Leiko Ikemura
Painter, sculptor. Served as a professor at UDK (the Berlin University of the Arts) from 1991 to 2015. Awarded the August Macke Prize in 2009. Since 2014, she has been a visiting professor at the Joshibi University of Art and Design Graduate School. She also received an Art Encouragement Prize in 2020. Some recent notable solo exhibitions include “Toward New Seas” at the Basel Art Museum, Switzerland, in 2019, and “Our Planet – Earth & Stars” at the National Art Center, Tokyo, in the same year.

Based in Berlin and Cologne, Japanese artist Leiko Ikemura hosted a solo exhibition “When Animals Become Art” at the Feuerle Collection gallery in Berlin. What is the message behind the exhibition that uses animals as a medium for artistic expression, featuring elements such as glass sculptures of rabbits and vintage Steiff plush toys?

Review the exhibition “When Animals Become Art: Leiko IKEMURA” in Berlin.

Upon entering, one is enveloped in a sacred ambiance, experiencing an enigmatic feeling akin to a soulful cleanse. Situated in Berlin’s Kreuzberg district, the Feuerle Collection gallery holds a distinctive allure for me, resembling a unique and almost sacred space.

With an expansive land area comparable to that of a museum, this gallery has been skillfully converted by the British architect John Pawson from the remains of an air-raid shelter utilized for information and communication during World War II. Darkness shrouded the bare concrete and the perfect use of minimal light skillfully highlights the Art pieces.

Within a setting radiating a minimal yet reverent ambiance, the displays feature Khmer sculptures spanning the 7th to the 13th centuries, furniture utilized by Chinese emperors from 200 BC to the 17th century, photographs by Araki Nobuyoshi, and artworks by Cristina Iglesias. This creates a compelling contrast between classical and contemporary art.

At The Feuerle Collection, alongside the permanent exhibition, there is an irregularly presented special exhibition known as “SILK ROOM.” The current guest artist for this exhibition is Ikemura, a globally recognized and influential contemporary Japanese artist. The ongoing exhibition titled “When Animals Become Art” is curated by the founder, Désiré Feuerle. In the 1970s, Ikemura, a leading Japanese contemporary artist, boldly ventured to Spain when the presence of female artists on the international stage was still limited. Subsequently, she relocated to Switzerland and organized her inaugural group exhibition in Bonn and Nuremberg in Germany in 1983. Serving as a professor at UDK (Berlin University of the Arts) from 1990 to 2016, she has continued to impart knowledge since 2014 at Joshibi University of Art and Design in Tokyo. Over the years, Ikemura has conducted over 700 solo and group exhibitions in more than 29 countries worldwide. Her artworks grace the collections of esteemed institutions such as the State Museums of Berlin and the National Museum of Modern Art, Tokyo.

The second edition of the “SILK ROOM” series, titled “When Animals Become Art,” presents a carefully chosen collection of artworks from Ikemura’s archive spanning from 1990 to 2022. Spread across a 400-square-meter exhibition space, the showcase adopts a distinctive presentation approach, highlighting a unique arrangement of rare and precious vintage Steiff plush toys (crafted by the renowned German teddy bear manufacturer) personally collected by Ikemura.

What is the message behind the title “When Animals Become Art”?. Ikemura stated as follows:

“While recognizing the presence of animalistic qualities in humans, I contemplate the idea that animals also exhibit human behaviors and strive to convey this notion. Fundamentally, humans and animals coexist. I hold the belief that animals, far from being mere entities, are inherently more interconnected with us despite the disparities. Take the ‘fox’ as an example. While the conventional notion of a fox may seem straightforward, in narratives, a fox can undergo transformations, at times assuming the guise of a woman. The enigmatic tales of foxes and their appearances trace back to mythology. The ‘rabbit’ serves as another instance of an animal carrying profound significance. I have a fondness for the Japanese pronunciation of rabbit (Usagi,) and its elegance is mirrored in sculptural form. The rabbit’s prominent ears function akin to antennas, and its zigzagging movements signify unpredictable skills, embodying a refined form of self-defense.”

Displayed in parallel with her original creations are the rare vintage animals from Steiff. Ikemura has received these as gifts, found them at antique markets or in store windows over the years, and has been collecting them. She is fascinated by the trademark button, the “Button in Ear,” attached to their left ears. However, some of these plush toys have a sad story – once cherished and loved as someone’s precious possession, they were eventually abandoned. As time passed, these vintage toys exude a sense of luxury yet carry a somewhat melancholic appearance, perhaps due to the poignant narratives behind them.

Désiré Feuerle, a long-time friend of Ikemura, revealed the background that led to the exhibition: “While sharing a dinner at Leiko’s home, I noticed that the Steiff animals she had been collecting over the years possessed a childlike playfulness and soul, mirroring her own artworks. The distinction lies in their visually twisted, somewhat erotic, and sensual nature. Capturing this essence, I conceived the idea of curating this exhibition at the Feuerle Collection. Through a deliberate exploration of the sensuality inherent in both animals and women, the significance of unfiltered joy in animals became apparent. By observing animals, sensing their souls, and concurrently emphasizing eros, we can uncover the connection with our own primal, animalistic aspects as humans.”

The long-running exhibition “When Animals Become Art,” which began in July, concluded on January 7, 2024. With every visit to The Feuerle Collection, one can expect to encounter new discoveries and evoke emotions previously unfelt. We also ensure distinctive experiences for both special exhibitions and permanent collections. Moreover, the special exhibition “SILK ROOM” not only showcases curated exhibits by guest artists but also hosts diverse programs, including performances, artist talks, screenings, and concerts, serving as a platform for the endeavors of Japanese artists and creators.           

Translation Takahiro Kanazawa

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With her adorable smile, Berlin-based Aneta Kajzer is one of the young artists actively hosting solo exhibitions in Germany and various parts of the world, including Paris, Copenhagen, and New York. Her debut solo exhibition in Japan, titled “Melt Away,” took place at “104 GALERIE” in Nakameguro, Tokyo, from July 7th to August 10th. 

When I visited her Berlin studio,she was juggling a hectic schedule, having just finished preparations for Berlin Art Week which took place in September.Where does that drive and focus come from?

Her works, painted with oils, exude a fluidity reminiscent of acrylics and, upon closer examination, unveil a realm of abstract characters and a diverse array of expressions. Her remarkable artworks, defined by the dominant use of blue, intentionally exclude black. Instead, she creates a somber atmosphere with shades of indigo blue and deep purples. Located in the wedding district, Aneta’s studio is one of 70 artist studios within an old building. During my visit, she showed me numerous works, from archived pieces to her most recent creations, as she shared her creative journey, inspirations, and thoughts on Japan.

Drawings that “melt” on the canvas.

−−Although your artworks are created using oil paints, they possess a remarkable fluidity, almost resembling watercolors. In your recent pieces, you’ve referred to the technique as “melting,” as the paint moves across the canvas. Could you tell us the methods?

Aneta Kajzer: I’ve adopted a new approach to thinning oil paint and intentionally guiding it to flow over the canvas. While working, I position the canvas on the floor, and as I lift it, I manage the descent of the paint, letting it cascade downward. I often describe this technique as “melting away” on the canvas. You don’t know how it turns out, and it doesn’t always go the way you would expect, which is also what makes it interesting. It’s a delicate balance between controlled gestures and the unpredictability of materials.  

−−Your artworks feature an array of abstract characters, which portray loveliness and femininity in surreal darkness. How do you come up with those characters?

Aneta: These characters materialize right from the paint on the canvas. I don’t engage in sketching or begin painting with a particular character in mind. I take inspiration from objects associated with facial characteristics, guiding my brush as it goes. A simple brushstroke can become a mouth, a smile, a hint of sadness, or even an expression of anger – that’s how they come to life. Certain types of emotions can be delivered through facial expressions, but the one I look for is ambivalent in most cases. It’s not just fun or just sad. Dark paintings can hold elements of humor, while bright paintings can carry melancholy undertones.

−−Your use of color is striking. Is there a specific aspect that holds your particular attention?

Aneta: My approach to color is fundamentally open and permissive; all colors are accepted, and anything goes. However, a certain balance is imperative within the finished painting, and this balance can be either a striking contrast or its complete reverse. I don’t follow any strict color rules, but I typically avoid using black oil paint if there’s any. For darker areas, I prefer deep purples such as quinacridone mauve and dark blues like indigo.

Aneta’s solo exhibition debut in Japan

−−You took part in the group exhibition “104 INTRODUCES” at Nakameguro’s 104 GALERIE in Japan in April 2022, but is this your first solo exhibition in Japan?

