R1 Staff

R1 Staff

Daisuke Takeya
Megumi Shimizu
Seiko Kitayama
Yoshiya Makita
Akiho Azuma
Osamu Adachi
Fumika Kimura
Jin Tong
Riko Takahashi


Executive Director
Daisuke Takeya

Daisuke Takeya is a Toronto-Tokyo based interdisciplinary artist, and ofttimes curator, collector, art educator and community advocator. Takeya’s praxis is comprised of the exploration of nature and plausibility in contemporary society, and hinges on all kinds of double meanings. He has participated in numerous solo and group exhibitions in Canada and internationally, including shows at the Museum of Contemporary Art, Toronto; the Japan Foundation, Toronto; Scotia Bank Nuit Blanche, Toronto; SVA Gallery, New York, US; Wagner College Gallery, New York, US; and the Chongqing Changjiang Museum of Contemporary Art, China. Takeya has had work exhibited across Japan, including at the Fukushima Contemporary Art Biennial; the Saison Art Program, Saison Museum of Modern Art, Tokyo; Roppongi Art Night, Tokyo; and the Prince Takamado Gallery, Embassy of Canada, Tokyo. He is the representative and the curator of Field Trip Project/ Field Trip Project Asia, POWER TO THE PEOPLE, Fukushima NO ALICE, Multi Layered Surfaces, and DAICHI Projects. In 2018, he will have solo exhibitions at Xu Space, Chongqing, China; Yamagata Retro-kan (Formerly the Yamadera Hotel). This year Takeya will also participate in the Yamagata Biennale, Yamagata, Japan; Ubud Writers and Readers Festival, Bali, Indonesia; SIPAF (Solidarity in Peace Performance Art Festival), Manila, Philippines; ZERO PLATFORM: A FESTIVAL OF PERFORMANCE ART 2018 (Myanmar); Canon New Cosmos of Photography 2018 (Honorary Mention Award Winner), Tokyo Photographic Museum; and will direct the inaugural Responding: International Performance Art Festival and Meeting.

総合ディレクター / 武谷大介
武谷大介は、トロント−東京を拠点とする学際的なアーティストであり、時にキュレーター、コレクター、アート教育者、コミュニティ代弁者。現代社会の成り立ちと妥当性の検証を制作動機とし、その二元性について作品を制作。主な展覧会に、カナダ現代美術館(トロント)、国際交流基金トロント日本文化センター、スコティアバンクニュイブランシュ(トロント)、SVAギャラリー(ニューヨーク)、ワーグナー大学ギャラリー(ニューヨーク)、重慶長江現代美術館(中国)、福島ビエンナーレ、セゾンアートプログラム、六本木アートナイト、在日本カナダ大使館高円宮記念ギャラリーなど。また、彼は、遠足プロジェクト及びに遠足プロジェクトアジア、POWER TO THE PEOPLE、福島のアリス、Multi Layered Surfaces、大地プロジェクトの代表兼キュレーター。著書に『こどもの絵』(一莖書房、2005)。2018年には、Xu Space(中国)及びに山形レトロ館(旧山寺ホテル)にて個展開催、山形ビエンナーレ、Ubud Writers and Readers Festival(インドネシア)、SIPAF(フィリピン)、ZERO PLATFORM: A FESTIVAL OF PERFORMANCE ART 2018(ミャンマー)、キャノン写真新世紀2018展(東京都写真美術館:佳作)などに参加し、第一回 Responding:国際パフォーマンス・アート・フェスティバル及びにシンポジウムの総合ディレクターを務める。


Within post globalism international community, we can instantaneously connect with a wide variety of people all over the globe with the wide spread of social networks. As a result, diversity indispensable for social change and development should become more recognized. On the other hand, what is happening on the opposite side of the globe may no longer be “matters for others”. Information is overflowing and it is difficult to identify what is real in a singular form among what is expressed by words such as fake news and alternative truths. Responding: International Performance Art Festival and Meeting is a platform that enables practical trials and errors to explore the real. We belong to plural units indicating society called “community”. Beginning with family and friends, workplace, gender, hobby-oriented, and in large, language sphere, country, etc. Naturally ten different people have ten different positions and opinions. Our existence lies within multiple communities intermingled in complexity, and it often make us suffocate and feel difficult to get by. In that case, let us “Respond” to real of society freely with the sensibility of ten different strokes for ten different folks. Praxis of performance art as a means to do it. It is a new community itself, a new language that artists and audiences experience in the same sense of air on the site.

