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Pull and Raise/Topple

Artist
Tsubasa Kato

This project focuses on the public housing complexes located across Chiba, carefully decoding their historical contexts and the current lives of residents through fieldwork. Repeated research has revealed that such housing complexes have always been spatially interlinked with labor and gatherings.

Some sixty years ago, during Japan’s period of rapid economic growth, the bay area was transformed into an industrial zone through large-scale land reclamation, next to which housing complexes were built. Workers from all over the country moved in, bringing the festival cultures from their hometowns to the newly formed communities, which then developed their own unique festival culture passed down from generation to generation at the housing complexes. While these festivals may seem like a mishmash, they also serve as records of residents coming together to put down roots in a new place.

However, the people who have lived in the complexes since that time are now elderly and many have found it difficult to go out since the COVID-19 pandemic. Arriving to replace the retiring labor force, a number of foreigners also live in the complexes today and work in nearby industrial parks. Some are students who attend Japanese language schools while working part-time; others are university exchange students. But most are workers who spend much of their time at their jobs.

Due to these population shifts, elderly people currently make up about 40 percent of the residents in the housing complexes, and foreign-born residents account for 15 percent. These ratios suggest that the housing complexes are microcosms of a future Japan.

In this project, interviews are conducted with foreign workers living in the housing complexes and with elderly people who have lived there for many years. Their words and physical memories serve as clues to guide the design and creation of the structure. The completed structure will be installed in the plaza of a housing complex for a performance in which residents help pull, raise, and topple it. It will constitute a temporary space of coexistence, emerging from a single action shared among people often separated from one another by differences of daily rhythm, language, and physical distance. And this will be a moment when the collective entity of the housing complex is reconstructed in a new form.


[Types of citizen involvement] Performance participation, Interviews

Schedule

・June: Negotiations with the public housing complex and other local stakeholders (neighborhood association, Urban Renaissance Agency committees, councils, university, Japanese language school, clubs, etc.) over participation in the project
・July: Interviews with residents, designing the structure
・August: Building the structure in the public housing complex plaza
・End of August: Performance
・September–November: Exhibition

Tsubasa Kato

Tsubasa Kato’s practice involves collaboration with individuals and groups in the form of performances, structures, and moving image. His major series Pull and Raise/Topple makes visible social tensions and the dynamics of cooperation through people coming together to move a giant structure. He has organized projects in places with complex histories and political contexts, including Fukushima after the 2011 Great East Japan Earthquake, Standing Rock Reservation in the United States, and a community of stateless people in Malaysia. Kato also explores geopolitical borders, migration, and belonging through such projects as a performance on an uninhabited island between Japan and Korea. Using music and language, he has engaged with the nation, memory, and surveillance, re-examining the relationship between the individual and society in projects like Songs While Bound, a series he began in Seattle in 2017 in which musicians tied to one another perform the national anthem, and Superstring Secrets, held in Hong Kong during the pandemic in which large amounts of secret documents were shredded and then woven into a giant rope. Kato has exhibited installations that prompt us to reconstruct collaboration and identity at various places around the world, including a solo exhibition at Tokyo Opera City Art Gallery as well as Watermill Center (New York), Hamburger Bahnhof – Nationalgalerie der Gegenwart (Berlin), Aichi Triennale 2019, and the Jeu de Paume (Paris).
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Exhibitions & events of this art project