A feeling spiritual

My feelings in the holy Sites of japan is not as intense as i would have expected.
Principally because i keep a critical distance and try to analyze without understanding anything.
Perhaps the mistake could have been not to buy a tourist guide? Region of Kumano, marvels of Nara, all in one. This must exist and it didn’t occur to me to try and find it. I believe it would have made things worse, unexplainably.

Nevertheless here is my point: how can i reach a spiritual feeling and at the same time make a historical analysis of how religions spread and mix? And eventually change.


Empty center


After Roland Barthes it is easy to pinpoint that emptiness which is the center of the coty space, in Tokyo.

How can it be that even the mercantile metro companies did not dig under the imperial palace in order to make the lives of the citizens more easy? Same horrible feeling.

Luke Wyatt Screenplay Party + Hirozumi Takeda&UCNV 2012/4/28

Have you ever heard of Luke Wyatt?

I had not. Although it’s not like I’m not interested in glitch art, I suppose I don’t have such a good memory for names… However I will not forget that name now.

What a party they organized for him at Forest Limit! A great venue by the way, very much like a Berliner bar….. and being at the first floor under a building (B1), it has all the aspects of the alternative feeling one should get before getting into a Luke Wyatt showcase.

Here are extracts of the video show, which featured stuff by PPU (People’s Power Unlimited).

and here are some links:



After the video-club experience, noise artist Hirozumi Takeda and glitch programmer-artist UCNV performed for a bit less than an hour. A very interesting insight of the actual state of the glitch-making scene, and the video cannot show that Hirozumi Takeda is using some speakers on which he concentrates balls of aluminium paper, which made them resonate, etc….

All the sound comes actually from several such experiments, as well as a distorted beat box aiming at some mystical mandala-like explosion of the audience’s auditory capacities.

The videos here, as usual, cannot reflect “the feeling of being there and alive, in that corner of time… whatever it meant.”


Kaikoo Popwave Festival 2012

This saturday, april 21, I got to the Kaikoo Popwave 2012 festival around 1:30PM and the last concert officially ended at 8:30. I left earlier, not finding any music suiting my taste around 8.

I obviously missed the second day; missed a chance to discover 20 new bands.

However here is what I witnessed.

An alternative music festival located on a parking lot in a deserted area (industrial?), precisely on the territory of the Museum of Maritime Science.

A festival well guarded: lots of staff hired to ask people to raise their arms in order to show the bracelets they would get after purchasing their ticket; a festival with iron fences to keep people from getting “lost” on-stage/near the artists.

A festival showing alternative music but with rather high security constraints:  crowd surfers were pulled out (often, by their legs) by security guards, very aware of who was to be excluded from the concert. Moshing, on the other hand, seemed tolerated, since the crowd was rather friendly…. with itself.

In this [alternative music] festival, lots of violent and loud music; but the entrance fee for children under 8 being nil, there were many kids hanging around their parents, dancing in front of the (loud) speakers; baby carriages all around, with infants sleeping….

Now for the music.


unexpected, unknown to me yet refreshing and enjoyable. Responding crowd, demonstrative attitudes on stage but not really pretentious musicians. Precise, violent music, generating some early-afternoon moshing.



Japanese Hip Hop at its best? I would not know, since I was not very attracted to the flow of these lads. Then again, let’s give them a chance:




Some partying music to which I was not sensitive, yet which I could not condemn. Here is a non-votive hint to find this guy:



One of the reasons of my being here, clearly; although I had forgotten about the girl band concept, I remembered it while discovering it was totally transgressed. I had not heard their music for a few years, and the integration of  traditional instruments was a most pleasant surprise.

Mystical, sometimes caricatural, perhaps the sound balance could have favored the traditional drums a bit more…. compared to the 2 guitars playing simple tunes. But I think the talent of the derbuka player, as well as that of the frame drum player, were questionable. I cannot say the same about their performance on this strange instrument reminding me of gamelan, the indonesian collective hammer based melodic-harmonic marvel.

