satsukiimai.comは、今井さつきのwebサイトです。作品やプロジェクト等を紹介しています。 Human sushi Human sushi To make is to pray Human sushi 1/19 アンカー 1

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今井さつきの作品紹介をしています。 This page present art works of Satsuki IMAI. 人間ノリ巻き Human Sushi 人間ノリ巻き（旭川） Human Sushi(Asahikawa) 人間ノリ巻き in Kassel Human Sushi in Kassel 人間ノリ巻き（みやま） Human Sushi (Miyama) WORKS 人間ノリ巻き Human Sushi 人間ノリ巻き（旭川） Human Sushi(Asahikawa) 人間ノリ巻き in Kassel Human Sushi in Kassel 人間ノリ巻き（みやま） Human Sushi (Miyama) 人間ノリ巻き（秩父） Human Sushi(Chichibu) はじまりのだいち(磐梯山） Hajimari no Daichi(Mt.Bandai) 作ることは祈ること Making is Prayng Raybox はじまりのだいち Hajimari no Daichi ひと包み Hitotsutsumi 人間菊巻き Human Kikumaki Atarashii Historia WORKS

「ひと包み」についての作品説明です。 about "Hitotsutsumi" Hitotsutsumi （ One Wrap, One Embrace ） Year of Production: 2025 Format: Participatory Artwork Size: Kikumaki (including fillings): W2000 × H100 × D1800 mm Materials: Fabric, cotton Hitotsutsumi is a participatory artwork in which visitors are wrapped in large furoshiki cloths by the artist while sharing a conversation. By transforming an everyday Japanese wrapping cloth into an experience of wrapping a human body, the work explores how familiar objects and gestures can create communication, trust, and one-of-a-kind relationships between the artist and participants. Doctoral degree completion work. The work is set in a fictional kimono accessory shop, where large furoshiki wrapping cloths are displayed throughout the space. Visitors encounter the artist in the role of the shop’s okami, or proprietress, who explains that this is a place where visitors can be wrapped in furoshiki while sharing stories and conversations. Participants choose two large furoshiki cloths from the patterns displayed in the space. They then step onto the tatami area and, together with the artist, spread out the two cloths and connect them by tying their corners together. Once joined, the cloths form a square measuring approximately three meters on each side. The participant then positions themselves on top of the cloth in the posture in which they wish to be wrapped. They may sit, stand, or lie down. Responding to the participant’s body, posture, and conversation, the artist wraps them according to traditional furoshiki tying techniques. After the wrapping is complete, the artist photographs the participant on site and prints the image onto iron-on transfer paper. The participant then cuts out the printed image, attaches it to a noren curtain, and gives their wrapped form a name. As more people participate, the noren gradually fills with images of wrapped bodies. Each individual wrapping becomes a singular artwork, created through the communication between the participant and the artist. From the Doctoral Thesis Three Elements in the Work Object The object in this work is the furoshiki wrapping cloth. By creating the fictional setting of a kimono accessory shop lined with large furoshiki together with the artist, the work forms a space temporarily separated from everyday life, allowing viewers to feel safe as they participate in the experience. Although furoshiki and fabric are familiar objects, the use of cloths far larger than ordinary furoshiki creates a sense of surprise: an object normally used to wrap things now wraps the viewer’s own body. At the same time, because the action itself—wrapping and being wrapped—is familiar, viewers can easily imagine the process of participation, which also helps create a sense of security. In the act of wrapping something with furoshiki, the viewer takes on the role of “the one being wrapped,” while the artist takes on the role of “the one who wraps.” Through the reciprocal exchange that emerges from their communication, the furoshiki is transformed from a mere object into Hitotsutsumi: a work created through both the act of wrapping and the communication between the artist and the viewer. Viewer In this work, the viewer is the one who is wrapped in furoshiki. By experiencing the work together with the artist, the viewer transforms an ordinary furoshiki into the artwork Hitotsutsumi. The viewer has the agency to choose the patterns of the furoshiki displayed in the space, as well as the posture in which they wish to be wrapped. These choices reduce the gap in experience between the artist and the viewer, and also create a unique, unrepeatable experience for the artist. After being wrapped, the viewer is given an opportunity for reflection and expression by naming their own wrapped form based on the experience. This process of reflection and self-observation becomes a catalyst for transforming the act of participation into a personal experience. Artist In this work, the artist appears as the okami, or proprietress, of a kimono accessory shop. Taking on this role, the artist creates the world of the artwork together with the furoshiki objects and adjusts the conditions of the experience. By participating together with the viewer, the artist collaboratively transforms the object of the furoshiki into the artwork Hitotsutsumi. However, because the viewer chooses the furoshiki patterns and determines their own body posture, the artist cannot fully control the experience. By handing over certain choices—such as the selection of cloth and posture—to the viewer, the artist also enters the experience as a participant and challenger. Load More ＜Exhibition History＞ December 2021: "Tokyo National University of Fine Arts and Music Graduate School Doctoral Program Examination Exhibition 2021" (The University Art Museum, Tokyo National University of Fine Arts and Music / Tokyo, Japan)

