森は、議論、好奇心、創造性のための場です。それは絶えず成長するコミュニティであり、根茎のような存在です。実験、創造性、コラボレーションを重視し、多様な分野のプラクティショナーを共に滞在させるための招待状です。
アーティスト、研究者、思想家は、対話を育み、存在の相互接続性の中で創造することを求められています。
Forest is a space for discussions, curiosities and creativity. It is an ever growing community, a rhizome. It is an invitation to multidisciplinary practitioners to be in residence together with an emphasis on experimentation, creativity, and collaborative making.
フィンランドでの作家活動を経て、現在京都を中心に活動。詩と絵画を中心とした複合的な活動を展開している。詩、音楽、そして光への愛に触発された彼の作品は、時間軸のない情景への追憶、静止した地点に秘められたダンスと永遠を探求し、春秋の繊細な詩学をスケッチしている。
Kojiro Kisaka studied fine arts at Kyoto Seika University. As a young artist, he moved to Finland, where he received scholarships and grants to present award-winning works within solo shows and festivals, including stage creations. Back in Kyoto, he developed a multidisciplinary practice revolving around poetry and painting. Inspired by a love of poetry, music, and light, his work explores the remembrance of landscapes to come, the dance, and the eternity embedded in the still point – sketching a delicate poetics of time.
https://www.kojirokisaka.com/
Kojiro Kisaka studied fine arts at Kyoto Seika University. As a young artist, he moved to Finland, where he received scholarships and grants to present award-winning works within solo shows and festivals, including stage creations. Back in Kyoto, he developed a multidisciplinary practice revolving around poetry and painting. Inspired by a love of poetry, music, and light, his work explores the remembrance of landscapes to come, the dance, and the eternity embedded in the still point – sketching a delicate poetics of time.
https://www.kojirokisaka.com/
アメリカのアーティスト、アサド・ラザはスペースメーカーです。アサドは、世界を見つめ、その素晴らしさを思い出すための新しい方法を生み出す生きた詩的な経験を生み出します。彼は、一緒に語られる物語のために、常に対話の中にある関係を想像します。彼の実践と形式は多様で、常に寛大で親密です。友人、家族、アーティストが彼の人生に介入し、彼が各訪問者を個人的に案内した彼のホームショーは、私たちの黒猫の白昼夢の実践にインスピレーションを与えました。今月、アサドは家族のキャスリン、アルマ、ガイアとともに black cat day dream のレジデントです。
American artist Asad Raza is a space maker. He creates living poetic experiences that create new ways to look at the world, and to remember its wonders. He imagines relations within, always in dialogue, for a story to be told together. His practice and his forms are multiple, always generous, and intimate. His Home Show, in which friends, family and artists intervened in his life, and where he personally toured each visitor, was an inspiration for our black cat day dream practices. This month, Asad is a resident at black cat day dream, together with his family – Kathrin, Alma and Gaia.
@asaaddo
American artist Asad Raza is a space maker. He creates living poetic experiences that create new ways to look at the world, and to remember its wonders. He imagines relations within, always in dialogue, for a story to be told together. His practice and his forms are multiple, always generous, and intimate. His Home Show, in which friends, family and artists intervened in his life, and where he personally toured each visitor, was an inspiration for our black cat day dream practices. This month, Asad is a resident at black cat day dream, together with his family – Kathrin, Alma and Gaia.
@asaaddo
1975年、大阪芸術大学音楽学科卒業。大阪に住み、三宮で制作を行い、京都芸術大学で教鞭を執る。アーティスト、詩人、キュレーターとして、様々な機器、音響的なオブジェと彫刻、インスタレーション、パフォーマンス、ワークショップなどを通じて、日常を知覚する新たな方法の体験を中心に領域横断的な活動を展開。ビジョンの中心にあるのは、観客が作品と能動的、感覚的に関わり、空間を体験することだ。個人活動と他の領域横断的なアートコレクティブやアーティストとの協働は、視覚芸術、グラフィックデザイン、文学、映画などへの愛を感じさせる。
Fujimoto Yukio graduated from the department of Musicology of Osaka University of the Arts in 1975. He lives in Osaka, works in Nishinomiya, and teaches at Kyoto University of the Arts, Kyoto, Japan. An artist, a poet and a curator, he developed a multidisciplinary practice centered on experiencing new ways of perceiving the ordinary, through devices, sound objects and sculptures, installations, performances and workshops. The active, sensory engagement of the visitors with the work and their spatial experience are central to his vision. His practice and his collaborations with other multidisciplinary art collectives and artists also echo a love for visual arts, graphic design, literature and cinema.
