In the works



1. Biogenetic - Molecular biology

two research questions:

- On In situ hybridization -> site-specific -> Is it a new starting of?  Should I know or not? -> Question for dealing with something by repairing or organizing in life

- On In situ in art -> site-specific -> Is it a something in what? -> Question for making sense as knowledge


2. Max Eastley’s concept 

- Max Eastley’s concept of auditory aspects of site-specific installation and its 'seeing-in'

- "間" (MA) between me and Max's, might it be possible for a new space?

- Questions to Max Eastley


3. Reflection on „Dismantling the Frame: Site-Specific Art and Aesthetic Autonomy“ by Jonson Gaiger

- Félix González-Torres in Miown Kwon 

(Ich habe mich erst das Thema AIDS in der Kunst (auch Aktivisums aus der Hinsicht der Homosexualität, Diskriminierung und Moral) im Seminar beim Institut für Kunst im Kontext, an der UdK Berlin in den 90er auseinandergesetzt. Ich habe die Arbeit von González-Torres in Zusammenhag mit dem Thema vom Seminar mir angeschaut. Heute das Thema AIDS in der zeitgenössischen Gesellschaft ist durch die Erforschung von der Medizin und die Bewegung nicht vergleichbar mit der damailigen Situation.)

- Aesthetic of Existence and Ästhetik des Daseins










Artistic research on Site-Specific in Art and its Aesthetic Autonomy

Dispositif/Dispositive, term of Michel Foucault

In Situ

Max Eastley: Klangphänomen, Umwelt, Dynamik, Zirkular, Random, Zufall, Klang (Klangfarbe), (allerdings umgekehrte)

Yoshimi Hasihomoto: Masse bzw. Quantiät (allerdings umgekehrte Quantität), Form (Balance, Dynamik), Umwelt,


Großer Fuß, Yoshimi Hashimoto, Skulptur


Yoshimi Hashimoto, "Großer Fuß", Skulptur, 1977, gelber Sandstein, 1,60 x 2,90 x 8 m, Teil der „Straße des Friedens“, St. Wendel, Symposionsgelände.

- An extract of a performance of Whirled Music in this film about Max Eastley

Also on the design (Gestalltung) of ROTATIONS 1 (2016), ROTATIONS 2 (2016) by Max. E are important in the research of 2. Max Eastley’s concept with regard to some of Bauhaus's artists such as Klee from the aspect of my artistic research (audiory and visual perception in art).




Duane HansonWoman Eating, polyester resin, fiberglass, polychromed in oil paint with clothes, table, chair and accessories, Smithsonian American Art Museum, 1971

Noah Creshevsky, Strategic Defence Initiative, 1986


-> Poem, Experimental Music, Experimental Film, Experimental Theater, usw. -> Erkenntnis Theorie -> Bildende Kunst ->

This research is in terms of Semi-Formalism.

Materiality and Immateriality

<- without matter of style in art or without style as matter of art

Artistic research on Site-Specific in Art and its Aesthetic Autonomy

I don't find so much interesting in Hyperrealism, but these two artworks relate to the subject of Unvollständigkeit. Hyperrealism is not imperative in terms of a reality, that is an art style, however the art style is an important matter of art. It call '-ism' in Western Art. Gereral in Art of World-Cultures it is Formalism.

-> Literature, Theater, Film, Musik und Bildende Kunst usw. -> Drama / Darstellende Kunst ->

Both are avant-garde and in the pop-culture.

There is no class differences society any more today, and the high culture and high art don't exist any more in the law.

Society system would be developed more through human being of.

The history of avant-garde is since long time, even avant-garde hisotry (in particular, in the history of literature) in Japan is long too, it is not only in Europe. 

Materiality and Immateriality

La chorégraphe Germaine Acogny:

First time I got to know Acogny's work, it was in 1989 together with Béjart's project in Senegal, later it related to S. Linke. Béjart's Neo-Classical Choreography (I call it generally in Tradition or/and classic that is neo-classic kitsch in the Post-War culutre) was generated through two types of his experiences, one was physical in the world-culture (Béjart was everywhere, also in Japan he had the inter-cultural project together with the Tokyo Ballet and a choreograph of Traditional Japanese Dance-Theater.) and second was auditory perception. (My artistic research -> Paper, Artistic research on 'seeing-in' in  Aesthetics of Musicology: Possibility of experimentation in/between electro-acoustic music and other arts, after the digital revolution, EMS18 (Electroacoustic Music Studies Network) - 14th Conference, Electroacoustic Music: Is it Still a Form of Experimental Music?, Villa Finaly, Florence, Italy, 20 – 23 June) In this background of inter-cultral world-culture approch in the Post-War Acogny's dance work was born at the end of 70s (to the early 80s).