“Creativity from HOME” : Experimental Remote Residency for Creative Thinkers 

“Creativity from HOME” : Experimental Remote Residency for Creative Thinkers 


“Creativity from HOME”  家からはじまる芸術創造

 : Experimental Remote Residency for Creative Thinkers

    Operated by Co-iki

世界各国のクリエイターによる実験的リモートレジデンシー / co・iki


This experimental residency will be implemented by the participating creators from different parts of the globe from July to September during this time of Pandemic.

Background Story 

Co-iki has been working as a platform for creative individuals from various fields of art and creative sectors, providing an actual residency space (co-living space) for creators working on research projects, works-in-progress, and community events, giving professionally guided support for real life experiences in Tokyo, Japan.

Due to the influence of the COVID-19 pandemic, we believe that now is the time to think about “pre-residency” or “remote-residency”, whatever you would like to call it, it’s the time to delve into “Creativity from HOME”.

Co-iki activates a 30-year-old, typical Japanese house as a residency space, and so far we have had creators staying with us from many different backgrounds such as anthropology, multi-media, music composition, painting, film&video, and contemporary dance, etc. In addition to this, we have held many different kinds of events from cooking to collaborative dance&music events and sometimes opening the space as a shelter for people during times of emergency.

Through the process of running our residency program in this house, we have co-creatively built a homely community for creatives of various backgrounds and nationalities placing importance on “Co-living”, “Co-working” and “Co-creating”.
Can we nurture this creative community even from a long distance?
What’s the relation between “Mobility” and “Creativity”?
This call is for our mutual experiment, co-creative practice under the current COVID-19 situation.

Please join us in the process!  
co・iki    *as of June  2020


Open Call for ”Creativity from HOME”  *Now Closed 


The Co-iki Team really appreciates all of the applications received from more than 25 countries around the world!

Thank you !!

Open Call for ”AIR under the Pandemic -Remodeling Residencies -” Talk Session Archive  



Participating Creators


Teresa Leung / Hong Kong     

テレサ・リョオン / 香港  

Project:  Barter:  Outside our windows

During the pandemic, I stay home more often though there’s no formal lockdown in Hong Kong (People can still go out despite some restrictions). Working from home, I’ve more chances to look from my windows, observing passers-by such as people or animals like dogs.

I’ve taken some photos from my windows during the pandemic while also noticing things about the view outside my windows which I didn’t notice before.

This barter project involves the exchange of photos taken from home at the windows during the pandemic whether or not participants experience lockdown in their villages, towns, or cities. While people keep distance from each other now, this project allows us to interact remotely and exchange what we see from our homes and perhaps images of what you see and at the same time some personal meanings.

What’s “HOME” for you ?

Home is where I physically live and that physical space also associates with some of my memories.

At the same time, home can be extended to the surroundings of that physical space just mentioned and what I can see, hear, and feel from there.


I’d call myself a flaneur. During the pandemic, I spend much less time walking around but that won’t stop me from observing my surrounding, which has made me aware of details that I wasn’t aware of before.Observing and connecting with the outside are what sustains my art practice, which is about responding to urban situations or situations in any sites/locations and creating shared-experiences by involving people as collaborators.


Francis Annagu / Nigeria

フランシス・アンナグ  / ナイジェリア  
Project:  (Un)forgotten Flora”

(Un)forgotten Flora delves into the politics of plants and explores systems of meaning that have been impressed upon nature, flora, and seeds throughout eras of imperialism and globalization.

It pushes us to reconsider common perceptions and representations about nature ‘having always been there,’ being ‘neutral’ or ‘passive,’ when instead plants embody the larger history and are integral actors in it. This project investigates historical gaps and the economic and diplomatic implications of nature’s uses and Tokyo’s flora exchange flow patterns.

Looking at history through the perspective of nature, the artist in (Un)forgotten Flora shares counter official narratives around flora, drowning us in an abundance of ‘strange flowers.’ Despite the plants’ beauty, our unease reminds us that beyond relations of power, nature’s circulation routes take us back to our relationship with the land and have an impact on our origins, collective and individual memories, and survival.
What’s “HOME” for you ?

HOME is a cultural space for mending relationships. It’s life’s oldest school for creating and teaching art in a new form, appreciated through cooking, communication, gardening and chores. HOME shapes collaborative work and trains the mind for powerfully mental activities and opens up the grounds for coexistence and empathy.

