© 2019 Yuki Kobayashi

Stilllive

 

- Performance Art Platform -

2019

 

 

Still』 is a historical reference to the subjects past

lll』 is in-between time, in which thought becomes action

Live』 is the ignition of the artist performing in the present moment

Stilllive 2019

 

Participated Artists :

 

Mayuko Inui (乾真裕子), Mai Endo (遠藤麻衣), Marina Komiya (小宮麻吏奈), Towako Sano (佐野桃和子), Yuka Seki (関優花), Takuya Takemoto (武本拓也), Akiyoshi Nita (仁田晶凱), Miri Hamada (浜田明李)

 

Guest Speakers :

 

Akiko Mizoguchi (溝口彰子), Natsumi Araki (荒木夏実), Junya Utsumi (内海潤也)
 

運営:Sanghae Kwon (権祥海)

​主宰:Yuki Kobayashi (小林勇輝)

Photo Credit :

Kohta Kataoka

Courtesy of Stilllive, Goethe-Institut Tokyo

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Stilllive is a platform, which is the subject of body to represent a human presence in the performance.“Body” is the subject matter already in the performance and human condition is always necessary to be concerned. When technology develops and digital art is becoming a mainstream, the word “Analog” itself becomes exclusive. However, by organising this platform, I would like to propose the new idea of analogical representation through the creation of performance art, what is the influence human body gives to the audiences, discussing the meaning of coexistence of the development of performance art with organic materials and an cyber-orientated future. 

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Kobayashi creates the platform for showing the free performance which has no physical restriction of body. It is unavoidable to argue about nudity in live performances in cultural institutions. The 1st concept of this platform in September, 2019 was “Gender and Sexuality”, which is the basic idea of questioning for the restriction of nudity in live work, gender balance in the society and commercialisation of sexism in Japan. 

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Goethe-Institut Tokyo and Kobayashi invited young artists who explore the performance. It was a 1-week-long experimentation with performance art academically with programs including workshop, preparation, performance showing and feedback discussion. This program brings significant meaning to the representation of the body within an academic platform, to develop methods to enter radical performances educationally and to reconsider its importance as a new medium of contemporary art practice. We will be discussing the curation of performance-based exhibition, documentations and archive, the position of performance as a medium now in university, museum, art fair and biennale etc. Stilllive is becoming the significant platform for looking back in the history of past movements for archiving performances which usually disappear in live but also are remaining into the future through this platform. In the performance, Kobayashi used an apartment, cafe terrace and theater hall, with artists and audiences were able to freely roaming around these three different spaces. 

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*Stilllive is coined word combining with “Still” and “Live”, Stillllive Collective was originally founded by Yuki Kobayashi and artists (Sandra Stanionyte, Hollie Miller, Saskia Vranken) from Royal College of Art, Performance course for DADA 100th anniversary festival, Tokyo in 2016. In 2019, Kobayashi founded a Performance Art Platform, Stilllive in Tokyo. 

Stillllive

 

- Collective -

2016

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Was held on August 7, Spiral, Stillllive performance “Emotion in Motion”. Important thing / Dadaism 100 anniversary of the significance that I feel watching.

Women wearing a black suit is standing dignified. She covers the black suit with the black paint by using her red passport and then falls down again and again. Mix black paint with red. The man wearing a suit firmly ties a tube of plastic to his mouth with the black tape, begin to play/make a sound that does not become a voice. Woman who is wearing something like a cannon on her head paraded around the venue. With the noise of the machine, she would slowly approach every individual viewer and stare down to their face. The viewer though would not be able to see her face just a black void. On the other hand, women wearing a beautiful dress and high-heels parades around the venue and by physical touch of the body interferes and disturbs the viewer. Performer each one of them had to face the world in a terribly lonely way.

Although 100 years ago we experienced World War II and now it is over, today we live in the live stream of news of terror and fear of unknown. Internet network has connected us, but in the world as in the chemical reaction to it and what is happening it brings a lot of disruption.

The man wearing a suit will be naked, he wraps the black bowling ball into the world map. The tip of the tube extending from the mouth is branched into two, one is connected with the earth and ahead the other tube is connected to the mouth of the woman who is covered in red and black paint. The two of them around the Earth. It is as if we are looking at the human shared impossibility, painful, yet real. The map of the world is torn apart and a bowling ball comes out. Men wrap it in a new map of the world that it can be easily be torn apart again and connects it to the tube. This is an act such as exposing the vulnerability of the world where life is like a man’s show, comical ridiculousness of human beings. They are connected by the tube, namely the media that had expressed the ‘now’ in the whole body.

The question is why do they carry this performance now? and what does it mean to be a man of today’s modern world? Question for this world and the question for the act of performance – they’re closely intertwined.

 

Live, in the moment of the here and now, happened to be witnessed. You can see that is not little.

Stillllive Collective 2016

 

Collective Artists :

 

Yuki Kobayashi, Sandra Stanyonite, Saskia Vranken, Hollie Miller

 

*The collective has been already dissolved

Performed at DADA 100th Anniversary Festival in Spiral Wacoal Art Center

Curator : Yoshie Ota

Duration : 1 hour

Title : Emotion in Motion