【KYOTO EXPERIMENT】Roberta Lima “Embodiment of Water
Oct 6, 2018 [sat] － Oct 21, 2018 [sun]
October 6 (Sat) – October 21 (Sun) 10:00-20:00
*October 5 (Fri) Pre-Opening 17:00-22:00
*October 21 (Sun) closes at 17:00
October 8 (Mon) 19:00
October 14 (Sun) 17:00
October 21 (Sun) 13:00◎
◎ Childcare service available.
※ The content of each performance is different.
※ On performance days the exhibition will only be open after the performance has finished.
※ There is a possibility of water splashes during the performance. If you wish to borrow a rain coat, please ask at the venue box office.
Adult: Advance ¥2,000 / Day ¥2,500
Youth, Students: Advance ¥1,500 / Day ¥2,000
High School Students & Younger: Advance and Day both ¥1,000
Pair ¥3,500 (Advance Only)
Robert Lima Embodiment of Water Ticket Set ¥5,400 (Advance Only)
Youth Tickets: available for those aged 25 and under.
Roberta Lima, Yuya Tsukahara
KYOTO ART CENTER Auditorium
Access:Yamabushiyama-cho 546-2, Nakagyo-ku, Kyoto 604-8156, Japan
Hours: 10:00 ~ 20:00
Like rice grains losing their shape and transmuting into sake, performances will transform an installation
Roberta Lima’s practice focuses on her own body through work that questions the role of the artist and viewer. The media she employs is varied, including photography, video, and installation. In autumn last year, Lima spent a week accompanying a female chief brewer at Shoutoku Shuzo in Fushimi, Kyoto, learning not only about the sake brewing process but also how she became a chief brewer. Long overseen only by men, women were forbidden even from entering sake breweries in the past. If we return to the actual roots of the craft however, women were originally deeply involved with sake brewing. Today women are working as chief brewers all over Japan. Through this encounter, Lima came to understand the importance of water. What function has water played in communities in Japan? And how can water be used as a metaphor for resilience and to help emancipate women from antiquated attitudes? Embodiment of Water comprises of three performances staged in the same space as an installation, with contact Gonzo’s Yuya Tsukahara also appearing as a performer. The performances intervene in the space, changing the installation each time. In Japan, a feminist revolution has already begun—not in isolated ways, but collectively. Lima is motivated by the desire to discuss these changes and also continue developing them.