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人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Human Sushi (Asahikawa) Year: 2022 Format: Performance / Participatory performance Dimensions: Sushi roll, including fillings: W2000 × H100 × D1800 mm Materials: Fabric, cotton, polyethylene sheet During a one-month residency in Asahikawa, Hokkaido, Imai collaborated with local residents to create the rice cushions that form part of her participatory artwork Human Sushi. Through a series of workshops, participants drew, sewed, and stuffed individual rice-grain cushions, which were later assembled into a site-specific Asahikawa version of the work. The project culminated in a public performance along Heiwa-dori Shopping Park, a permanent pedestrian boulevard stretching approximately one kilometer through central Asahikawa and known as the first permanent pedestrian zone in Japan. Together with participants, Imai carried out a walking performance while inviting people to become part of Human Sushi. Organizer: Artist in Residence Asahikawa Supported by: Asahikawa City, Asahikawa City Board of Education Special Thanks: Machinaka Bunka Goya, Ichinichiju Asagohan Café Sunao, and the people of Asahikawa Workshop (May 1–13) Workshops were held over seven days at Ichinichiju Asagohan Café Sunao in the Ginza Shopping Street and at Machinaka Bunka Goya, located within Heiwa-dori Shopping Park. One workshop session was co-organized with Chachacha World. Participants drew patterns, cut fabric, and stuffed cotton into nearly 400 rice-grain cushions. Together, these individually crafted pieces became the rice component of the Asahikawa version of Human Sushi. In addition to the existing fillings—tuna, egg, salmon, and cucumber—Imai created a new filling inspired by the local environment: gyoja-ninniku (Alpine leek), a wild edible plant harvested in Hokkaido during spring. During her stay, Imai frequently encountered the plant in local restaurants and markets, and was introduced to various ways of preparing it, including soy-marinated dishes and jingisukan (grilled lamb). She also made her own soy-marinated gyoja-ninniku, making it a particularly memorable part of her experience in Asahikawa. Load More Let's Get Rolled into Human Sushi! — The “Makasaru-kai” in Asahikawa (May 14) The final public event took place on May 14. Beginning near Asahikawa Station, the performance moved through several locations along Heiwa-dori Shopping Park, including Marukatsu, OKUNO, FOOD TERRACE, and Machinaka Bunka Goya. Over the course of just over two hours, 31 people participated, and a total of 24 Human Sushi rolls were created, including those involving the artist herself. The event was titled Makasaru-kai, using the Hokkaido dialect expression makasaru. Unlike the standard Japanese passive form “to be rolled,” makasaru carries a nuance that combines both passivity and agency—as if one both chooses and allows oneself to be rolled. From the workshops where participants created the rice grains to the final performance in the city center, people from across Asahikawa shared the experience of being “rolled” together, collectively shaping the work and its presentation. Load More Photographed by Hiroki Azuma and Yukiya Meguro

