（My ）works are horizontal and universal. They are actions for being 清濁(sei-daku) meaning purely and turbid at once.
2. （My） works are talkative rather than idiolect, like a busy stanza.
——21.oct.2018, text for DAS JUB JUB at Salzburg5020
Text for organized screening Maiko Jinushi “A New Experience of Love”(2016),”The Sound of a Horse Approaching”(2014)
When people start to know Maiko Jinushi, they find her comfortable. And at the same time, they also feel struck by her keenness she is trying to shoot through. I feel taut when noticing the uncertainties of her quality in which she adapted to grow with the sensitivity she has towards the world.
I also am a person that gets such impressions from her, that’s why I cherish her friendship.
The characters that appear in her video work, they hesitate or lose their words but try to lead an answer to her questions with their dialogue.
I hurt too, through feeling for them as they catch the tension, try to believe her, and try to read her words.
But in fact you only have a critical sensation if you want to love someone. Maiko tells this through her shooting.
And the most important thing I need to tell you. She tries to scoop up the potential to want to be involved, to fathom out, which is their strength.
——text by Kanako Tada
organized screening for Maiko Jinushi “A New Experience of Love”(2016),”The Sound of a Horse Approaching”(2014)
December 12, 2017 (tue) 19:00 – 21:00
About “blink”
“Hand” is a symbol of anonymity and identified.
Of course how treat to kind of identity is definitely unavoidable theme for art works.
Therefore when I start to make some portraits, inadvertently try to erase (instead of express) to any categorize (skin color, eyes and clothes…)
One Japanese philosopher says,
“ We are people first, and a nation second.”
(我々は民族的である前に人類的である。)
“Hand” contains some specific things plus it tries to tell us about a hand owner.
Treating “ hand” is tantalizing…! Well….. it is not directly way to expression, I know.
Therefore I make sense to this way: how to use “hand”.
13rd. July.2017
song for tomorrow
1.
A trans-discursive,
mutual understanding with you
That’s what I want
But they dismiss it as “emotion,”
while their only way is to get themselves wet
Such idiots
“Even if you pretend to be hurt,
if your standing up again is real,
that’s great”
“If you can’t feel any respect for me,
I’m OK with you leaving”
2.
To be selected out of many,
you must follow certain tips
“I said ‘it’s alright,’ and held you tight,
but why are you still ignoring me?”
3.
If you can‘t take it, just flee from me
Hearing you say so,
I only feel I should love you more deeply
That’s so mean!
Touch, touch, touch
Void, void, void
4.
It’s like while your heart rejects the conservative,
you end up finding yourself right there
“Having killed the father,
I slept with the mother”
“Arguably, it’s just the beginning”
“Having killed the sister,
I slept with the brother”
5.
Even altogether, those books lined on the shelf before you
can’t match what I’ll show you now
——quote from “song for tomorrow”
English translation: Yuki Okumura with Greg Wilcox
A child of the entire world
99% and 100% are very different.
52% and 48% clearly are.
The same with 38% and 42%. So how about 21% and 20%?
To say who is wrong.
To say who is right.
Such talk is truly nonsense.
Are you still repeating it?
As if performing a score written by some foolish leader?!
I’m giving birth to a child soon.
It’s a bastard child.
A child of the entire world
So which one is right?
That’s something you decide, please.
Someone will surely point out that I’m selling my own monologue.
Even I am very aware that I am.
To use what was received
To take what was given.
Naturally you will ask,
“So that’s your modus operandi?”
“Yes, I possess nothing which cannot be seen.”
The act of existing in this world is a kind of violence
It is clear to me that as an existence that lives I have responsibility.
That said, I am certain that I still have a desire to live.
An easy narcissist.
Female friends who keep getting more beautiful
and older male acquaintances who never age.
If in the end, if anger and sadness end up being collected by someone
We might as well say everything truthfully.
But I still have a desire to be liked.
And a desire for sexual love!
My embrace of the world is not a marriage that I have committed to.
It is something else, something more
I believe.
What it is, I still don’t know.
Inside a treasure chest made of dozens of layers of flesh-colored fat
are a voice and an earring.
An earring that pierced my ear when I was a first-year middle school student.
It has been an emptiness there from my 13th year till now.
This year I am finally ready for all the world’s languages to become bilingual
and for my pictures painted solely with stolen sights and sounds to invite no ridicule regardless of how exposed I am.
A serious audience is the only thing in front of me now.
——quote from “A child of the entire world”
English translation Norman Chan
seasidepoolside
「得た手はずっと伸び続けて、時々はそれを自分で切り落とさなくてはならない。 だけどもしその義務を一日だけ忘れたとして、 傷んだ右手から新しい手が生えているのを見つけることができたら。」
——seasidepoolsideハンドアウトより。
個展『voice』と最近のこと
‘voice’とゆう展示名にしたのは、
グーグルでこの言葉を画像検索した時に、大衆へリーダーが話しかけているような画像と同時に、
隣に居る人にこそこそ耳打ち話をしているものも出てきて。
それを見た時にどちらもそんなに変わらないものなんじゃないかって思って、この名前にしました。
大きい声も小さい声も、ぜんぶ「声」なんだなあ～と。
私は、ここぞって時に声帯がきゅって締まって声が出なかったり、今！？って時に言い過ぎちゃったりすることがあって。
だったら何も言わないでおこう、言わないとばれないってすげー便利だなーってひねくれた自分もいて。
だけど、自分と「絵」の関係を考えた時に、もうそんな子どもみたいなこと言ってられん！
だめだめ！とか思ってたりして、（こういうことを考え出したのはちょうど大学院に入った頃だった。）
晒すってどういうことなんだろう、非難されてもかまわないってどういうことなんだろう、誤解を恐れないって、どんな時に思う気持ちなんだろう。我慢したりすごい放出したり、だけど世界と共にあるってどういうことなんだろう…
どんな時でも生きていこうって、生まれる前に多くの人がもしかしたらかみさまに誓って、雑菌まみれのここにやってきている。
一昨年に大学で聞いた何かのイベントのトークで、
「最小限のもので最大のものを語る」っておっしゃってた画家の方がいた。
私にとって「誰にでも分かることばで絵を描きたい」ってことがあって、
普通、（普通ってなんだろう笑）の絵が描きたくて、混乱のなかにあるロジカルなものが表面にあって、
絵の具が風景をつくる単語みたいなもので、筆使ってる時は話してる状態に近いのかな。
客観というには柔らかく、人に届くように、というには白々しく聞こえてしまう
このアイデアを、どうにかこうにか無理矢理箱に押し込めて、
配達できるような形にしたが、この『voice』ということばだったのです。
sole exhibition I’m in Love,I’m Alone at Bambinart Gallery,2014/個展「愛の中のひとり」Bambinart Gallery,2014年
“I’m in Love, I’m Alone”
Bambinart Gallery is pleased to present “I’m in love, I’m alone.”, a solo-exhibit by Kanako Tada
Kanako Tada is aware of 2 selves which co-exist within her, the self which goes about the everyday and then the self subject to the throes of life and death. Hoping to confront this second self which is so often separated from the daily happenings Tada takes up the paint brush and sets out on a process determined to reach beyond her own will. In her layering of uncontrolled expressions upon seemingly completed works and combining figurative motifs from a variety of sources, from famous classical paintings to music magazine covers she enforces de-contextualization and rebirth of the image, attempting to hit upon the depths of life and death.