Nos chairs sont d’une fluctuation infinie.
Sans nous enfermer à l’intérieur de la frontière,
elles nous ouvrent infiniment vers le dehors.
Elles sont des commencements
Toujours errantes et inachevées

        Entre deux

Entre la conscience et la chair,
la vie et la mort,
la douleur et le plaisir,
l’humain et l’inhumain,
se trouve une balance élégante
qui continue à peine les errements.

Ko Murobushi


In my subsequent performance in Paris this April, I aim to be forced to dance by relationship and distance, which would be made by embedding another author between such a distance that is generated between spectators and the self who is dancing, or the self who is watching the dancing self. This will be performed across fourteen days, and I picked up nine artists for some reason to make numerous combinations in relation with Takehisa Kosugi from New York—for a direction of original tape and act, Natsuyuki Nakanishi—whom I optionally quoted from his drawing books, Wim Mertens—a pianist from Crepuscule (note: a Belgian music label that pioneers a field of neo-acoustic music) whom I will be performing two improvisational duos with over two nights, Hijikata—who gave me some things that can be taken as either dialogue or directions, among others: Hisaki Matsuura, Shuhei Hosokawa, Osamu Goto, Akihiro Ozawa, and Carlotta Ikeda. To plunge the self into turbulence, rather than to perform certainly or to act subjectively, and therefore, to plunge the audience into turbulence, meaning to dance in a state of going through or drifting into a vertigo, dizziness, and untangibleness.

From his interview with Kuniichi Uno


“EN,” danced improvisationally by him in this performance, would be one of his solo works subsequently.

Ikuya Odamaki

All works




“EN, Ephémère”



EN 1985