人間ノリ巻きの作品説明です。 about Human sushi documenta 15, Kassel, Friedericianum museum, Gudkitchen, backyard, Germany, Nha san collective, ba bau air, queer house, WH22 Production year: 2013- Format: Installation Size: Sushi (including ingredients) ... W2000 x H100 x D1800 Sushi clogs ... W3000 × H450 × D2000 (mm) Material: mixed media Human Sushi in Kassel She was invited to present "JUST ROLLLLLLLLLLLL BY NHÀ SÀN COLLECTIVE", an event within the 15th edition of documenta, a five-yearly art festival in Germany, where she presented "Human Sushi". The event was organized by the Vietnamese collective and Hanoi-based Nhà Sàn Collective, ba-bau AIR, and Jakarta, Indonesia-based Gudskul, together with invited artists. The event created an opportunity to involve people and share fun by rolling tobacco, making rolled food and presenting works of art that are rolled. JUST ROLLLLLLL BY NHÀ SÀN COLLECTIVE Credit：d15_Just_Rolllllll_Kassel_2022_Foto_Martha_Friedel documenta fifteen_ Meydan Weekend 2, Just_Rolllllll, Nhá Sán Collective, Gudskul Fridericianum, August 13, 2022, photo_ Martha Friedel She was invited to present "JUST ROLLLLLLLLLLLL BY NHÀ SÀN COLLECTIVE", an event within the 15th edition of documenta, a five-yearly art festival in Germany, where she presented "Human Sushi". The event was organized by the Vietnamese collective and Hanoi-based Nhà Sàn Collective, ba-bau AIR, and Jakarta, Indonesia-based Gudskul, together with invited artists. The event created an opportunity to involve people and share fun by rolling tobacco, making rolled food and presenting works of art that are rolled. IN : ACT BẾN NGỌC THỤỴ VON NHÀ SÀN COLLECTIVE The performance event IN : ACT BẾN NGỌC THỤỴ BY NHÀ SÀN COLLECTIVE within the wedding party organized by the Nhà Sàn Collective as a public event for the Farewell party at Queer House ưhưh22, which was their accommodation and part of their work, and I performed 《Human Sushi》 in the event. Visitors could take part in the celebration of the ưhưh22 Queer Wedding Party. Encouraged to marry as many times and with as many partners as possible on this special day, around 20 couples asked for a marriage certificate and took the vows, which were recognized by the artist Thao-Linh Dinh. The event was also a public farewell event for the Queer House. The event was held not only in Kassel but also in Hanoi a few days later (event link ). She was invited to present "JUST ROLLLLLLLLLLLL BY NHÀ SÀN COLLECTIVE", an event within the 15th edition of documenta, a five-yearly art festival in Germany, where she presented "Human Sushi". The event was organized by the Vietnamese collective and Hanoi-based Nhà Sàn Collective, ba-bau AIR, and Jakarta, Indonesia-based Gudskul, together with invited artists. The event created an opportunity to involve people and share fun by rolling tobacco, making rolled food and presenting works of art that are rolled.

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 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

人間ノリ巻きの作品説明です。 about Human sushi Human Sushi Production year: 2013- Format: Installation Size: Sushi (including ingredients) ... W2000 x H100 x D1800 Sushi clogs ... W3000 × H450 × D2000 (mm) Material: Cloth, cotton, urethane foam, polyerylene sheet A participatory art work in which artists who portray sushi chefs roll up participants. The participant chooses some of the sushi toppings (tuna, egg, starch, dried gourd) that are wrapped with him/her/them, holds them, and lies down on a huge rice mat. Then, the artist rolled up the participant in front of the viewer and made a huge "Human Sushi" together. After the roll is rolled, the photograph taken and printed on the spot is pasted on the wooden board that becomes the menu table. Then, the experiencer himself writes a menu such as "~ roll", completes the menu table, and displays it in the exhibition hall. It is a work that you can enjoy as an experience-based performance, such as "rolling in public" and "becoming food", that you do not usually do. Also, for myself, not only to experience it to become part of its work product on the menu table but also to form a communication between the experienced people. This work not only sees the work but also participates, and the viewer becomes a work, so that the viewer and the work, the viewer and the author, and the relationship between the viewers can be changed happily, and it is fun with everyday things. Created using the topic of seaweed rolls and cooking in an attempt to amplify the sardines. Currently, a total of about 2,500 people are experiencing it in Japan, South 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)

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

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。 art Human sushi Human sushi To make is to pray Human sushi 1/19 アンカー 1