Fujimoto Yukio graduated from the department of Musicology of Osaka University of the Arts in 1975. He lives in Osaka, works in Nishinomiya, and teaches at Kyoto University of the Arts, Kyoto, Japan. An artist, a poet and a curator, he developed a multidisciplinary practice centered on experiencing new ways of perceiving the ordinary, through devices, sound objects and sculptures, installations, performances and workshops. The active, sensory engagement of the visitors with the work and their spatial experience are central to his vision. His practice and his collaborations with other multidisciplinary art collectives and artists also echo a love for visual arts, graphic design, literature and cinema.
GrassHarp 木坂光穂
アクセサリー作家
1997年よりビーズ・陶芸アクセサリーの制作、京都大阪を中心に販売ををスタート
2005年、ハンダ付けによるアクセサリー制作を始める。
2012年から2015年まで京都のブライダルメーカーのブライダルコレクションに
ブライダルアクセサリーを制作、出品
2017年スワロフスキージャパン主催のコンテスト、クリエイト・ユア・スタイル
デザインコンテストにて技術賞受賞
雑誌Bead Art,ビーズfriend作品掲載。
“Grass harp” Miho Kisaka Jewelry designer, Miho Kisaka started making jewelry in 1997. She has a variety of jewelry made of beads and ceramics. In 2005, she started doing soldering work. She worked with a dressmaker company and made many bridal jewelry for the shows from 2012 to 2015. After that, she works out with some business jewelry shops. In 2017, she was awarded the technical prize from the Swarovski Japan Create Your Style Design competition. The work was published in two magazines “Bead Art”, and “Beads friend“.
“Grass harp” Miho Kisaka Jewelry designer, Miho Kisaka started making jewelry in 1997. She has a variety of jewelry made of beads and ceramics. In 2005, she started doing soldering work. She worked with a dressmaker company and made many bridal jewelry for the shows from 2012 to 2015. After that, she works out with some business jewelry shops. In 2017, she was awarded the technical prize from the Swarovski Japan Create Your Style Design competition. The work was published in two magazines “Bead Art”, and “Beads friend“.
スゼット・ロビションは、フランス出身のフェミニスト活動家、編集者、エッセイストです。1947年、フランスのモンタバンに生まれました。モンタバン大学とトゥールーズ大学で古典文学を学びました。1970年代初頭、パリに移住し、レズビアン・フェミニスト運動に参加しました。1978年には、レズビアングループ「Lesbiennes de Paris」とレズビアン・フェミニスト誌「Quand les femmes s’aiment」（女性が愛し合うとき）を共同設立しました。1979年から1982年まで、雑誌「Masques, revue des homosexualités」（仮面、同性愛誌）の編集委員会に在籍しました。1983年には、「Vlasta, revue des fictions et utopies amazoniennes」（ブラスタ、フィクションとアマゾンのユートピア誌）を創刊しました。彼女は、ゲルトルード・スタインの小説「QED」の編集者であり、また「Masques」誌のモニーク・ウィッティグ特集号の編集者でもあります。1985年には、ウィッティグの戯曲「Le Voyage sans fin」（果てしない旅）を編集しました。この仕事は、この主要な作家・理論家の作品を促進するための多くのイニシアチブを通じて続く友情につながりました。さまざまな協会の活動家であり、フランス初のレズビアン基金である「Lesbiennes d’intérêt général」（一般利益のためのレズビアン）の共同創設者であり、シモーヌ・ド・ボーヴォワール視聴覚センターの理事でもあります。
Suzette Robichon is a French feminist activist, editor, and essayist. She was born in 1947 in Montauban, France. She studied classical literature at the universities of Montauban and Toulouse. In the early 1970s, she moved to Paris and became involved in the lesbian feminist movement. In 1978, she co-founded the lesbian group “Lesbiennes de Paris” and the lesbian feminist journal “Quand les femmes s’aiment” (When Women Love Each Other). From 1979 to 1982, she was on the editorial board of the journal “Masques, revue des homosexualités” (Masks, Journal of Homosexualities). In 1983, she founded the journal “Vlasta, revue des fictions et utopies amazoniennes” (Vlasta, Journal of Fictions and Amazonian Utopias). She is the editor of the novel “QED” by Gertrude Stein, as well as a special issue of the journal “Masques” devoted to Monique Wittig. In 1985, she edited Wittig’s play “Le Voyage sans fin” (The Endless Journey). This work led to a friendship that continued through many initiatives to promote the work of this major writer and theorist. An activist in various associations, she is also co-founder of the “Lesbiennes d’intérêt général” (Lesbians of General Interest), the first lesbian endowment fund in France, and is also a member of the board of the Simone de Beauvoir audiovisual center
