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), “” (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

IMG_7030 copy 2

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

Screen Shot 2018-01-06 at 23.12.19 copy
“Pleasure”, 2018, Frankfurt

Screen Shot 2018-01-11 at 14.54.11
“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.

Report by Loh-Yi-Pei

Report by Loh-Yi-Pei


Project Repot

Please view the report on Barter Project by YiPei.


Resident’s feedback on Co-iki Residency Program

1. The environment of the residence/room, working & living environment, location, etc.

The room is great for living and working. It has very nice view and sufficient sunlight during the day which is good for art-making. The fact that it can be interchangeable as a bedroom or studio or display room makes it a meaningful and useful space. The house is lovely and a very nice place to stay. The residency, where is located 15-minute walk away from Sengawa station, is close to shops and restaurants. Overall, the location is very good.

2. Co-iki members, atmosphere & characters, etc.

Co-iki members are very friendly and nice to communicate with. They are very open to share ideas and give suggestions when necessary. They also give useful advices or information regarding my stay in Tokyo and Japanese culture. Spending time with the members and staying in the Co-iki with Yoko are very good ways to learn about Japan as well as Japanese custom and culture. They have very kind personalities which are very easy to get along with. I felt very comfortable having them to experience life together in a totally strange place to me and working together on the project. Thanks to their kindness and generosity in making the Co-iki a very warm place to stay, I never really felt far away from home.

3. Sengawa, the town.

Sengawa is a serene and peaceful place. Although it is far away from the hustle bustle of the city hub, it is an interesting place itself. There are several supermarkets that provide daily needs as well as restaurants that serve delicacies. While there are fast food, there are handmade and organic food too. From “residential” cafés, ramen shops, theatre, galleries to “olsén”, schools, bookstores, second-hand good shops and so on, Sengawa is a relatively small town as compared to the busy areas in city hub, however, it consists of plenty of interesting things. In the neighbourhood, it is not uncommon to see small farms. It is a “green” place with fresh air as well as peaceful atmosphere.

4. Your challenge in Tokyo and your effort/experience/discovery/change in realizing the project.

Staying in Tokyo without knowing Japanese was a challenge to me. Travelling in the city, finding ways, buying things, making inquiry and so on could be a problem sometimes. While language could be a barrier, it was not really a big issue as people were always willing to help. In terms of the project, how to communicate with people at a deeper level without knowing the language could be a concern. Fortunately, the language issue primarily had been overcome with the assistance by Yoko. Therefore, from a different perspective, how to involve people taking part in the project was the main question. Since artworks are objects I offered for exchange, artworks per se played very crucial role in the project. Hence art-making was the part, or I should say the challenge, I have to overcome in order to get the project running. Basically, it involved the quality and quantity I could produce in such a short amount of time. While it proceeded to the second part which was the interaction with people, I found out while the language might have become a limitation in some occasions, the whole effort of spending time together, be it having tea or cooking together, was much more important. I guess for the participants and I, while item exchanging was a key part of the Barter Project, the experience we had been through would be more significant after all.

5. Your future plan and the development of your project you wish from this residency experience. What this 2 month residency means to you in your life.

To me, it will be interesting to run the Barter Project in a different place in the future. What if the project is carried out in a public place? Would there be any difference in planning and running the project if I were in a different community? As for the near future plan, currently, I am preparing for an exhibition which is taking place in Auckland very soon. I think it is too soon for me to conclude what the residency really means to me “in my life”. However, I think staying at the Co-iki really had been a wonderful self-exploring journey to me. Within the two months, constantly involving myself in art-making, interacting with local people and exploring unknown places turned out to be a process of self-discovery. Through the process of understanding a different culture and running the project, it had become common to question about my own identity, career and expectation.