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Atarashii Historia Year of Production: 2025 Format: Participatory Installation Size: Variable Materials: Mixed Media Atarashii Historia is an interactive artwork created through a collaborative project between artist Imai and the educational organization Kampung Lali Gadget in Sidoarjo, Indonesia. The work combines the Indonesian traditional song-based game “Jamuran”, Indonesian traditional foods, and Imai’s own work “Human Norimaki,” merging the play cultures and traditions of both countries into a single participatory experience. In this project, the instructions within the play are transformed so that participants “become” one of four traditional dishes: three from Indonesia—Wedang (herbal medicinal tea), Lapis (layered steamed cake), and Ingkung (whole chicken ceremonial dish)—and one from Japan—Sushi. Each dish has four units, allowing 16 participants to play simultaneously. The work was exhibited at the East Java Biennale (Biennale Jatim) in Gresik, Indonesia, from August 24 to September 20, 2025. About the Title “Atarashii Historia” The title Atarashii Historia is a coined phrase combining the Japanese word for “new” (atarashii) and the Indonesian word for “history” (historia). In Japanese, it can be read as “Atarashii Rekishi,” and in Indonesian, as “Historia yang baru.” The naming originated from an experience during Imai’s cultural research in Indonesia. While visiting a museum dedicated to traditional Indonesian games, she encountered exhibits documenting the history of the Japanese occupation of Indonesia—a moment that prompted deep reflection. When she shared the complexity of this history with members of Kampung Lali Gadget, they responded: “We can create a new history.” Inspired by this idea—that through cultural, educational, and artistic collaboration, people can shape a “new history” together—the project and artwork were titled Atarashii Historia and developed as a starting point for that shared vision. Play Video A video showing how the games are played (with Japanese subtitles). It explains how each food element is used in the play experience. Composition of Atarashii Historia This work is inspired by Satsuki Imai’s signature piece Human Norimaki. The composition consists of: the traditional Indonesian singing game Jamuran, and a set of three-dimensional sculptural pieces modeled after Indonesian and Japanese dishes, created as new tools for reimagining and playing Jamuran. Element ①: Jamuran Jamuran is a traditional play in which participants walk in a circle while singing. A leader standing at the center gives instructions such as “Form pairs and give each other a piggyback ride!” or “Form groups of three and turn into a truck!” Participants then cooperate with the people around them to complete each instruction. Nizar, who participated in this project, also said in an interview: “Jamuran has a kind of cycle of life within it, and it expresses growth.” Element ②: Four Foods from Indonesia and Japan In this project, we incorporated “food” from two countries—Indonesia and Japan—as core elements of the work. From Japan: Norimaki (seaweed roll sushi). From Indonesia: Wedang, a traditional herbal tea; Lapis, a steamed layer cake; and Ingkung, a whole chicken dish served at religious ceremonies. Just like my own work, Human Norimaki, we created these elements at a scale that allows a person to physically enter and “become” the dish. To ensure many people could participate, we made four sets of each food, resulting in 16 pieces total, so that 16 participants could play at once. Norimaki (Seaweed Roll) A traditional Japanese dish. Rice is spread flat over a sheet of seaweed (nori), topped with ingredients such as egg, tuna, or kanpyo (dried gourd), and then rolled into a cylindrical shape. Lapis A traditional Indonesian steamed rice cake. It is characterized by its beautiful, colorful layered stripes. Wedang A traditional Indonesian herbal tea. It is a nourishing drink made with local herbs such as ginger, cardamom, and cloves, all commonly used in Indonesian traditional beverages. Ingkung A traditional Indonesian ceremonial dish made using a whole chicken. It is typically served on a large round bamboo tray called tampah, woven from bamboo. ■ Ingredients / Components ① Human Norimaki Participants run toward the norimaki, one person lies down on the rice mat, and the others roll them up with force, creating a giant “Human Norimaki.” The seaweed was made from leftover fabric found at Kampung Lali Gadget. The rice was made from both recycled styrofoam and newly purchased styrofoam—1,200 grains in total. The fillings were produced by local craftspeople who usually work on cushion covers and similar products in Indonesia. Load More ② Wedang Participants hold elements of Wedang—ginger, cinnamon, and other herbal ingredients—and enter a large cup inspired by the marble-patterned cups often used for Wedang. A participant holding lemongrass stirs inside the cup, just like making real tea. The cup was made using printed fabric, while the ginger and lemongrass were crafted from recycled cardboard and other materials. ③ Lapis Lapis is a traditional Indonesian steamed cake characterized by colorful layers. Participants each enter a sleeping-bag-like fabric based on a single layer color. They lie down and press their bodies together to form a Lapis. The closer they stick together, the more it resembles real Lapis—resulting in lots of laughter. The fabrics were purchased at a market in Sidoarjo and sewn by the mother of Iefandi, the representative of Kampung Lali Gadget, who works professionally as a tailor. Load More ④ Ingkung Ingkung is a traditional Javanese dish consisting of a whole chicken. One participant becomes the finished chicken dish, while another fans them to cool them down. The 1.5-meter bamboo plate—called tampah—was custom-made from scratch by bamboo craftsmen in the city. 展示 Project Documentation Throughout approximately one month—from August 9 to September 11—we conducted meetings, site surveys, material gathering, production, playtesting, video editing, installation, exhibition, and the final participatory event. Here, the process is shown in chronological order. Meeting at Kampung Lali Gadget Immediately after arriving in Indonesia, we began meetings. I had sent preliminary documents beforehand, but the Kampung Lali Gadget team (Irfandi, Nizar, Gista, Alfian, Dany) expanded on them and proposed several new ideas. Load More Site Visit We visited the exhibition venue, Pudak Gallery Gresik. Since the site is near the coast, local fishermen kindly served us lunch. Load More Second Meeting → Material Search After visiting the venue, we met again to refine ideas for materials and began sourcing them. The first place we visited was a recycling depot. Unused corrugated cardboard and other materials were available at very low prices. Because these types of depots do not exist in Japan, this was a refreshing and inspiring experience. Load More Artwork Production Creating four sets each of Human Norimaki, Lapis, Wedang, and Ingkung—a total of 16 pieces—was a major challenge in terms of volume. With help from the Kampung Lali Gadget members and university interns, we completed the production in about two weeks. For Human Norimaki, although we knew the method, we did not have the same materials as in Japan, so replicating the experience required much trial and error. For the other three works, no one had ever made such objects before, so we repeatedly discussed: “How should we create this?” “How can we ensure safety while keeping it fun?” Both aspects were carefully considered. Load More Commissioning Indonesian Craftspeople Some components were made by local artisans. The Norimaki fillings and the Ingkung bamboo tampah plates were specially commissioned. The fabric artisans, who normally make cushions and bedcovers, tackled the unfamiliar right-angled shapes using their expertise. The bamboo craftsmen—who usually make 30–40 cm plates—created four 1.5-meter plates in just a few days so that a person could sit inside. Playtesting Throughout production, we repeatedly conducted playtests. We adjusted the Lapis fabric sizes and purchased new cloth, changed the Wedang cup from a painted-cardboard structure to one covered with printed fabric, and continued daily trial and error. Load More Completion of the Works After completing the pieces, we conducted test plays and filming. Video Editing Since we had a team member with video production experience, we collaborated to edit the final video. Preparing for Exhibition We prepared for transportation to the venue, which is about two hours by car from Kampung Lali Gadget, and transported everything with the team. Load More Exhibition Opening After successful installation, we participated in the opening event. Load More Member Interviews We produced a video compiling interviews and activities of the main project members— Irfandi and Nizar from Kampung Lali Gadget, and myself. It includes conversations about how the project began, language and cultural barriers, balancing the project with Kampung Lali Gadget’s main business operations, and more. (Video Director: Alfian) Exhibition and Events at Biennale Jatim The project was exhibited at Biennale Jatim, held at Pudak Gallery Gresik in Indonesia from August 24 (Sun) to September 20 (Sat), 2025. On September 6, we held a participatory event. During the event, we prepared real Norimaki, Wedang, Lapis, and Ingkung—the dishes that inspired the work—and shared them with visitors. Through food and play, we created a cross-cultural experience shared with the audience. Load More Credits Thank you for participating this project!! Satsuki IMAI ◾️Members of Kampung Lali Gadget 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 from UNESA and UMSIDA（IKOM） 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 ◾️Artisan of Tempeh Mahmud ◾️Artisan of topping Kasur busa al misfalah ◾️Special thanks Triansyah ilhamzah Halimatus sa’diyah