はじまりのだいちについての作品説明です。 about The beginning from ground Beginning your ground Production year: 2017- Format: Installation Size: φ4000 × H2500 (mm) Material: Wood, Styrofoam, Artificial turf, Flower paper This participatory installation is designed as a mountain on the outside and a cave on the inside. Visitors enter the work and create flowers while sharing memories or stories about important people in their lives with the artist or with others present. Inside the space, participants layer thin hanagami (flower paper) sheets to create their own unique flowers. There are no specific rules for how the flowers should be made; each visitor relies on their own memories and imagination to shape their creation. The artist remains present in the space, making flowers together with visitors and listening to their stories. Completed flowers are placed inside the cave or inserted into the mountain outside. When participants feel ready to “leave the cave,” they climb a ladder, breathe in the outside air, and step out of the space. The installation gradually transforms as more flowers are added through visitors’ participation. The work was created from the idea that the landscape—both literal and metaphorical—can be changed through the small actions of individuals. Approximately 200 people participated in this work, creating flowers while sharing memories of making flowers in their childhood or stories of people to whom they wished to give a flower. Because there were no rules for how the flowers should be made, some participants created their works freely, responding to the materials with their hands and following their own curiosity. Care was taken not to set a clear goal or time limit, allowing each person to spend as much time as they wished until their flower felt complete. The space was intended to offer the comfort and safety of a park-like environment, while providing a gentle theme—“making a flower”—through which participants could think and reflect as they worked with their hands. As time was shared with the visitors, it became clear that the feelings they expressed—making a flower while thinking of someone, or wishing to give it to someone dear—were themselves a form of art. Exhibition History Feb 26 – Mar 3, 2017 The 65th Graduation and Completion Works Exhibition Tokyo Metropolitan Art Museum / The University Art Museum, Tokyo University of the Arts / Geidai Campus, Tokyo October 2019 Precious Situation NEWTOWN / Digital Hollywood University, Tokyo

NEWSは今井さつきの最新情報(展覧会、イベント等)を掲載しています。 The latest information NEWS 2025 Exhibiting at “Civic Hall Open! DAY♪ Exhibition Date: Saturday, December 20, 2025 Time: 11:00–16:00 Venue: Hall Foresta Stage, Keyaki Forum, Meeting Rooms, Entrance Area Admission: Free More details here 2025 Exhibiting at Biennale JatimⅪ Exhibition Date: Sunday, August 24 – Saturday, September 20, 2025 Time: 10:00–21:00 Venue: Pudak Gallery Gresik Admission: Free More details here ※Click the visual on the left to access the artwork page within the website. 2025 2024 Hacchi Artist-in-Residence Activity Archive Exhibition Exhibition Date: Saturday, January 25 – Tuesday, February 11, 2025 Time: 9:00–21:00 Venue: Hachinohe Portal Museum hacchi, 3F “Wa no Studio” Admission: Free More details here ※Click the visual on the left to access the artwork page within the website. 2024 Exhibiting at Hajimari Art Center 10th Anniversary Exhibition “Ki・Ten・Ki・Ten” — Summer Season Exhibition Date: Saturday, August 3 – Sunday, October 20, 2024 Time: 10:00–18:00 Venue: Hajimari-no-Museum Admission: General: 500 yen Ages 65+: 250 yen High school students and under: Free Visitors with a disability certificate and one accompanying person: Free More details here ※Click the visual on the left to access the artwork page within the website. 2023 Participating in the Former Kamino Elementary School Residence Exhibition Performance Date: Saturday, December 16 – Sunday, December 24, 2023 Time: 13:00–17:00 Venue: Former Kamijo Elementary School Admission: Free More details here ※Click the visual on the left to access the artwork page within the website. 2023 A doctoral thesis has been released on the website. Exhibition detail：Click here 2022 IN : ACT BẾN NGỌC THỤỴ BY NHÀ SÀN COLLECTIVE Performance Date：1. September 2022 Time：16:00-20:00 Location：WH22 Nha San Queer House Admission：free detail：Click here 2022 Just Rolllllll Performance Date：13. August 2022 Time：16:00-20:00 Location：Fridericianum Gudkitchen (Backyard) Admission：free detail：Click here 2021 Doctorate degree Exhibition Exhibition Date：10. December 2021 Time：10:00-17:00 Location：Tokyo University of the Arts museum Admission：free detail：Click here 2021 BankART AIR 2021 WINTER OPEN STUDIO Exhibition Date： 5-7,12-14.February 2021 Time：11: 00-19: 00 Place： BankART Station & R16studio Admission: Free detail： Click here 2020 INSIDE DIVERSITY Inner diversity Exhibition Schedule:26.Dec 2020,-4.February Time：7: 00-23: 00 Location：JR Ueno Station Main Exit "Galleria" 2F Break Station Gallery Admission：Free 2020 To make is to pray workshop Exhibition Date： 4.July 2020 Time：11: 00-21: 00 Location：Shibuya PARCO OIL by Art Notebook Store Participation fee：One drink order

