渡 辺志 桜 里

SHIORI WATANABEShiori Watanabe (b.1984-) is a contemporary artist based in Tokyo. She graduated from the Department of Sculpture in the faculty ofFine Arts at Tokyo University of the Arts in 2015, and from the graduate school of Fine Arts in 2017. Shiori Watanabe has expressed
her unique[/distinct] worldview in recent shows; “Dyadic Stem" at the 5th Floor (a two-artists show with Shinjiro Watanabe),"Non-Human Control" at TAV GALLERY in 2020, and “Bebe” at Whitehouse in 2021, the ﬁrst solo exhibition curated by RyūtaUshiro, a member of artists collective Chim↑Pom.
Shiori Watanabeʼs signature installation work "Sunroom" was made in 2017 to maintains the life of organisms that could continue evenafter the human extinction. In its making, she collected plants, ﬁsh, bacteria, etcetera from the Tokyo Imperial Palace, which used to
be a playground in her childhood, and brought them back to her studio. She then separated them into diﬀerent tanks, connecting them
together by water circulation tubes. "Sunroom” thereby functions as an automatic ecosystem, and has been updated since 2017 onward.
The decentralised networking, and horizontal movement of water circulation characteristic of "Sunroom” uniquely critiques hierarchicalpolitical apparatus, and addresses feminism.

CV

1984 Born in Tokyo

2008 Graduated from Chuo University, Faculty of Letters, majoring in French Literature2015 Graduated from Tokyo University of the Arts, Faculty of Fine Arts, Department of Sculpture

2017 Graduated from Tokyo University of the Arts, Graduate School of Fine Arts, majoring Sculpture
Exhibitions

2022 “Kujira” Decameron Kabukicho2022 “Nipponia nippon” SYP gallery

2021 “Non Not equal Between man and matter” 3331 Arts Chiyoda
2021 “Das Fremde in der Isolation” Cologne, Germany
2021 "Say Goodbye to Strangers” Kanazawa
2021 "Ripple Across The Water

2021" Mitake Ward Oﬃce, Shibuya City
2021 "Bebe" WHITEHOUSE

2021 "FLUSH" EUKARYOTE

2020 "A waiting room" Goethe Institute Tokyo
2020 "Non-Human Control" TAV gallery

2020 "Dyadic Stem" The 5th Floor Tokyo

2020 "Evolution of the Amusement Park City - Squat Strategy Conference in Shibuya" Planning/Exhibition RELABEL
Shinsen2020 "#4cases/ # Human Trajectory / # Anthropocene” RELABEL Shinsen
2019 “Lenguaje Alterno” R.IDO Proyectos Mexico
2018 “mass” Blank Class2018 “Tokyo Cherry Blossoms” TOKYO CITY VIEW Observation Deck, Roppongi Hills
2018 “sweet donut” S.Y.P - Artists run space in Tokyo -2017 "sleeping pool" Tokyo University of the Arts Graduation Exhibition2017 "KENPOKU ART Festival" Hatsubara Elementary School, Daigo Town, Ibaraki
2016 "INTERNAZIONALE DISCULTURA" Frosinone, Italy

Sans room
2017～
Installation (bacteria, bluegill, water, vegetables, tubes, etc)

“Sans room” , which title symbolically connoting “Sun” , “Sang” (blood in French), and “Saint” (holy in French), isan artiﬁcial system of microbial circulation; a device which connects a hydroponic greenhouse with water tanks bywater circulating tubes . This artiﬁcial system would keep the environ going as sustainable as the electric power

lasts. Within that, complex power struggles take place every day as plants, ﬁsh, and bacteria constantly expanding
their territory and being pushed away. The enclosed space is metaphor for where I was born, the centre ofTokyo; what a French philosopher Roland Barthes metaphorically described as void in his book “Lʼ Empire dessignes” (1970). Fukiage Gyoen (Fukiage Imperial Gardens) Having being isolated from the city of Tokyo by a moat,

was once used as a golf course before Emperor Showa decided to return this area to nature in 1937. This vastoﬀ-limit area has formed a particularly unique ecosystem of enriched and distinct ﬂora and fauna found in the very
heart of Tokyo for almost 85 years. In that dense forest, there is the main residence of the Emperor of Japan: asymbol of Japan whose life has been artiﬁcially extended. The succession of the pure-blooded Imperial

Family has been endangered in recent years. in contrary to the bluegill, hybrid freshwater ﬁsh of North America,
which was transplanted by the then-crown prince, Akihito in post-war Japan 1960.

