earplug, Chewing gum, ScoreLength: approximately 20 minutesPremiere: EEMT Euro Tour, IKLECTIK, London, 2017
What do you hear when you think about your home? The sound of a closing door, father’s sneezing, a pigion’s voice early in the morning - These daily sounds are kept in one's mind or even out of consciousness without being documented. Homes, which are places of privacy and personal expression can be regarded as a hidden acoustic territory. In the exhibition Reborn Homes Through My Voice, Tomoko Hojo and Rahel Kraft create several sound pieces to unlock and stimulate personal memories, and presented at the Denchu House and Atelier. Through collecting individual soundscapes of local inhabitants around Ueno-Sakuragi and Yanaka area, inspirations for the creative process evolves. The artists also preserve the characteristics of the venue as a combination between house and atelier, a place for ongoing experimentations and interactions. This project attempts to transform our closest memories into the visible/audible though listening, remembering and sharing sounds.
[Photo: Tomoko Hojo]7 specific sources of inspiration have been chosen from the objects, sounds and sites in the Flat Time House. These recall the personal memories of the artist. Each memory is written as a text. The memories are fragmentary, but, at the same time, they bring with them particular images and indefinable feelings. The audiences wander throughout the spaces and encounter the narrations, which are told in low voices. The concept of the work is the instability of the ownership of memory. The artist’s memories are translated into texts, and others read these texts as if the memories were their own. These “texts” have two features; one is as a document of the original experiences/memories and the other is as a kind of score representing the experience. The texts depart from the artist’s own experience/memories, from her mind/body/identity and become a documentation of these experiences and memories, allowing others to create different representations through their different voices and connect their memories to others’ experiences and identities. Through being repeated again and again, the relationship between these texts and the artist’s original memory, between the original memory and its owner becomes unstable; the work raises questions: Whose memory is this? Is this a real or fiction? Who is the narrator? Where does this voice come from? How does the relationship between texts and narrators change? Do different narrators change the text? How does one’s memory become a part of others’ experience or reality?Drifting Memories | Tomoko HojoSite-specific sound installation, 27 narrators' voices play from small Bluetooth loud speakers.A score for an audience and a booklet of collecting narrator's memories are also published.Exhibited in the group show Bodies that Matter, Flat Time House, London in 2015.
[Photo: Yin Yunya]How can artists document the past performance vividly, moreover, how can that documents be used to represent that performance clearly. This question is based on the fact that a performance’s document is not an artwork itself, but always regarded as a secondary position. Making documentation of that moment is a project that explores this escapable issue through documenting a performance and the un/related occurrences of that moment.In this process eight performers left ephemera such as a video, sound file, objects, photographs, and diaries, and as a result, these uncompleted documents show the “real” happens in different phases, not only in the past event.Making Documentation of That Moment | Tomoko HojoMixed Media installation, photographs, video, sound, diaries, and objects picked up by seven performers.A score for performers are published.Shown at Group Exhibition "1:1" (OTO Project Space, London) in 2015.
[Photo: Tomoko Hojo]The “organ" has two different meanings: one is as a musical instrument and the other is as a part of the body. Both mechanisms of making sounds/voices are same, just sending the air from inside to outside.These simple harmonies lead an idea of collaboration between an organist and an organ itself, rather than regarding organist as a transparent player. In addition, Mozart Fantasia in F minor, which is one of the works played at the opening recital of Union Chapel, evokes the past memory of this building and the organ.Therefore, the audience will listen to multiple layers, which is created by historical memories of this architecture and an organist’s presence and his personal memories though breathing.Breathing Organs | Tomoko HojoComposition for a pipe organ + an organist Roger WilliamsMaterials: Snorkel, Harmonica, Prerecorded audio file, Score Length: Approximately 15 mins to 20 mins (it will be changed depending on the organist’s breathing)Premiere: Concert 'Mixture', Union Chapel, London in 2015.