HOME is the driving point from our distinctly shared identities. HOME is a place to tell amusing tales, a good story, or make memorable memories with one another. We are all beautiful potteries of our HOMES into which our uniqueness fosters socialization and multi-cultural values.

Where HOME is to garden, art is to consciousness.

Francis Annagu is a Nigerian artist, documentary photographer, essayist, poet/author and researcher whose works have been featured in Wotisart, Contrarian, London Grip, Photographic Museum of Humanity, Crannog, Save Africa Anthology,  Solstice Magazine and numerous others.

He has researched the visual works of international artists such as Graeme Williams, Chris Onah, Karl Ohiri, and Charlotte Yonga for the Impact Journey – a documentary photography and film platform based in Amsterdam. His works were exhibited on Social Documentary Network and at the Arts Theatre Kaduna State University.

His visual project “Stone Brothers” was selected for best project for the catalogue by Florence Contemporary Gallery, and most recently including a single photograph “Laloi boat” selected for Special Recognition by Viewbug. He’s the founder of The Art Project & Lab – ArProLab to promote African art, culture and research.


Olia Fedorova / Ukraine

オリア・フェドロヴァ / ウクライナ  
Project: “Welcome (to my) home”

«Welcome (to my) home» is a photo-project connecting Co-iki space with the artist’s home apartment.

Photographs of different spots of her house in Kharkiv, Ukraine are set in the corresponding places in Co-iki – and backwards, the photos from Co-iki are placed in her house. So that the visitors of both spaces can simultaneously be guests of two homes, which are 8000 km and 6 hours remote from each other.

It is intended to be a virtual bridge between Japan and Ukraine, erasing the borders and shortening the distances – not only physical, geographical, cultural and political ones, but also those put on by the global pandemic.
What’s “HOME” for you ?

For me home is not about possession, property or a specific physical place – it is rather a feeling which any person brings with themselves wherever they go. The inner home is  warmness, love and sense of safety that we always carry with us, like a turtle carries its shell, and share with the outside world. I can’t feel myself not at home anywhere, because home is where I am

*If you are interested, you can also check out one of my projects on this topic, which is named “I don’t know where I am, but it is my home” –


Multidisciplinary conceptual artist, working with photography, video, installation and text. Born in 1994. Based in Kharkiv, Ukraine.Exhibited and participated in residencies and shows in Ukraine, Poland, Italy, Germany, United Kingdom. My practice is focused on the exploration and interaction with the environments as semantic spaces, on revealing voids in them – the spots of uncertainty and slippery of language, of misunderstanding and miscommunication, in search of a common ground where the dialogue becomes possible.

ShenJQ3 - Jiaqi Shen_0629081402

Shen Jiaqi / Singapore

シェン・ジャキ / シンガポール  
Project:  “Melody of the Homemaker”

This work is an investigation into the title of the ‘Homemaker’ in our current evolving society.

Through the schedule of three individual ‘Homemakers’, who are of different ages, gender, and occupation, the work will highlight the changing expectations our society have towards the role, and the habits different generations and type of homemakers have.

I have chosen the site of the kitchen to further bring out the contrasting habits and actions of the three individuals.   The medium of sound will be used, and the recording of the three individuals within the kitchen will be played at different times of the day, corresponding with the times which they carry out their activities in the kitchen.

There will also be displays of photographs of what each individual has prepared, as well as a short quote from each of them saying what it means for them to be a ‘homemaker’.
What’s “HOME” for you ?

Home for me is a space that we should feel safe physically and emotionally.

It is not determined by the size or the luxuriousness of the environment,  and also not by the number of people living in the same house. A home is created through the actions of every member in the house, and these accumulative actions help to mold the home into what it is.

For many of us, we are fortunate to be able to have a safe space to call home, and we must be thankful for the efforts of every contributing individual, and we ourselves should also be mindful of our part to maintain harmony at home. However for many individuals that do not have a safe space to call home, the search for that space can take a long time, and it may exist in different individuals and locations, across a period of time.  

Shen Jiaqi is an artist living and working in Singapore. Graduated from Nanyang Academy of Fine Arts and an art educator for the past 8 years, her work revolves around the various unique social issues she experiences and personally encounters.