Exhibition view
Sans room2020 年
The 5th Floor 東京

Exhibition view
Sans room2020 年
The 5th Floor 東京

Exhibition view
Sans room
2021年｢bebe」WHITEHOUSEExhibition view
Sans room
2021年｢bebe」WHITEHOUSEExhibition view
Sans room
2021年｢bebe」WHITEHOUSEExhibition view
Sans room
2021年「水の波紋展2021」
渋谷区役所美竹分庁舎

Exhibition view
Sans room
2021年「水の波紋展2021」
渋谷区役所美竹分庁舎

Exhibition view
Sans room
2021年「水の波紋展2021」
渋谷区役所美竹分庁舎

RED
2022
（Glossy paper, graphpaper, tracing paper）

Shiori Watanabe asks a professional of the facial reconstruction to reconstruct a bone of Japanese crested ibis

without revealing the dentity, and creates a artwork of imaginary creature. The Facial Reconstruction Method is atechnique used by the forensic Research laboratory in Metropolitan Police Department to reveal the characteristics
of an individual of an unidentiﬁed corpse. Japanese crested ibis, which was once driven to the brink of extinction

by human activities and designated a protected species in 1952, has been kept alive with a national pride of Japan

perhaps because it possesses elegant appearance, but most likely because it bears the “patriotic” scientiﬁc name

"Nipponia Nippon” . It has succeeded in prolonging survive as species through artiﬁcial breeding on Sado Island[/in Sado Japanese Crested Ibis Conservation Center in 1999] , and the descendants of a pair of "Yu-Yu" and"Yang-Yang" donated from China continue the lineage on Sado Island today. As a result of bone analysis, a work ofa ﬁctitious creature “RED” was sculpted by the most commonly used three-dimensional [/3D]facial reconstruction
method.

BLUE2022（ Waste oil from frying bluegill, silicate ）Bluegill, which Japan designated as a Speciﬁed Alien Species in 2005, accounts for 47% of the ﬁsh in themoat of the Imperial Palace. The Origin of this widelybred species comes from 15 bluegills presented to thethen-Emperor Akihito in 1960 as a gift by the mayor of Chicago. Japan's Invasive Alien Species Act (IAS)

enacted in 2005,strictly regulates various actions such as raising, planting, storing, carrying and importing

invasive alien species to preventing damages against biodiversity in Japan. Some local governments prohibit
catch-and-release,and recommend that the ﬁsh be disposed in an exotic ﬁsh box when anglers caught
them. Shiori Watanabe, compliant with such regulations, chose a her own method of disposal; fried

the dead Bluegill, ate them,and made soap out of the waste fried oil as recycle. These Watanabeʼ s works of “RED”
and “BLUE” , expose nationalism lurking in environmental protection, and pose question; how can we resolve theexclusivity that emerges when ecology narrative comes down to species-level?

Exhibition view
RED
2022年
｢Nipponia nippon」
SYP gallery

Exhibition view
RED
2022年
｢Nipponia nippon」
SYP gallery

Exhibition view
BLUE
2022年
｢Nipponia nippon」
SYP gallery

L'Origine du monnaie
2020
Silk screen(Silk screen print、Black2,0 paint））

The face of the banknote depicts Empress Jingu. In response
to “Lʼ Origine du monde “ painted by a French painterGustave Courbet in 1866, Anish Kapoor referred to thecontroversial picture, featuring the female genitalia as theorigin of the world, and presented the artwork/piece of large

cavity in 2004. Inspired by it, an artist choses the ﬁrst-issued
bill in Japan as motif,and paints the face of the banknote
depicting Empress Jingū black. Having the Empress Jingū

part the black cavity, the work illuminates that ﬁctional

economy as well as its circular motion of capital. On thecourse of adoption of the Empress Jingu on the ﬁrst

bill/banknote in Japan, the negative notion/reception prevails
that womenʼ s impurity/deﬁlement often associated with sex

and childbirth. Nonetheless, it paradoxically proves that thedeﬁlement is the source of fertility.

