それぞれのかたりて / 数多の声より
Art activities in Noto
静寂が漂う倒壊した家や、多くの人々で賑わったであろう集会場。能登半島地震から１年が経った現在。その土地に住む続けた人々のほとんどは、当たり前のように過ごしてきた「これまでの日々」を突如奪われ、今も住み続ける人々の内側に、不条理な喪失の経験として過去と現在の在り方と対峙し続けています。そして、輪島市でお会いした朝市の方々が口にした「私が死ぬまでに、この町は帰ってこないだろう。」という言葉が、私の中にある喪失と共鳴し、今でも遺り続けています。
本制作は、「不条理な対峙と共鳴」をテーマに、２０２４年５月から能登半島の方々に協力して頂き収集した家財や家の一部、人々の皮膚のテクスチャーを収集して制作をしている。家族や、地域の人々が集まった家や集会所、市場といった「人々の繋がりの記憶」で、満ちていた空間の一部を紡ぎ、彫刻、インスタレーションにとして、記憶したいと考えました。
鑑賞を進めるごとに、その空間に現れる物語の登場人物が自分自身の姿と重なっていく中で、誰もが心のうちに抱える哀切がほかの誰かにも繋がり、共鳴する中、
忘れゆく何気ない大切な「日々」。そして存在として喪失しても尚、私達の前に在り続けるものたちへの、内省的な対峙を試みる作品を制作しています。（2024.4.22）
Silence reigns in collapsed houses and a meeting place that would have been crowded with many people. A year has now passed since the Noto Peninsula earthquake. Most of the people who continued to live in the area were suddenly deprived of the “days of the past” that they had taken for granted, and continue to confront the past and the present as an absurd experience of loss inside those who continue to live there today. And as one morning market-goer I met in Wajima said, ‘This town will not come back before I die.’ These words resonate with the loss within me and continue to haunt me to this day.
This production is based on the theme of “absurd confrontation and resonance” and is made by collecting household items, parts of houses and textures of people's skin, which were collected with the help of people in the Noto Peninsula since May 2024. I wanted to weave together parts of spaces that were filled with “memories of people's connections”, such as family members, houses where local people gathered, meeting places and markets, and to remember them as sculptures and installations.
As the viewer progresses through the exhibition, the characters of the stories that appear in the space overlap with his or her own image, and the sorrow that everyone carries in their hearts is connected and resonates with someone else. The work attempts an introspective confrontation with the things that continue to exist in front of us even after we have lost them as existence. (22 Apr 2024)
Translated with DeepL.com (free version)
Exhibition
－ それぞれのかたりて/在り続けることへ － (2024～)
静寂が漂う倒壊した家や、多くの人々で賑わったであろう集会場。能登半島地震から１年が経った現在。その土地に住む続けた人々のほとんどは、当たり前のように過ごしてきた「これまでの日々」を突如奪われ、今も住み続ける人々の内側に、不条理な喪失の経験として過去と現在の在り方と対峙し続けている。そして、輪島市で出会った朝市の方々が口にした「私が死ぬまでに、この町は帰ってこないだろう。」という言葉が、私の中にある喪失と共鳴し、遺り続けている。
本制作は、「不条理な対峙と共鳴」をテーマに、２０２４年５月から能登半島の方々に協力して頂き収集した家財や家の一部、人々の皮膚のテクスチャーを収集して制作をしている。家族や、
地域の人々が集まった家や集会所、市場といった「人々の繋がりの記憶」で、満ちていた空間の一部を紡ぎ、彫刻、インスタレーションに展開する。鑑賞を進めるごとに、その空間に現れる
物語の登場人物が自分自身の姿と重なっていく中で、誰もが心のうちに抱える哀切がほかの誰かにも繋がり、共鳴する瞬間を体感する。忘れゆく何気ない、大切な「日々」。そして存在として
喪失しても尚、私達の前に在り続けることへ、内省的な対峙を試みる。
－ Storytelling /To continuing to be －
Silence reigns in collapsed houses and a meeting place that would have been crowded with many people. A year has now passed since the Noto Peninsula earthquake. Most of the people who continued to live in the area were suddenly deprived of the “days of the past” that they had taken for granted, and continue to confront the past and the present as an absurd experience of loss inside those who continue to live there today. And as one morning market-goer I met in Wajima said, ‘This town will not come back before I die.’ These words resonate with the loss within me and continue to haunt me.