Aneta: Yes, it’s my first solo show in Japan. It was such an exciting experience! Whether in Japan or any other country, showcasing my work is always wonderful. However, what captivates me is the opportunity to connect with new people, engage in discussions about art, and get some fresh perspectives and innovative ideas within art. Japan has been a country I’ve wanted to visit, and hosting my solo exhibition in Japan felt like a dream come true.

−−Could you tell us why you named the title “Melt Away”? What was the primary message or artistic expression you aimed to express through this exhibition?

Aneta: Well, there are multiple reasons and layers of meaning. The characters in specific artworks I produced for this solo exhibition looked like they were actually melting. That’s where I came up with the idea for this title. I also thought the boundary between concrete and abstraction gradually melted within the artworks. It’s boiling in July in Tokyo, so I thought the title would resonate with people, but ironically, it was me who ended up melting due to the heat [laughs].

−−We heard that you like Japanese culture. What do you think of the art scene in the country?

Aneta: I could only stay in Japan for a limited time, and I don’t have much to say. Nevertheless, I had a chance to visit a few contemporary art galleries and see some captivating art. I enjoyed Kohei Yamada’s exhibition at Roppongi’s Taka Ishii Gallery. 

−−Do you have any favorite artists or artists who have influenced you?

Aneta: I have many favorite artists, but the list could change. Artists such as Maria Lassnig, Helen Frankenthaler, and Miriam Cahn are always important to me, and they are my timeless favorite artists.

−−You have been active, hosting solo exhibitions in various places, mainly in Europe. Where do you see yourself in five or ten years from now?

Aneta: It’s a difficult question. In 5, 10, or even 20 years, I will still be in my studio painting and creating even better art than before.

Photography Emi Iguchi (Aneta Kajzer)
Translation Takahiro Kanazawa
Special thanks 104 GALERIE

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Hiroshi Tanida
Tanida is a fashion designer with a grandmother and mother who were teaching at Japanese dressmaking schools. In his second year of middle school, he decided to become a fashion designer instead of a manga artist. After graduating from Nagoya Mode Gakuen, he worked as a store merchandiser in Osaka. In 2001, he moved to Tokyo and participated in the launch of “DIET BUTCHER SLIM SKIN”. He established his own brand, “STOF” in 2004.
Instagram：@byestof
X：@BYESTOF

Looking back on the brand’s 20-year history

–First of all, congratulations on the 20th anniversary of your brand. What do you think is the reason why you have been able to carry on it this long?　

Hiroshi Tanida (hereafter, Tanida): Thank you very much. I believe the styles proposed by STOF have a potential affinity with TOKION’s readership. However, to be honest, I imagine that not a few readers are just now learning about STOF for the first time. I think the reason why STOF has been able to bloom quietly for 20 years, even in such a shady environment, is because I have the support of my business partners, related parties, stores, customers, and other people who understand me well, and also because I simply have talent (laugh).

— What did you think at this important milestone?

Tanida: STOF hasn’t changed much, but I feel that the world has changed a lot.

–What do you mean by that?

Tanida: I kind of feel that everyone has become more serious. For example, the guidelines for parody, homage, and rip-off are no longer based on the common sense of the experts. Now, if the validity of something is in doubt, it is too easily insulted and criticized.

One of the most significant events that changed the situation was the rise of social media. Social media has its merits and demerits, and it is difficult to argue against the point that it is not harmful if used properly. Seemingly, it has a high affinity with fashion, but I think it is the least compatible with it. To be more specific, fashion snapshots seemed to be on the verge of prosperity through social media, but it actually stagnated because people could not shake off the discomfort of seeing the number of likes. Many unique brands disappeared or shifted to more authentic styles.

Global values and diversity are often lumped together, but they are actually the exact opposite. Personally, I have very little desire of showing off. So, I am acutely aware of my lack of affinity with social media. …… Sorry, I’m getting off topic.

–The brand name “STOF” means “cloth” in Dutch and the theme of the Spring/Summer 2024 collection, which will celebrate its 20th anniversary, is “Voorplet! (= Dutch word meaning the excitement before something fun is about to happen).” Do you have some kind of attachment to Netherlands?

Tanida: I have been to Europe quite a bit, but I have never been to the Netherlands. When I first started the brand, I felt sympathy for the creative attitude of the Dutch design group droog, and I wanted to make the brand name as meaningless as possible, so I chose “STOF,” which is simple in sound and appearance.

I am interested in common things and sensibilities shared non-linguistically by people worldwide, which are difficult to translate into many languages but can be understood when explained. As you just mentioned, “Voorplet” means the excitement before something fun is about to happen. I chose this word as the theme for the collection because I saw it as a synonym for “festivals,” where many people connect and rejoice in their land, religion, culture, and traditions. I would like to visit the Netherlands someday, but it is a coincidence that both words come from the Dutch.

On the S/S 2024 collection “Voorplet!” presented through the video

–Why did you decide to present the collection as a video work rather than on the runway?

Tanida: If we were going to express the festive mood in the form of a runway, we wanted to create a performance that would make all the guests dance, but we thought it would not be easy to realize it without asking them to dance because of the nature of Japanese people. Also, we had decided to do something out of the ordinary, so we were torn between holding a music festival like the one we held in 2017 or making a video work. We wanted to record it and express our gratitude, so we decided to make it a work of art in the form of a video.

–Although STOF is a fashion brand, it seems to have a deep connection with culture, such as art and music. What kind of things do you draw inspiration from?

Tanida: I draw inspiration from various cultures, such as travel, music, manga, movies, and art. I am not what you would call a fashion person. I think of myself as taking what I have input in my life and outputting it predominantly in the form of fashion.

— The brand has an established reputation for its graphical designs, abstract silhouettes, and distinctive elaborated designs. What are the characteristics of your graphic and design work for the 2024 Spring/Summer collection? What points did you pay particular attention to?

Tanida: Graphically, festivals, and exuberance were the two main keywords, so I researched festivals around the world, such as Samba in Rio, Kukeri in Bulgaria, Holi in India, and Burning Man in Nevada, and fused them together to create a collage of graphics from festivals taking place nowhere in the world. In addition, we commissioned artist Kenichiro Mizuno to draw pictures of the Japanese-style evil spirits of the mountains and rivers and developed them into embroideries. Items with these embroideries are the main items of this season. As for the silhouette, we were particular about keeping it as simple as possible and focused on creating outdoor styles that people can wear in music festivals and redesigning traditional Japanese festival costumes.

— So far, you have done business with many countries. Which countries have you found to have particular momentum?

Tanida: China is the one that I felt had the most powerful momentum in terms of fashion. Let alone Shanghai, but the cityscape of Chengdu was overwhelming. Even the cities of Wenzhou and Hangzhou, which you only hear a little about when you are in Japan, have a population of millions, and there are some good, decent stores. The overall level of creativity is still not incredibly high. Still, perhaps because there is a desire for freedom in the face of oppression, the works of local designers are full of a primitive joy of creation. Against the background as a country of production that can be described as the world’s factory, what has been lost from the current Japanese fashion is still alive here.

–You visited a lot of countries in the West. What kind of impression did you get from these countries?

Tanida: From what I experienced when joining several times in Fashion Weeks in Paris and New York, people in Paris were a bit authoritarian and not very interested in unfamiliar brands. However, the fact that brands and buyers gather from all over the world, including Europe, the Middle East, and Asia, is a significant attraction. Also, based on my modest first-hand experience, I would still recommend Paris as a place to visit as a buyer. Conversely, I often received vivid reactions in New York when people saw the products themselves. I was also struck by the fact that many people were seeking sexiness in the realm of fashion. I was often told that my products weren’t sexy, which is fair enough because my items were not intended to be sexy.

As for personal travel experiences, I drove around Iceland in Europe and the Golden Circle in the US, which were fantastic. But perhaps the most exciting places in the world right now are the countryside of Japan.

–While many people are turning their eyes overseas, there are many people who see the potential in Japan’s countryside and are engaged in interesting activities.

Tanita: This may not be the only case in Japan, but securing a spacious, pleasant, and beautiful space in metropolitan areas is challenging, partly due to land prices. In addition, both information and goods are saturated, and there is often competition for them. Even if there is a manager with outstanding sensibility, it isn’t easy to have everything at a satisfactory level, including space and product lineup. In this respect, it is easy to clear those issues in a rural area, so it is possible to create ambitious stores without fear of risk. The same applies to the lodging and restaurant industries, leading to more attractive stores and towns in rural areas. Recently, with the spread of social media, the regional disparity in information has been eliminated, so this trend will further accelerate.

–In addition to STOF, you are involved in quite a number of fashion brands such as “bedsidedrama,” outdoor brand “NEYVOR,” kids’ brand “K/A/A,” “Too Much Life Wear,” and “PANTARHEY,” which you work on with Takao Suzuki of UNISON SQUARE GARDEN. That is quite unusual for a designer. How did you come to this situation?