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Hajimari no Daichi (Mt. Bandai) Year of Production: 2024 Format: Participatory Artwork Size: Mountain (including components): φ4000 × H2500 mm Materials: Wood, styrofoam, artificial grass, flower paper This work, originally created in 2017, was recreated for the summer season of “Ki・Ten・Ki・Ten”, the 10th Anniversary Exhibition of the Museum of Beginnings held in Inawashiro, Fukushima, in 2024. When speaking with local residents, the artist learned that the iconic Mount Bandai—commonly known as a series of three connected peaks—was once said to have had a “fourth mountain.” This earlier form disappeared due to a major eruption that occurred exactly one hundred years before the artist, Imai, was born. Captivated by this coincidence and the mountain’s layered histories, she imagined and reconstructed the “fourth Mount Bandai.” Since no photographic records from that era exist, the recreated mountain was inspired by paintings and local stories. While it pays homage to the lost landscape, the “fourth Mount Bandai” also emerges as a new mountain—one blossomed into existence by the hands of people living today. Inside the work, participants enter a cave-like interior where they are free to create flowers using just tissue paper, tape, and bamboo skewers. There are no rules or prescribed methods: some remember how they made paper flowers as children, while others invent entirely new approaches. As participants work with their hands, conversations naturally begin—about Inawashiro, Mount Bandai, Lake Inawashiro, or people to whom they wish to give their flowers. Though their eyes stay focused on their hands, they soon find themselves engaged in lively exchanges. In this way, flowers of every shape, color, and size come to life—no two ever the same. The completed flowers are planted by participants either inside the cave or on the outer surface of the mountain. Those who wished to give their flower to someone special were invited to take it home. After making a flower, participants climb a ladder inside the cave to “summit” Mount Bandai at an elevation of 2,125 meters. From the summit, they enjoy the view and the flowers left by others nearby. Upon exiting the cave, they receive a commemorative pennant for reaching the peak. Over the long exhibition period from July to October, many visitors created flowers—a total of 1,366 blossoms were born. Cooperation: Asagi Yoshida, Chie Orihara, Takehiro Ishii, Ikuya Hirota, Rina Uchida, Reina Isono, the staff of Hajimari Art Center, and members of the local community

