Fuji||||||||||ta & Tomoko Hojo

Fujita and Tomoko Hojo

Wednesday, June 22, 2022, 8pm
Brooklyn Music School

Wednesday, June 22nd, at 8pm ET, AvanTokyo and ISSUE Project Room are pleased to present the debut New York City performance of Japanese sound artist Fuji||||||||||ta. Coming to NYC after recently being commissioned with Rashad Becker as part of ISSUE’s Distant Pairs series, Fuji||||||||||ta performs in-person with his self-built one-of-a-kind pipe organ instrument that incorporates voice synthesized water tanks. The evening will also feature work from sound artist, musician, and performer Tomoko Hojo exploring unspoken words, the fluidity between listening and speaking, and “voiceless voices.”

Since 2006, Fuji||||||||||ta has had an expansive history of solo performances and collaborative works with musicians, such as ∈Y∋ (Boredoms), Akio Suzuki, Keiji Haino, Koichi Makigami and more. In 2020, he released the albums “iki” [Hallow Ground] and “KŌMORI” [Boomkat Editions]. With his recent music performed on a wheezing, self-built pipe organ, Fuji||||||||||ta’s music unfolds into a set of oddly tuned organ meditations that bridge the gap between sacred music and contemporary improvisation, composition, and electronic music. The unique instrument features only 11 pipes, has no keyboard, and is powered by an air pump called a “fuigo” based on a traditional blacksmith’s model. The instrument’s sound is enchanting, and is sensitively brought to life by the artist, who has evidently spent his time taming the instrument and bringing out its sublime, warbling harmonic and timbral qualities. The overarching influence for Fuji||||||||||ta is traditional Japanese gagaku, the slow and elegant form of classical court music extant since the 7th century. In this context, FUJI||||||||||TA’s music unfolds with a graceful, if abstracted logic, imaginatively expressing a stunning and unique sound.

Tomoko Hojo has been working on the theme of silenced (women) voices in history since 2018, with a special focus on Yoko Ono as a representative figure. Historically, Ono has mainly been discussed through her relationship to John Lennon and regarded as a “gossip lady” by the mass media. The performance piece ‘I am listening to you’ is based on an oral history interview with Lennon and Ono conducted on 6 December 1980, two days before Lennon’s death. Whereas Lennon had been talking without interruption, Ono was often muted and mostly accompanied his speech by laughing with a high soft small voice. In Japanese society, people insert ‘aizuchi’ – a sort of backchannel such as ’huh’ or ‘yeah’ – quite often during the conversation, to let the other speaker know that they are actively listening. Although Ono seems to inhabit this specific behavior, there is equally an absence, a meandering in a different time and place. Listening becomes the act of imagining unspoken words, and gradually shifts into a fluidity between listening and speaking, and voiceless voices hidden under discourses would become audible.

FUJI||||||||||TA is a sound artist living in Japan. He creates unique sound art and music which takes various natural phenomena that respond to his interest in wanting to hear unheard sounds and noises. In 2009 Fujita hand fabricated an original instrument, a Pipe Organ. It has only 11 pipes and no keyboard. Fujita made it with his own imagination, without any specialized knowledge. It was designed to create a landscape rather than function as a musical instrument. He got the idea from Japanese “gagaku.” The air pump (called “FUIGO”) which is kept moving with the left hand when playing, is based on an ancient blacksmith’s. It is a one-of-a-kind instrument, so he spent years developing how to perform it. The water element (with sound synthesized water tanks) has recently been added to his performance repertoire. The music consists of aquatic sounds from multiple tanks alongside his pipe organ, and his voice. He has presented sound installation works in many contexts: the work “CELL”, which made audible the sounds of black soldier fly maggots buried in dirt, was exhibited in Sapporo International Art Festival 2017 and attracted a great deal of interest in Fujita’s artistic practice. A performance with an organ and 4 water tanks was performed at MODE (London) in 2019.

Tomoko Hojo is an artist working within the fluidity between sound, music and performance. Recently Hojo works on the theme that makes (women’s) silenced voices audible in the history, with a special focus on Japanese women who have relations to western countries, such as Yoko Ono and Sadayakko Kawakami. Recent solo exhibitions and concerts are Unearthed Tremor (Contemporary Art Center Aomori, 2021)’ , fall asleep (SA))_gallery, Moscow, 2021), Music From Japan Festival 2021 (Scandinavia House, New York, 2021), Sotto Voce (TOKAS Hongo, Tokyo, 2019), Lost and Found (Kotolňa, Košice, 2018). She is a grantee of Overseas Study by Young Artists (The Pola Art Foundation, 2017), New York Fellowship (Asian Cultural Council, 2019), and a visiting researcher at CRiSAP, London College of Communication, University of the Arts London in 2017-2018. She also has an ongoing collaborative project as Hojo+Kraft. Their works highlight the individual hidden, private relationship between sound and place. Their albums were released on LA based label LINE in 2020 and 2021.