404-Not found2016
Sculpture（ Iron, LED light ）404-Not found is an Internet the standardised HTTP status code that indicates that the browser was able tocommunicate with a given server, but the server could not ﬁnd what was requested because there are no resources,
or when the viewer no longer has access rights to the site. The number four is an unlucky number in Japan because
it sounds like shi (death). People try to avoid using the deathly number, and some buildings such as hospitals andhotel donʼ t have fourth, often intentionally skip rooms with a 4. The number zero is also a symbolic number,synonymous with "spirit" and represents nothingness. While countless homepages appear and disappear on theInternet, this work invites viewers to reﬂect whereabouts of a vast number of it that have disappeared in the past.

Exhibition view
404-Not found2016年「茨城県北芸術祭」
茨城県大子町初原小学校

Filial 1 hybrid
2022
Lambda print（ Semi-glossy paper, aluminum mount ）“Filial 1 hybrid” is a series of photograph of vegetables (F1 type); an artist purchases them in large quantities at asupermarket, grown to a reproductive state, and photographes their ﬂowers. Most of these vegetables are F1 type(also known as ﬁlial 1 hybrid), the ﬁrst-generation hybrids created by crossbreeding a ﬁxed seed with another ﬁxed
seed. The reproduction has been systematised to optimise distribution, ensuring uniform germination and growth,and maximum harvest at the same time. In addition, the ﬁrst-generation plants is an easy-to-grow and easy-to-eat
because it crossbreeds species that have beneﬁcial characteristics for humans, such as favourable taste and disease

resistance. This is also a survival strategy for the vegetable species; or example, making the uniformity of shape forhuman eﬃcient packing in a box, and removing the bitter taste to make it easier for mass consumption help plants
to have prospered [/thrived]. However, as F1 plants produces F2, the second generation seeds,some of the genes
are not uniform, the taste and shape become unstable, and they are no longer eligible for distribution.

Furthermore, some plants have genetic defects such as the inability to form stamens, making reproduction byselfpollination impossible. Therefore, F2 vegetables are generally not available on the market. Stamen-lessvegetables often bring up controversial topics such as monopoly of biotech seed companies, but also have theadvantage that some taste better, or could contribute to the brand new species by hybridisation.

Exhibition view
Filial 1 hybrid
2022年
「久地良」
デカメロン歌舞伎町

Kujira2022
Video Installation（ multi channel 4:27 ）A edited video installation of the scenery which an artist encounter across Kujira along the coast of Izu.

Exhibition view
久地良
2022年
「久地良」
デカメロン歌舞伎町

Toutou Tarari Tarari Ratarari Agari Rara Ritou
Project Organize,/plan（Noh performances, exhibitions, talks,）
Participating Artists
Norimizu Ameya and his friends,Michiko Ishimure ,Eva & Franco Mattes ,Korakrit Arunanonchai ,Komiya Flower Shop ,Lisa Komiya Marina ,THE ROOT BEER JOURNEY Animal Shop “Dōbutsudō" Pierre Huyghe Mrs. Yuki Shiori Watanabe
Talk Event
Reiji Ando (Archaeologist) x Miwa Yabagi(Artist)
Noi Sawaragi (Art Critic) x Komiya Risa Marina(Artist)Mariko Yoshida (Cultural Anthropologist) x Oko Goto (Curator)
Noh Performances
Shite [the principal actor] : Rōsetsu Umewaka
Tsure [companion actor] & Jiutai [Chorus] : Kohei Kawaguchi
Small hand drum: Genjiro Okura