Tanida: Since I have always had multifaceted interests, producing output only under one brand is difficult for me. I also like to do new things. I don’t think I have the temperament of an artist, and I am simply fast at designing.

–I see, so speed is also necessary to start a brand. Do you have any other advice for young people who want to become fashion designers?

Tanida: Frankly speaking, I would say that aiming to become an independent designer now is too hard, so don’t do it (laughs). If you still want to do it, you should put effort into raising your status before launching a brand. It could be something as simple as creating a nice store in a local area or becoming famous as a comedian or YouTuber, for example. I think it is better to have something other that will make you believe that, “even if this doesn’t work out, I can still make a living with that,” before you start making things so that you can make good things.

Remember to have room, love, and humor, and show us something that makes us say god-damnit!

–Do you have any dreams that you would like to do or achieve in the future?

Tanida: I want to do all kinds of things, as I have wanted for a long time. I have many interests, such as travel, writing, graphics, food, and drink. I want to make 20 years a milestone and keep doing new things without being particular about fashion or Tokyo as a place, so I am looking forward to hearing from anyone with a heart. As for what I have already decided to do, I plan to hold a spooky story event called “ATARAYO ” next spring, so please come and check it.

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Trani was probably still a young child when techno was popularized in Detroit in the early 1990s. However, he gained support after collaborating with true legends like Jeff Mills, Juan Atkins, and Derrick May. He also boasts a track record of podcasts on the Underground Resistance (UR) official radio program.

And on June 30th of this year, Trani released Scenery the Remixes, an album featuring remixes by fourteen artists including Robert Hood, Luke Slater, Marcel Dettmann, and Theo Nasa, on three vinyl and digital formats. This special edition album is a compilation of songs from his 2021 release Scenery remixed by legends from the hard techno scene selected by Trani. It took two years for him to complete this masterpiece.

Trani is undoubtedly the one and only person who has been handed the torch by the world’s techno legends. You could say that he holds the future of Italy’s techno scene in his hands. So who exactly is Mattia Trani? We asked him a variety of questions in this interview. Ken Ishii, a representative of the Japanese techno world who provided a remix for this record and who Trani himself reveres, also appears as a special guest.

Techno legends from around the world gathered to create the pinnacle of remix albums

–– Tell us how you went about releasing a three-album remix record of your 2021 release Scenery, which features fourteen techno artists as guests.

Mattia Trani: This remix album became a very important piece of work for me. It started from wanting the world’s electronic music scene specialists to rework my tracks. I ended up asking hard techno legends who I respected and who I had never asked for remixes to work on it.

–– They’re all legends that are household names. How did you make your selection?

Trani: My sound is always connected to Detroit techno music. I’ve worked with Juan Atkins, DJ Stingray, Los Hermanos, Claude Young, and many other great artists. But for this remix album, I first wanted to ask Robert Hood… because he’s the king! I thought it would be perfect if I could have his remix in my album. I selected other legends from all over the world to collaborate with, too. It was an honor to work with Luke Slater, for instance, who’s one of my techno heroes. Marcel Dettmann is another great artist that I respect, and the way he reworked my song was fantastic.

––  How do you feel about different DJs remixing your own songs?

Trani: I believe that collaborating with artists you respect is a very important and beautiful thing. Each artist has their own style and sound. By combining that sound with a track as a remix, a song is created. I started my own career as a producer creating remixes of other artists’ songs, which is why I enjoy remixes by artists other than myself.

– – Is there a remix that was particularly memorable?

Trani: I’m constantly being influenced by new styles of music. Dax J’s Berlin label Monnon Black is a great example. I’m a fan of the label and love its futuristic sounds. I also think LDS’s work is phenomenal, and am a fan of Nina Kraviz’s Trip Recordings, too. My love for different styles of techno is very important to me.

–– Your sound is an avant-garde and futuristic hard techno that employs bass music and other styles, but is also reminiscent of old school Detroit techno from the 90s. What do you keep in mind when creating tracks that mix the past and the present?

Trani: It makes me happy to hear you say that. I have a clear vision of what I want my techno to be.

What I strive for when making my tracks depends on the studio session. Sometimes, I start writing on a keyboard, and other times I start arranging harmonies, but I always try to find the right pads to create said harmonies. Sometimes, I even start from scratch. In that case, I start laying down a bassline or rhythm to create a powerful sound.

I was busy touring this summer, but once I have free time, I want to lock myself in the studio and create a new sound with a focus on power dub with drum ‘n’ bass and techno influences.

–– What does Ken Ishii, who you’ve always loved and who remixed one of your songs, mean to you?

Trani: Ken Ishii is my favorite producer from the 90s, and a true hero of the techno world in my mind. His masterpiece “EXTRA” is my favorite techno track. I have all of his tracks and records, but when I first heard his legendary album at R&S, I thought, “This isn’t reality. This man is undeniably lightyears ahead of all other techno music producers. It’s so futuristic”. It felt like I was in a video game or a sci-fi film. I still feel like his music is in another dimension.

When I watched a collaboration video of him with Jeff Mills in the early 2000s, I thought Ken’s DJing was so futuristic and ahead of its time. I was elated that he could remix the title song “Scenery”. It was a dream come true.

– You’re also close with Japanese DJs other than Ken Ishii, like DJ Shufflemaster. Are there any young DJs and producers you have your eye on? What is your impression of Japanese techno artists and the scene here?

Trani: Music is one of the most important aspects of human connection. That’s why I believe it’s crucial to speak to people from around the world with different perspectives.

I have a Patreon and a private academy, with a total of twenty students. As a mentor, I’m able to watch their work and their growth. Teaching is a challenge everyday, but there’s always beautiful music playing at the school. We’ll be releasing something from my label soon. I’ve been scouting people for my label, and I plan to continue to do that.

Unfortunately, I haven’t been to Japan yet, so I don’t know what the actual scene there is like. But because I have great respect for Japanese producers and DJs and like to see things for myself, Tokyo will probably be the first city I visit if I make it to Japan. I also like Japanese culture outside of music. I was drawing manga before I started music, I love video games, and I watch anime almost everyday. I’m quite the Japan addict (laughs).

I’m trying to make it out to Japan next year. Of course I’d like to DJ if there’s an opportunity to. That’s my current dream!

Who is the Mattia Trani that Ken Ishii has seen?

–– You worked on the remix for the title track “Scenery”. What are the particular elements you focused on?

Ken Ishii (hereafter KI): I tried to use the most impressionable parts of his original track while adding my own flavor to it to create a nicely balanced remix.

–– How did you first meet Mattia? How do you feel about his DJing and his tracks?

KI: I’ve never actually met him, and have only communicated with him through email and social media. We first connected when he remixed my 2020 release “Landslide”. Although he’s technically part of the new generation of techno, his music reminds me of the history of techno and dance music, which adds depth to his work.

–– You’ve been at the forefront of the scene for many years and have continued to work around the world. What do you try to keep in mind most when playing alongside top artists?

KI: To continue making and playing music without losing sight of my own musical style and attitude as an artist, while keeping an eye on the ever-changing scene.

「Scenery The Remixes」
Tracklist

1.One More Step (Robert Hood Re-Plant)
2.Scenery (Ken Ishii Remix)
3.One More Step (Planetary Assault Systems Remix) 04. Videogame (Marcel Dettmann Remix)
4.No Future (Indira Paganotto Remix)
5.Biologic Horror (Paul Ritch Remix)
6.Inner Hardships (Luigi Madonna Acid Mix)
7.End Of Days? (Alignment Remix)
8.Biologic Horror (Lee Ann Roberts Remix)
9.Endless Optimism (K91 Remix)
10.Scenery (Fedele Re-Shape)
11.Endless Optimism (MatGroove Remix)
12.Inner Hardships (Luigi Madonna Remix)
13.Endless Optimism (Gianma Bln Remix)

Special Thanks Studio De Meyer

The post Mattia Trani, the Young Talent Who Connects the Past and Present of Techno to the Present, and the Legend He Reveres appeared first on TOKION - Cutting edge culture and fashion information.

Founded in September of 2016 as a reuse shop that collects and sells reclaimed materials and antique tools from vacant houses and long-abandoned, untouched storage spaces. They refer to their work as “rescue” activities, since they are able to reduce environmental impact by reusing these materials instead of disposing of them. Their philosophy, “ReBuild New Culture”, embraces the idea of rediscovering forgotten treasures of the past, giving them value along with the changing times, and passing them onto future generations. 

As they traveled the world, they resonated with the DIY spirit and environments centered around sustainability rooted in Portland. What exactly inspired them there?

We interviewed Azuno Tadafumi, representative of ReBuilding Center JAPAN, to hear his perspective on turning their focus to Japan after exploring the world and working towards a better future.

