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)

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 https://documenta-fifteen.de/en/calendar/in-act-ben-ngoc-thuy/ 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. 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

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.

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)

人間ノリ巻きの作品説明です。 about Human sushi in Asahikawa Beginning your ground Production year: 2017- Format: Installation Size: φ4000 × H2500 (mm) Material: Wood, Styrofoam, Artificial turf, 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

メディアなどの記事を掲載しています。 Media MEDIA MEDIA I was interviewed by Tobira, who is an art communicator at the Tokyo Metropolitan Art Museum, when he completed graduate school work at the Tokyo University of the Arts.

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)

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