Suzette Robichon is a French feminist activist, editor, and essayist. She was born in 1947 in Montauban, France. She studied classical literature at the universities of Montauban and Toulouse. In the early 1970s, she moved to Paris and became involved in the lesbian feminist movement. In 1978, she co-founded the lesbian group “Lesbiennes de Paris” and the lesbian feminist journal “Quand les femmes s’aiment” (When Women Love Each Other). From 1979 to 1982, she was on the editorial board of the journal “Masques, revue des homosexualités” (Masks, Journal of Homosexualities). In 1983, she founded the journal “Vlasta, revue des fictions et utopies amazoniennes” (Vlasta, Journal of Fictions and Amazonian Utopias). She is the editor of the novel “QED” by Gertrude Stein, as well as a special issue of the journal “Masques” devoted to Monique Wittig. In 1985, she edited Wittig’s play “Le Voyage sans fin” (The Endless Journey). This work led to a friendship that continued through many initiatives to promote the work of this major writer and theorist. An activist in various associations, she is also co-founder of the “Lesbiennes d’intérêt général” (Lesbians of General Interest), the first lesbian endowment fund in France, and is also a member of the board of the Simone de Beauvoir audiovisual center
『花は満開に咲き誇り
たちまち散る
うつりかわる花の色は
鳥がさえずり
月が満ち欠けるように
大自然の理を離れることはない
絶望の中にも
人は小さな希望を探す
花がひらけば喜びに満ち
散れば惜しみ憂いた頃の
人々は
季節に流行る疫病などの
わざわいを
花の力が鎮めると信じた
花に仕える事、それが私の日常です。」
京都の慈照寺(銀閣寺)にて初代花方を務める。 2015年に独立し、草木に仕える花士として、大自然や神仏、時、ひとに花を献 ずることを国内外で続けている。同年、青蓮舎花朋の會を設立し、教場で花を 通してそれぞれの「花」の在処を求め、豊かな生活時間を作ることを提案して いる。 2017年4月より、京都造形芸術大学美術工芸学科客員教授として教鞭をとる。 音楽や現代アート、工芸、建築などの分野で国内外のクリエーターとも協働し ている。
“Flowers bloom and scatter away in the wink of an eye. Their colors change in perfect harmony with the rhythms of Nature, as birds sing and the moon waxes and wanes. People search for hopes, even in the face of despair. Those who feel joys when flowers bloom and sorrows when they wither, believed that flowers could relieve them from tragedies. Serving flowers is my everyday practice, and my life.” Shuho Hananofu was the first “flower head” – “hanagata” of Jishoji (also known as Ginkakuji or Silver Pavilion) in Kyoto. A teacher and a collaborator for many contemporary artists, she embodies and shares, through a life dedication to flowers and to the study of the arts of the sacred, the arts of crafts and space – a practice of relation and care.
Hananofu – An ikebana master devoted to plants Position…
https://www.hananofu.jp/
たちまち散る
うつりかわる花の色は
鳥がさえずり
月が満ち欠けるように
大自然の理を離れることはない
絶望の中にも
人は小さな希望を探す
花がひらけば喜びに満ち
散れば惜しみ憂いた頃の
人々は
季節に流行る疫病などの
わざわいを
花の力が鎮めると信じた
花に仕える事、それが私の日常です。」
京都の慈照寺(銀閣寺)にて初代花方を務める。 2015年に独立し、草木に仕える花士として、大自然や神仏、時、ひとに花を献 ずることを国内外で続けている。同年、青蓮舎花朋の會を設立し、教場で花を 通してそれぞれの「花」の在処を求め、豊かな生活時間を作ることを提案して いる。 2017年4月より、京都造形芸術大学美術工芸学科客員教授として教鞭をとる。 音楽や現代アート、工芸、建築などの分野で国内外のクリエーターとも協働し ている。
“Flowers bloom and scatter away in the wink of an eye. Their colors change in perfect harmony with the rhythms of Nature, as birds sing and the moon waxes and wanes. People search for hopes, even in the face of despair. Those who feel joys when flowers bloom and sorrows when they wither, believed that flowers could relieve them from tragedies. Serving flowers is my everyday practice, and my life.” Shuho Hananofu was the first “flower head” – “hanagata” of Jishoji (also known as Ginkakuji or Silver Pavilion) in Kyoto. A teacher and a collaborator for many contemporary artists, she embodies and shares, through a life dedication to flowers and to the study of the arts of the sacred, the arts of crafts and space – a practice of relation and care.