Her inspirations stem from systematic restrains, societal norms, and cultural expectations. Aesthetically inspired by scenes from everyday life and the urban environment, she seeks to start dialogues and elevate awareness about our shared but unsaid experiences as a society.

www.sjqart.com / Instagram: S_JQ

Muhammad Rizqi Muttaqin / Indonesia

ムハンマド・リキ・ムタキン / インドネシア  
Project: Virtual Photography”

Under the current pandemic situation, unique collaborative artwork which can be done online, although rarely noticed, may be one of the best choices we have. The possibility is that artists can now work together in different places and time zones.

The question is whether these patterns can survive after the pandemic ends, and become new working methods. “Virtual Photography” is becoming a trend in today’s pandemic situation because many conventional photo sessions have been delayed and photographers are now trying to find a way to continue their work.“

Virtual Photography” is a newly emerged technique which now has been sought after by many photographers due to the current Pandemic impact on economics, time and space. Remote photographing opens up a new field in the world of photography, for which its development of methods and techniques is important. This is why the artist is here to experiment, this is a Virtual Photography Experiment.
What’s “HOME” for you ?

Home is when you feel safe and  sovereign.

Rizqi Muttaqin is an Indonesia based artist. The area of experimentation of his work encompasses light and color media. 

Many of his works are influenced by the experiences of color and light in his daily life.Besides, photography and moving images are often used as the medium of his work.Rizqi Muttaqin have also worked on some art performance pieces to express his inner unrest and it has become a ripening part in his art practice .

self-portrait - Kikuchi Tomoya_0629081015

Tomoya Kikuchi (Wetplate-Kikuchi)  / Japan   

菊地 知也 / 日本  
Project: “House Obscura Project” 

This project uses the “camera obscura” principle to turn an entire room into a camera.

In addition, the landscape and the inhabitants are photographed on a large scale using the classic technique of “wet-plate photography”. The word “camera obscura”  is the origin of the camera. In this project, the camera obscura is recreated in a room using a lens to capture the outside view. The images will be projected on a huge screen.Furthermore, by utilizing the “wet plate photography” technique from the end of the Edo period, which made it possible to create films of any scale, the images projected in the room can be preserved as photographs.

This is a combination of photographic techniques and house-based workshops.

It would be an opportunity to expand the possibilities of art using the house, and to understand the fundamentals of photography in principle. I hope it will be a re-transmission of value.
What’s “HOME” for you ?

Home is what connects human and the living.

I’m very interested in how home had witnessed the interior of the house and the exterior in town at the same time, just like human had witnessed home.

My work focuses on complex art that mixes the classical and the contemporary.

My themes are archive and memory, past, present and future.

By focusing on technique and materials, I make the tradition of the art of reminiscence an everyday practice.

Understanding and reviving the traditions of the past is in a sense an act of meditation.I will also focus on artisanal awareness and the quest for perfection.Contesting the distinction between the realm of memory and the realm of experience, I see art as a craft performed according to clear formal rules, always referring to social reality.

I would like to create new values for the recovery of aesthetics and the rediscovery of values, valuing the emotional beauty and attractiveness of my work so that people will recognize its appeal.


Copen  / Japan

コペン / 日本  
Project: “Virtual Shared House – one family under seven roofs -”

The meaning of a shared house is changing. It is not only an affordable place to live, but a place to make a community.

With the loneliness of people living in urban areas and the loss of local communities becoming an issue, we will explore new possibilities of  “living” that can connect people in a comfortable distance, by running a virtual shared house using online communication tools, which is becoming more familiar in the post-Covid19 world.

This project is to connect seven properties and living a communal life online for a month with seven housemates from all over the world.

We will open an “Online Lounge” every day from 9pm to 10pm. A community manager is in a “living room” every day, and other residents are free to come and go. On weekday mornings, we will practice yoga, cook breakfast or eat together. On weekends, we hold some themed parties.
What’s “HOME” for you ?

Where I am what I am.

Copen is an artist unit of NagiCha and Yu.

They use Japanese traditional sweet Shiratama for their artworks and organize edible art workshops in local communities around the world, such as Cambodia, Finland, and Portugal.

They also work as editors for IDEAS FOR GOOD, an online magazine focusing on creative ideas tackling social issues. Their motto is the pen is more fun than the sword.

naok fujioto  / Japan

藤本ナオ子 / 日本  
Project: “Gardenation” 

This project is an art event with virtual and real performances set in a house. 

Based on the keywords of women and family (home and garden), we consider the way of life during the corona disaster.

