糸島にあるアートギャラリー Studio Kura（スタジオクラ）では世界各国からアーティストが訪れ、数カ月間滞在しながら制作に励むレジデンスプログラムを行なっている。プログラムの最後には、その成果を発表する展示会が実施される。今回は7カ国12名のアーティストによる作品が展示される。
＜アーティスト作成原文＞ The philosophical vending machine is a multi-part installation. It shows small rooms that I created out of rubbish. They are connected to each other and visualise different areas of Japanese life wisdom. The construction in the form of a vending machine shows that we can use these wisdoms in everyday life, they are available to us and can be very helpful. I have studied Japan intensively for this installation, the concept has become very complex, just like the country is. I hope you enjoy looking at it. Katharina Eisenberg
2. オーティス・ブリアン・ホッジ （オーストラリア）
＜アーティスト作成原文＞ June.2023 is a body of work that seeks to document the time spent in Itoshima, exploring and consuming what the area has to offer made up of quiet observations in both the studio and the street.
＜アーティスト作成原文＞ My body of work revolves around Itoshima’s much loved and recurrent mascot, Itogon. I immediately gravitated towards Itogon and with only 4 weeks to make work I wanted to focus on the first thing that I had a connection with in Itoshima. ‘Offerings to Itogon’ reflects the care-free and puritanic nature of my time spent in Itoshima and acts as a token of my travels. The repetitive ‘bootleg’ image of Itogon creates a uniform body of work which allows experimentation and free flow to take place within its outlines. Collectively this acts as an ode to Itogon, Itoshima and the people who have helped form this experience. I was inspired by Japan’s many Shinto Shrines and placed offerings of beverages, food, flowers, spare change, drawings and other artefacts that have enriched my time spent in Japan. Simply put, ‘Offerings to Itogon’ is an extended travel diary expressed with gratitude to the place in which these experiences were had.
＜アーティスト作成原文＞ During my residency at Studio Kura, I gathered discarded debris from the surrounding areas, both from the ecosystem and human activity. These found artifacts were transformed into typographic glyphs, specifically designed to represent pixels in images. They formed the foundation of a series of reciprocal artworks. The idea driving the project was to intently focus on the local minutiae of Itoshima (糸島市), the things we typically ignore or deem insignificant, much like the pixels in the images we consume on our screens. Through these artworks, I reimagined the found artifacts, my residency experience, and sought to elevate the importance of the diminutive. I named the project and its glyph set “Godstone” (神石), inspired by a local spiritual artifact—a large boulder discovered in the foothills of Kamiari (神在). This imposing stone stands out amidst a bamboo grove, reminiscent of the parallels I find between the Godstone and my project here—the realization that the larger world, whether in person or in an image, is composed of countless smaller elements. In essence, “It’s turtles all the way down.”
＜アーティスト作成原文＞ Kendall is a weaver from Chicago, in her practice she explores the roots of textile making. In this exhibition Kendall is looking at painting through the lens of a weaver. She has created a simple loom, using bamboo harvested from the area, that her canvas is being woven on; as well as displayed on the loom acting as the canvas stretcher bars.
6. Qinxi Yu（中国）
＜アーティスト作成原文＞ One day I left the coiner laundry and got an hour of free time to wander around the residential area. I was biking around and stopped at the front of a factory. There was a plastic bird placed in the middle of the malt. I tried to get closer to the bird but the sunlight became too shaky. I can’t even see the path. Everything emitting a halo of fiery red, I realized the sunset is approaching. Then a sudden urge came to me, I want to go to a higher place. Paradoxically, the uphill road took me to the shore. I got off the bike and stand by a pile of abandoned fishing nets, I hope these are letters or responses I am waiting for to a momentary impulse.
I tried to remember how I used to reply. Without finishing reading her letter yet, I decided to meet her.
＜アーティスト作成原文＞ For this exhibition Holly has been creating paintings on raw canvas that celebrate the act of discovery and experiencing new sensations. She has been inspired by the natural world and our relationship to it, with a particular interest in exploring how senses such as taste and touch can be depicted in the works.
＜アーティスト作成原文＞ Itoshima Dreams is a collection of illustrations based on dreams and abstract thoughts I had every morning during my 28 day stay at Studio Kura, heavily influenced by the local mountains and rice fields.
＜アーティスト作成原文＞ Bye Bye Bokkie is an exploration of self and the understanding of forms of love through symbolism collected from Japan and South Africa’s fauna and flora. This series is a sequel to Celestial Deities, an exhibition that focused on redefined womanhood, artistry and shared experiences in relation to those who came before us. Bye Bye Bokkie tackles topics concerning soul bonds that form through different behaviors which can either be parasitic or symbiotic.
＜アーティスト作成原文＞ Good Company is a series of pen and charcoal drawings on paper by Mike Byson. The series explores the theme of human connection, and depicts people supporting each other in a variety of relationships. Byson’s drawings are characterized by their warm touch and messages that resonate with the human heart.
＜アーティスト作成原文＞ My interest for human beings and living things is the main motivation to my work. I wanted always to investigate the deepest, softest, smallest emotions a human’s heart could experience in this vast vast universe. I listened to some of my peers talking, I throw myself into this ocean — where me and the world encounters, in every single tidal wave — we encounter differently. This exhibition shows my investigation here in Ikisan, where I lived with my heart and body.
＜アーティスト作成原文＞ Over my years of traveling around Asia as a puppeteer and an investigator of traditional and contemporary puppet theatres, I have come to realise that puppetry (and especially Asian puppetry arts) are often connected to farming as well as spiritual practices. In this exhibition, I am presenting a first chapter of a graphic novel I will keep working on, based on my travel diaries around Asia. This chapter is specifically about my fascination with customs, beliefs and celebrations around rice in Japan as well as well as in Vietnam. In the photograph, there is a little sculpture that I made of a “ta no kansa” (rice god in Kagoshima and Miyazaki prefectures), which you will be invited to exchange greetings with.