Tadafumi Azuno
Born in 1984. Representative of ReBuilding Center JAPAN. Azuno began working as part of spatial design unit medicala with wife Kanako in 2014, and continues to create comfortable spaces around Japan, as exemplified in “Nui”, “Hagi Guest House ruco”, “Masuya Guest House”, “Osteria e Bar RecaD”, among others, and founded ReBuilding Center JAPAN in 2016. Under the philosophy of “ReBuilding New Culture”, they are spreading awareness and practices of utilizing reclaimed materials.

Continuing to construct, expand, and disseminate new culture in Suwa City, Nagano Prefecture.

– Why did you decide to move to Suwa City, Nagano?

Tadafumi Azuno: Moving to a place with a declining population and an increasing number of vacant houses was a fundamental condition when determining where to live. The reason for that being that an abundance of vacant houses means there are more spaces to be rebuilt, making reclaimed materials and antique tools valuable resources in their community. People seeking reclaimed materials and antiques tools exist outside of Suwa City – in major urban areas like Tokyo and Nagoya, as well. But a deciding factor was that Suwa City is relatively easily accessible from those metropolitan areas.

– I understand you moved in 2014. How is it actually living there? What are the charms of Suwa City?

Azuno: Suwa City boasts one of the highest sunshine rates in Japan. So it’s sunny a lot of the time, and there are many hot springs nearby. There isn’t much nature in the city itself, but there are plenty of mountains and areas surrounded by nature are easily accessible. It takes around twenty minutes to drive to the nearest ski resort, and thirty minutes to the nearest ranch, where you can go horseback riding. My son is currently attending the nursery school attached to that ranch. It’s wonderful that childcare can be done in an environment surrounded by nature.

– How do you choose the spaces you rescue? And how are you informed about vacant houses that need rescuing?

Azuno: We try to stay within the vicinity of an hour-long car ride from Suwa City, where ReBuiCen is based. But we’re able to go quite far. Matsumoto City, Ina City, and even Hokuto City in Yamanashi Prefecture are all within an hour away from Suwa City. We’re able to go to places over an hour from the city, but we ask for travel fees in that case. The price differs based on the distance, somewhere between 3,000 to 5,000 yen.

Regarding the vacant houses we rescue, more than 90% of the time, we go to the location after receiving a request from them. It’s rare that we look for spaces to rescue ourselves. The reasons for each request vary, but we often receive requests to take belongings they’ve accumulated in storage. If we don’t take those items from them, they will be disposed of as trash.

– You not only take items that would otherwise be disposed of as trash, but you also sell them as valuable reclaimed materials or use them for renovations. You really are “rescuing”, in every meaning of the word. How is ReBuiCen different from recycle shops that exist all over Japan?

Azuno: ReBuiCen is registered as a business under the category of antique dealer, much like a recycling shop or a second-hand store. In the traditional antique dealer market, many source items from markets specializing in second-hand goods and sell them in their physical stores or online. To participate in this market, one typically needs a license as an antique dealer, meaning that people who sell in the market and purchase from those markets are all licensed antique dealers.

Our process differs from that of a traditional antique dealer because we buy reclaimed materials and antique tools from vacant houses and storage spaces instead of going to a market. By rescuing the materials, we’re able to acquire them for cheaper than we would be able to at market price, allowing us to sell them at lower prices in store. The downside of salvaging reclaimed materials is that it takes more time and effort, and a challenge that comes with it is not always being able to find exactly what you’re looking for. The availability of specific items can vary, and it’s possible we won’t be able to rescue or find exact items. The process of rescuing materials also involves determining the price of each item, in addition to having to clean and restore the items to a presentable condition since rescued items are typically covered in dust or dirt.

– Where did you obtain your knowledge on reclaimed materials and antique tools?

Azuno: I’ve always liked antiques, and would often research websites and go to antique tool shops and flea markets, even before I started ReBuiCen. Through that, I gradually obtained knowledge about the market, as an extension of my hobby. Currently, I have my staff in sales pricing our items. By allowing them to handle the pricing, they’re able to gain experience through trial and error, learning what price sells quickly, or what may be priced too high. I believe it’s important to acquire a sense of market price through this process.

– How exactly do you price your items?

Azuno: Considering the costs involved in disposing of items and cleaning and transportation fees during the rescue process, we offer to purchase items at 5% of its selling price. For example,if an item is being sold for 10,000 yen in stores, we would offer to purchase it for 500 yen, which leaves the gross profit at 9,500 yen. From that, we deduct expenses such as labor costs and online shopping fees, resulting in the remaining amount to be the profit. While the gross profit may seem high, we’ve carefully considered the time and effort it takes to rescue items, including the pricing, cleaning, and inventory management processes.This labor-intensive process also contributes to local employment opportunities.

The charm of Portland, where DIY spirit and sustainability are rooted

– I heard that Portland, the core of DIY spirit in the U.S., left a significant impact on you. Can you expand on that?

Azuno: I wanted to visit Portland at the time because I was interested in industrial American antiques. I stayed at a friend’s house for ten days and visited different places. During my stay, I was impressed by how the city naturally embraced SDGs (sustainable development goals) and a sustainable culture. It was similar to what I read about in the magazine Sotoko. Although Japan has recently started sustainability initiatives, I felt like my mindset and work based around sustainability were still in the minority at the time. But in Portland, I didn’t feel like I was in the minority because everyone has a sustainability mindset.

Friends of mine who aren’t construction workers or professional craftsmen all had a variety of tools at home. My friend had an old Volvo, but they had the tools to fix it if it ever broke down. There’s also a community non-profit organization called the Tool Library that provides DIY tools for churches and other establishments to borrow for free. Of course it’s great to see the work of the side providing those services, but I loved seeing the people who borrowed the lawn mower change the blades out, considering the next person who would use it. Portland is a place that not only possesses a DIY spirit, but a culture of caring for each other.

– Fashion magazines typically portray Portland as a trendy city. What is it actually like there?

Azuno: I thought it had a similar atmosphere to Daikanyama. I sensed a warmth from the people in Portland. When I would wait at a crosswalk, nearly every car that approached stopped for pedestrians. It’s incredible that the first mayor of Portland, back when the city was established, chose to build infrastructure for trams and public transportation instead of pursuing a highway. That choice definitely made the city more livable. Portland is also famous for not having sales tax.

– Are there any places and people that inspired you apart from Portland?

Azuno: There are developed nations I didn’t get a chance to explore enough, but I’ve actually traveled around the world. The most memorable out of all the countries were Yemen, Ethiopia, and Cuba. I went to Yemen to see its untouched world heritage island. When considering travel destinations, I try to choose places that aren’t driven by a capitalist system and where religious influence, such as Christianity or Buddhism, is not predominant. My experience volunteering at a Ugandan orphanage was what encouraged me to develop DIY skills.

The Ideal Future Envisioned by ReBuiCen

– What about in Japan?

Azuno: Kuroiso, Nasushiobara City, in Tochigi Prefecture. Over thirty years ago, Shozo Kikuchi, a pioneer of renovating old Japanese houses into cafes, opened 1988 CAFE SHOZO in the city. He renovated an abandoned building in a shuttered shopping street and transformed it into a cafe and created a gathering place for people. Not only did it increase the number of customers coming to visit the popular cafe, there was also an increase in apprentices who came to study under Mr. Shozo. Those apprentices eventually opened their own shops in the neighborhood, creating a positive chain of events. Kuroiso has now become a popular tourist destination for cafe lovers and a delightful place to visit.

Mr. Shozo has opened multiple ventures on his own, without government support. Not only that, but when larger, nearby properties go on the market, he purchases them and rents them out to young people who will shape the next generation. It truly is a city built upon the charisma of Mr. Shoza. It’s incredible to see people who adore him naturally coming together and contributing to the development of a city.

– What a wonderful anecdote! I believe ReBuiCen has also become a charismatic presence itself. Is it different from what you had pictured?

Azuno: Shops and facilities have been increasing, but they’re all ventures I’ve established. My ideal scenario is one where people with a shared passion all come together naturally and open their own stores and facilities. That’s what I aspire to do. Recently, however, wherever we post job listings, I’ve noticed an increased number of people expressing their desire to be involved, and support ReBuiCen’s values. While most applicants used to be outside the prefecture, I’m happy that we’re getting local interest now.

A Kamisuwa ReBuiCen neighborhood map can be found in each of ReBuiCen’s stores. It carefully illustrates where each cafe, restaurant, general store, bakery, record shop, flower shop, and vintage store in the vicinity of Suwa City is located in one glance. The map not only includes ReBuiCen establishments, but also various local long-standing establishments and recommended restaurants. In addition to the renovation and rescue of old Japanese houses, contributions to the neighboring areas could serve as catalysts for shaping the future landscape of the city.