Hananofu – An ikebana master devoted to plants Position…
https://www.hananofu.jp/
日本の伝統的な美術や工芸の繊細さや奥深さに独自の視点を加え、 過去・現在・未来をシームレスにつなげながら、 物事の本質や表現の普遍性を問い続ける美術家。
一貫したたおやかな作風でありながら、鑑賞者の既成の価値観をゆさぶり、潜在意識に働き掛ける様な作品で高い評価を得る。 斬新でありながら懐かしさを感じさせるタイムレスな作品は、 様々なシンボルや物語が、多重構造で鑑賞者との間に独特な空間を産み出す。 媒体を問わない表現方法を用いて骨董・工芸・現代美術・デザイン、文芸など、既存の狭苦しい区分を飛び越え、 日本美術の文脈を独自の解釈と視点で伝統と革新の間を天衣無縫に往還。
Mai Miyake studied at the École Nationale Supérieure des beaux-arts in Paris, France. A visual artist, her practice is imbued with a sensibility that can be traced in the depth of ancient Japan, caring for the unicity of what one can feel in the present moment in a chosen space. Site-specific and collaborative, her works span wide-ranging fields of forms and narratives: she tells stories, intimate and collective, within exquisite installations blending technology, crafts and antiques, ready-made, collage, paintings and poetry.
http://www.maimiyake.com/
Mai Miyake studied at the École Nationale Supérieure des beaux-arts in Paris, France. A visual artist, her practice is imbued with a sensibility that can be traced in the depth of ancient Japan, caring for the unicity of what one can feel in the present moment in a chosen space. Site-specific and collaborative, her works span wide-ranging fields of forms and narratives: she tells stories, intimate and collective, within exquisite installations blending technology, crafts and antiques, ready-made, collage, paintings and poetry.
http://www.maimiyake.com/
は京都大学の教授である。2003年に京都大学にて農学博士号を取得。専門は植物・土壌・微生物の相互作用、森林生態学、および乾燥地生態学。多数の査読付き論文を発表しており、その研究は日本学術振興会、環境省、国立科学財団より支援を受けている。日本生態学会、日本森林学会、森林立地学会, 生物地球化学研究会、IUFRO-J（国際森林研究機関連合日本委員会）の会員である。また、雑誌 『Tropics』と『Journal of Forest Research 』 編集委員を務める。舘野 隆之輔は植物・土壌・微生物の相互作用分野におけるトップレベルの研究者であり、植物、土壌、微生物がどのように相互作用して森林や乾燥地生態系に影響を与えるかについての理解に大きく貢献している。
Ryunosuke Tateno is a professor at Kyoto University. He received his PhD in Agriculture from Kyoto University in 2003. His research interests include plant-soil-microbe interactions, forest ecology, and dryland ecology. He has published numerous papers in peer-reviewed journals, and his work has been funded by the Japan Society for the Promotion of Science, the Ministry of the Environment, and the National Science Foundation. He is a member of the Japanese Ecological Society, the Japanese Forest Society, the Forest Site Society, the Biogeochemistry Society, and the IUFRO-J (International Union of Forest Research Organizations – Japan Committee). He is also an editor of the journals Tropics and Journal of Forest Research. Ryunosuke Tateno is a leading researcher in the field of plant-soil-microbe interactions. His work has made significant contributions to our understanding of how plants, soil, and microbes interact to influence forest and dryland ecosystems. https://rtateno.wixsite.com/website