In this project, I would like to make the opportunity to think about “Home and Garden” in ‘stay home’ with the citizens. For this reason, I invite performance artists and visual artists from Japan and other countries to hold a program (exhibition) that will be released online. Today, as social distancing has become the mainstream for the prevention of coronavirus infection, it has become extremely difficult to construct realistic communication, which is the essence of art.

So, I would like to make an experimental opportunity to rethink our communication through an interactive relationship with ‘Observer and Performer’ that emerges through the two directions of online and reality or virtual and physical.
What’s “HOME” for you ?

家庭(庭)|garden(Safe space 安全な場所)

Curator, artist, researcher 

Director of “Geek Love Project” (supported by Arts council Tokyo 2018-2019)

Member of “Small Talk Project”(Curration Collective)   

“naok fujiomoto” was born in Tokyo and studied fine art at Royal College of Art(Master of Fine Art/sculpture).


Each project of the participating creators will be implemented  between July and September during “Creativity from HOME”.

The creators will develop their project collaborating with Co-iki, the project participants and supporters as well as broadening their vision together with other participating creators.

Co-iki will organize both public and private events , gatherings and talks online during the residency period.

People who have donated for this experimental residency will be able to join any private event as supporter.

Please join in the process!

Rough Schedule

*The shown times are all Japanese Standard Time.

*As for the private lounge events & gatherings, people are invited to join by donation .Please check out the details from below.



July , 2020

[ Public Event ]

[ Private Event ]

*Only via Invitation. Please see the details below to join as a supporter.


Meet the Japanese Artist@Virtual Co-living Lounge 

Vol.1  :   Meet Daisuke Kagawa,  July 18th(sat) 20:00 start@Virtual Co-living Lounge 


Daisuke Kagawa


Born 1981 in Fukuoka.

He started designing skateboards in Paris, France, and then continued to create artworks on a 2-year longitude hike through Japan. Today, he passionately devotes himself to art in various locations both in Japan and abroad.

At present, he resides in Nikko City, Tochigi prefecture, where he renovated an old house and established the “Kagawa Daisuke Museum / Yoshimiya” alongside.

His life centers on “creativity” which is not caught up in the trappings of form.


August , 2020

[ Public Event ]

Coming soon if there’s any…
[ Private Event ]
*Only via Invitation. Please see the details below to join as a supporter.


Creators Gathering
August 1st (sat) 19:00-

August 8th (sat) 19:00-

August 9th (sun) 19:00-

*more dates coming up soon.

Meet the Japanese Artist@Virtual Co-living Lounge  

Vol.2  :    Upcoming in August@Virtual Co-living Lounge     *Details coming soon.


photography © by J.Gerull

TONA 2019/10/14-10/16











photography © by J.Gerull


Web: https://www.facebook.com/mistertona
Instagram: https://www.instagram.com/tona_one/
email: tonastreetarts@gmx.net

Profession: started with graffiti in 1999 since 2002 stencils (main focus) since 2008 linocut and silk screen printing

Painting on the streets; painting for the streets.
A dogma internalized by TONA.
Painting breaks all barriers as it doesn’t require a language to communicate.
Whilst painting, kids are usually seen curiously hanging around him, and their lives are captured by him, through photographs.
These photos then transform into heavily detailed stencils, which are then painted in another city on another wall.
And so, their personalised stories start journeying across the crumbling facades of this world.
How will these images communicate with the passerby’s?
Elucidated by the response and interaction that is brought upon whilst viewing.
It`s a game. A visualization. A alleged observation without comment.
These images don`t try and change the course of society.
Instead they are interested in a slow and cautious contact with the onlookers – extracting a visual and emotional frequency from within.
TONA’s neverending search for an emotional connect becomes a permanent activity for him. Preferring the most unclean spaces to paint, with his keen interest in decay- One of life’s paradoxes; since his stencils are overtly clean in appearance.
TONA’s motifs travel with him and often spreads independently through digital networks. From the photo, to the stencil, to the wall, to the memory, through the lens of a camera, into the world, into the universe…
Everything is in flux, although the image stays firmly fixed on the wall, eventually it will collapse with it or disappear under a new layer of paint.
Somehow everything is connected and time remains a sensation.