ReBuilding Center JAPAN
3-8 Owada, Suwa City, Nagano Prefecture
Regular Holidays: Wednesdays and Thursdays
Hours: 11:00~18:00
https://rebuildingcenter.jp/
https://www.instagram.com/rebuildingcenterjp/

Photography Shiho Furumaya
Translation Mimiko Goldstein

The post Preserving Japan’s Past Treasures for the Next Generation: The Ideal Future Envisioned by ReBuilding Center JAPAN Representative Tadafumi Azuno appeared first on TOKION - Cutting edge culture and fashion information.

His sound shows respect for vintage cinema and the pioneers of electronic music while drawing from politics, philosophy, and history. But is Simone’s worldview the antithesis of contemporary culture, where new artifacts are born and disappear one after another?

Simone’s talent was recognized early on by mule musiq, one of Japan’s leading labels, which released the second and third editions of the famous and sensational series “Mondo Nuovo.” We interviewed Simone, who will return to Japan for the second year in a row, and Toshiya Kawasaki, the owner of “mule musiq,” which will celebrate its 20th anniversary next year, at a party at Mitsuki in Shibuya on May 13.

Simone de Kunovich
Simone de Kunovich is a Venice-based music producer whose debut release on the Australian label “Superconscious” in 2019 has attracted significant attention. Last year Simone released the second and third installments of his signature series, Mondo Nuovo.

“I want to be a taste master,” Simone de Kunovich talks about his sound world in his own words.

— As for Addio Mondo Nuovo, the third and final chapter of the Mondo Nuovo series released last November, I felt a more experimental and exotic worldview than ever from its tropical sounds topped with impressive birdsongs. Was there anything in particular that you focused on?

Simone de Kunovich (Simone): I used the same instruments and techniques to make the Mondo Nuovo trilogy cohesive as a series. Half of all tracks of the final chapter, Addio Mondo Nuovo, are made up of diverse music, including soundtracks and soundscapes. For example, “Path To Eternity (On The River of Nameless God)” is inspired by the imaginary story about the final journey of an explorer lost in the Amazon River, adrift on a ragged raft, sick with dehydration and poisoned fruit, reminiscing about old times and experiencing visions of the afterlife in the last moments of his life.

— Why are you drawn to old music and films, such as works by pioneers in the early Italian electronic music scene like Piero Umiliani and the 1980s horror film Cannibal Holocaust?

Simone: The creativity brought by the synthesizers that emerged in the 1970s and 1980s is incredibly unique. Pioneers like Piero Umiliani, who adopted this technology before anyone else, radiated an experimental quality that transcended genres. Music in those days was not just part of the arts but part of a dialogue with politics and philosophy. Records and films triggered social debates, and art had explosive and dangerous powers that would create discord and become tainted by ideology.

Experimental music became a niche subgenre, and films like Cannibal Holocaust and Last Tango in Paris were in danger of being overlooked or ignored by the public. As for Huxley’s Brave New World, Neil Postman said, “What Orwell feared were those who would ban the book. Huxley feared there would be no reason to ban them and no one would want to read books anymore.”

–You have been inspired by such films and incorporated elements of them into your music. How did you develop your style of combining electronic music and film?

Simone: When I was a child, I went to a rental store called Blockbuster near my house for the first time and was fascinated by the movie posters there. I became obsessed with the fantasy world evoked by those posters and frequently visited to devour the archive films. My driving force is an insatiable thirst for knowledge, and I’m trying to connect the dots and establish new connections between previously unexplored points.

— Following your last album, Mondo Nuovo, this album is also released on “mule musiq,” right?

Simone: Yeah, Toshiya has supported my music since we first met, and it’s a real honor to work with him. While “mule music” invests in new talents, it also has a lot of timeless archival works and works on reissues of Japanese synthpop and ambient from the 1980s, which is excellent. I’m one of the fans.

Simone De Kunovich Releases

Browse Simone De Kunovich Releases

kompakt.fm

–You toured Asia last November and will revisit Japan this May. What do you think about the Japanese music scene?

Simone: In the United States and Europe, hardcore live music is quite popular with a functional and intense approach. However, Japan tends to favor a more contemplative and introspective practice. My impression is that Europeans dance with their bodies, while Asians seem to be dancing within themselves. Furthermore, while electronic music is commonplace in Europe, where the act of going to clubs is a part of life, the club scene itself is a niche in Asia, where karaoke and other forms of entertainment are more common for many young people. Therefore, I realized that the key people from the golden age of clubbing still support the Japanese club scene, which I don’t think is necessarily bad.

–I also feel a sense of originality in your style. Do you have a favorite fashion style or particular taste?

Simone: Fashion plays a role that embodies both the image we have of ourselves and the idea of ourselves we want to present to others. Designers today are quite conscious of this point, and often the product quality does not match the quality of the look, which is just like a beautiful box with nothing inside.

I like designers with solid ties to the counterculture, such as Raf Simons and Demna Gvasalia of “Balenciaga,” and I choose to wear items that can convey my worldview. I’m sure I will eventually retire as a DJ, but ideally, I would like to be a consultant to fashion brands for their sound identity. Many major fashion brands seem to be understating this, but I believe it will soon become a necessity in the fashion industry. Ultimately, I want to be a tastemaker in any field.

— Tell us about the projects you are currently working on and plans for the future.

Simone: I plan to release two EPs by the summer. I will release an EP with a remix of “Fantastic Man,” a collaboration piece with my friend Pascal Moscheni, on the Polifonic Festival label in Italy, and another on Public Possession in Munich. The taste of these will be completely different from that of the Mondo Nuovo series, so I believe that these will possibly disappoint previous listeners and make another listener happy.

I cannot stand still for long periods of time. Since the euphoric and schizophrenic resurgence of dance music we experienced after the pandemic, I have felt the need to engage with different sounds and textures. The new work is free from the restrictions I imposed on myself to accomplish the Mondo Nuovo series and has a more ecstatic, energy-driven, dance floor-oriented sound. This work well reflects my current musical orientation.

Toshiya Kawasaki, the leader of the Tokyo-based label “mule music” who has witnessed the world scene, talks about Japan today.

–You have released many albums by artists mainly from Europe who are active worldwide, but Simone is unique among them, and his sound and worldview are pretty original. What attracted you to Simone?

Toshiya Kawasaki (Kawasaki): His sound was exquisite in that it has a strong left-field feel, yet also has the party atmosphere of a club track. There are not many artists who have this sense of balance. He also has a great personality. He is definitely a very promising artist.

— Could you share your favorite tune in his latest work Addio Mondo Nuovo? Please also tell us why.

Kawasaki：I personally like “Path to Eternity.” Its indescribable eeriness gets me hooked every time I listen to it.

–You have been at the forefront of the scene for many years, running a label and playing worldwide, but how did the Covid-19 Pandemic affect your orientation and how you think?

Kawasaki：The pandemic hardly affected my musical orientation, but the cost of pressing records has risen abnormally in the past few years. And that has made it very difficult to release house and techno 12 inches. On the other hand, home-listening pieces and reissue LPs are in high demand, so I would like to shift my focus to more digital releases regarding dance tracks and dedicate physical releases to more universal types of pieces.

–In Europe, many clubs have closed and are facing difficult operating conditions, but now they seem to be back to their former glory, and new venues are opening up. In Japan, many of the leading clubs have closed their doors, but on the other hand, small clubs, live houses, festivals, and young artists in their early twenties seem to be gaining momentum. What do you think about that?

Kawasaki：Smaller clubs are so good in Tokyo. The audience is young and lively. On the other hand, I am sure that clubs with large capacity are having a hard time. Currently, international flights are costly, and DJs’ fees are getting higher and higher, making it difficult to make a show viable. Nevertheless, festivals are still thriving because the audience is willing to pay a lot of money for the special feeling that festivals have.

–What are your future plans for “mule musiq” and projects?

Kawasaki: I hope to continue releasing music that I think is good, just as I have in the past, but I would like to hook up with younger and newer artists. Next year will mark the 20th anniversary of the label’s establishment.

The post Is Simone De Kunovich’s Soundscape The Antithesis of the Modernity?; Unraveling Venetian Genius Through the Words by Toshiya Kawasaki of “mule musiq”. appeared first on TOKION - Cutting edge culture and fashion information.

Georgia, which straddles the border between Eastern Europe and Western Asia, is home to a number of buildings that are representative of brutalism. In addition to these buildings, there are also inexpensive housing complexes called Khrushchyovka throughout the city, which are symbolic of the Soviet era. The rugged, bare concrete buildings are a nostalgic legacy that have attracted world-renowned architects and photographers, including Le Corbusier, the master of modernist architecture. On the other hand, for those who live there, it is said to be a negative legacy that they would like to forget, and there are those who wish to see it demolished with the urban development of the city.