Ryunosuke Tateno is a professor at Kyoto University. He received his PhD in Agriculture from Kyoto University in 2003. His research interests include plant-soil-microbe interactions, forest ecology, and dryland ecology. He has published numerous papers in peer-reviewed journals, and his work has been funded by the Japan Society for the Promotion of Science, the Ministry of the Environment, and the National Science Foundation. He is a member of the Japanese Ecological Society, the Japanese Forest Society, the Forest Site Society, the Biogeochemistry Society, and the IUFRO-J (International Union of Forest Research Organizations – Japan Committee). He is also an editor of the journals Tropics and Journal of Forest Research. Ryunosuke Tateno is a leading researcher in the field of plant-soil-microbe interactions. His work has made significant contributions to our understanding of how plants, soil, and microbes interact to influence forest and dryland ecosystems. https://rtateno.wixsite.com/website
エマニュエル・レフランはパリに住み、そこで映画を制作しています。彼の映画はすべて自費制作され、セルロイドのみで制作されています。これらの映画は、表現すること、目に見えない世界（感光乳剤の秘めたるもの つまり、私達には、普段見えていない自然を可視化することに）を明らかにすること、つまり、見えない自然を明らかにすることに焦点を当てています。2000年、彼はニコラ・ベルテロ、アレクシス・コンスタンティン、ステファン・クールシーとともに、Nominoëという集団を設立しました。彼らは一緒にパフォーマンスを創作し、ポンピドゥーセンター、セルバルヴェス財団（ポルト）、ロッテルダム国際映画祭（IFFR）など、多くの場所で上演されました。
Emmanuel Lefrant lives and works in Paris, where he makes films, all self-produced, exclusively on celluloid. The films lie on the idea of representing, of revealing an invisible world (the secret forms of emulsion), a nature that one does not see. In 2000, he founded with Nicolas Berthelot, Alexis Constantin and Stéphane Courcy the collective Nominoë. They created together performances which have been played in many places, as the Pompidou Centre, the Serralvès Foundation (Porto) or the Rotterdam.
Emmanuel Lefrant lives and works in Paris, where he makes films, all self-produced, exclusively on celluloid. The films lie on the idea of representing, of revealing an invisible world (the secret forms of emulsion), a nature that one does not see. In 2000, he founded with Nicolas Berthelot, Alexis Constantin and Stéphane Courcy the collective Nominoë. They created together performances which have been played in many places, as the Pompidou Centre, the Serralvès Foundation (Porto) or the Rotterdam.
セルビー・ウィン・シュワルツは、『After Sappho』、『The Bodies of Others: Drag Dances and their Afterlives』の著者である。後者はラムダ文学賞LGBTQノンフィクション部門の最終候補となり、アメリカ演劇研究協会からサリー・ベインズ賞を受賞した。2023年に出版予定のノベラ『A Life in Chameleons』は、レフレックス・プレス・ノベラ賞を受賞している。数多くの論文を発表しており、カリフォルニア大学バークレー校で比較文学（イタリア語/フランス語）の博士号を取得し、現在はスタンフォード大学で執筆を教えている。
Selby Wynn Schwartz is the author of After Sappho, The Bodies of Others: Drag Dances and their Afterlives, which was a finalist for the Lambda Literary Award in LGBTQ Nonfiction and won the Sally Banes Prize from the American Society of Theatre Research. Her forthcoming novella A Life in Chameleons, due out in 2023, won the Reflex Press Novella Award. The author of numerous published articles, Schwartz holds a PhD in comparative literature (Italian/French) from the University of California, Berkeley and currently teaches writing at Stanford University.
Selby Wynn Schwartz is the author of After Sappho, The Bodies of Others: Drag Dances and their Afterlives, which was a finalist for the Lambda Literary Award in LGBTQ Nonfiction and won the Sally Banes Prize from the American Society of Theatre Research. Her forthcoming novella A Life in Chameleons, due out in 2023, won the Reflex Press Novella Award. The author of numerous published articles, Schwartz holds a PhD in comparative literature (Italian/French) from the University of California, Berkeley and currently teaches writing at Stanford University.