Text © 2018 by Anna Lafrentz
Translation © 2018 by Anpu Varkey

Giulia Monducci 2019/3/1-2019/5/1

Giulia Monducci 2019/3/1-2019/5/1

Giulia Monducci
Giulia Monducci












Giulia Monducci


Giulia Monducci, born in Italy, graduated with a BA in Music from the Media from the “G.B. Martini” Conservatory of Bologna, a BA and MA in Composition from the Royal Conservatory of Brussels. She is a freelance composer and a PhD candidate in Composition at the University of Oxford. In the past few years she’s carried out research on the integration of metaphorical thought and perception in contemporary music, focusing in particular on how the metaphorical conception of ‘space’ relates to matters of sound and temporality. Giulia’s music has been performed internationally at venues such as the ABC Iwaki Auditorium (Melbourne), La Monnaie (Brussels), LaGuardia Performing Arts Center (New York), Lviv Philharmonic, Sheldonian Theatre (Oxford), Schönbrunn Palace (Vienna), among others.

PROJECT OUTLINE – Tokyo Polaroids

During my stay at Co.iki I am going to work on a cycle of ensemble pieces drawing from Japanese aesthetics. This project stems from my doctoral research on the relationship between the concept of ‘space’ and matters of sound and form in contemporary music. Each piece in this cycle will take specific places, concepts (e.g., mujō) or art forms (e.g., Noh Theatre) as sources of inspiration, and will explore the relationship with elements, images, and movement in connection to music. This project was born from a long time interest for Japanese culture and conceived with the intent of expanding my artistic practice while deepening the study of Japanese culture, music and traditions.


 A sketch of the ensemble work


Junko Shimura 2019/2/20-3/6

Junko Shimura 2019/2/20-3/6











Junko Shimura / Scientist

Dr Junko Shimura has served the United Nations Secretariat of the Convention on Biological Diversity overseeing the programmes on taxonomy and invasive alien species.  Prior to joining the UN secretariat, she was a senior scientist at the National Institute for Environmental Studies and Riken Institute in Japan, worked on microbial collections and bioinformatics. Currently, she coordinates inter-agency collaborations among the international regulatory bodies to set a normative on live organisms’ trade and transport to manage invasive alien species which are the major threats to biodiversity. She also facilitates international collaboration in biodiversity sciences for capacity development in developing countries, envisioning the post-2020 biodiversity framework to be evidence based and in participatory manner from all relevant communities.

Junko is exploring how human can develop their knowledge and make better places ,countries and communities on both local and global scales.

Her interest in art and in the process of its creation is very unique and she is open to any radical,creative and inspiring conversations with artists/creators during her short residency in Co-iki this time.


>> Related video by Junko Shimura



"UN/BALANCE" multimedia&butoh research project by Mariano Leotta

"UN/BALANCE" multimedia&butoh research project by Mariano Leotta

UN/BALANCE”     multimedia&butoh research project by Mariano Leotta

Project Plan&Collaborators >>  https://co-iki.org/en_US/mariano-leotta-201915-201924/

We are very glad to announce that Mariano Leotta,a multi-media creator,will collaborate with those active and promising butoh dancers in Japan,Dai Matsuoka,Kei Ishikawa and Masahiro Nakanishi for his multimedia&butoh research project “UN/BALANCE”.

He will try to research the interplay of body and the human relationship through community workshop experimenting with his multi-media and mainly collaborating with Dai Matsuoka,a butoh dancer who is a member of Sankaijuku and the director of LAND FES,an art&dance festival based in Tokyo.
It will be a performative,multi-media project with a long-term view and these experimental collaborations will be a starting point for his future creation and further collaboration.


Image Theater Workshop for “UN/BALANCE”  by Mariano Leotta

10:00-17:30,January 20th,2019 at Sengawa Factory(Tokyo)



Work in Progress of  “UN/BALANCE”

Collaborative experimentation with Japanese promising butoh dancers,now work-in-progress.

Images from first sessions&experiments / photo by bozzo

Dancers: Dai Matsuoka, Kei Ishikawa

Multimedia(volumetric light) : Mariano Leotta

Special thanks to Masahiro Nakanishi, Sho Tokura, Noriko Kubota, Yasuko and Isamu.






















































































Mariano Leotta 2019/1/5-2019/2/4

Mariano Leotta 2019/1/5-2019/2/4


Mariano Leotta
Mariano Leotta

 Mariano Leotta,born in 1982 in Sicily, he has been based since then in Milan, Berlin, Dubai, and Montreal.His creations have been seen all around the world, and invited to prestigious art events, such as Moscow Biennale, Mediterranea and International Symposium of Electronic Arts (ISEA). During his career he had the privilege to collaborate with international clients, such as BMW, Mercedes, Royal Caribbean, and high profile artists, such as Red Hot Chili PeppersNamie Amuro, Childish Gambino, among others.

