2002

You go down stairs
inkjet print
210 x 180cm


Installation view
Inter Medium Institute
2002


I always wait for you.
Installation work
2002- present

One day, my boss asked me to throw out these suits cases. These were private properties of disappeared persons since 6 months ago. I decided to live with them from at that time. It was bothered me to share the small space with them, but that feelings had changed slowly as like they had been there from before like my family. I decided to wait for them until when I return their properties.

Mi jefe me preguntó que si puedo llevar maletas afuera para tirar. Estos maletas fue objetos personales de las personas desaparecidos que ya no encontró después de medio año. Decidí quedarme con ellos. Fue una molestia al principio compartir viviendo un espacio pequeño, pero después poco a poco cambió mi sentido que ellos como si fueran mis familiares. Decidí esperar a ellos hasta el momento que puedo regresar sus pertenencias.

ある日、行方不明者の鞄が捨てられそうになっていた。その場で交渉して譲り受けた。狭い家の中、彼らの私物と生活をはじめた。最初は邪魔でしょうがなかったのだが、そのうち、まるで最初からそこにあったかのような錯覚がもたらされた。私は彼らを待ち続ける。いつか彼らにこの荷物を返す時がくるまで。



Renaissance/Renacimiento
framed document
2002

Renaissance is the official documents intervencioned by artista.
Renacimiento
 es serie de los documentos oficiales intervenidos por artista.
ルネッサンスは、アーティストによって介入された公的書類である。

If you are interested in more information, please mail to Miho Hagino Studio.

Rear Window
Solo exhibition
Curator: Yasuko Hayashi
Productor: Atsuko Ninagawa
Special Thanks: Tomoyuki Mitsui


No one knows what they wanted, even

<Felix Gonzales-Torres>



Cédula hecha por el Museo Nacional de Arte Moderno, Kyoto a solicitud del artista

<Max Ernst>


Cédula hecha por el Museo del Arte de la ciudad de Itami, Osaka a solicitud del artista
Original: Museo de Arte Philadelphia , EUA

No one knows what they wanted, even
Installation
2002


I encountered some captions as Max Ernst, Max Ernst, Eva Hess, Felix González-Torres, Marcel Duchamp that all were from United States at the Philadelphia museum and registered by camera. Then I went some other museum which had their exhibitions to asked that these are belong to American nations and to make a copy of these captions with their own design.
There are no way to know what they really felt to change the nationalities. It was a custom on that epoch.

 

 

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