AvanTokyo looks beyond anime and idols, probing Japan’s ‘live houses’ and experimental venues, where creators push new forms of expression unreached by mainstream media. Offering Japanese artists performance and residency opportunities in New York, AvanTokyo facilitates cultural interactions between Japan and the United States.

Brooklyn Music School is a community school for the performing arts, founded in 1909 as the Brooklyn Music School Settlement. The school was founded by immigrants for whom music performance and appreciation was an essential part of life, and who wished to spread music and performance to a broader audience of new Americans. Today, Brooklyn is a magnet for people from around the world, both musicians seeking new audiences and families seeking a better life. Our organization continues to stay true to our heritage of building communities through the joy and appreciation of music.

There are three steps at the main theater entrance of Brooklyn Music School, with a (non-ADA compliant) ramp at the loading area which can be used when needed.

The Asian Cultural Council works to advance international respect and understanding between people and cultures through transformative cultural exchange.

6月22日(水)8pm ISSUEとAvan Tokyoは日本のサウンドアーティストFUJI||||||||||TAのNYCでの初公演を開催します。

ISSUEのDistant Pairsシリーズの一環で最近Rashad Beckerと共演したFUJI||||||||||TAは音声合成された水槽を組み込んだ自作のパイプオルガンでのパフォーマンスを行います。


2006年以後、FUJI||||||||||TAはソロ活動及び∈Y∋(Boredoms)、Akio Suzuki、Keiji Haino、Koichi Makigami 等とのコラボにおいて幅広く活動する。

2002年には”iki”[Hallow Ground]、”KŌMORI” [Boomkat Editions]をリリースする。




パフォーマンス作品“I am listening to you”はレノンが亡くなる2日前1980年12月6日に行われたレノンとオノのインタビューの音声記録をベースに制作された。レノンが途切れることなく話しているのに対し、オノは時おりミュートされほとんとが高くてソフトに小さな声で笑うことで話を合わせていた。日本社会では会話の中で聞き手がきちんと聞いていることを示すために”huh”や”yeah”のような”相槌クリック”を打つことが多い。オノはこの相槌という振る舞いをしているように見えてそこには同時に不在があり、異なる時間や空間を彷徨っているのである。聞くことは言葉にならない言葉を想像する行為であり、次第に聞くと話すことの間の流動性へとシフトし会話の中で隠された声なき声は可聴化されるようになる。



北條知子は、音、音楽、パフォーマンスの流動性の中で活動するアーティストである。 最近ではオノ・ヨーコや川上貞奴など西洋と関係のある日本女性に特に焦点を当て、歴史の中で(女性の)沈黙の声を聴かせるというテーマで活動している。最近の個展・コンサートは、Unearthed Tremor (Contemporary Art Center Aomori, 2021)’ , fall asleep (SA))_gallery, Moscow, 2021), Music From Japan Festival 2021 (Scandinavia House, New York, 2021), Sotto Voce (TOKAS Hongo, Tokyo, 2019), Lost and Found (Kotolňa, Košice, 2018)など。若手アーティストによる海外留学(ポーラ美術振興財団、2017年)、ニューヨーク・フェローシップ(アジアン・カルチュラル・カウンシル、2019年)の助成対象者、2017~2018年にロンドン芸術大学コミュニケーション学部CRiSAPにて客員研究員として活動。また、Hojo+Kraftとして継続的にコラボレーション・プロジェクトを行っている。彼らの作品は、音と場所の間にある個々の隠された私的な関係を浮き彫りにする。彼らのアルバムは、2020年と2021年にLAを拠点とするレーベルLINEからリリースされた。

ISSUE Project Room は、2003 年に設立された非営利のパフォーマンスセンターで、幅広いコミュニティの中でカテゴリーを超えた学際的でイノベーティブな挑戦をするアーティスト達に委託作品の機会を提供する文化的インキュベーターとしての役割を果たしています。


Brooklyn Music School は、1909年にBrooklyn Music School Settlement として設立された舞台芸術のためのコミュニティスクールです。この学校は、音楽の演奏と鑑賞が生活に欠かせないものであり、音楽と演奏をより多くの新米聴衆に広めたいと願った移民たちによって設立されました。今日、ブルックリンは、新しい聴衆を求める音楽家とより良い生活を求める家族連れで、世界中から人々を惹きつけています。私たちの組織は、音楽の喜びと鑑賞を通してコミュニティを築くという伝統に忠実であり続けています。

Brooklyn Music Schoolのメインシアター入口には3つの階段があり、必要に応じて使用できるスロープ(非ADA準拠)があります。


Issue Project Roomプログラムは、ニューヨーク州議会とニューヨーク市文化局からの公的資金によって一部支援を受けています。