As we focus on Brutalism and Khrushchyovka, we will be led by Nao Tokuda, an architectural designer who started his business in Tbilisi, as he introduces Georgia’s remaining Brutalist architecture and spots that he currently recommends seeing. We present the second chapter of our journey through Georgia, the last unexplored region of Europe.

Nao Tokuda
Born in Hyogo Prefecture in 1983. Moved to Tokyo after graduating from the Osaka University of Arts in design. After working for about ten years as an interior designer for commercial spaces at a design and construction company and a design office in Tokyo, Tokuda moved to Denmark. He worked for a design firm in Copenhagen for five years designing interiors for various spaces, both large and small, including boutiques, cafes, and hotels. In 2020, Tokuda moved his base of operations to Tbilisi, the capital of Georgia, and established Design Studio NAO. LLC there. The tea house project, a renovation of a 100-year-old abandoned building, was nominated for the Dezeen Awards 2022 in the UK and the International Architecture Award in Georgia. His projects include renovating Khrushchyovka housing (a typical residence in the former Soviet Union) to make them function universally, and a project to support the reconstruction of Miyagi Prefecture. Tokuda currently continues to work without borders, in both Japan and Europe.
「Design Studio NAO. LLC」
Instagram：@designstudionao

The Bank of Georgia Headquarters, the world’s most mysterious Jenga building

Driving along the Kula River from the center of Tbilisi, the capital of Georgia, to the suburbs, you will see the Bank of Georgia Headquarters, which looks like a giant Jenga structure.

The building, which has an impressive presence even when viewed from below, was built in 1975 by Georgian architects George Chakhava and Zurab Zhvania. Originally designed as a luxury hotel and then owned by the Ministry of Highway Construction, the building was abandoned for a while after the collapse of the Soviet Union. It was, however, purchased by the Bank of Georgia in 2007, and is now being used as the headquarters building after extensive renovations.

We asked Nao, who was the first to name the Bank of Georgia Headquarters as a unique example of brutalism in Tbilisi, about its charm and characteristics.

“In the 1970s, when Georgia was a part of the Soviet Union, architecture and art were flourishing so much that it could have been named the capital of arts and culture. A characteristic of that era is that Georgian architects of the time competed with each other to create outrageous structures. At first glance, the buildings appear to be a mixture of extremely creative and free-spirited designs, but this is the result of architects pushing their creative freedom to the very limits of their abilities in the context of the Soviet era, its various restrictions, and the limited freedom of expression. The Bank of Georgia Headquarters was also characterized by the construction of a number of stately buildings that were built on a much larger budget than available in Georgia today. The Bank Of Georgia Headquarters is a symbol of such a building, with a very unusual Brutalist design, which looks like alternating layers of Jenga. But it’s also interesting to note that the composition of the building is actually surprisingly simple when viewed on a flat surface. Recently, Tbilisi and this architecture was featured in the climax of the Hollywood blockbuster movie, Wild Speed 9. Many Georgians around me were hired to become staff for this film. I believe this is a good example of the movement by Hollywood to select locations in Eastern Europe and former socialist countries”.

Right next to the Bank Of Georgia Headquarters is the Transcaucasia Power Control Centre, another symbol of Tbilisi’s brutalism. This building was used as an electric power company during the Soviet Union era, and after the collapse of the Soviet Union, it was used as a wedding hall for a time. It’s now a mostly vacant office building.

The one and only bonsai shop that combines traditional Japanese culture with Georgian culture.

The only bonsai store in Tbilisi, Bonsai.ge, is so artistically beautiful that it would be rude to call it a greenhouse. From the moment you step inside, a world of stunning vivid greens and moderately decayed browns catches your eye. It’s not a bonsai shop, but rather a bonsai museum, a space that’s photogenic in every way.

The store, run by the founder Alexander Meshki and his son Nicholas Meshki, is the fruit of over thirty years of hard work and repeated trial and error based on a bonsai book that his father, Alexander, obtained in the Soviet era. Alexander first became interested in bonsai when he was about 13 years old, when he saw it for the first time on television.

The beautiful and luxurious location, including the spacious grounds and nature-filled garden in the neighborhood, is a sight to behold, but the main attractions are the one-of-a-kind bonsai trees filled with the owner’s unique sense of style and ideas that can only be found here. His son, Nicholas, spoke to us about his passion for bonsai on behalf of his taciturn father.

“Bonsai is part of traditional Japanese culture, which is totally different from Georgian culture. However, I thought that in order to convey and spread the charm of bonsai to many people in Georgia, I should incorporate an idea that’s unique to this country. That’s when I came up with the idea of grapevines because as you know, Georgia is famous for its natural wines. We wanted to grow grapevines, the raw material for wine, as bonsai.

Not limited to grapevines, it’s generally very difficult to grow a variety of trees into a beautiful bonsai. It’s not something that can be done in a few years, and above all, it costs a lot of money. For example, Japanese bonsai trees usually use ceramic pots, which are very expensive and difficult to purchase in Georgia. Bonsai itself is a luxury item, but if the pot is also included in the price, it becomes something that Georgians can’t afford. So, we grow bonsai from trees that are familiar to us and add our own ideas and essence to them by using stones instead of pots”.

When you hear the word “bonsai,” is the first thing that comes to mind a pine tree in a traditional Japanese pottery pot? While this certainly encapsulates a Japanese style of beauty, none of the forty or so bonsai pots on display at the shop are identical, and are one-of-a-kind works of art. In addition to grapevines, the store also grows bonsai of other seasonal trees, such as autumn leaves, apple trees, and cherry blossoms. Bonsai.ge also offers regular workshops to teach the basics of bonsai and how to grow them artistically.

In fact, Nao explained that this place is also uniquely related to brutalism.

“Expo Georgia, an architectural complex of eleven Brutalist pavilions built in the 1960s and early 1970s during the Soviet era, is located in the exhibition hall. The exhibition hall was state-run at the time, but was privatized in 1990, and is now used for events such as the TAF (Tbilisi Art Fair) and the WINE EXPO. The exquisite contrast between the traditional Japanese culture of bonsai and brutalism is also wonderful”.

Living in a renovated apartment of a 100-year-old historical building

Walking the streets of Tbilisi, one can indeed discover dwellings of various architectural styles, and one of the charms of this city is that it never tires architecture lovers. The aforementioned Khrushchevka, a copy-and-paste architectural style symbolizing the Soviet Union era, and Brutalist architectural structures, are all over the city, while the gorgeous architecture of the Georgian and Russian Empire eras are mixed in, giving the cityscape a strange and charming atmosphere.

While the chic black interior and red window doors are eye-catching and modern, the walls are decorated with exposed brick, typical of Georgian architecture. It was surprising to learn that the hotel was originally a 150-year-old historical building built in the 19th century, but was a luxury hotel called the London Hotel that also housed a library and casino and was a favorite to such greats as Tchaikovsky and Knut Hamsun at the time it was built, in the 19th century.

Located in the center of Tbilisi, the apartments are next to the residence of the current President of Georgia, Salome Zourabichvili, and in the neighborhood is the hip Moxy hotel by Marriott International, a global hotel chain, and a popular tourist area with modern restaurants and cafes.

One of the things that surprised me when I visited Tbilisi was the quality of the hotels. The most famous are the Stamba Hotel, which has been featured in many design magazines, and the hot spot Fabrika. But other modern, design-conscious hotels are springing up one after another. Incidentally, the Stamba Hotel was renovated from a former Soviet-era newspaper printing plant, but is so perfectly sophisticated that it gives no impression of decadence.

It’s very difficult to describe the charms of Georgia in just two visits, but without exception, the country is experiencing abnormal inflation due to soaring prices. Is the city of Tbilisi, where the invasion of Ukraine has left the city crowded with displaced Ukrainians and Russians who oppose the war, and where Russian is now being spoken widely, the landscape of an unpredictable future?

Photography Kazuma Takigawa
Translation Mimiko Goldstein

The post A Journey Into the Intersection of Historical Culture and Architecture of the Unexplored Country of Georgia Vol. 2 appeared first on TOKION - Cutting edge culture and fashion information.

