Participating artists
INOUE Toru
Olta
KANIE Naha
HYUN Woomin
contact Gonzo
TAKAMIZAWA Shunsuke
HYAKUTOU Takeshi
MINEKAWA Takako
 
Firing” is a performance event to practice and verify “how it is possible to make fire in a public place. This project, conceived and initiated by MEGUNINJA, began with an artist meeting at the Tama River, was held a second time at a campfiring in Tokyo, and moved to a remote island in Tokyo. The keyword is assumed to be “fire,” but it does not necessarily mean actually making a fire. The performance will be intermedia.
 
Information
Date: 9.13, 2022
Venue: Kozushima Terramachi (998, Kozushima-mura, Tokyo)
 
website

Organized by Marina Komiya and MEGUNINJA
 　
58 texts from Sontag Susan’s “Notes on 《Camp》” will be read together with the audience, and the performance will be accompanied by an element of happening by the artist, poet, and curator. No photography will be done, and the traces will be published in the form of a newspaper. The demand for camping is increasing in the Corona Disaster. Away from the global Internet space, local bodies are placed in the darkness. Each recalled fire is started on the spot or remotely, such as online. Its appearance can only be known by actually seeing it.
 
Performer: Akira Aoki, Ayaka URA, Kanie Naha, KIROKUGAKARI(Manami Seki+Akiko Tamaki), Daisuke Kuroda, Marina Komiya, Aoi Tagami, Takuya Takemoto, MEGUNINJA, Shota Yamauchi, Yuu Yamamoto, Ad Mornings(Taro Karibe, Ayumi Tsuchimoto, Yuka Yamato, Zoé Schellenbaum, Jang-Chi, etc.)
※※Performers Kirokugakari(Manami Seki+Akiko Tamaki), Daisuke Kuroda were not at the venue.
 
Open: September 17.2020 22:30ー5:00
Venue: Certain location in Tokyo (outdoors)
Entrance fee: ¥2000
Admission limit: 50 people
Planner: Marina Komiya, MEGUNINJA
Management: OLTA
 
The man-made island, reclaimed in the middle of the city, had been given such sounding words as “dream” and “peace”. It used to smell of garbage and flies flying around, on the other hand, it was a primary camp for prisoners of war and war criminals. And the remains of war were hidden in the bushes. A few small groups of people were BBQing at the campsite.
Susan Sontag, in her “Notes on Camping,” described “camp” culture in 58 entries. Camp” as an artificial and urban sensation.
In order to tease out the senses–especially the living and powerful senses–with words, we must avoid judgment and behave flexibly. (Susan Sontag, “Notes on ‘Camp,'” translated by Yasuya Takahashi, Hiroshi Izubuchi, Kimi Yura, Hiroshi Ebine, Joichiro Kawamura, and Tetsuo Kishi)
What can we entangle from the 58 items that follow? I move little by little. Someone’s voice is heard. Reactions continue to chain together until morning. I don’t know whether it is stopping or moving. Something seems to be happening, but it is not. Time moves little by little. Something invisible is happening in an invisible place.
Shalek: I’ve finally done it, I’ve finally made it this far. Again, what interests me here is the overall humanity, this one thing. But this, this scene, what is this, culture? It reminds me of a shopping district in downtown Vienna that was burned to the ground, no wonder it was destroyed. This is a pity, and a photo cannot do it justice. …… (Karl Krauss, “The Last Days of Humanity,” translated by Nori Ikeuchi)
How can we notice the anomalies in the uniformity and social order brought about by the state and the city? Karl Krauss published the critical journal “Die Fackel” (The Torch) from 1899 to 1912, which reported on the society of the time through satire. The articles were drawn from letters and street voices, and were later collected into a play, “The Last Days of Mankind”.
How will the fire that the people gathered there try to start be lit in the darkness? The torch of poeticism, ironic criticism, and resistance to assimilation will be lit.
 
During the campfiring, the performers’ performances were recorded using prints.
1 Before the start of the performance
Visitors were given curing blue mats cut to a length about their height. Visitors lay on the mats as if they were surrounding a campfire.
 
2 KIROKUGAKARI
KIROKUGAKARI
There was no recorder at the venue and the performances were made remotely. 3 different performances were made by the audience at 23:00, 2:00, and 4:00. There were several coincidental connections with other artists.
After the three performances, I engraved three times on one plate. I used as motifs the letters projected in a smart phone, the performer Yu Yamamoto, a red vest, a letter about the mechanism of combustion, and a thin stick on fire.
 
