The Void Song
Listen, Human Women

Natalie TSYU
2023/05/26 - 05/28

3-13-7 Kyojima, Sumida City, Tokyo. 131-0046
Open: 12.00 - 19.00 pm 
Performance dates: 
05/26 - 7pm
05/27 - 2.30 pm
05/28 - 2.30 pm
*Performance is free and open to everyone. No reservation is required. 

In the oral tradition, songs are one of the ways of communication between landscape, living beings, and non-living beings. Songs resonate through the body and go beyond the body.
As one of the surrounding ingredients, we as human beings within circulation could go through the different stages between living beings and non-living ones, between human and nonhuman. It is only a matter of time how long we remain in one of the stages and how we, as an ingredient in our environment, move in/out of them.
This work is based on Natalie’s current artistic research in Hokkaido, where the tradition of the oral song is preserved in the DNA of the local landscape to this day. During one of her field trips, the artist came across a booklet of Hokkaido veterinarians that among other things contained notes about the diseases circulating in indigenous communities, notes on plants, and natural medicines as such. This opened up space for such a question: How can the ability of the immune system become a form of sound vibrations that, in their experimental form, reveal to us their knowledge about landscapes that preserve the oldest fragile traditions of the transition from human beings to living beings, from oral form to material one, from human to nonhuman? As a result, Natalie created a laboratory space: The Void Song, where through a sensitive installation sound goes between several stages of circulation and infection, and eventually forms its own significant form of immunity.
The Void Song is an ongoing exhibition structure that includes different types of songs. Depending on the exhibition space a specific song will be presented as a solo one. Within the ONA Project Room, Natalie TSYU will show The Void Song - [Listen, Human Women].
Focusing on traditional Ainu epics, the artist drew attention to the sounding elements from the lyrics of the oral songs and a landscape which through the structure of the exposition became the melody of translation. As the main ingredients for the sound, Natalie picked up materials from the yukar lyrics. In an exposition structure, you can follow the sounding ingredients such as a woman's hair, Ainu liquor, bear fur, dead fish, rice, salt, some local medicine, and water as the main material for sound transition and circulation in a space. In the ONA Project Room space, you could find a book with the highlights from artist notes. This book will be a guide for visitors to explore the nature of the nuances in the non/living soundscape of the "The Void Song: Listen, Hunan Woman" lab structure.
As an artist and conductor, Natalie TSYU would perform a series of short sound performances during the exhibition, inviting visitors to observe how the sound circulates in the non/human landscapes and creates a specific immunity by itself.
The Void Song (虚空歌),ここでは繊細なインスタレーションを介し、また、音は循環と感染のいくつかの段階を経て最終的に独自の重要な免疫の形を形成している。
The Void Song(虚空歌)は、さまざまなタイプの曲を含む継続的な展示構成であり、展示空間によって特定の楽曲が独自で展示される。
今回、ONAプロジェクトルーム展示空間内で、ナタリー・ツゥーが「The Void Song - [Listen, Human Women]」(虚空歌 -聴け、人類よ、女性よ)を展示する。アイヌの伝統的な叙事詩に着目し、口伝の民謡の歌詞から音の出る要素や、解説の構造を通して翻訳のメロディとなる風景に注目した。音の主な材料として、ナタリーはユカラの歌詞から材料をピックアップした。 展示の中では、女性の髪やアイヌの酒、熊の毛皮、死んだ魚、米、塩、ご当地薬、水の音の素材などを音の推移や空間の循環の主な素材として追うことができる。ONAプロジェクトルーム展示空間内には、アーティストノートのハイライトをまとめた本が置かれています。この本は、「The Void Song」の非・生活的なサウンドスケープにおけるニュアンスの本質を探るためのガイドとなるだろう。
Exhibition video by Natalie TSYU
About the artist:
Natalie TSYU is an interdisciplinary artist and researcher based in Oslo - Tokyo. One of the most important aspects of her artistic practice is an exploration of the memory of the landscape. For her research, TSYU turns to the ethnography of the place through the archaism of the locality, texts, and the memory of generations. Immersion in folklore and anthropology of movement allows her to find spaces for rethinking artistic performative methods in the context of social memory in geographically isolated places.
Natalie TSYU manifests her research projects through experimental para-archives, audio-visual narrations, sound, and performance, accompanied by artistic books, graphics, and diverse forms of essays. She graduated from The Oslo National Academy in 2019 and is part of the artistic research project DUNKE-DUNK related to the reconstruction of being in the north of Norway. The research received sponsorship from The Norwegian Barents Secretariat in 2020 and was published in VIS - Nordic Journal for Artistic Research in 2023. In 2022, Natalie received a Japanese government scholarship for: (Un)mute performance: Developing an artistic methodology for ontological instruments based on the history of sound art in Japan (1980-2000) and Hirayama Ikuo Culture and Arts Award 平山郁夫文化芸術賞 in 2023. Currently, she is conducting the research project [Matter]iality of Memory – Tracing Invisible Roots in Hokkaido under the JREX fellowship and GEIDAI, Global Art Practice program.
実験的なパラアーカイブ、オーディオビジュアルナレーション、サウンド、パフォーマンスを通して、アートブック、グラフィック、多様な形態のエッセイを伴う研究プロジェクトを行っています。2019年にオスロ国立アカデミーを卒業。ノルウェー北部における”存在”の再構築に関連する芸術的研究プロジェクトDUNKE-DUNKのmメンバー。この研究は2020年にThe Norwegian Barents Secretariatからスポンサーを受け、2023年にVIS - Nordic Journal for Artistic Researchに掲載された。日本政府奨学金(Un)mute performance (2022年)日本におけるサウンドアートの歴史(1980-2000)に基づく存在論的楽器の芸術的方法論の開発において平山郁夫文化芸術賞受賞 (2023年)

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