Kyoka
Kyoka is the first solo female artist belonging to the German experimental music label “Raster-Noton”. The label represents its co-founder Alva Noto (Carsten Nicolai) and internationally acclaimed artists such as Byetone, Frank Bretschneider, Ryuichi Sakamoto, William Basinski and Ryoji Ikeda. She works in a wide range of fields as an electronic producer, DJ, installation artist, and field recorder. Besides, “Hovering,” her signature song created using syncopated electronics and a rhythm-breaking drum machine, was used in a global campaign for the iPhone. She has performed at prestigious venues and festivals around the world including Aphex Twin Curates (Manchester), The Warehouse Project, Mutek (Montreal, Japan, Korea, Spain), Centre Georges Pompidou (Paris), CTM Festival (Berlin), Sonar (Tokyo), Bolt Festival (Sweden), and Plisken Festival (Greece).
https://www.instagram.com/kyoka.sound/

Yone-ko
Yone-ko is a DJ who has greedily absorbed the essence of Japan’s techno/house scene, and expresses his unique musicality with his advanced skills and a selection of music that mixes the old and the new. He started his DJ career in Shizuoka in 1999, and since moving to Tokyo in 2002, he had been playing at underground parties in Japan while pursuing alternative yet universal groove of house and techno music. In 2011, he moved to Berlin and has been playing all over the world, especially in Europe. In parallel, he runs his own party “Wordless” with Timur Basha, founder and resident DJ of the Kiev club Closer. Following several releases while living in Japan, he revamped his production process after moving to Berlin. He has released his own works on labels such as Workshop, Dial records, Delsin, Aex, and Clommunity, a label run by one of his base clubs Closer.
https://www.instagram.com/y.o.n.e.k.o/
https://on.soundcloud.com/8aCMG

Upon entering the minimalistic black building, light and sound suddenly start to move in the pitch-black space. Visitors will feel mystical yet pleasant sensation of 3D sound following them as they move from room to room. The seven different light installations are a mixture of beauty and strangeness, as well as a highly accomplished piece of interactive art that makes people lose their sense of balance and that gives them a sense of immersion. These works make visitors want to stare the spectacle in front of them endlessly, or enjoy escaping reality.

Sneaking into the closing party of the open-air “SUMMERLIGHTS” installation

The highlight of the installation is the 16-meter-high light sculpture “STALACTITE,” which has a great presence and occupies a prominent part of the open space. Held under the fantastic lights is a summer-only garden party titled “SUMMERLIGHTS”. The party features a number of acclaimed artists, including Massimiliano Pagliara, Nick Höppner, and Robag Wruhme, and is attracting attention as a brandnew spot in Berlin.

On September 4, Kyoka and Yoneko were invited to perform as guest artists at its closing party. Kyoka, based in Berlin and Tokyo, is the first female artist belonging to the leading German experimental music label “Raster Norton” and is active worldwide in a wide range of fields including installation, composition, and live performance. Yone-ko, on the other hand, is a Berlin-based DJ who plays all over the world. Her party “Wordless,” which she organizes with Timur Basha, founder and DJ of the famous “Closer” club in Kiev, has earned a cult following. In recent years, Yone-ko has been broadening her scope of activities as a producer, mainly working in association with European labels such as Workshop and《Dial records》.

Although the doors opened a little later than 8:00, the place was filled with people in no time. The way people enjoyed their time at that party vary, which is quite unusual. Some people were lying down and chilling out under the fantastically color-changing “STALACTITE,” others were just hanging out or dancing.

When the baton was passed to Yone-ko again, the abstract and unpredictable tunes turned the venue into a complete dance floor, and the party quickly came to an end. Kyoka said, “Unlike the usual club venue, it was a closing party of the garden, which is only open in the summer, so it was like a big reunion, bringing together all sorts of people I had worked with but who don’t usually come to clubs: professors, researchers, scientists, people in the theatre, contemporary dance and art fields, people working in the people in the music industry, hip-hop lovers, song lovers, technologists, engineers, professional club-goers, day people, night people, drinkers, and many others. It was very interesting to see how everyone interacted with each other. Since Dark Matter is not only a party but also a cultural event where people can enjoy light installations together, I was thinking of playing the sound that could be used as background music, but when I started to play the sound, people gathered in front of the stage were ready, willing and able to dance, so I just kept going in the direction that the direction that would bring smiles to everyone’s faces. As a result, it turned out to be a party filled with excitement rather than just a chill-out gathering! I pay respect to Yone-ko who played beautiful and groovy sounds before and after my performance! I am also very grateful to the organizers who trusted me and booked me for this incredibly important timing of the closing.”

Yone-ko said, “Since this was the closing of the event and not an all-night party, I prepared for it, keeping in mind how to create a special atmosphere in a short period of time. I was very happy to see that many of the audience members enjoyed the event. This time I had the opportunity to perform with Kyoka, and I was greatly inspired by her technique of attracting the audience as soon as the live performance started, and then culminating it.”

As many of you may know, it is absolutely forbidden to take pictures during a party at local clubs in Berlin, even in the open-air area called the garden. For this reason, we are very happy to be able to report on Berlin’s local party and the activities of Japanese artists in it.

Berlin’s happening places are increasing more than ever in OST. OST, a term meaning “east” in German, refers not only to areas dotted with existing local clubs, but also to emerging neighborhoods with a deeper and more interesting culture. In this area, there are long-abandoned decadent “sites of some kind of building” that have been renovated into hip event spaces, and studios of prominent artists and creators. OST is so full of energetic power that it is hard to believe that the pandemic had turned it into a ghost town. OST reminds me of Brooklyn in the early 2000s. It makes me remember visiting Williamsburg by myself, which was considered unsafe at the time, and feeling much more excited than I felt in downtown Manhattan.

Photography  Musashi Shimamura

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Antique furniture is an essential part of European life. It would be a dream to live surrounded by Hvidt & Mølgaard furniture, the pioneers of mid-century furniture, in an altbau over 100 years old that still retains its ceiling decorations.

I met Malene Hvidt at a party in Berlin. She is an elegant looking woman who works as an architectural designer for Spacon & X, a design studio based in Copenhagen, Denmark. Perhaps you recognize her name. Her grandfather is Peter Hvidt, a pioneer of Scandinavian mid-century architecture, and her father is also an architect. Hvidt started design duo Les Mains Des Soeurs with her older sister Barbara Hvidt.

She spoke to us about architecture from various perspectives, including her home that combines Japanese aesthetics and Scandinavian design, where she lives with partner and architectural designer Nikolaj Lorentz Mentze, who runs Studio 0405.

Profound influence from her grandfather led her from fashion to the world of architecture

–– What made you decide to become an architectural designer? Were influenced by your legendary grandfather, the late Peter Hvidt?

Malene Hvidt: I started my career not in architecture, but in the fashion industry. I worked as a fashion designer at Copenhagen-based Stine Goya for six years, but as time went on, I realized how much my family’s achievements in architecture and design had influenced me. My grandfather, Peter Hvidt, founded together with Orla Mølgaard the architectural studio Hvidt & Mølgaard in the 1940s, which became known for its timeless furniture designs. My father is also an architect. My grandfather passed away the year I was born, but his legacy of achievement has always been omnipresent in my life.

After leaving Stine Goya, I joined Studio Mumbai Architects in India and taught architecture at both the Aarhus School of Architecture and the Royal Danish Academy of Fine Arts (KADK). Then, in 2015, I joined my current design studio, Spacon & X, as a partner. 

I’m certain that I’ve already been greatly influenced by my grandfather in that it was he who inspired me to pursue a career in architecture. I spent a lot of my childhood at my grandparents’ house, and I remember well how much I admired the furniture that my grandfather designed. Over the years, my grandfather built his home and garden with his own hands. When you enter the courtyard, you see the bonsai trees that my grandfather meticulously cultivated each season. Although I wasn’t able to witness my grandfather tending to his trees, I can see the results of how he nurtured them.

–– You grow bonsai yourself, don’t you? What is it that attracts you to bonsai trees?

Hvidt: As soon as we moved into our current home, my partner Nikolaj and I went to a seedbed and bought a Scandinavian bonsai tree. The bonsai is a memory of my grandfather, and a thoughtful interior element that makes you feel love for bonsai. It’s also an important source of inspiration in architecture and furniture design. It’s said that a bonsai transmits emotions through a person, and I believe that my bonsai tree represents the memories and bonds between myself and my family, as well as a symbol for the future.

––You said that the home you live in with your partner, Nikcolaj, was designed with reference to Danish modernism and Japanese aesthetics. Can you give us some specifics?

Hvidt: First, we wanted to create a house that could maximize the potential of both of us, so we searched for a property. What we found was a brown brick house built in the 1980s. It was unflattering and small, but we saw great potential the moment we saw it. It was an oasis on a quiet side street in the middle of the city. From there, we used a variety of knowledge and ideas to create a house that is modest but calming, a space that gives a strong sense of our identity. The space is comfortable to live in even after having children and becoming a family of three.

I based my designs on Danish modernism, including my grandfather’s designs. I carefully studied materials and proportions and incorporated classical furniture craftsmanship principles. I also included some traditional Japanese aesthetics. I mainly used materials made from raw materials found in nature, such as wood, stone, and metal, which are characterized by their rawness and tactile qualities. Other design choices included opening up the entire facade and rebuilding the flooring, doors, fireplaces, and bathrooms. In doing so, we were able to create a harmonious design that blends Danish modernism with traditional Japanese aesthetics. In the 1980s, mixing bonsai and other Japanese aesthetic designs was very popular in Denmark. We’ve incorporated that idea from the 80s into our home.