This work is based on the theme of “absurd confrontation and resonance” and is produced by collecting household goods, parts of houses and textures of people's skin, which were collected with the help of people from the Noto Peninsula since May 2024. The work weaves together parts of spaces filled with “memories of people's connections”, such as family members, houses where local people gathered, meeting places and markets, and develops them into sculptures and installations. As the viewer progresses through the exhibition, the characters of the stories that appear in the spaces overlap with their own personalities, and the viewer experiences the moment when the sorrow that everyone carries in their hearts is connected to someone else and resonates with them. The casual, precious “days” that we forget. The film attempts an introspective confrontation with the fact that they continue to exist in front of us even after we have lost them as existence.
展示関連URL https://aster-g.com/pages/181
「手にした灰色の土に、花を」“The Weight of Earth and the Tenderness of Flowers”
― 展示概要 ―
東京都港区広尾にある、コートヤード広尾で開催されたアーティスト イン レジデンスプログラム。
この「手にした灰色の土に、花を」をテーマに、絵画と彫刻、平面と立体という異なる表現を行き来しながら、周りの世界を体験し、理解することから始めた。 このレジデンシーに先駆け、ネルソン・ホーと池田杏莉は、能登半島にてリサーチを行いました。自然災害の少ないマレーシアと、地震によって形づくられてきた日本。それぞれの環境から生まれた視点の交差を通して、儚さと強さ、傷と希望、そして自然の力と人間のつながりについて観察し、試行錯誤したいと考えている。
― Exhibition Overview ―
An artist-in-residence programme held at Courtyard Hiroo in Hiroo, Minato Ward, Tokyo.
Under the theme ‘Flowers in the Grey Soil I Hold’, the artists began by experiencing and understanding the world around them, moving between different forms of expression—painting and sculpture, two-dimensional and three-dimensional works. Prior to this residency, Nelson Ho and Anri Ikeda conducted research on the Noto Peninsula. Malaysia, a country with few natural disasters, and Japan, a nation shaped by earthquakes. Through the intersection of perspectives born of these distinct environments, they aim to observe and explore, through trial and error, the concepts of transience and strength, wounds and hope, and the connection between the forces of nature and humanity.
展示関連URL：https://cy-hiroo.jp/gallery/anriikeda_nelsonhor/
展示関連インタビューＵＲＬ：https://cy-hiroo.jp/people/ikedaanri-nelsonhor/
池田杏莉 個展 「それぞれのかたりて / なき あのことへ」
－ 展示概要 －
現在、私は輪島市を拠点に、解体される住居や集会場から収集した被災者の日常にあった物と、インタビューを通して被災者が抱える「喪失の記憶」に焦点をあてた制作をしています。
本展示に臨むにあたり思い浮かべたのは、輪島市に住む被災者の「喪失した時間と存在を語る姿」でした。それは、街並みと人々の営みの復興は、失った親しい人や風景へ向けられた眼差しと祈りそのものに感じました。そして、それとは対照的に何事もなかったように、日々を当たり前のように過ごせる中、時間の経過と共に能登で起きた不条理な出来事が「何となく復興されている」という感覚から、少しずつそして確実に乖離していることに、気づかされます。
タイトル「なき あのことへ」は、その作品群から被災者たちの「今は亡き存在」への悲痛と愛情を体感するインスタレーションとして構成されます。
被災者と私達との間にあるべき「繋がり」の在り方とは何か。私達それぞれが抱える喪失感が共鳴する空間で、時間と共に形骸化する「喪失」との内省的な対峙を問い続けます。
― Exhibition Overview ―
I am currently based in Wajima City, where I am creating works that focus on the everyday objects belonging to disaster victims—collected from homes and community halls due for demolition—and on the ‘memories of loss’ experienced by these victims, as revealed through interviews.
As I prepared for this exhibition, what came to mind was the sight of disaster victims living in Wajima City ‘speaking of their lost time and lost lives’. I felt that the reconstruction of the townscape and people’s daily lives was, in itself, a gaze and a prayer directed towards the loved ones and landscapes they had lost. Yet, in contrast to this, whilst life continues as if nothing had happened—with people going about their daily routines as a matter of course—I have come to realise that, as time passes, I am gradually and surely drifting away from the sense that the absurd events that occurred in Noto are ‘somehow being recovered’.
The title, ‘To That Which Is No More’, is structured as an installation that allows visitors to experience, through this body of work, the grief and affection felt by the disaster victims for those who are now gone.
What form should the ‘connection’ between the disaster victims and ourselves take? In a space where the sense of loss we each carry resonates, the exhibition continues to pose the question of how we should introspectively confront ‘loss’—a concept that, with the passage of time, risks becoming mere formality.
