Tomoko Hojo


Drifting Memories (2015)

[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.

Performances at White Cube, London (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。

Turn a Story Inside Out — For Performers (2014)

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。

"Sappro" around the world (2012)

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