about To make is to pray Making is Praying Year: 2020–ongoing Format: Installation Dimensions: Variable Materials: Fabric, wood, string, thread a participatory artwork developed during the early stages of the COVID-19 pandemic, when physical contact and social interaction were severely restricted. In the work, the artist and the viewer create a mask together while talking about someone whose health they wish to pray for. Through the act of making a mask—an object that functioned not only as protection during the pandemic, but also as a personal charm for safeguarding oneself—the work creates an intimate space for sharing memories, care, prayer, and personal relationships. Presented in an exhibition held under the limitations of the pandemic, the work was also an attempt by the artist to explore how she could meet, communicate with, and form connections with visitors at a time when direct interaction was constrained. Participants are invited to choose two photos of someone whose health they wish to pray for in the current situation, and send them to the artist’s PC. The selected photos are printed onto fabric on site. While talking freely about their memories with that person, their relationship, and their hopes for the future, the participant cuts out the printed fabric. The artist then sews the fabric into a mask while praying together with the participant for the person’s health. Once completed, the mask is given to the participant. Load More ・ March 2020 ... " The Struggle the Tomorrow " (3331 ART FAIR / 3331 Arts Chiyoda / Tokyo) ・ July 2020 ... "Making is praying" (OIL by Art Notebook / PARCO Shibuya / Tokyo)

今井の新作である『ひと包み』の特別ページです。 HUMAN FUROSHIKI "Human Furoshiki" is a participatory work in which the author, Imai, and the participating viewers work together to create an important gift, "Human Furoshiki" wrapped in a single furoshiki. It is the participating viewers who are wrapped in the furoshiki. Imai, the author, will wrap you in your favorite pose. When we are born, we are carefully wrapped in cloth, and when we die, we are carefully wrapped in cloth. What kind of experience is it to be wrapped up in the meantime, and even to be wrapped up in others? While talking and communicating with the viewers, who are important gifts that the author can meet through the work, we will change the object of "furoshiki" into a work of "Hitotsutsumi-ひと包み-" together. It is a work that tries to do that. Tokyo University of the Arts Graduate School of Fine Arts Doctoral Examination Exhibition 2021 December 10th (Fri) -19th (Sun), 2021 Tokyo University of the Arts University Museum Load More

