English bellow ↓ 作品《閃光と落下傘 Flash and Parachute》の制作記録動画、遠藤薫 、2020年　　 撮影・編集：横山昌典 『「みんなが爆弾なんかつくらないで きれいな花火ばかりをつくっていたら きっと戦争なんか起きなかったんだな」―山下清 生活に根差した工芸の本質を現代美術的な視座から探るべく、テキスタイルに複雑な社会的事実が織り込まれていると考え、布を集め使用と修復の行為を繰り返す、工芸／美術作家の遠藤薫。彼女は、第二次世界大戦の徴兵を逃れるため放浪をはじめたとされる画家・山下清（1922-1971年）の言葉に触発され、戦争と花火に関するインスタレーションを制作しました。 山下の代表作である貼り絵に《長岡の花火》（1950年）がありますが、長岡の花火で打ち上げられる「白菊」は、第二次世界大戦終戦間近の1945年8月1日に起きた長岡空襲の被害者を慰霊するための花火です。ちなみにここ青森も長岡の4日前に大空襲を受け、大勢の人が亡くなりました。夏の風物詩である花火。その形色とりどりの閃光と雷薬による爆発音は、時に見る者を感動させ、時には空襲など戦争を連想させるものとなり得るでしょう。 遠藤は今回、もう着られなくなった着物を、青森を含む全国各地から譲り受け、裂き、津軽裂織の技術を学んで、落下傘（パラシュート）を織りあげました。飛行機からの脱出手段として、人命を守るために実用化された落下傘。その後、敵地を空から攻める兵士輸送の方法として落下傘降下は発達しました。長い時間のかかる織りの作業は、数多の先人たちが指摘するように、どこか祈りに似ています。そして、遠藤が青森市教育委員会蔵の民俗資料から選び出したのは、多くの人々の手を経て傷んでいる、もしくは壊れている農機具と、大切にまとわれてその時間の分だけ変化した着物の数々です。 ある日偶然、青森市立長島小学校の卒業生に教えられ、遠藤は山下清が描いたと伝えられる花火のペン画と出会うことになりました。あらゆる事物の移動によって、時と場所を超えて同じようなことが起こること。すべてが無関係ではないこと。戦争は決して終わったことではないこと。布を作り使い、なおす。そのような生活のなかの行為の延長線上で、遠藤は誰かの生の続きを生きようとしているかのようでもあります。』 グループ展『いのちの裂け目ー布が描き出す近代、青森から』展 (青森公立大 国際芸術センター青森 ACAC)、ハンドアウトの作家説明より一部抜粋　 -文・慶野結香 (ACAC学芸員) http://www.acac-aomori.jp/air/2020-1/ 遠藤薫 染織、工芸、美術作家。 1989 (平成元年) 大阪生まれ。Xジェンダー。沖縄県立芸術大学・工芸学科染めコース卒業。ハノイ、日本在住。 HP https://www.kaori-endo.com ・・・・・・・・・・・・・・ Documentary of Art works: “Flash and Parachute" ENDO Kaori, 2020　 Shooting: YOKOYAMA DESIGN WORKS Group show ”The Beginning of Life/ Art: Cloth Weaves Our Times, from Aomori" (Aomori Contemporary Art Centre, Aomori Public University)、2020 ” If no one made bombs and made only beautiful fireworks instead, wars would never have happened. － Kiyoshi Yamashita Considering that complex social facts are woven in textiles, the textile/visual artist ENDO Kaori collects textiles and repeatedly uses and restores them, in her search for the essence of crafts, rooted in people’s life, through a contemporary art perspective. Inspired by the remark made by the painter Kiyoshi Yamashita (1922-1971), who is said to have started wandering about to escape from the draft during the Second World War, she created an installation themed around war and fireworks. While there is a masterpiece of collage by Yamashita, called Nagaoka Fireworks (1950), one type of fireworks called ‘White Chrysanthemum’, which gets shot up at Nagaoka Firework Festival, commemorates victims of the Nagaoka air raid that happened on August 1st, 1945, right before the Second World War ended. Incidentally, this very place, Aomori, was also hit by a major air raid four days prior to the Nagaoka air raid and many people lost their life. The Japanese summer tradition: Fireworks － Their colorful flashes and blasts by bangers can move the audiences as well as remind them of air raids and wars. For this occasion, Endo acquired unused second hand kimonos from all over the country including Aomori, tore them into strips, learned the Tsugaru Sakiori (Weaving) technique, and wove them into a parachute. Parachutes were invented as a means to escape from airplanes and used to save people’s lives. Later on, parachute descent was developed as a way of transporting soldiers to attack enemy territories from the sky. As many predecessors have pointed out, the time-consuming weaving work somehow resembles the act of prayer. From