6. Japanese culture, people, city, etc. (any impression)

Talking about my impression of Japanese culture, people and city, I think there is a few words that appear immediately in my mind. Such reaction really tells how the way the culture, people and city impressed me. “Order”, “organised”, “detailed”, “delicate”, “sophisticate” and “creative”, to mention a few. From what I had seen, people are following certain “social orders” or tradition that in result form a much organised society. I can easily tell from how people being organised in large crowd or how people being considerate for the others when doing little things in daily life. People’s attitude in strictly paying attention to details lead to a much delicate and sophisticate culture. It can be shown through how the traditional food is prepared and served as well as through the woodblock print and painting in Japanese art. Japanese creativity, from the field of visual art and animation to architecture and food, has been surprising me a lot during the stay and even before I went to Japan. I have to say that I am always amazed by how effective and wise the way Japanese use space. It is always amazing and entertaining to view how the interior of a house is designed or the limited courtyard space is used.

7. Support of the resident’s project

I cannot express more how grateful I am towards the support given by the Co-iki members. From assisting in more technical aspect such as translation to introducing me to Japanese culture, from making the interview video to exploring the city, from helping to set up the sharing event to sharing Japanese traditional food, from giving me tips of living with respect in Japanese society to accompanying me to art museum and event, and much more. I appreciate a lot for such kind and warm support. These priceless experiences are wonderful and warm memories.

By Yi Pei

[2017-01-21] Loh Yi Pei's Barter Project: SharingEvent

[2017-01-21] Loh Yi Pei's Barter Project: SharingEvent

《Loh Yi Pei’s Barter Project:SharingEvent 》

Sharing&Report of Yi Pei’s Barter Project by the artist and the participants taking place at co-iki(Sengawa,Tokyo) on January 21st saturday from 17:00 to around 19:00.
it will be a farewell gathering at the same time as Yi Pei is leaving soon after on Jan 23rd.
Anybody interested can join!!

Date: January 21st,saturday,17:00-19:00 around
Place: co・iki (Sengawa,Tokyo)
Entrance fee : 2000 yen including nice Malaysian Satey&1 drink! Welcomed to bring any drinks if you drink more!
Contact&Reservation: Please e-mail us for your participation and then we will send the details and the map to the venue.

Yi Pei’s New Works which you can exchage


unnamed-2 unnamed-9 unnamed-13



Yi Pei's New Works which you can exchange

Yi Pei's New Works which you can exchange
Your Items are to be exchanged with his new works from below.
The new works will be uploaded after being finished.
Please make a reservation beforehand as well as open studio on

1. We Strolled Around, ink on paper, 35x65cm(sorry, this art work is reserved)
1. We Strolled Around, ink on paper, 35x65cm

2. Fall, pencil on paper
2. Fall, pencil on paper

3. Snowing, pencil on paper
3. Snowing, pencil on paper

4. Web above the Houses, watercolour on paper, 25.2×35.5cm(sorry, this art work is reserved)
4. Web above the Houses, watercolour on paper, 25.2x35.5cm

5. I ran around in the Neighbourhood, ink on paper, 34x60cm(sorry, this art work is reserved)
5. I ran around in the Neighbourhood, ink on paper, 34x60cm

6. Wandering, ink on paper, 29.7x42cm(sorry, this art work is reserved)
6. Wandering, ink on paper, 29.7x42cm

7. On my Way, ink on paper, 29.7x42cm(sorry, this art work is reserved)
7. On my Way, ink on paper, 29.7x42cm

8.Please Ring the Right Bell, watercolour on paper, 28.3×19.5cm(sorry, this art work is reserved)

9.Some Neighbourhood, watercolour on paper, 25×35.2cm(sorry, this art work is reserved)

10.Assembly, watercolour on paper, 20x28cm

11.The Order of Time: it’s Christmas Again, pencil on paper, 29.7x21cm

12.Christmas Time: the Urban Theme, pencil on paper, 29.7x21cm(sorry, this art work is reserved)

13.Christmas Time: the Undersea Theme, pencil on paper, 29.7x21cm(sorry, this art work is reserved)

14.Christmas Time: the Sky Theme, pencil on paper, 29.7×21(sorry, this art work is reserved)