–– Where is your favorite place in your home?

Hvidt: My favorite place in my home is the bathroom. Bathrooms have always been my favorite place in the house, but I worked on my own design for the bathrooms in my home. It combines pebblestone, oak walls and floors, and is furnished with a Japanese wooden bathtub and steel sink. The window offers a view of the koi nobori and ferns in the courtyard, which is another favorite feature of mine.

–– What was your impression of Japan when you visited?

Hvidt: I’ve visited Japan twice and it’s one of my favorite countries. I’m very much influenced by the Japanese way of life, their humility, and their uncompromising approach to design, attention to detail, and craftsmanship. It’s a great source of inspiration. I feel that the Japanese sense of aesthetics has produced designs that have not lost their value over time. It’s a great point of reference for my growth as an architect.

–– At the pop-up exhibition held at BAM Kreuzberg in Berlin, we saw many pop and unique designs, such as wine bottles and furniture. Among them, the design named “SUGOI SUGOI” in Japanese was very unique.

Hvidt：”SUPER SUPER” and “SUGOI SUGOI” are furniture collections inspired by Scandinavian craftsmanship and traditional Japanese design. It’s the result of a collaboration between Spacon & X and the creative studio Ironflag on an unconventional project for the lifestyle brand Vinsupernaturel and the Japanese restaurant Bento in Copenhagen. “SUPER SUPER” is named after the similarly named “Vinsupernaturel” and “SUGOI SUGOI” means “super super” in Japanese.

The “SUPER SUPER” furniture balances a simple, familiar, yet rigid industrial machine-like design. Bent and powder-coated aluminum is securely assembled with solid black anodized aluminum bolts and nuts, emphasizing the industrial look while expressing a sense of familiarity.

“SUGOI SUGOI” is a wood version of the same design, but in the tradition of Scandinavian design. Solid elm wood is inserted with smoked oak to resemble the iconic bolts of the “SUPER SUPER” collection, and natural linseed oil is used to enhance the dramatic grain of the elm wood. As the Japanese word “sugoi” suggests, the design honestly conveys an element of serenity and tactile quality.

Besides the Berlin pop-up, these two collections were also exhibited at the 3 days of design festival in Copenhagen.

–– What are some of the projects you’re currently working on?

Hvidt: Spacon & X is currently working on a large-scale project for IKEA, a furniture line called Gamar in collaboration with the German design studio E15, which was presented at the Salone del Mobile.Milano in April. We also designed a kombucha brewery called Folk Nordic Kombucha that opened in Copenhagen, worked on an installation design for George Jensen, took part in the Stine Goya fashion show, designed the Noma burger shop POPL, and have been involved in many other projects. In my private life, my sister and I started the design duo Les Mains Des Soeurs.

–– Please tell us specifically about the design duo Les Mains Des Soeurs that you started with your sister Barbara.

Hvidt: We’ve launched seven new jewelry pieces as a creative collection that we, as sisters, worked on. This is the first chapter of LMDS, a collection that explores tactile possibilities within the softness of amber and the hardness of silver. Sterling silver and Danish antique amber are the main materials used, all handcrafted by silversmith Andreas Jorgensen. Each piece also comes with a handmade jewelry box made of clay and ceramic materials by ceramicist Franca Christophersen. In addition to the jewelry and jewelry boxes, a marble table made of elm wood was displayed and a digital video by filmmaker Jan Gleie was played. In this way, LMDS presents a collection that combines contrasting materials and the intimacy of craftsmanship, exploring the intimate relationship that exists between hands and objects and the sisterhood of the two founders.

Malene Hvidt
An architectural designer and partner at Spacon & X, a design studio based in Copenhagen, Denmark. Co-owner of Hvidt & Mølgaard. Her grandfather was Peter Hvidt, a Danish architect and pioneer furniture designer in the 1950s. Spacon & X’s clients include the restaurant Norma, Adidas, and others.
Spacon & X
https://spaconandx.com/
Hvidt & Mølgaard
https://hvidtmolgaard.com/
STUDIO 0405
http://www.studio0405.com/

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Ben Gorham, the designer of European contemporary luxury brand Byredo, creates scents tailored to universal memories. The brand’s popular staples are its unique, memorable scents in minimal bottles.

With a past that sets Gorham apart—he used to be a basketball player—he continues to branch out, from makeup to eyewear. Through this interview, we take a look into the world of Byredo by the ingenious Ben Gorham.

Transforming experiences into fragrances 

–I heard the catalyst for you to pursue a career in the fragrance industry was meeting renowned perfumer Pierre Wolff and being fascinated by the relationship between scents and memories. Do you have any memorable smells? 

Ben Gorham (B.G): Pierre Wolff opened up something new within me. Until I met him, I had never thought of making fragrances as a business, but I realized my childhood memories are full of scents: the aroma of Indian spices at home, the cologne my grandfather used to use, and the smell of babies reminiscent of my daughters. 

–Byredo has a lot of alluring, unique scents that use ingredients from India, where your mother is from. How do you get inspiration and ideas?  

B.G: I have a habit of taking notes. I jot down the things I see and experience, so that I can think about how to transform them into scents. I have hundreds of notes on my phone and notebook, so I develop ideas from there. I flesh out the ideas, and if I feel something solid from one, I can turn that into a fragrance. My ideas for a unique fragrance grow and change shape until I reach a point when I can come up with clear instructions for the perfumer. That can take up a lot of time. I try to communicate my emotions to the perfumer so they can understand me. 

For instance, Mister Marvelous was inspired by a classic men’s cologne from my childhood, but it has a modern twist. It combines expected and unexpected ingredients, like bergamot, lavender, bamboo, and cedar wood. 

–I heard the philosophy of Japanese culture inspires you. Could you expand on that? 

B.G: I’m greatly influenced by the contrast between Japan’s advanced technology and culture. The Japanese philosophy of style is very playful and full of self-expression. Things I don’t see at home are happening in Japan, so I always feel inspired when I visit the country. 

Working with the best artists and craftsmen no matter the product

–You have a pop-up shop in Shibuya Parco, starting from January 28th, for twelve months. What has the response been like? The climate is different between Japan and Europe, but are the preferred fragrances different too? 

B.G: We’ve been getting unbelievably enthusiastic responses from the pop-up shop in Shibuya Parco. I’m glad we could enter the Japanese market and talk to customers and staff. I don’t have evidence of whether people in different countries prefer certain scents. That’s why my approach to fragrances is fluid. I feel that everyone interprets scents in their way, which is the highlight of each Byredo product. 

–People often have a feminine or luxurious image of fragrances, and I feel that affects bottle designs. But Byredo’s designs are minimal and even have an artistic look. Are there any factors you focused on when designing the bottles?

B.G: The bottle designs are strongly inspired by Sweden, where I live. Swedish society has a minimal aesthetic, so I think the Swedish ethos is reflected in my fragrances and designs. Although the designs are an essential factor that communicates emotions and ideas, the inside of the bottles is what I need to focus on. Our bottles have a simple design because of that reason. 

–What about your makeup line? The vivid and metallic colors, as well as the sculptural designs, are impressive.  B.G: I put the emphasis on creating makeup products that are like confidence-inducing totems. 

–Your products are made with traditional craftsmanship. Could you explain how they’re made? 

B.G: I try to work with only the best artists and craftsmen, no matter the product. We recently put out new eyewear made by craftsmen in Fukui, known as the birthplace of Japanese luxury eyewear. They make the best quality frames with a specialty in traditional manufacturing processes with an eye for detail. 

–In any field of the world, sustainability is seen as crucial, and in turn, craftsmanship has been changing. Do you think the same should apply to fragrances? 

B.G: Yes. I believe the fragrance industry shouldn’t be left behind in sustainability efforts. At Byredo, we’ve changed our packaging and manufacturing process. We’re always searching for new ways to change. Nothing is as meaningful as spending time in nature, so sustainability is an issue very close to my heart. 

Ben Gorham
Ben Gorham is the founder and creative director of Byredo. He was born in Sweden to an Indian mother and Canadian father and grew up in many places, such as Toronto, New York, and Stockholm. After getting a degree in fine arts from an art school in Stockholm, Gorham began pursuing a career in the fragrance industry after meeting perfumer Pierre Wolff. He founded Byredo in 2006. Since then, he’s been expressing personal memories, histories, and imagination through fragrances. Gorham has also collaborated with fashion brands like Off-White c/o Virgil Abloh. Byredo’s pop-up shop in Shibuya Parco launched in January 2022 and will be open for twelve months.

Translation Lena Grace Suda

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