the craft objects used among ordinary people, archived in the collection of the Aomori city Board of Education, Endo selected damaged or broken agricultural equipment, which was passed down through many people’s hands, and various kimonos, which were worn with great care and changed through time. One day by chance, told by an alumnus of Aomori Municipal Nagashima Elementary School, Endo encountered a pen drawing of fireworks, which is said to be the work of Kiyoshi Yamashita. All kinds of things migrate and similar things happen beyond time and place. Everything is related. Wars are not something that have ended. Endo makes textiles, uses them, and restores them. Following as extensions of these life activities, it seems that Endo is trying to continue living someone’s life.” Text: KEINO Yuka ( ACAC curator ), Translation: NAGASAKA Aki (Japanese to English) Kaori ENDO Textile/ craft/ Visual art Born in Osaka Japan 1989, X gender, graduated in Okinawa Prefectural University of Arts, living in Hanoi/ Japan. HP　 https://www.kaori-endo.com

『重力と虹霓 Gravity and Rainbow』Kaori ENDO solo exhibition, Shiseido gallery, Tokyoshiseido art egg 13, 2019 https://www.cinra.net/interview/201908-endokaori_kawrk ・・・・・・・ Gravity and Rainbow "Creation is composed of the descending movement of gravity, the ascending movement of grace and the descending movement of the second degree of grace." “Gravity and Grace,” Simone Weil 　　　　　　　　　　　　　　　　　　　　　　　　　　 I recycle used rags into a new piece of cloth. Not only are there materials and techniques peculiar to each piece of cloth, but also social facts are already woven into it when it is used. The reason cloth exists just like cloth is that the cycle of its being used, damaged, and repaired is repeated. I am trying to repeating such a cycle again in a contemporary way. One example is to repeat the cycle of letting silkworms repair holes made in prewar old rags, collecting old rags in which memories indigenous to Okinawa are mixed with U.S. military supplies, joining them by stitching, accordingly using the joined ones for dusters, and then again repairing them. Inevitably left there are traces of war, labor, and the lives of bygone people. * The title “虹霓” is a Chinese expression, meaning a rainbow and its shadow. It is said that the rainbow represents a male dragon and its shadow a female dragon. * At the half landing of the exhibition site, (the back side of) an embroidery made by a deceased grandmother in Aomori is on display. The embroidery was that of the painter Jean-François Millet’s The Gleaners. 　　This embroidery seems to represent the huge amount of work involved in dyeing, which is difficult to grasp visually, the way of her life, 　　which cannot be said to be comfortable by any means, and her pride and pleasure of working. One of the essence of craft to which I pay attention is “grace that would come for resistance and nonresistance to gravity”. The history of dyeing is woven by colored threads that consist of rays of light and almost always involves dark shadows. It does not mean, however, that “gravity” or harsh labor and long-term deterioration are always indispensable to the essence of craft. In history, despite the hardship of having to be engaged in the work of craft, joy and resistance are woven into cloth, and I want to repeat this fact as one form of grace. Wishing that a rainbow and its shadow will appear again in the overly poignant involvement with clothes by people who no longer exist in this world. Kaori Endo 重力と虹霓 Gravity and Rainbow 重力の下降運動、恩寵の上昇運動、二乗の力を備えた恩寵の下降運動、この三様の運動が創造を構成する。 　