「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)

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

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)

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

人間ノリ巻きの作品説明です。 about Human sushi Human Sushi Year: 2013–ongoing Format: Installation / Participatory performance Dimensions: Sushi roll, including fillings: W2000 × H100 × D1800 mm Sushi geta display stand: W3000 × H450 × D2000 mm Materials: Fabric, cotton, urethane foam, polyethylene sheet Human Sushi is a participatory artwork in which participants can become a giant sushi roll. Participants choose several fillings—such as tuna, egg, denbu, or kanpyo—to be rolled together with them. Holding the selected ingredients, they lie down on a giant mat of rice grains. The artist, dressed as a sushi chef, then energetically rolls them up, transforming them into a giant “Human Sushi.” After becoming a sushi roll, each participant is photographed on site. The printed photograph is attached to a wooden menu board, where the participant writes their own menu name, such as “___ Roll.” The completed menu board is then displayed in the exhibition space, allowing the participant’s experience to remain as part of the artwork. The work invites participants to enjoy unusual actions that rarely occur in everyday life, such as rolling in front of others or becoming food. Beyond the physical experience itself, participants also become part of the work through the menu boards, which can create moments of communication between those who have been rolled. Using the familiar motifs of sushi rolls and cooking, Human Sushi explores how participation can playfully transform relationships: between viewers and artworks, viewers and the artist, and viewers themselves. Rather than simply looking at an artwork, participants enter into it, become part of it, and share the experience with others. To date, approximately 2,500 people have participated in Human Sushi in Japan, Korea, and France. ・ February 26-March 3, 2013 ... "2012 Aichi Prefectural University of the Arts Graduation / Completion Exhibition" (Aichi Museum of Art Gallery Exhibition Room / Aichi) ・ August 2013… etteda7th (Seoul) ・ August 2014 ... Guerrilla Performance in Paris (Plaza in front of Pompidou Center / Paris) ・ March 2015 ... Solo exhibition "이랏 샤이 마세 ~ Welcome ~ Exhibition" (gallery bonun / Seoul) ・ April 7, 2018 ... "Meaningless, something like" (Beginning Museum / Fukushima) ・ August 2018 ... "Children's Korabo Lab" (Art Tower Mito / Ibaraki) ・ August 2018 ... " TURN Festival 4 " (Tokyo Metropolitan Art Museum / Tokyo) ・ Scheduled to be exhibited in 2020 (postponed after 2021)