パプアニューギニアと日本のルーツを持つクリエイティブ・ディレクター。現在京都在住。現代美術や出版の分野で活躍するアーティストや思想家とコラボレーションに集中。主に、多重性のレジスター、パフォーマンスとしての執筆行為、芸術的実践がもたらす批判的課題にカルチュラル・スタディーズが取り組む方法などに関心を持っている。
Hideko G. Ono is an editor, publisher and writer working with artists and thinkers within the fields of contemporary art, printing, and experimental publishing. She is from Papua New Guinea and Japan and currently lives and works in Kyoto. Her interests include registers of multiplicities, writing, and ways in which cultural studies address the critical challenges posed by artistic practice. https://hidekogono.net/
Hideko G. Ono is an editor, publisher and writer working with artists and thinkers within the fields of contemporary art, printing, and experimental publishing. She is from Papua New Guinea and Japan and currently lives and works in Kyoto. Her interests include registers of multiplicities, writing, and ways in which cultural studies address the critical challenges posed by artistic practice. https://hidekogono.net/
1989年から1996年まで、パリ地方音楽院およびアンジェ国立現代舞踊センター・レスキッセにて研鑽を積む。 ダンス、衣装、イラストレーションなどの芸術分野に関わり、セルジュ・リッチ、クレ・アンジュ舞踊団、クリスティ・ルエデ、シリル・ダヴィ、ジョエル・ブヴィエ/レジス・オバディア、リオネル・オッシュ、ザビエル・ロ、フランソワ・ヴェレ、マリアン・レヴィ、フィリップ・デクフレ、アーサー・ノージエルらとのプロジェクトや公演に参加。2004年、シディ・ラルビ・シェルカウイ、ダミアン・ジャレ、エルナ・オマースドッティルと共に活動を開始し、2014年に舞台を退く。 2008年よりシャンドル・レメテ、エマ・バルナベスに師事しシャドウヨガ/ナーッタ・サーダナを学び、五元素の伝統道医学スクール（ソフィー・マルシャン/ダニエル・ローラン）を卒業。
Between 1989 and 1996, she trained at the Conservatoire Supérieur de Région de Paris and the Centre National de Danse Contemporaine d’Angers-L’Esquisse. Associated with the artistic scene (dance, costumes, illustrations), she took part in various projects and performances with Serge Ricci, Cie Cré-Ange, Christie Lehuédé, Cyrill Davy, Joëlle Bouvier/Régis Obadia, Lionel Hoche, Xavier Lot, François Verret, Marion Lévy, Philippe Decoufflé, Arthur Nauziciel. In 2004, she joined Sidi Larbi Cherkaoui, Damien Jalet, Erna Omarsdottir and left stage work in 2014. She has been studying Shadow Yoga/Nrtta Sadhana with Shandor Remete and Emma Balnaves since 2008, and is a graduate of the School of Traditional Taoist Medicine of the Five Elements (Sophie Marchand/Daniel Laurent).
Between 1989 and 1996, she trained at the Conservatoire Supérieur de Région de Paris and the Centre National de Danse Contemporaine d’Angers-L’Esquisse. Associated with the artistic scene (dance, costumes, illustrations), she took part in various projects and performances with Serge Ricci, Cie Cré-Ange, Christie Lehuédé, Cyrill Davy, Joëlle Bouvier/Régis Obadia, Lionel Hoche, Xavier Lot, François Verret, Marion Lévy, Philippe Decoufflé, Arthur Nauziciel. In 2004, she joined Sidi Larbi Cherkaoui, Damien Jalet, Erna Omarsdottir and left stage work in 2014. She has been studying Shadow Yoga/Nrtta Sadhana with Shandor Remete and Emma Balnaves since 2008, and is a graduate of the School of Traditional Taoist Medicine of the Five Elements (Sophie Marchand/Daniel Laurent).