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　『重力と恩寵』　シモーヌ・ヴェイユ 私はボロ布を一枚の新しい布に再生させています。それぞれの布には固有の素材や技法があるのみならず、使用されることで社会的な「事実」も既に織り込まれていると言えます。 布が布らしく在るのは、使われ、損なわれ、修復される、という過程の反復があるからです。私は、その反復をもう一度現代的に繰り返すことを試みます。 例えば、戦前の古布に空いた穴を蚕に修復させ、沖縄土着の記憶と米軍物資が混ざり合った古布を集めて縫い合わせ、それらを正しく雑巾や布として使用と修復を繰り返す、など。 そこには必然的に、戦争や労働、過去の人たちの生活の痕跡が残っています。 ・タイトルの“虹霓”とは、漢語表現で”虹とその影”を意味します。虹が雄の龍、影が雌の龍だと言われています。 ・会場の踊り場には、青森の亡くなった(誰かの)おばあちゃんによる刺繍画(の裏)があります。モチーフは、画家ミレーの『落穂拾い』です。 　この刺繍画は、画像として認識され難い染織の膨大な仕事量や、決して豊かとはいえない生活のあり様、それと同時に、仕事の誇りと悦びを象徴するかのようです。 私の着目する一つの工芸の本質とは『重力への”抵抗”と”無抵抗”に訪れるはずの恩寵』です。 染織の歴史は光線からなる色糸から織り成され、そこには必ずと言っていいほど暗い影も内抱されているものです。 しかしながら、ひとえに工芸の本質には”重力”＝過酷な労働や経年劣化が不可欠である、とするものではありません。 歴史のなかで工芸の労働に従事しなければならない苦労に対し、悦びと抵抗が布に織リ込まれているという「事実」を一つの恩寵として反復させてみたいのです。 もうこの世にいなくなった人たちの、痛切なまでの布たちとの関わりの中に、再び ”虹霓” が立ち現れることを願って。 　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　遠藤薫

Work shop in Taipei 16th June 2019 "Eat around the cloth/ Silk worm's poop to DYE" ① 台所洗剤で絹布を洗う。 (織る際に付着した糊を落とすことで、染まりやすくなる) 1 Wash the silk cloth with a kitchen detergent.    (It becomes easy to dye by washing off the glue attached when weaving.) ② 絹布を豆乳に浸して乾かす。 (染料がタンパク質によって定着しやすくなる) 2 Soak the silk cloth in soy milk and dry it.    (The dye is easily fixed by protein.) ③ 糸を使って絹布を絞る。 (この方法は最も原始的なものの一つです) 3 Squeeze the silk cloth using thread. (This technic is one of the most primitive one.) ④ 蚕糞のお茶を飲みながら、蚕の蛹をおいしく食べる。 4 Eat silk worm chrysalis with a cup of silk worm’s poop tea. ⑤ 蚕糞のお茶で絹布を染める。 5 Dye the silk cloth with ​​silk worm’s poop tae. ⑥ 野良の温泉に行く。 (温泉の成分でより染料が定着する) 6 Go to the hot spring in the mountain.    (Dyeing color will be fixed by the ingredients of the hot spring.) ⑦ 蚕の繭や染めた絹布で、顔と体を洗う。 (絹のタンパク質は、肌の再生に役立つ) 7 Wash your face and body with silk cocoon and dyed silk cloth.    (Silk protein helps to regenerate the skin.) ⑧ 風呂上がりに、手作り豆花に抹茶アイスと蛹のシナモンシュガーを添えたものを食べる。 8 After bath time, go back to venue. Eat homemade 豆花Tofa (Soy milk tofu sweets) with green tea ice cream and cinnamon sugared chrysalis. (最初に作った豆乳で豆花を作る。)    (豆花Tofa cooked by soy milk made at first of this workshop. (抹茶アイスの緑は蚕の糞で着色されている事が多い。) (The green color of green tea ice cream is often colored with silk worm’s poop.) ※ 温泉に行けない人は、重曹とお酢を使って染料を定着させる。 ※ If you can not go to the hot spring, fix the color by using baking soda and vinegar. ※ 蚕の糞は蚕沙(サンシャ)と呼ばれ、漢方薬として飲まれている。 (効能: 糖尿病、肩こり、便秘など) ※The silk worm's poop are called 蚕沙(Sansha) and are taken as Chinese medicine.    (Indications: diabetes, stiff neck, constipation etc.) ※ 蚕は5000年前に中国で家畜化された。 ※ The silk worm was domesticated 5000 years ago in China. ※どうしてそうなったのか、もはや現代では未知の生物。 ※ Why is it so, an unknown creature in the modern world. ※ しかしながら、彼らは人間なしには生きることができない。 ※ However, they can not live without humans. ※私たちは彼らがどこに向かうのかわからない。 ※ We don't know where are they going. 遠藤薫　Kaori ENDO