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Atarashii Historia Production year: 2013- Format: Installation Size: Sushi (including ingredients) ... W2000 x H100 x D1800 Sushi clogs ... W3000 × H450 × D2000 (mm) Material: mixed media Atarashii Historia is a participatory artwork created through a collaborative project between Satsuki Imai and Kampung Lali Gadget, an educational organization based in Sidoarjo, Indonesia. The work intertwines Jamuran, a traditional Indonesian singing game, Indonesian traditional foods, and Imai’s Human Sushi series, creating a new playground where cultural practices and forms of play from Indonesia and Japan intersect. Through participation and collective action, the work explores new possibilities for connection and exchange across cultural boundaries. About the Title “Atarashii Historia” The work is inspired by four traditional dishes: Wedang (a traditional herbal drink), Lapis (a layered steamed cake), and Ingkung (a traditional chicken dish) from Indonesia, alongside sushi from Japan. Through playful interactions with one another, participants experience what it is like to “become” these foods, creating an embodied encounter with and between the cultures of the two countries. Atarashii Historia was presented at the Biennale Jatim XI in Gresik, Indonesia, from August 24 to September 20, 2025. The title Atarashii Historia is a coined phrase that combines the Japanese word atarashii (“new”) with the Indonesian word historia (“history”). In Japanese, the title would mean “a new history” (atarashii rekishi), while in Indonesian it would be expressed as historia yang baru. The title emerged from Imai’s ongoing cultural exchange and research in Indonesia. During a visit to a museum dedicated to traditional games, she encountered historical accounts of the Japanese occupation of Indonesia. Reflecting on this complex history, she shared her thoughts with members of Kampung Lali Gadget, who responded, “We can create a new history ourselves.” This conversation became the foundation of the project. The title Atarashii Historia expresses a shared aspiration to build new histories together through cultural, educational, and artistic exchange. The work was conceived as a starting point for creating new relationships and forms of collaboration between people, communities, and cultures. Play Video Play Guide Video (Japanese subtitles available). The video explains how participants engage with and play each of the food-based activities in Atarashii Historia. Structure of Atarashii Historia Inspired by Imai’s signature participatory work Human Sushi, Atarashii Historia reimagines the traditional Indonesian game Jamuran through a collection of sculptural objects based on traditional foods from Indonesia and Japan. The work consists of: Jamuran , a traditional Indonesian singing game. "Food-inspired sculptural play objects, modeled after traditional dishes from Indonesia and Japan and designed to create new ways of playing and interacting within the game. Element 1: Jamuran Jamuran is a traditional singing game from Java, Indonesia. Participants form a circle and walk while singing together. A player standing in the center acts as a leader and gives instructions such as, “Form a pair and carry each other on your back!” or “Form a group of three and become a truck!” Participants then collaborate with those around them to complete the task. The video below shows a Jamuran session that Imai observed during her research visit to Indonesia in 2024. Element 2: Four Traditional Foods from Indonesia and Japan For Atarashii Historia, Imai incorporated traditional foods from both Indonesia and Japan as key elements within Jamuran. The work features Norimaki (sushi rolls) from Japan, and Wedang (a traditional herbal drink), Lapis (a layered rice cake), and Ingkung (a ceremonial chicken dish traditionally served during religious and communal gatherings) from Indonesia. Inspired by Imai’s Human Sushi series, each food was recreated as a life-sized sculptural object large enough for participants to enter and embody the food itself. To accommodate a large number of participants, four versions of each food were produced, resulting in a total of sixteen objects. This allowed up to sixteen people to participate in the game simultaneously. Norimaki (Sushi Roll) A traditional Japanese dish made by spreading rice over a sheet of nori (seaweed), placing ingredients such as egg, tuna, and dried gourd strips (kanpyo) on top, and rolling them together. Lapis A traditional Indonesian layered rice cake characterized by its colorful striped appearance. Wedang A traditional Indonesian herbal drink known for its nourishing qualities. It is typically made with herbs and spices native to Indonesia, such as ginger, cardamom, and cloves. Ingkung A traditional Indonesian chicken dish prepared using a whole chicken and commonly served during religious ceremonies and communal celebrations. It is traditionally presented on a woven bamboo tray known as a tampah. ■ The Four Food-Based Play Objects ■ 1. Human Sushi As part of the experience, participants run toward the giant sushi roll. One participant lies down on the “rice,” while the others work together to roll them up, creating a giant Human Sushi. The nori (seaweed) section was constructed using reclaimed materials sourced from Kampung Lali Gadget. The rice grains were made from both recycled and newly purchased Styrofoam, with approximately 1,200 grains produced for the work. The sushi fillings were fabricated by local craftspeople who make cushion covers and other textile products in the Sidoarjo area. Load More 2. Wedang Wedang is a traditional Indonesian herbal drink made from ingredients such as ginger, cinnamon, bay leaves, and other aromatic herbs and spices. Participants hold enlarged sculptural versions of these ingredients and enter a giant cup decorated with the marbled pattern often found on Wedang cups. One participant, carrying a large lemongrass stalk, stands on a chair and stirs the contents of the cup as if preparing the drink. As the cup is stirred, the participants inside move together, becoming the ingredients of the beverage itself. For the production of the work, the cup was made from custom-printed fabric featuring a marbled pattern, while the ginger, lemongrass, and other ingredients were constructed primarily from recycled cardboard and other reclaimed materials. 3. Lapis Lapis is a traditional Indonesian steamed cake known for its colorful layered stripes. In this work, participants enter sleeping-bag-like fabric structures, each representing a different color of the cake. By lying down side by side and pressing their bodies together, they collectively become a giant Lapis. The closer they move together, the more closely they resemble the layered cake, often resulting in laughter and playful interaction. The fabrics were purchased at a market in Sidoarjo and sewn by the mother of Achmad Irfandi, director of Kampung Lali Gadget, who works professionally as a dressmaker. Load More 4. Ingkung Ingkung is a traditional Indonesian dish prepared using a whole chicken and is commonly served during religious and ceremonial gatherings. To perform Ingkung, two participants become the cooked chicken itself, while two others take on the role of cooling the dish by fanning it with their hands. Together they recreate the preparation and presentation of the meal through collective movement and play. The giant tampah—a woven bamboo tray traditionally used to serve Ingkung—measures approximately 1.5 meters in diameter. It was specially commissioned and handcrafted by local bamboo artisans in Sidoarjo. 