Watch this video as a whole, or skip to 5-6 minutes to see what it becomes if you get bored.


The same  Eye as the guy who plays in Boredoms, friend of Zorn and so? Yes yes. But maybe not as experimental as I would have expected. Rather mainstream, perhaps demagogic even? I would throw the stone harder if I had not, in the end, enjoyed the show (though I was unable to capture any really interesting part).


Another reason for my presence. A reason to live! Great show; third time in 7 years I saw them so I guess I could say something like: they keep it up really nice. And they do, although the concert lasted not much more than 30 minutes. No very well-known songs, lots of pure hardcore stuff… They were clearly playing for an audience which knows their genre, which maybe was not the case in France (with Cheval de Frise, they played in an “experimental” context).


I was just hanging out there. After the end of a lame electro show (which displayed great sub-bass waves though), these guys arrive and everybody goes totally mad. I could feel they had some experience of the stage, and here you go, total mayhem for about 40 minutes.



It said “Ninja Tunes”, so I went. And it was pleasurable as hell to hear something as refined as this after the violence of the last few concerts. After a while the concert turned into pimped dance-hall beats, the tempo never changing did not help but, in a way, it was possible to concentrate on dancing. And listen to small changes. Or something like that.



It made me leave the festival. Presomptuous music, shit keyboards played with a jazzy intention; good drummer but so much pathos….. impossible after the rest. Fuck these guys.

Tokyo Galleries (April 2012)

At Taka Ishii Gallery, I was glad to discover the animation-video-painting work of Takashi Ishida, which i will simply not comment; just watch these videos:

At Louis Vuitton Gallery: one very good surprise under the name of Ataru Sato. Drawings very subtle, line very sensitive, subjects very casual…. The opposite of the sometimes pretentious art i have a tendency to dislike.

M.O.T.? Museum Of contemporary art Tokyo

The MOT museum, which I visited during the Tanaka Atsuko exhibition, was full of surprises. Rather dull surprises mostly, in the permanent exhibition; except the section which seemed intended to make the visitors believe that japanese painters invented dripping which was funny.

There was a part about Gutai which, if not enlightened me about what it was, at least interested me. Although of course I was almost bound to be interested because of the Tanaka exhibition and the perspective it seemed to give on Gutai revolution in art (in japan).

Many of their experiments seem to have been based on an exploitation of chance phenomena not unlike that of Dubuffet or Dada. Then again, their two precepts were:

1-do not copy others

2-be original

So if I am able to compare Dada and Gutai (a book would do it for me, for example the french http://www.amazon.fr/Dada-au-Japon-Marc-Dachy/dp/2130519784 ) there is a paradox. How does Gutai define copying?

If copying the anarchist precepts of Dada makes originality possible, let’s not be too hard on these guys; they were sincere. Although i did not take pictures of Tanaka’s famous electric dress or of her viewer-generated (interactivity domine) ringing bells installation, I was glad to discover her etching talent. The exhibition is called “the art of connecting”; it draws interesting links between her graphic language (based on dots and dripping lines) and her electric installations.
Let me draw a link between this practice an that of her contemporary, Kusama Yayoi (the “pink” picture).

Masaya Nakahara (Violent Onsen Geisha/Hair Stylistics) Short Interview 10/04/2012

Nihonjinjanai: Your name is Violent Onsen Geisha. Any comment?

Masaya Nakahara: There is no meaning to the choice of “violent”.

Onsen is a hot spring; the onsen geisha is a hooker. I am talking about a violent hooker.

N: You are into many projects; you are a writer, and your exhibition of your works at Sprout Gallery. How do all these things make sense together?

MN: I hate writing; i hate to write novels because it is boring. Painting is my pleasure. I like to make music too.

But I hate all establishment and academy. I’m more interested in magazines.

N: We need a translator to make this interview correctly! Thank you.

MN: Please, let’s meet again.