Join me in a collective embroidery and listening experience focusing on the historical and contemporary racialized experiences of women of Japanese Canadian and Japanese descent in British Columbia. This project responds to the Legacy Gallery’s current exhibition Translations: The Art and Life of Elizabeth Yeend Duer—Gyokushō 玉蕉. Working with interviews with Japanese Canadian women remembering their mothers and the various ‘artistic’ practices (textiles, landscape, sewing, craft) that they continued in the internment camps sometimes as a mode of survival during the war. Their unseen labour and handiwork come to light with difficulty through memory work of these women now in their 80s. This experience is juxtaposed to the nihonga paintings of Gyokusho who did not experience the camps duirn this time and was able to continue her artistic practice on the westcoast. The event is free and begins March 8 4pm - 8pm and March 9 11am - 3pm. Credits: Sound Design: Antoine Bedard, Studio Assistance: Cherry Wen Wen Lu, Interviewees: Grace Eiko Thomson, Ritzuko Yoshida, and Tamako Tanaka.
My film Scissors (2017) will be part of KAG Luminocity in Kamloops, B.C. from October 12 - 20. KAG Luminocity is a free outdoor projection event that opens from 4pm to 2am. For more information and the site map visit https://kagluminocity.wordpress.com/.
Starting at the Kamloops Art Gallery @ 465 Victoria Street, Curator Charo Neville will lead a public walking tour of all the Luminocity projects, following the map and ending at the Rotary Bandshell for an evening of performance and refreshments starting at 9:00 pm.
Sue Sada Was Here is a new dance film that will be part of the Memories of the Future III exhibition with Diyan Achjadi curated by Katherine Dennis. Join us for the opening reception Saturday September 29 1pm - 4pm with a curator and artist tour at 2pm.
About the work:
Sue Sada Was Here is an experimental dance film that turns written texts (statements, essays, manuscripts and poetry) by Muriel Kitagawa (1912–1974) into scores of physical movement, which are then enacted in the historic Roedde House. Kitagawa, a Nisei (second generation Japanese Canadian) writer, wrote and published in an era similar to the Roedde family’s publishing activities. Kitagawa’s editorial writing and unpublished manuscripts speak to the pre- and post-war periods in Vancouver, particularly the injustices of the Canadian government’s policies towards Japanese and Japanese Canadians. Her major body of writing took the form of unedited manuscripts and personal letters to her brother, Wes, wherein she documents an undercurrent of racism and fear in Vancouver during this time.
The performers, 10 Japanese Canadian women ranging from the ages of 8 to 85, return to embody Sue Sada, one of Kitagawa’s pen names. The performers use books as objects of print history that can omit histories of violence and colonialism. The books are also seen as objects on the edge of being “ghosted” out, their significance wavering in comparison to the ubiquitous power of social media and digital technology. As the performers pass, throw, toss and carry books within the architecture of the heritage house, a space that Japanese Canadians during the 1930 and 1940s would not have had associations with, they reinscribe the possibility of new arrivals and the gravity of Sue Sada’s spirit as ghosts of the future. Using their bodies as a way of rewriting the house’s story, the performers create new and multiple meanings for the site’s symbolic architecture.
 Kitagawa was the senior editor of the New Age (1932), the first newspaper to express the Nisei perspective and provide an outlet for this generation’s critical expressions and thoughts through writing. In 1938, she began writing for the New Canadian using several pen names including Sue Sada, TMK and Dana.
Directed by Cindy Mochizuki
Cinematography and editing: Milena Salazar
Music: Joelysa Pankanea
Choreography: Lisa Gelley Martin
Performers: Julia Aoki, Linda Hoffman, Naomi Horii, Saya de Couto-Hoffman, Cassandra Kobayashi, Lisa Gelley Martin, Erika Mitsuhashi, Tara Robertson, Lily Tamoto and Shana Wolfe
Lighting: James Proudfoot
Production assistants: Kazuho Yamamoto and Cherry Wen Wen Lu
Site assistants: Patrick Noda and Jacob Willcott
Stylists: Francis Cruz, Joanne Kim, Angela Ohana and Claudia Samaniego
Makeup: Marco Soriano
Props master: Malika Montague
I had an incredibly full summer and am grateful to have a combination of work and play. Now here we are in September and I will be doing some posts here about my upcoming exhibitions. I'll start with this first one at Frye Art Museum in Seattle Washington. My installation and participatory performance Fortune House is part of a group exhibition called Group Therapy . The entire museum will be transformed into a 'free clinic' of interactive projects and immersive installations by 12 international artists that comment or reconfigure strategies of the wellness industry holistic and alternative medicines, psychotherapy and other methodologies of well being. For this iteration of Fortune House I will be exchanging fortunes for a monster story to be documented as an ink drawing that will be accumulated in the gallery space. Please check the museum schedule for dates when I'll be there offering these free readings.
105 Chrysanthemums is part of the group exhibition 13 Ways to Summon Ghosts at the Gordon Smith Gallery in North Vancouver. The exhibition curated by Kimberly Phillips features the work of Abbas Akhavan, Brady Cranfield, Brenda Draney, Betty Goodwin, Vanessa Kwan, Lyse Lemieux, Tanya Lukin Linklater, Jacqueline Hoàng Nguyễn, Ryan Peter, Kathleen Ritter, Carol Sawyer, and Jin-me Yoon. Catalogue launch and opening June 23.
"This exhibition considers the work of 13 Canadian artists of diverse origins and experience for whom haunting, it might be argued, is an artistic strategy. Through works of sound, sculpture, installation, painting, garments, print and video, these artists alter our experience of being in time and challenge the ways we separate the past, present and future. The work of each of these artists is remarkable because like haunting, it produces 'a something to be done.' It demands our rapt attention, begs a reconsideration of presumed positions, calls up histories with which we are complicit, and makes matter of that which is otherwise invisible." - Kimberly Phillips.