展示 Project Process Over the course of approximately one month, from August 9 to September 11, we carried out meetings, site visits, material gathering, production, play-testing, video editing, installation, exhibition preparation, and a public participatory event. The following section documents the project chronologically. Meetings at Kampung Lali Gadget Shortly after arriving in Indonesia, Imai began meeting with the Kampung Lali Gadget team (Irfandi, Nizar, Gista, Alfian, and Dany). Although Imai had shared an initial proposal before her arrival, the team developed and expanded the ideas further. Through discussions, demonstrations, and collaborative planning, the direction of the project gradually took shape. Load More Site Visit The team visited Pudak Gallery Gresik, the venue for the Biennale. As the gallery is located near the coast, members of the Biennale team introduced us to local fishermen, who generously shared their stories and treated us to local seafood dishes. The venue featured a large open atrium, which was selected as the location for the public play event. Load More Further Meetings and Material Collection After visiting the venue, we held additional meetings to determine the materials required for each of the four food-based works. One of our first destinations was a recycling and surplus-material collection center. There we found unused rolls of corrugated cardboard and other materials that could be purchased at very low cost. For Imai, who had never sourced materials from such facilities in Japan, the experience offered a fresh perspective on local methods of production and resource use. Load More Production Producing four versions each of Human Sushi, Lapis, Wedang, and Ingkung—a total of sixteen large-scale participatory objects—within two weeks was an ambitious undertaking. In addition to the members of Kampung Lali Gadget, university students participating in internships joined the production process. Together, the team completed all sixteen works in approximately two weeks. For Human Sushi, the challenge was to recreate the experience of the original work using locally available materials rather than those used in previous versions. For the other three works, which were being created for the first time, discussions focused on both construction methods and participant safety. Throughout the process, the team repeatedly asked how the works could be both enjoyable and safe for public participation. Load More Collaboration with Local Artisans Several components of the project were produced in collaboration with local craftspeople. The sushi fillings were fabricated by artisans who normally make cushions and bed covers. Although they explained that they rarely create rectangular forms such as those required for the project, they adapted their skills to realize the pieces. The large bamboo tampah trays used for Ingkung were commissioned from local bamboo artisans. While they typically produce trays measuring only 30–40 cm in diameter, they created four trays measuring 1.5 meters in diameter within only a few days, large enough for participants to enter and interact with. Play-Testing Throughout production, the team repeatedly tested and revised the works. The size of the Lapis fabric structures was adjusted, requiring additional fabric purchases. The Wedang cup was initially planned as a cardboard structure assembled from painted panels, but was later redesigned using custom-printed fabric. Each day involved experimentation, revision, and problem-solving. Throughout the process, the team continually emphasized one shared principle: participants must be able to experience the work safely. Visual appearance and safety were evaluated together at every stage of development. Load More Completion of the Works Once the works were completed, the team conducted final play-tests and documentation photography. Video Production Several members of the team had experience in filmmaking. Together, we gathered footage recorded throughout the project and collaboratively produced a documentary video documenting the process and the completed work. Preparing for the Exhibition The exhibition venue was located about two hours from Kampung Lali Gadget by car. After preparing the works for transport, the team traveled to the venue together and completed the installation. Load More Exhibition Opening After successfully installing the works, the team participated in the exhibition opening. Load More Team Interviews A documentary video was also produced featuring interviews with Kampung Lali Gadget members Irfandi and Nizar, alongside Imai, as well as footage from the project activities. The interviews address the origins of the collaboration, challenges related to language and cultural differences, and the difficulties of balancing the project alongside Kampung Lali Gadget’s regular educational programs. The film presents reflections from the project's core members and offers insight into the collaborative process. (Approx. 15 minutes. Directed by Muhammad Alfian Nur Riski.) Exhibition and Public Event at Biennale Jatim Atarashii Historia was exhibited at Biennale Jatim at Pudak Gallery Gresik, Indonesia, from August 24 to September 20, 2025. A public event was held on September 6. During the event, visitors were invited to experience the artwork through participation and play. In addition, the four foods that inspired the work—Norimaki, Wedang, Lapis, and Ingkung—were prepared and served to participants. Visitors were able not only to embody the foods through play, but also to share them together through eating. By bringing together play and food traditions from Indonesia and Japan, the event created a space for cultural exchange and collective experience. Load More Credits I would like to express my sincere gratitude to everyone who contributed to this project. Satsuki IMAI Kampung Lali Gadget Team Achmad Irfandi Ahmad Nizar Pratama Muhammad Alfian Nur Riski Alkurnia Faiva Agista Achmad Dani Nur Fajri Dandy Wahyu Kurniawan Andrey Setyowahyudi Kharisma Nata Fambudi Shinya Permatasari Siti Nur Aini Fahma Rossadah Fajar Agustianto Arizaldi Febiandika Styobudi Novanto Azizul Hakim Sutiyono Siti Mas Udah Giofani Saktiawan Imanmudin Achmad Arga Afriatullah Students of the Department of Communication Studies (IKOM), UNESA (State University of Surabaya) and UMSIDA (Muhammadiyah University of Sidoarjo) Dzawis Sajaya Emiliya Putri Salsabilah Exsya Makou Herdimawan Fadila Nurhamidah Dian Rahmayanti Divia Rahmadina Anindya Rihhadatul Aisy Lina Ziyadah Nur Riska Yogi Maulani Aprilia Ananda Lutfia Nabila Wijiati Nabila Nasywa Andini Kurniawati Dita Maulidiyah Gracio Pardomuan Kristian Raharjo ⁠Amanda Octavia Bamboo Tampah (Serving Tray) Maker Mahmud Human Sushi Topping Production Kasur busa al misfalah Special Thanks Triansyah ilhamzah Halimatus sa’diyah