アーサー・ナウジシエルは、監督であり俳優である。近年、パスカル・ランベール、オリヴィエ・アサヤス、パスカル・キルシュの演出作品に出演した。アントワーヌ・ヴィテズの学校（シャイヨー国立劇場）で訓練を受け、劇場を親密かつ歴史的な修復の場とし、その儀式的で集団的な側面を復活させることを目指している。20作あまりの作品の中には、『ヤン・カルスキ（私の名はフィクション）』（2011年）、アヴィニョン名誉宮廷で上演された『かもめ』（2012年）、『椿姫』（2018年）、『私の兄弟たち』（2020年）、プラハ国立劇場で創作された『輪舞曲』（2022年）などがある。
2015年、アメリカ人俳優によるジャン・ジュネの『華麗なるスペクタクル』を演出し、ロックダウン中にビデオ会議で再演した。2007年から2016年までオルレアン国立演劇センターを、2017年からはレンヌのブルターニュ国立劇場とその付属学校を率いている
Arthur Nauzyciel is a director and actor, recently directed by Pascal Rambert, Olivier Assayas and Pascal Kirsch. Trained at Antoine Vitez’s school at the Théâtre national de Chaillot, he seeks to make the theatre a space of reparation that is both intimate and historical, and to revive its ritual and collective aspects. Among his twenty or so productions are Jan Karski (Mon nom est une fiction) (2011), La Mouette, presented in the Cour d’Honneur in Avignon (2012), La Dame aux camélias (2018), Mes frères (2020), and La Ronde (2022), created at the National Theatre in Prague. In 2015, he staged Jean Genet’s Splendid’s with American actors, recreated in video conference during the lockdown. From 2007 to 2016, he directed the Centre dramatique national d’Orléans, and since 2017 he has been the director of the Théâtre National de Bretagne and its school in Rennes
2015年、アメリカ人俳優によるジャン・ジュネの『華麗なるスペクタクル』を演出し、ロックダウン中にビデオ会議で再演した。2007年から2016年までオルレアン国立演劇センターを、2017年からはレンヌのブルターニュ国立劇場とその付属学校を率いている
Arthur Nauzyciel is a director and actor, recently directed by Pascal Rambert, Olivier Assayas and Pascal Kirsch. Trained at Antoine Vitez’s school at the Théâtre national de Chaillot, he seeks to make the theatre a space of reparation that is both intimate and historical, and to revive its ritual and collective aspects. Among his twenty or so productions are Jan Karski (Mon nom est une fiction) (2011), La Mouette, presented in the Cour d’Honneur in Avignon (2012), La Dame aux camélias (2018), Mes frères (2020), and La Ronde (2022), created at the National Theatre in Prague. In 2015, he staged Jean Genet’s Splendid’s with American actors, recreated in video conference during the lockdown. From 2007 to 2016, he directed the Centre dramatique national d’Orléans, and since 2017 he has been the director of the Théâtre National de Bretagne and its school in Rennes
(1995年生まれの黒田健太さんたちのうちの1人) 京都で暮らしカフェ/ゲストハウスで働きながら、主に舞台 でダンサーとして活動しています。ボクシング、カポエイラ をバッククラウンドに持ち、これまで交流してきた人々に 影響を受けた姿勢を取ってここにいます。
2018年より路上で出会った人々とセッションを企画し、彼らの経験を借りてきました。2022年からはそのセッションを振り返る「verse-paradox」プロジェクトを実施します。
Born in 1995, lives in Kyoto and works at a cafe/guest house, while mainly performing as a dancer on stage. With a background in boxing and capoeira, his practice is formed and influenced by the people he interacts with. Since 2018, he has been organizing sessions with people he meets on the street, borrowing their experiences from them. Since 2022, he has been conducting the « verse-paradox » project, a retrospective about those sessions.
2018年より路上で出会った人々とセッションを企画し、彼らの経験を借りてきました。2022年からはそのセッションを振り返る「verse-paradox」プロジェクトを実施します。
Born in 1995, lives in Kyoto and works at a cafe/guest house, while mainly performing as a dancer on stage. With a background in boxing and capoeira, his practice is formed and influenced by the people he interacts with. Since 2018, he has been organizing sessions with people he meets on the street, borrowing their experiences from them. Since 2022, he has been conducting the « verse-paradox » project, a retrospective about those sessions.
1993年生まれ。大阪府出身。京都嵯峨芸術大学(現嵯峨美術大学) デザイン学科観光デザイン卒業。鑑賞するものとされるものの関係性を テーマとした鑑賞体験の実践的研究や、音楽家、美術家、ディレクターとし A て活動を行う。
2023年より表現の場の創造活動プロジェクト「ココノカプロジェクト」を立 ち上げ、不定期に参加型イベントを開催している。
Born in 1993 in Osaka Prefecture, Japan. Graduated from the Department of Tourism Design at Kyoto Saga University of Arts (currently Saga University of Art). Engaged in practical research on the experiential study of the relationship between the viewer and the viewed, and actively works as a musician, artist, and director. Since 2023, she has launched the “Kokonoka Project,” a project to create platforms for expression, and has been holding participatory events on an irregular basis.
Born in 1993 in Osaka Prefecture, Japan. Graduated from the Department of Tourism Design at Kyoto Saga University of Arts (currently Saga University of Art). Engaged in practical research on the experiential study of the relationship between the viewer and the viewed, and actively works as a musician, artist, and director. Since 2023, she has launched the “Kokonoka Project,” a project to create platforms for expression, and has been holding participatory events on an irregular basis.