Performances of three Fluxus works at Christian Marclay's solo exhibition which was held between January to April, 2015 at White Cube Bermonsey, London. The titles of each piece are as below. In the performance Drip Music, a wet shirt, socks, a bra and a pant were hung until it dries. This ordinary daily action was brought to the art gallery as 'performance'.George Brecht Drip MusicMieko Shiomi Water Piece (Performed with Wan-Cheng Chen, Gilda Manfring)Yoko Ono Water Piece (Performed with Rahel Kraft)A collaborative performance with Christian Marclay, Thurston Moore and others was also conducted on the 8th of February, 2015. This recording is released as a vinyl from the Vinyl Factory as a part of the exhibition program.ロンドンのホワイトキューブ バーモンジーで2015年1月から4月まで開催された、現代芸術家クリスチャン・マークレイの個展において、水に関係するフルクサスの作品を上演した。演奏曲目は以下の通り。《Drip Music》では、ホワイト・キューブという非日常的空間で、濡れたシャツ、靴下、ブラジャー、パンツなどを干し、乾かすまで待つというきわめて日常的な行為を「演奏」として持ち込んだ。ジョージ・ブレクト《Drip Music》塩見允枝子《Water Piece》 （Wan-cheng chen、Gilda Manfringとの共演）オノ・ヨーコ《Water Piece》（Rahel Kraftとの共演）また、2月8日におこなわれたクリスチャン・マークレー、サーストン・ムーアほかとのコラボレーションパフォーマンスにも参加した。この音源は展覧会プログラムの一環として、The Vinyl Factoryよりレコードとして販売されている。
Listen to the unclear sounds and imitate with voices. Based on one's experiences multiple 'Music' are emerged in a sequence of process and turned to clear how performers listen to the sounds. Although there is an instruction as 'listen and imitate sounds without paying attention to other performers", it is almost impossible to ignore other's interferences. In the reality, the inevitable relationship to others is created by either being interrupted or listening someone's voice which picked one's unheard sounds .The first performance was in the 5th self produced concert of EEMT, Ensemble for Experimental Music and Theater, Kichijoji Theater, Tokyo, 2014.The audio version was created after that, and presented in First Bridge, Gallery MC, New York and London, 2015, and Exhibition SOUND｜PLACE, Goldsmiths, University of London, London, 2015, respectively.裏返しに物語をまわして（2014）よく聞こえない音源を聞き、それを口で模倣する。一連の過程で浮かび上がる各自の経験に基づく複数の「音楽」は、演奏者たちが音をどのように聞いているかを前景化する。楽譜には「他の演奏者を気にすることなく聞き、模写する」という指示があるが、他の演奏者の影響を完全に遮断することは不可能に近い。実際には、他者の声によって聞き取りたい音が聞こえなかったり、逆に聞き取れなかった音が聞こえてきたりすることで、他者との不可避なかかわりが生じている。実験音楽とシアターのためのアンサンブル第5回自主公演 (吉祥寺シアター、東京、2014) にて初演。その後、パフォーマンス音源を用いて作られたヴァージョンが、プロジェクト「First bridge」（Gallery MC, New York and London, 2015）、展覧会「SOUND|PLACE」（Goldsmiths, University of London, London, 2015） でそれぞれ上演された。
6 performers listen to the famous pop song 'Christmas Eve' by Tatsuro Yamashita, Japanese pop singer and songwriter, through headphones and accompany this pre-recorded sound with their own musical instruments, drum set, a guitar, voice, a clarinet, percussions, a keyboard. It is inaudible for listeners which sound sources performers are listening to, so it would be clear only through their accompanied sounds.The duration of this piece is 5min, materials are a pre-recorded audio source and 6 musical instruments.The first performance was on the 23rd of May, 2013 at Gallery Objective Correlative, Tokyo.
The earthquake in March 2011 stressed the vulnerability even of thins that had been considered safe up to that point, including also the collapse of the respective places’ specific functions. What is important now is to not just fix up what has become defective, and refortify the original functions, but we should also reflect on their relevance and appropriateness in the first place.The primary function of an exhibition, for example, is to “show works of art, ” most of which are usually completed first before being set up in a certain space. However, prioritizing different functions may render it unnecessary to grasp a work of art in its entirety, which would mean that the work itself doesn’t even have to be exhibited. There are always invisible latent potentials hidden underneath the obvious functions.Multiple synchronized events, in which the piece “Sapporo” is repeatedly performed in and outside the venue over the entire exhibition period, are staged with the aim to enhance the features of the exhibition. The generation of a multi-layered structure in which one act is a performance and at once part of the daily routine is supposed to work as a model for thinking about a place’s various potentials.—"Sapporo" aounrd the world (2012)Ensemble for Experimental Music and TheatherCuration and presented my work "Sapporo" around Tokyo at Tokyo Wonder Site Hongo.This exhibition had been continued for 44 days.Artists (Ensemble for Experimental Music and Theater):Mika Inoue, Midori Kubota, Satoko Kono, Anzu Suhara, Yuki Sato, Arata Takagi, Takuma Nishihama, Yui Nakamura, Tomomi Adachi, and Tomoko Hojo