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

今井さつきの作品紹介をしています。 This page present art works of Satsuki IMAI. どんな風に生きていたのか how did I survive in documenta fifteen? 美術館に暮らす living in Fridericianum museum 色を通して交流すること make friends with food イベントに参加する joining friends's event WORKS 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

Rayboxの作品説明です。 The information of "Raybox" Human Kikumaki (Chrysanthemum Roll) Year of Production: 2025 Format: Participatory Artwork Size: Kikumaki (including fillings): W2000 × H100 × D1800 mm Materials: Fabric, cotton A viewer-participation-type work where you can see the kaleidoscope when you put your belongings inside the work and look into it. Viewers put their watches, glasses, and other belongings in black, white, and transparent-looking box drawers. And when I look through the upper peephole, the belongings in the drawer are transformed into a kaleidoscope. Not all belongings are unique, but the combination of belongings is a part of each viewer, and we try to use it to create a figure that only that person can make. By arranging the inside of the drawer and turning the handle attached to the work, a figure that can only be seen in that moment and that is constantly changing appears every moment. Its beauty seems to praise the viewer themselves. This work was made when the writer was still studying at university with the aim of becoming a game creator. He came across contemporary art when he began to question the commercial games he produced over the years. However, because I didn't understand contemporary art well at that time, I didn't have much to touch, unlike toys and games, and I felt like someone else's affairs. If I make a work, I thought it would be good if I could think of it as my own. This work gave birth to the future writer's life. ・ January 2013 ... " etteda7th-etteda Korea-Japan Creators Joint Exhibition 2012- " (TEMPORARY CONTEMPORARY / Tokyo)

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Human Sushi in Kassel Production year: 2013- Format: Installation Size: Sushi (including ingredients) ... W2000 x H100 x D1800 Sushi clogs ... W3000 × H450 × D2000 (mm) Material: mixed media The work Human Sushi was presented during a half-month stay at the “Former Kamijo Elementary School Residence,” an artist-in-residence program held at the former Kamijo Elementary School building in Miyama City, Fukuoka Prefecture. Organizer: Kyushu Geibunkan Art Exhibition Executive Committee (Fukuoka Prefecture Cultural Promotion Division) Human Sushi Experience (12/16–12/24) For approximately one week, a Sushi-shop-style setup was installed, and visiting residents were “rolled” into a Human Sushi each time they came.

博士論文を紹介しています。 MEDIA Doctoral Thesis 2021 Doctoral Thesis, Graduate School of Fine Arts, Tokyo University of the Arts Research on the experience of appreciation created together by the viewer and the artist: the practice of communion and co-creation and the construction of the concept of <PLAY GROUND＞". (Part of the work is available on a limited basis. It will soon be open to the public at the Tokyo National University of Fine Arts and Music). Viewing environment: PC and iPad are recommended. by Tokyo University of Arts Repository The summary is here(Japanese only) The thesis is here(Japa nese only) Handouts at the time of the doctoral research presentation (Japanese only) Doctoral Thesis 2021 Doctoral Thesis, Graduate School of Fine Arts, Tokyo University of the Arts Research on the experience of appreciation created together by the viewer and the artist: the practice of communion and co-creation and the construction of the concept of <PLAY GROUND＞". (Part of the work is available on a limited basis. It will soon be open to the public at the Tokyo National University of Fine Arts and Music). Viewing environment: PC and iPad are recommended. by Tokyo University of Arts Repository The summary is here(Japanese only) The thesis is here(Japa nese only) Handouts at the time of the doctoral research presentation (Japanese only)

NEWS ◆ January 12, 2021: We will participate in the open studio held at BankART R16. ◆ January 12, 2021: We will participate in the artist talk at BankART Station. ◆ January 10, 2021: We are exhibiting at "Inside Divversity" being held at Ueno Station Break Gallery. (~ February 4th)