15.Chicken Year, paper cutting and watercolour on paper

16. Please Open the Door, watercolour on paper, 24.5×35.5cm
16. Please Open the Door, watercolour on paper, 24.5x35.5cm

17. Year of Roaster, paper cutting and watercolour
17. Year of Roaster, paper cutting and watercolour

18. City View, ink on paper, 29.7x42cm
18. City View, ink on paper, 29.7x42cm

19. The Roofs, ink on paper, 27×42.2cm
19. The Roofs, ink on paper, 27x42.2cm

20. Good Night, City, ink on paper, 28×40.8cm
20. Good Night, City, ink on paper, 28x40.8cm

21. Street View, ink on paper, 24.2×27.2cm
21. Street View, ink on paper, 24.2x27.2cm


Eleonore Pironneau  2016/10/25-2016/11/10

Eleonore Pironneau 2016/10/25-2016/11/10



Eleonore Pironneau is a French artist living in London. She holds a MA equiv. from ENSAD-Paris.

Recent exhibitions include sometimeStudio Gallery / Paris, Royal Academy Summer Show, Hicks Gallery, Noise & Whispers at GV Art Gallery, Bicha Gallery (Solo Show, London Art Fair, Art Chicago, Art Toronto, Stimulation for the Nation at Oxo Tower Gallery). Previous shows include Stephen Lacey Gallery, Discerning Eye, Hunting Art Prize, Galerie Patrica Dorfman, etc.
Her work is part of the collection of Le Centre d’Art Contemporain Bouvay-Labuday, France. She’s been commissioned by Foster&Partner.
She recently curated and produced Change of Signature, a collaborative project with
10 musicians including Ramuntcho Matta, Sarah-Jane Morris, Jerry Granelli, Antonio Forcione, Martyn Barker, Lola Perrin and Tony Remy, exploring the possible transposition of visuals into sound, shown at Testbed1 London, and sometimeStudio Gallery, Paris. This project is currently being developped and will include collaborative works with Robert Wyatt and Daniel Yvinec.
Pironneau taught visual semantics at Le Celsa – Paris Sorbonne, and Art & Humanities as a guest lecturer at King’s College, London.
She currently writes in the Art Pages of L’Echo Magazine, a french magazine published in the UK.
Uncoiling1_b_75x100cm   AnatomyOfChange_09_small_retouched   Deepening48_LR
Uncoiling n˚1(left), Anatomy of Change n˚9(center), Deepening the mystery n˚48(right)
PDF Documents
Loh Yi Pei  2016/11/22-2017/1/24

Loh Yi Pei 2016/11/22-2017/1/24



Loh Yi Pei, born in 1989 in Malaysia, graduated from the Academy of Arts & Design, Beijing Tsinghua University (Bachelor of Fine Arts, Department of Painting) and is currently studying Master of Art Curatorship in the University of Melbourne. Focus on work on paper, Yi Pei is interested in presenting the intervention of the artist’s imagination into everyday life experience and living environment. His works depict imaginary cityscape as well as distorted nature environment and show the interplay between real and fictional world. Yi Pei’s works have stories to tell but at the same time aim to inspire audience to generate their own.


Project Plan

During the residency in Co·iki, I am going to run an art project calledThe Barter Project which aims to interact with the local community by exchanging any item of the participant’s choice with my works of art, including drawing and painting, made in Tokyo. The reciprocal gesture is expected to complete alongside with a dialogue between the participant and I. The participant is invited to share about the story behind his or her selected item, however, of course, any conversation is more than welcomed!

Sample works


Loh Yi Pei, The Moving Islands, ink on paper, 64x117cm, 2016 (above)










Loh Yi Pei, The Citi Series IV, ink on paper, 72x68cm, 2012 (above)

pict003-lohyipei pict004-lohyipei

Loh Yi Pei, The Hunchbacked Mushroom, watercolour on paper, 25.5x20cm, 2016 (left)
Loh Yi Pei, We Stay Close Together, watercolour on paper, 25.5x20cm, 2016 (right)


Loh Yi Pei, The Octopus with Feathers, watercolour on paper, 25.5x20cm, 2016(above)