今井さつきの経歴等を記載しています。 Satsuki's biography CV photo: Tatsuhiko Nakagawa Satsuki Imai Satsuki Imai creates participatory and communication-based artworks that explore PLAY GROUND, co-creation, and reciprocity, developing spaces in which viewers and artist collaboratively shape the work. Her artistic practice is deeply influenced by her background in video games. Having grown up immersed in games, she came to believe that play fosters personal growth and builds connections between people. She initially aspired to become a game designer, but during her studies in a specialized program, she encountered contemporary art. She found strong affinities between games and art—both offer opportunities to think, experience, and exist slightly apart from everyday roles. This discovery sparked her interest in creating such experiences within public spaces. Drawing on foundational concepts from game design—the viewer as protagonist, the possibility of altering the future through participation, and play as a medium connecting people—Imai developed a practice in which the audience becomes an active agent within each work. Her installation Raybox transforms visitors’ personal belongings into kaleidoscopes, enabling them to generate unique visions rooted in their own lives. In Hajimari no Daichi, flowers made by participants gradually alter the rocky, cave-like landscape of the installation, suggesting the potential for collective action to reshape a shared environment. In Human Norimaki, participants become the “ingredients” of a giant sushi roll, collaboratively constructing the norimaki with the artist while experiencing a new form of embodied creativity. Across these works, Imai invites viewers to become protagonists who co-create the artwork through a process akin to play. Her installations function as playgrounds, places where she connects with others through the medium of art and welcomes them into a space of shared creation. Embedded within her practice is a simple and sincere message to participants: a desire for friendship and connection. Biography 2022 Completed Doctoral Program, Graduate School of Fine Arts, Tokyo University of the Arts (PhD, Fine Arts) 2017 Completed Master’s Program, Graduate School of Fine Arts, Department of Intermedia Art, Tokyo University of the Arts 2013 Completed Master’s Program, Graduate School of Fine Arts, Department of Design, Aichi University of the Arts 2011 BA, Department of Animation (Game Course), Tokyo Polytechnic University Exhibition history 2025 Biennale Jatim XI (Pudak Gallery Gresik / Gresik, Indonesia) 2024 hacchi Artist-in-Residence Activity Archive Exhibition (Hachinohe Portal Museum hacchi / Aomori) 2024 Hajimari Art Center 10th Anniversary Exhibition “Ki・Ten・Ki・Ten” — Summer Season (Hajimari-no-Museum / Fukushima) 2023 Former Kamino elementary school Residence Program Exhibition (Former Kamino Elementary School / Fukuoka) 2022 IN : ACT Bến Ngọc Thụy by Nhà Sàn Collective (WH22 Nha San Queer House / Kassel, Germany) Just Rolllllll (Museum Fridericianum, Gudkitchen Backyard / Kassel, Germany) Let’s Get Rolled in Human Sushi! — Asahikawa “Makasa-ru-kai” (Heiwa-dori Kaimono Park / Hokkaido) 2021 Tokyo University of the Arts Doctoral Thesis Exhibition (The University Art Museum / Tokyo) 2020 INSIDE DIVERSITY (Ueno Station Break Gallery / Tokyo) Making is Praying (OIL by Bijutsu Techo / Tokyo) The Struggle for Tomorrow (3331 ART FAIR / Tokyo) 2019 Precious Situation (Digital Hollywood University / Tokyo) 2018 ATLAS Exhibition (The University Art Museum, Tokyo University of the Arts / Ibaraki) TURN Festival 4 (Tokyo Metropolitan Art Museum / Tokyo) Kodomo Collabo Lab (Art Tower Mito / Ibaraki) Muimi no Youna mono (Hajimari-no-Museum / Fukushima) 2017 TURN Festival 3 (Tokyo Metropolitan Art Museum / Tokyo) FELT STÄRKE — East Asian Capital of Culture 2017 Public Presentation (Kyoto Art Center / Kyoto) TURN Festival 2 (Tokyo Metropolitan Art Museum / Tokyo) Graduation & Completion Exhibition, Tokyo University of the Arts (Tokyo Metropolitan Art Museum / Geidai Campus) 2015 TURN Festival (Tokyo Metropolitan Art Museum / Tokyo) Solo Exhibition Irasshaimase—Welcome (gallery bonun / Seoul) Me and Nature — Tokyo University of the Arts × École des Beaux-Arts International Collaborative Project (Echigo-Tsumari Art Triennale / Niigata) 2014 Human Sushi Guerrilla Performance (Centre Pompidou forecourt / Paris) 2013 Aichi University of the Arts Graduation & Completion Exhibition (Aichi Prefectural Arts Center / Aichi) TETSUSON 2013 (BankART Studio NYK / Kanagawa) Artist-in-Residence 2024 Hacchi AIR (Hachinohe / Aomori) 2022 Former Kamijo Artist-in-Residence (Miyama / Fukuoka) Artist-in-Residence Asahikawa (Asahikawa / Hokkaido) Grants 2022 Ogasawara Toshiaki Memorial Foundation — Travel & Research Grant (First Term)

今井さつきの作品紹介をしています。 This page present art works of Satsuki IMAI. WORKS WORKS WORKS WORKS WORKS WORKS WORKS WORKS WORKS