about To make is to pray Making is Praying Production year: 2020- Format: Installation Size: variable Material: cloth, wood, string, thread A participatory art work. I, who am the artist and participant, make a face mask together while listening to the viewer's story of "a person who wants to pray for their health" and praying for their health. This work was created based on the artist's own experience. Around February 2020, when COVID-19 was gradually spreading, I came up with the idea of making something by printing it while looking at the photographs I had taken with people from various countries. At that time, I sewed the face mask I wore as a talisman when I went out and started praying for the health of the people in the photo, and I shared it in the form of a work. Ask the viewer to select two photos of a person who wants to pray for health in the current situation, and send them to the writer's PC. Then, print the photo selected on the spot on a cloth and ask them to cut it while talking about their memories and future stories. I prayed for the health of the person for whom the viewer wanted to pray while sewing the cloth on which the cut photo is printed, and when the face mask was made, I gave it to the viewer. 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)

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

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Human Kikumaki (Chrysanthemum Roll) Year of Production: 2025 Format: Participatory Artwork Size: Kikumaki (including fillings): W2000 × H100 × D1800 mm Materials: Fabric, cotton This participatory work was produced as part of the Artist-in-Residence program at Hachinohe Portal Museum hacchi in Hachinohe City, Aomori Prefecture, during the 2024 residency cycle. During research in Hachinohe, the artist encountered “Abo-kyū,” an edible chrysanthemum traditionally grown in the region, as well as “Kikumaki,” a local rolled dish unique to the area. Recognizing its affinity with one of her representative works, Human Norimaki, she conducted interviews with local residents. Through this process, she discovered that the culture of cultivating and eating chrysanthemum—once deeply rooted in the region—has become far less familiar to the younger generation. Within Hachinohe City, only one chrysanthemum farm remains, and just two people were found who still knew how to make Kikumaki. Because Kikumaki is a dish that can only be truly appreciated when made and eaten with ingredients grown locally, the artist sought to share its value with the community. She created a large-scale participatory artwork in the shape of Kikumaki and, alongside the installation, organized a cooking workshop with local residents to celebrate and help preserve this important regional culture. Presentation of Human Sushi (30th June 2024) As this was the artist’s first presentation in Aomori Prefecture, Human Norimaki was introduced to local residents of Hachinohe. In Hachinohe, a recurring event called “Hachinohe Hokoten” transforms the street in front of hacchi into a pedestrian zone during spring, summer, and autumn. The artist joined this event to share information about the residency and conduct interviews about local norimaki ingredients unique to Hachinohe. Public Production / Interviews A space adjacent to the first-floor radio booth at Hachinohe Portal Museum Hacchi was used to host a workshop for creating the “rice” component of Human Norimaki. While participants engaged in the workshop, the artist collected their memories and stories about Kikumaki and chrysanthemums. Additional interviews were conducted in the large first-floor hall, gathering local stories and personal recollections about Kikumaki and chrysanthemums. Research on Kikumaki Research activities included public interviews at hacchi, visits to the city’s remaining chrysanthemum farm—where the artist experienced harvesting firsthand—and interviews with the few individuals who still possess the skills to prepare Kikumaki. Load More Human Kikumaki & Human Sushi (Hachinohe Ingredients Version) Based on the research conducted in Hachinohe, the newly created work Human Kikumaki was presented alongside a new Hachinohe-themed version of Human Norimaki, incorporating ingredients unique to the region. Human Kikumaki & Human Sushi — at YS Arena The project also expanded outside the museum, with mobile presentations of Human Kikumaki and Human Sushi held at YS Arena, the skating rink located within Nagane Sports Park in Hachinohe City. Photographed by Hiroki Azuma and Yukiya Meguro

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Human Sushi in Miyama Year of Production: 2024 Format: Performance Size: Norimaki (including fillings): W2000 × H100 × D1800 mm Materials: Fabric, cotton, polyethylene sheet 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.

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)