3 Ayaka Ura (1)
The clay was handed to the participants as the artist mumbled her memories and feelings about the clay. While kneading the clay with their fingertips, the participants watched the fire in the center of the room and the artist’s movement.
 
4 Aoi Tagomi
I heard a squeaking sound. It was shortly after the performance near the fire, and visitors were enjoying conversation near the fire. The squeaking sounded like a monkey, a creature that should not be here. I listen carefully and go toward the voice. Away from the fire, I reach a tree that is not well lit. The voice comes from the top of the tree. I see a hand with rubber gloves on, and for a moment, I can see a hand around the trunk. If I listened carefully, along with the squeaking, I could also hear insect sounds like bleeps and bibbies. I also thought I heard a bird call, “foo,” but I could no longer tell which voice was that of Heki Tagomi. In the darkness, where there was little light, I could hear countless sounds.
 
5 Ad Mornings(1)
Around the campfire, short canvases were placed in a circle. The canvases were numbered and the time was painted on them.Ad Mornings record campfiring. They were recorded on those canvases. Three people were writing on those canvases, squatting side by side. The bonfire in the center was illuminating Ayaka Ura, who was performing, but at the same time the people recording were also illuminated, and large shadows were stretching out.
 
6 Akira Aoki
Aoki put a sticker on a park sign that read “You must talk campy. client” and began talking with Ura Ayaka about CLIENT. When Aoki told Ura to talk to campy, Ura said, “It’s hard to talk to campy, it would be perky.” He said.
 
7 Daisuke Kuroda
The artist was performing throughout the show with his presence removed. The audience was instructed to put the food they were given into a bonfire in the center of the room. Actually, I was made to play the role of clapping my hands to interrupt the conversation during the performance, but no one seemed to notice.
I watched it and carved the central fire, palm and mushroom on the screen.
A few hours later I heard the conversation, “That’s not the real Mr. Kuroda, that’s a totally different person.”
 
8 Takuya Takemoto
Takuya Takemoto’s performances, which move back and forth across the venue at a speed that makes it difficult to tell whether they are moving or standing still, are so integrated with the landscape that we sometimes lost track of them. Just when I thought I had finally found him, I witnessed the moment when the artist’s silhouette was assimilated with the surrounding grove of trees by a distant lightning flash.
 
9 Ayaka Ura (2)
As Ura Ayaka said, “I am holding hands with the fire” in the ongoing narrative while holding a wooden stick over the fire, she walked around the perimeter in circles, guided by the movement of the fire. Smoke was rising from the end of the wooden stick that she was holding.
 
10 Shota Yamauchi
Yamauchi captured Fahrenheit 451 and projected the burning of each captured photo on the screen using a projector. The photographs, which became the burning dregs of the Fahrenheit 451 captures one after another, were scattered around the area.
 
11 Marina Komiya
She came in a cloth-like garment. Eventually, her neck was pulled back into the cloth, and her head was also hidden. Lighting shone from inside the cloth. The light vaguely reflected the lines of the body on the surface of the clothes (cloth). The artist talked about clothes, nakedness, membranes, holes, rivers, and boundaries. I was impressed by the words, “They do not melt together, but increase.
 
12 Yuu Yamamoto
Yuu Yamamoto’s All Night Yu Yu Wide broadcast ended at an empty kitchen. When ending an online conference, it would be nice if zoom had a function to disconnect while fading out slowly. He said something like that at the end.
 
13 Kanie Naha
Ayaka Ura was building a bonfire in the center of the room. The artist lay right next to the fire. He seemed to be taking his time to decide the distance from the fire. He began sign language while listening to the audio recorded and stored on cassette tapes at the venue. By the time the tape finished playing the most recent notes and the artist opened his eyes and got up, the sky had begun to lighten a little.
私はうらあやかの足元と細い棒、実際の火はではなく炎のようにも見えるカニエ・ナハの手を版画に彫った。
 
14 Ad Morning(2)
After all the performances, Ad Morning came to distribute newspapers. They were constantly recording what was happening, so I guess they had just finished printing and came here, including even the events that had just occurred. A curing blue mat was laid out on the ground, and a bundle of paper divided into three pieces was placed on it. Upon closer inspection, it seemed that the printed contents were all different. Ad Morning took one sheet from each of the three bundles, rolled it into a cylinder, and tied it closed with a string. Soon, the visitors did the same, taking three newspapers as well. The cylindrical newspapers were distributed to the visitors.

