hanare×SocailKitchen

Exhibition of a giant musical instrument sculpture, consisting of a 4.8-meter-long, 1.5-meter-wide cylinder with dozens of springs attached to it. 

Big-One Pipe: History 
(1) Imagine the piece, drawing on experiences with tunnels and concrete pipes. 
(2) Create a 1/10 scale model for the piece. 
(3) 4.2-meter cylinder. Some springs grow. 
(Stage performance at AAC Sound Performance Dojo) 
(4) 61-centimeter cylinder. Some more springs grow. 
(5) 4.2-meter cylinder. Springs increase somewhat. 
(Exhibition at Arts Challenge 2013) 


hyslom has been periodically visiting a specific location, an area with a new town development, where nature and artificial objects intersect, and where dramatic changes are continuing to occur. At this soon-to-be giant suburb, they have encountered nature, whose form is constantly being changed by humans; man-made objects at the construction site, which are being produced at an astonishing speed; and people with various relationships to the area, who were there before the development began. 


They have encountered many places, things, and people, including the slope of a reshaped mountain, a forest with a mine cart running through it, a reservoir, a road making way for a tunnel, Hunter, Insect Collector, and Explosives Technician. By transforming these encounters into physical movements with their bodies, hyslom recalls and records their experiences. 


This series of encounters is expressed predominantly through video documentation, as well as performance. Or, as in this exhibition, the result could be a huge musical instrument inspired by tunnels and concrete pipes at the site. While it might appear to be a strange and unfamiliar object, on the contrary, Big-One Pipe symbolizes intimacy, friendship, respect, and care. What appears to be a contradiction in this work might be due to viewers' presumption about the relationship between relational, process-based "art-making" and the resulting "artwork." Generally the final product of process-based work and the process that was used to reach that final project have a certain coherency. While hyslom's final pieces do indicate intimacy, relationships, and love, they do not necessarily carry this coherency. This quality poses an interesting question about aesthetic in process-based or research-based work, and how the relationships between artists and the places, people, things that are involved, are negotiated in the aesthetic of the final work. 


hyslom (Itaru Kato, Fuminori Hoshino, Yu Yoshida)
hyslom usually conducts long-term anthropological field research on specific locations, people, and objects. Since 2009, hyslom has been periodically exploring a field, now a massive housing land development site with a focus on physically experiencing this changing environment with their bodies. In addition to documenting the process through video and photography, they are experimenting with an array of other methods, including diary-writing, sketching, sculpture, performance, and acting out the roles of the people they have met in the field. hyslom aims to discover and reveal different layers of histories and characteristics of the site that will eventually be buried when the development is completed. hyslom has held exhibitions and performances at the Australian Centre for Contemporary Art (ACCA) and Kyoto Seika Daigaku, among others. In 2012 at the 6th AAC Sound Performance Dojo they were awarded the top prize for their piece. 
Website: http://hyslom.com/ 
Video essay: http://hanareproject.net/media/ 


OYE!
In October 2012, a new project called One Year of Exploration (OYE!) was launched at Social Kitchen. hyslom was chosen to lead the first edition of OYE! (2012-2013). For their project, Memo for Mr./Ms. X, they are holding exhibitions, screenings, research presentations, and performances at Social Kitchen. For mroe information, please go to OYE!'s project page.

English Translator: Alex Enscoe