The exhibition titled “Toto-tarari-tarari-rarari-rarari-rarari-tou" is based on the oldest Noh play "Okina” . The

exhibition explores a new perspective on nature from a unique standpoint by focusing on "Okina," which is said tobe "everything that exists” , and on Noh plays performed by “Jingai” , non-human entities living outside of humanrealm. A variety of events will be held during the exhibition period, such as a specially reedited performance of"Shiranui" by Michiko Ishimure, and a series of talks among cultural anthropologists and others. The exhibition
thus aims to redeﬁne the widely discussed concept of "ecology" in recent years. The Noh play “Okina” , beginningwith a celebratory chorus of “Toto-tarari-tarari-rarari-rarari-rarari-tou", equivocally embodies divinity such as aform of communication with the other world through the womb, the cosmic worldview, the mystery ofreproduction, or the path of life and death. It has also been passed down through generations as a performance thatmanifest the domestic view of nature, religion, ideology, and the national view related to the emperor system,

which runs through the foundation of all the performing arts. Inspired by the unique Noh "Okina", this project
treats human beings in the equal way as nature, both living and non-living, and fairly refers to multiple sourcesfrom folklore, literature, painting, performing arts, and history. It attempts to unravels the ecosystem

intricatelyintertwinedbetween spirits, living beings, non-living things, words, and actions, and to excavate ancient

cultural strata on which the seed of future ecology would ground. Historically, Noh performers traveled from village
to village to perform the Noh play "Okina” . Dedicating "Okina” in Kabukichō; “a city that you arrive at the end ofdrifting” , this project seeks to break free from Western subjectivist anthropocentrism, to reconnect the spirits andgods which sleep in the ground, and to quest for ecology rooted in our bodies and lands in the face of climatechange and environmental contingency. Exhibiting the works of not only Japanese and international artists, but alsoof those from diverse ﬁelds and backgrounds which do not necessarily ﬁt into contemporary art, such as food, theInternet, writers, directors, pet shop, ﬂower shop in context with facts related to human history, the environment,and nature, this exhibition presents a distinct world-view. Furthermore, during the 10-day exhibition period, thisproject no only features performances of “Okina” and “Shiranui” written by Michiko Ishimure but also holds talksessions among intelligentsia in various related ﬁelds in order to deepen our thoughts from perspectives of both thecontemporary and historical, as well as of practices and discourse.

Evolution of the Amusement Park City: Squat Strategy Conference in Shibuya
Organize,/plan（Parties, live performances, exhibitions, talks, book clubs, soup kitchens）
Participating Artists:
Shiori Watanabe, Utubo Inata, Naoki Fujita, Ah no Hito, Qay Mihara, Shimpei Sugino, Ko Minamishima. Yusui, Shibuhouse,Hanae Sato, Tomohiro Kubota, Taka Kono, Soichiro Takeda, Marina Komiya, Taku Aoyagi, Yuta Akiyama, Arata Imai,
Rintaro Unno, Minami Kinto + VJ Yasuyo Sone, Hajime Saito, Fuyuhiko Takata, Tomotoshi, Kaori Miyano, Yasuyo Sone,Berlin, Snack Sono, Makoto Watanabe, FABULOUZ, Yuki Maniwa, Ryohei Otsuka, CHERRY, Yaaaz, αβ≠MR, Taihei Soejima,Yuya Otaki, TKA4, SUGINO RYUKI, Risa Aoki, Miri Hamada──Participating ﬂoor order / KCN(kitchen)─, Shimpei Sugino,Hiroshi Murakami, Yoshidayamar/ Aokid, Koichi Mitsuoka / Sakie Takasu, Miki Kazama, Noritaka Takezawa, Naohiro Yoshida,Haruya Nakajima, ayano_chan

A one-day event held on February 23, 2020 in an abandoned building before[/scheduled for] demolition.

About 50 artists join squatting vacant properties temporally, and organises a variety of bustling event/activity suchas a party, live music, performance, and exhibition in the heart of the Shibuya. This project initiates awork-in-progress practices of "mobilising the space" at the urban centre where scrapand-build neverceases.

Inspired by numerous works/activities of inspiring ﬁgures, starting from ” Rococo Town" (1990), Japanese writer
Masahiko Shimada's novel, the Situationist International (SI), the avant-garde group in Europe to Japanese

animator Katsuhiro Otomo, and American- Canadian grassroots activist Jane Jacobs, the project[/program]aims totake a look at the city from viewpoints beyond the existing art framework.