miyuki okahhmmss

Form: Installation (24 hour video/24 image)
Material: Smartphone, charging cable, color photograph
Exhibition:
500m Museum (Sapporo), 2022.
Hochschule für Bildende Künste Städelschule (Frankfurt), 2023.
BUoY Arts Center (Tokyo), 2023.
Video archive: https://vimeo.com/799517857

The series “taking photos (hhmmss - hhmmss, yyyymmdd - yyyymmdd)” utilizes the timestamp data recorded in photographs taken with a smartphone toexplore biological rhythms, history, and memory. The
program generates a 24-hour video or 24 images byarranging photos in chronological order.
On the smartphone left behind by my deceased
grandfather, there were photos he had taken over the

Hochschule für Bildende Künste Städelschule (Frankfurt), 2023.

four years leading up to his passing. I collected thesephotos along with ones my mother and I had taken
during the same period. On the screen of each of thethree smartphones, the photo appears for one second
at exactly the time it was taken.

500m Museum (Sapporo), 2022.

As part of cognitive behavioral therapy for bipolar
disorder, I keep daily records with texts and images. In
this artwork, I arranged photos I took with my smartphone over the past one year in chronological order,generating 24 images for each hour.

In one frame, the photos taken in that hour are condensed to the fixed size. At 2, 3, and 4 a.m. I did nottake a single picture, so the inside of the frame isblank. During the active hours of the afternoon, thephotographs appear almost like colored lines.

BUoY Arts Center (Tokyo), 2023.

With the assistance of 17 friends who evacuated from exhibited as a 24-hour video using one smartphone
Ukraine and Russia due to the war, I collected photos per person, with each photo being displayed for one
they had personally taken on their smartphones over second at the exact time it was taken.
the two years before and after the start of Russia’s fullscale military invasion. I also collected photos taken
by myself during the same period. These photos wereBUoY Arts Center (Tokyo), 2023.

ri-bo-no-i-ko,
Main/mine

Form: Installation, performance, video (17:10)
Material: Printed fabric, fishing rod, plastic pole, pole standExhibition: Hafen 2 / Museum Angewandte Kunst, (Frankfurt), 2023.
Special thanks: Daniel Göz & Stefan Scondo (Frankfurter Fischer- und Schifferzunft von 945 e.V.)
Performance filming: Heman Singh Lutchmun

Video (short version): https://vimeo.com/856186738

The project consists of a site-specific installation andperformance. I participated in an environmental research electrofishing trip and took pictures of the fish
actually living in the Main River. The largest fish was
as long as my arm. I enlarged the photos of the fishand my arm to the same scale and made kites. Thekites were installed facing away from the carp stream-er, which is used to wish success for boys and prosperity for families in Japan. They were transported bybicycle by myself over the hydroelectric power stationthat divides the fish’s habitat.

greenhouse
marathon

Form: Installation
Material: Greenhouse, treadmill, wood, temperature sensor, LED display, metal cup
Exhibition: Olympiapark (Munich), 2022.
Cooperation: the international artist residence Villa Waldberta
Construction support: Boris Maximowitz (Treibgut), Hiroyuki Abe

Greenhouse Marathon was created for the 50th anniversary festival of the Munich Olympics.

climate change (Oyama et al., 2022). Sports such as
marathon, where climate has a significant impact onperformance, may act as a sensor, making one aware
In the Tokyo Olympics held in 2021, some of the of long-term environmental changes from a physicalgames, including the marathon, were held in Sappo- experience.
ro, following concerns that Tokyo would be too hot.
Sapporo is a northern city which hosted the Winter In this work, a treadmill was placed in a greenhouse
Olympics in the same year as the Munich Olympics built along paths for runners and cyclists in the Olymin 1972. However, Sapporo was also hotter than usu- piapark. A sensor in the greenhouse obtained the air
al that year, with the marathon starting early in the temperature there, and continuously displayed themorning and about 30% of the runners abandoning year/date/time of the same temperature in the records
the race.
of the Olympic marathons of the last 120 years, theSapporo marathon on 8 and 9 August 2021, and theIt is expected that more regions will become unsuit- predicted average maximum temperature in Munichable to host the Olympic Games in the future due to for the next 50 years.

we can make walls

Form: Two-sided video installation (8:49)
Material: Carpet, styrofoam box, plastic box, Arduino
Exhibition: Sapporo Cultural Arts Community Centre SCARTS (Sapporo), 2021.
Photo: RYOICHI KAWAJIRI
Photo courtesy: Sapporo Cultural Arts Community Center SCARTS
Video archive: https://vimeo.com/739375440

The COVID-19 pandemic brought attention to technologies, such as online calling or meeting, that helppeople connect with those who are far away, but also
to technologies that help divide those who are close
by. Such as, for example, alcohol spray, which removes
viruses from the palms of your hands. There was also
news about the wild goats that came to the city after
the lockdown had left it empty of people in the UK.
There was no fence or wall between the city and thegoats’ habitat even before the lockdown, but they had
probably spontaneously been excluded from the cityby the noise of cars, exhaust fumes and the presenceof people.

Like alcohol spray and exhaust fumes, humans intentionally/unintentionally build various walls against
the non-human others.
Humans can make walls, but this might also meanthat humans can also break them down, move them,or temporarily relocate them. It is more like a partition, like a bran, rather than a wall.
The place that is for me can sometimes become theplace for someone else, or a place where someone elseand I can meet, pass each other and communicate. I
imagine a city, a house or a room that is more like aresilient ecosystem.

moment(s)Form: InstallationMaterial: Steel, light, water, motors, projector, display, Arduino
Exhibition: RCA Garden House (London), 2020.
Video archive: https://vimeo.com/388900012

A fan and a light attached to the motor recreate thewind conditions and the position of the sun at random points in the past. A computer connected to themotors takes historical weather data from a databaseof weather stations around the world and changes thestate of the motor every minute according to that data.
The motors are on a steel tray filled with water. As thefan moves, the light makes the reflection of water wa-vering on the walls and ceiling. The surface of the steel
tray gradually rusts, influenced by the environmental
conditions in which it is installed and by the wind andlight conditions somewhere in the past.

ikitoshi

Form: Installation, concept
Material: Clock, soil, human skin, copper wire, carbon felt
Exhibition: STRP Festival (Eindhoven), 2020, Cancelled due to pandemic.
Support: STRPVideo archive: https://vimeo.com/370494169

This project speculates how people can remember andmourn the dead in a post-anthropocentric world, aworld in which humans do not have a privileged position over other organisms, objects, or the environment. I design a kinetic system inspired by microbial
fuel cells which generate electricity by soil microbialactivity. The flower made with the skin of the deceased
moves on soil little by little leaves its debris and creates new soil containing matter and energy that bacteria can use.