Performance “campfiring” planned by Marina Lisa KOMIYA and MEGUNINJA.

Performer：Akira Aoki, Ayaka URA, Kanie Naha, Kirokugakari（Manami Seki+Akiko Tamaki）, Daisuke Kuroda, Marina Lisa KOMIYA, Aoi Tagami, Takuya Takemoto, MEGUNINJA, Shota Yamauchi, Yuu Yamamoto, Ad Mornings（Taro Karibe, Ayumi Tsuchimoto, Yuka Yamato, Zoé Schellenbaum, Jang-Chi, etc.）

Date：2020.9.17.(Thursday)22:30ー5:00　※If typhoon come, we cancel to perform. If rainy day we carry out the performance.
Venue：Tokyo(Outdoors)　※We will email you the location details after booking.
Entry fee：2000Yen（Blue sheet, food）、by appointment only（Sold only online）
Admission restriction：50 people
Ticket：https://olta.thebase.in/items/33354933
Planner： Marina Lisa KOMIYA, MEGUNINJA (OLTA)
Management：OLTA
Contact：campfiring58@gmail.com

[Precaution]

About the venue
・After booking, we will email you the location details.

About infectious disease measures
・We have alcohol disinfection.
・As it is an outdoor viewing, it is up to the individual to wear the mask, but if the distance from other people is short, please wear the mask.

About eating and drinking
・We have meals but you are free to bring your own.

About SNS and shooting
・It is prohibited to shoot the performance and show the location on SNS.

※Please refrain from making a reservation if you have a high fever of 38 degrees or higher or if you are not feeling well.

In order to ask active life from agriculture, art and action a self-made house called Cultivate House is set up in a rural area in the northeastern part of Chiba Prefecture in Japan. The period is from August 30th to September 16th. From September 14th to 16th during the open house period, the “TRANSMISSION PANG PANG DAIJOSAI” will be held to celebrate the harvest and to play a board game with visitors.
 
Cultivate house – OPEN HOUSE
Fri.30.Aug-Mon.16.Sep.2019.
(Fri.6.Sep. is close.)
12:00-18:00
Reservation – only, Admission free
Location: Katorishi, Chiba
Supported by: Istyle Art and Sports Foundation
Cooperation: Aomori Museum of Art, Graduate School of Film and New Media Tokyo University of the Arts RAM Association
 
TRANSMISSION PANG PANG DAIJOSAI
Sat.14-Mon.16.Sep.
14:30-17:30
Reservation – only, Fixed number-10 people, each day
Admission: 2000yen(add in courtesy bus from Tokyo and souvenir)
 
Cultivate house bus
Meeting place：Shinagawa Station Takanawa Exit(12:00)
Entry of participation
Please contact us at this E-mail adress(mail@olta.jp).
Title: “Visit to Cultivate House” or “Take part in DAIJOSAI”
Message : Your Name, Visiting Day, number of people, Way(Car or Train), Telephone number
 
“TRANSMISSION PANG PANG” is a project that examines the ways of tradition and transmission in modern times through the play of board games. Since 2017, “OPEN CIRCUIT”, curating unit based in Seoul, Korea, and OLTA have jointly launched a project and have observed festivals and folk songs in various places. Based on “Snakes and Ladders” familiar in ancient India from acts and songs transmitted from oral history, OLTA and OPEN CIRCUIT produce their own board games, and play board games with audiences by improvisation. The cards used in the game include gestures of festivals and folk songs, tools used for the festival, and actions such as drinking, and the player actually plays while altering various gestures and tools drawn on the cards.

Tokyo is changing rapidly. Regulations may increase and it may become stricter to express freely. At the river side is no longer able to fire. Mankind began with the creation of a fire. She would like to think about how it is possible to fire in a place where it can not fire.

Date: 2017 May 14 16:00-19:00
Venue: Tama River green area (nearest station: Keikyu Rokugodote)
Contents: survey, observation, reconnaissance, creation, cooperation, meeting, reading, eating, shooting, recording, writing, writing, depiction, action, exercise ...
Participants: Kanie Naha, KIMURA Nao, DOKUYAMA Bontaro, YAMAMOTO Yuu, WATANABE Atsushi, una, OLTA
Curation: MEGUNINJA