His creative path has always been moved by passion and curiosity: formed in experimental theater and cinema, it evolved significantly with the work on multimedia art and interactive dance. Recently he has been focusing on the artistic direction of music shows, and he is always keen to get back to his first love and that creative freedom given by multimedia art.



Project Plan


Starting from a loose reflection on human relationships, I have been posing myself some high level questions. How people are relating to each other in claustrophobic situations? A cell, an oppressive household or a simple state of mind.

I noticed a series of extreme relational patterns and behaviours dictated by social conditioning and I started taking some visual notes, sketches on my notebook. It felt just natural to imagine how those relations, that social pressure could be visualized with light: walls that grow in between people, rooms that force them together.

A performative element has been missing to the project. When I bumped into a video of a Butoh dancer. A silent scream. I was mesmerized: his physical expressivity, his grotesque pose, his look. I wanted to know more. I wanted it in the project.

During the residency my plan is to combine a physical and a multimedia research, butoh and volumetric lights, to create an immersive environment. A space where invisible dividers forces human behaviours, where relationships can become absurd.

Community Workshop by Mariano

January 20th, sunday , in Sengawa


*Please check the details of the WS on our Facebook page.






Elektro kokon







Elektro kokon













Dai Matsuoka


















Dai Matsuoka is a Butoh Dancer and the Artistic Director of LAND FES based in Tokyo. He has been a dancer with Butoh company SANKAIJUKU since 2005 and has danced in eight SANKAIJUKU pieces including “Kinkan Shonen”, “Tobari”, “Meguri” and “Unetsu” in over 20 countries.

Matsuoka has also been directing the performance event “LAND FES” in Tokyo since 2011, where the audience is navigated to encounter live sessions by musicians and dancers taking place at different places in the town.

Matsuoka is also in collaboration with puppet company Phantom Limb (NY) for its latest piece “FALLING OUT” as a choreographer and performer. Its premiere will take place at Brooklyn Academy of Music in NY in November 2018.

As a member of NPO Dance Archive Network (TOKYO), Matsuoka is also involved in research, development and utilization of Butoh legend Yoshito Ohno’s 3D motion data for archival purpose of Butoh.

Matsuoka was in charge of movement direction of over 1600 senior citizens at the massive play “GOLD SYMPHONY my dream, your dream” presented by Saitama Arts Foundation at Saitama Super Arena in 2016.


Kei Ishikawa










Born in Aichi prefecture in 1986.Kei started classical ballet when she was 4-year-old and graduated from ballet course of Showa University of Music.

In 2007, she encountered Daisuke Yoshimoto’s butoh and took part in his performance piece “Tears of Eros”. In 2008,Ishikawa joined Yoshimoto’s tour to Poland and then after showed her own solo piece “Departure of Prodigal Daughter”. In 2009, she took part in the tour of Yoshimoto to NYC,Mexico and Poland. After 2010 till now,Ishikawa has joined several performances by Yoshimoto touring mainly to Poland and showing her solo pieces all around the world.


Masahiro Nakanishi  












Nakanishi is a founder of “Tokyo Diamond”, an improvisational performance unit based in Tokyo. After his career as an actor for TV commercial film, theater and radio, he stepped into the Butoh world and he is the last pupil of Mitsutaka Ishii, one of the founders of Ankoku Butoh.

Nakanishi creates and improvises performances in different places like shopping street, temples, park, woods and so on. Alongside his own creation, Nakanishi is actively working as a director/coordinator of art festivals, administrative workshops and stage-managing.