“Uesu (Waste)” Used dust cloths, original material of the work, came from the Hanoi market, where artist and collaborators gave new dust cloths to market people, in trade for their old ones. Hundreds of old dust cloths were sewn together. And, artist/collaborators swept the streets in downtown Hanoi with the big patched dust cloth. Traces of cleaning/scratching on the surface of the cloth remain as a result of ordinary use, of collective action, and of painterly/sculptural gestures. Kaori Endo Artist. Born in Osaka Japan 1989, live in Hanoi Vietnam. Education 2013 Bachelor of Textile, Okinawa Prefectural University of Arts Selected Exhibition 2019 VOCA, Ueno Royal Museum, Tokyo 2018 International Residence Program M.A.P, Heritage Space, Hanoi 2018 Bangkok Biennal 2018, BARRAK pavilion, Bangkok 2016,17 Chronicle, Chronicle!, Creative Center Osaka, Osaka 2015,17 About A Ghost by , AI KOKO gallery,Tokyo 2014 The 26th Fuji Contemporary Japanese Calligraphy Exhibition, Osaka City Museum of Fine Arts 2014 Selected for the 36th Japan Textile Exhibition, Tokyo, Kyoto, Nagoya Museum Curatorial works 2015 Palais de Kyoto / Nothing But Sounds, Art Zone, Kyoto 2012-2014 TECHNO UDON, Aoyama Cay, Hotel Osaka, Tokyo, Osaka Prize 2019 VOCA Honorable Mention Award Winner, Ueno Royal Museum, Tokyo 2014 The 26th Fuji Contemporary Japanese Calligraphy Exhibition, Osaka Prefectural Governor Prize Winner, Osaka City Museum of Fine Arts FB https://www.facebook.com/kaori.takagi... Twitter https://twitter.com/mosimosikaori

HP https://www.barrakindependands.com Wiki http://bangkokbiennial.com/wiki/index.php?title=BARRAKFB FB https://www.facebook.com/kaori.takagi.9862 Twitter https://twitter.com/mosimosikaori This project was for Bangkok Biennale 2018,. I brought up thousands of silkworms. I and my son have stayed in the 3rd floor of small factory in the downtown of Bangkok, and taken care of silk worms wile 1 month and half. Old cloths, more than before WW2, from Cambodia, Japan, Laos and Thailands, are repaired by silkworms. The silkworm of Southeast Asia vomit yellow thread. It is white in Japan. There are some varieties of worms in Asian regions. Almost silkworms are domesticated animals and can not grow in natural by themselves. It can be said that this fact is a sort of metaphor for a human being. ////// Kaori Endo Artist. Born in Osaka Japan, Live in Hanoi Vietnam. Education 2013 Bachelor of Textile, Okinawa Prefectural University of Arts Selected Exhibition 2018 Bangkok Biennal 2018, Bangkok 2016,17 Chronicle, Chronicle!, Creative Center Osaka, Osaka 2015,17 About A Ghost by , AI KOKO gallery,Tokyo 2014 The 26th Fuji Contemporary Japanese Calligraphy Exhibition, Osaka City Museum of Fine Arts 2014 Selected for the 36th Japan Textile Exhibition, Tokyo, Kyoto, Nagoya Museum Curatorial works 2015 Palais de Kyoto / Nothing But Sounds, Art Zone, Kyoto 2014-2012 TECHNO UDON, Aoyama Cay and Hotel Osaka, Tokyo / Osaka Upcoming exhibition November 2018 International Residence Program M.A.P, Hanoi, Heritage Space March, 2019 VOCA exhibition, Tokyo, Ueno Royal Museum Prize 2014 The 26th Fuji Contemporary Japanese Calligraphy Exhibition, Osaka City Museum of Fine Arts (Osaka Prefectural Governor Prize Winner)