Amareya Theater & Guests 2018/9/28-10/6

Amareya Theater & Guests 2018/9/28-10/6


Amareya Theater & Guests


– theater of movement and body; one of the leading independent theaters in Poland. It was created in 2003 on the initiative of Katarzyna Pastuszak, Aleksandra Śliwińska and Agnieszka Kamińska. In 2014, the theater expanded and operates now under the name of Amareya Theater & Guests, which also includes Pastuszak, Kamińska and Sliwińska: Joanna Duda, Louise Fontain, Monika Popow, Yuko Kawamoto, Kae Ishimoto, Rui Ishihara, Ichi Go, Magda Jędra, Monika Wińczyk Barbara Szamotulska-Dziubich, Jan Grządzielnia, Daniela Komędera, Przemek Jurewicz, Bartosz Cybowski (Technical Chief). Theater activities include three fields: artistic – performances, projects; didactic – dance / theater workshops, voice workshops, lectures, publications; cultural animation – the activities of the Amareya Art Association and the Gdansk Butoh School. The most important performances in the repertoire of the Amareya Theater / Amareya Theater & Guests are: “Kantor_Tropy: COLLAGE” (2016, directed by K. Pastuszak), “Memory of Water” (2016), “fetish.wtf” (2014, directed by Dorota Androsz) “2” (2013, directed by K. Pastuszak), “Nomadka” (2012, directed by K. Pastuszak), “Survived. On the edge of the sky “(2011, directed by A. Kaminska),” Empty house “(2011, directed by A. Kaminska). Performances of Amareya Theater are regularly presented at festivals in Poland and abroad. Amareya Theater also implements theater projects with people with disabilities, blind people and addicts. Amareya Theater & Guests was nominated for “Best Performance by OFF-OFF” in the Gazeta Świętojańska ranking in 2016, and in 2017 won the 2nd prize at the Torun Festival in Torun. “NOMADIC WOMAN” by Amareya Theatre has been presented in various festivals in Poland and abroad. It was especially important for the artists to be able to perform it in Greenland (National Theatre of Greenland in Nuuk and Sisimiut Kulturhus in Sisimiut) where it was very well received. In 2015 “NOMADIC WOMAN” was nominated for the prestigious prize “Splendor Gedanensis” and in 2017 it won the 2nd audience prize at the Festival Pestka in Jelenia Gora.

Selected highlights of the Amareya Theater & Guests performances abroad: – Tanztage Festival Salzburg (Austria, 2013) – Redplexus Festival – Préavis de Désordre Urbain, Marseille (France, 2014) – International Festival “Sound Around Kaliningrad” BBNCCA (Baltic Branch of the National Center for Contemporary Arts, Kaliningrad, Russia, 2014) – 11. Theater X International Dance and Theater Festival, Tokyo (Japan, 2014) – Sukkot Dance Festival, Mitzpe Ramon (Israel, 2014) – Fringe Festival in Aomori, (Japan 2015) – Butoh International in Minato; Noguchi Room, Tokyo (2015 Japan) Kulturhus in Sisimiut (Greenland) and the Greenland National Theater in Nuuk (2014, 2015) – Ethos Festival Ankara (Turkey 2016) – Bartin Theater Festival (Turkey 2016) – 30th Anniversary of Hijikata Tatsumi – d-Soko Tokyo (Japan 2016) – Pestka Festival Jelenia Góra (Poland 2017) – Ethos Festival Ankara (Turkey 2017)

Project Plan
Amareya Theatre&Guests will be performing on October 5th in a series of performance related Tatsumi Hijikatra’s Ankoku Butoh.
Please check the details as below and come to see their creation here in Tokyo.

performance: Katarzyna Pastuszak, Aleksandra Sliwinska

Time&Date: 19:00 start,October 5th,2018
Venue: Noguchi Room,Keio University

For more details of the event;


















Bruno Z’Graggen 2018/6/22-7/25

Bruno Z’Graggen 2018/6/22-7/25


Bruno Z’Graggen, born in Zurich, Switzerland where he lives.He studied Social History and Art History at the University of Zurich and did a PhD in Social History.In 2000, he continued his education with a CAS in Cultural Management at the Lucerne University of Applied Sciences and Arts.2001, he started his activities as a freelance curator in arts. His first exhibition called «Iluminando Vidas» was a collaboration with 15 Photographers from Mozambique and opened 2002. After more shows in the field of photography, he continued as curator with projects in Contemporary Art and all medias. Since 2012, he runs the Video Art platform VIDEO WINDOW based in Zurich and realised several projects. Beside the curatorial work he is responsable for promotion of research at the University of Lucerne where he holds a part time job (50%).

–>His Website

Project Plan

During his five weeks stay in Tokyo, he will explore the art scene especially the video art scene. He is interviewing the director of the Video Art Center Tokyo, Kentaro Taki. One important objective are studio visits and interviews with Japanese video artists.
He intends to discuss with them their works, approaches, contents and forms and their position and situation as artists in Japan. At the same time, he will try to organise at the Keio University of Tokyo a screening event of a program called «Between Reality and Illusion» which contain works from seven Swiss video artists.

  • Screening: «Between Reality and Illusion»
    Ort: Keio University, Faculty of Letters, Department of Sociology, Raum 473 2-15-45 Mita, Minato-ku; J-108-8345 Tokyo
    Partner: Prof. Takemitsu Morikawa, Professor for Sociology with focus on sociological theory, history of sociology, sociology of culture and sociology of knowledge
    Termin: Mittwoch, 11. Juli 2018, 16.30–19.30h
    Kuratorium: Bruno Z’Graggen

As he has not been staying in Japan yet, he is interested in general on the Japanese society and culture in a large sense from daily life and traditions, costumes, kitchen and eating up to classical fields of culture. Further more, he is interested on mega-cities and intends to discover Tokyo, its organisation and space for work and life of the people.





Gerda Sokelyte 2018/5/10-2018/8/9

Gerda Sokelyte 2018/5/10-2018/8/9

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Gerda Sokelyte, born in 1985 in Lithuania, graduated with BA in History (Lithuania), MA in Political Science (Lithuania) and MA in Anthropology (Denmark).
As an anthropologist she did a research about the auto-poetic Street Art social movements in Uganda (Kampala). Currently she is interested in Ankoku Butoh theater-dance and philosophy.
The clash between language and body, which forms the backbone of Ankoku Butoh, encourages her to dance this (re)search.

Project Plan

I believe in learning-by-doing process, it allows me to reach an open-minded approach and understanding of limits, space and personality. My intension is to learn about Ankoku Butoh from local creators: Natsu Nakajima, Yoshito Ohno, etc. I will try to look at it through the ”inside” perspective, in other words, (re)search Ankoku Butoh through dancing.

As Natsu Nakajima said, ”(…) the idee of Ankoku Butoh is based on such body ideologies as ”the extra-daily body” or ”strip off the individual or social identity” and return to the body as a natural entity”. This concept turned into the spine for the ”9 mono” (re)search. ”9 mono” – 9 bodies danced in 9 different spaces of Tokyo city. It will be implemented together with co* iki and local community.

Stills from short film “Pleasure” by Gintare Sokelyte:

Screen Shot 2018-01-11 at 14.51.37
“Pleasure”, 2018, Frankfurt

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“Pleasure”, 2018, Frankfurt

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“Pleasure”, 2018, Frankfurt

Paul Beumer 2017/8/2-2017/9/3

Paul Beumer 2017/8/2-2017/9/3


Paul Beumer (1982)

recieved his BFA from the Royal Academy of Art in The Hague, the Netherlands and completed a two year residency at the Rijksakademie van Beeldende kunsten in Amsterdam. Recent solo exhibitions include Paint wide Mouth white at Qingyuan art centre in Beijing, In the shade of the elms and willows, my friend drink until they are inspired at Goethe pavillion, Palais Schardt, Weimar and I wont have the luxury in seeing scenes like this much longer at DurstBritt&Mayhew in The Hague.



Project Plan

My painterly practice oscillates freely between figuration and abstraction with a specific focus on the relationship between Western and Asian approaches to landscape painting. I likes to think of painting in terms of reflection and slow evolution, not in stylistic shenanigans. Painting for me, should not arise as the consequence of any strict formal concept, but should weave a tissue of memories, experiences and ideas.

In the West we generally expect philosophy to come from books. In the East there is an awareness that philosophy may also comes from other things, like a rock or (visual) arts and crafts.

During my stay at Co-Iki I’m undertaking a personal search for Wabi-Sabi, the Japanese form of aesthetics that in its fullest expression can be a philosophy and a way of life. Wabi-Sabi objects are earthy, simple, unpretentious and fashioned out of natural materials.
What interest me most is that the beauty of Wabi-Sabi is a perceptual event. It happens when conditioned and habituated ways of looking at things fall away, when things are defamiliarised. Wabi-Sabi involves perceiving something extraordinary in something otherwise regarded ordinary.
I hope to clarify the transition of an object into a piece of Wabi-Sabi and how this information can relate to my own painterly practice.


2017, Chinese ink on cotton
2017, Chinese ink on cotton.

2016, Various inks on cotton
2016, Various inks on cotton.

2014, work in process, Rijksakademie, Amsterdam
2014, work in process, Rijksakademie, Amsterdam.

2014, Colour ink on paper
2014, Colour ink on paper.