ポストグローバリズム国際社会において、我々は、ソーシャルネットワークの普及により世界中の多種多様な人たちと瞬時にして繋がることができる。結果、社会の変化や発展に不可欠な多様性が、より認められる時代になって欲しいと願う。一方で、地球の反対側で起きていることは、「他人事で済まされる」時代ではなくなったのかもしれない。情報は溢れかえり、フェイクニュースやオルタナティブトゥルースといった言葉で表されるように、何を以ってリアルなのか一元的に語るのが困難となっている。【Responding: International Performance Art Festival and Meeting】は、そのリアルを探り当てるような試行錯誤の実践を可能とするプラットフォームである。我々は、「コミュニティ」と呼ばれる、社会を示す単位に複数属している。家族や友人から始まり、職場、ジェンダー、趣味志向、大きくは、言語圏、国、など。立場や意見も十人十色である。我々の存在は、複雑に関係し合う複数のコミュニティの中にあり、それらのしがらみの中、生きづらさを感じることも少なくない。社会のリアルに対して、十人十色の感性で自由に「レスポンド(Responding)」してみる。その手段としてのパフォーマンスアートの実践。それは、アーティストと観客が同じ現場の空気感の中で体験する、新たなコミュニティであり、新言語である。

Deputy Director
Megumi Shimizu

Megumi Shimizu is interested in cultural anthropology in Asia (especially in differences and boundaries). Shimizu lived on Miyako Island in Okinawa, Japan from 1999 to 2000 and lived and studied in China from 2001 to 2016. She currently lives and works in Kanagawa, Japan. Shimizu completed her BA at the Kyoto College of Art and Design (Japanese painting), Japan and her Master’s studies at the Central Academy of Fine Arts (Folk Art, Photography) in Beijing, China. Shimizu has displayed her works at exhibitions internationally, including at museums in China, Mongolia, South Korea, and Thailand. She has also organized physical workshops at Shantou University Arts Institute in Guandong, China; and at the Goethe institute Beijing, China. Shimizu has recently had major exhibitions at the Mingsheng Museum, Shanghai, China, 2016; AQUA, Rome, Italy, 2017; Sanyuan Contemporary Art Museum, Tianjin, China,2016; Up-On International performance festival, China, 2017 ; and Land Art Mongolia 360, Mongolia, 2012 and 2018.

副ディレクター / 清水恵美
1971年大阪生まれ。主に行為のパフォーマンスとドローイングを行う。差異・境界性や東アジア美術、及びアジア圏の文化人類学に興味があり、中国絵画の身体性をパフォーマンスの軸にしている。京都造形芸術大学日本画、北京中央美術学院撮影科大学院卒業。中国・モンゴル・韓国・タイで作品を発表。汕頭大学芸術学院・ゲーテ・インスティトゥート北京でのワークショップ。16年間中国滞在後 2016年神奈川県に移住。「民間の力量」(2016 / 中国・北京民生美術館)、「AQUA2017」(ローマ)、グループ展(2016 / 天津・三元当代美術館)、 「Asian Panic!」(2012 / 韓国・光州市立美術館)、LandartMongolia360ビエンナーレ(2018, 2012 / モンゴル)、UP-ON 国際パフォーマンス・アート芸術祭 (2017、2012 / 中国・成都)、重慶長江国際影像ビエンナーレ(2015 / 中国・重慶)など。


Performance art is called ‘Xingwei Yishu’(action art) in Chinese. For I was in China for many years and started my practice of performance art there, I learned what performance art is from this Chinese word. Even a happening that occurs at a site where I create an artwork could become a part of the artwork. When you watch performance art, you can find a certain kind of human ability in it: an ability “to change something into a better one even if unexpected things happen.
Each artist has a different background and unique abilities. I want to show these things in this festival. This is the reason for my launching this international performance festival.


Director of Communications
Seiko Kitayama

Seiko Kitayama was born in 1982 in Nagano, Japan. She studied painting at Tokyo Zokei University and during her time as a student there she opened the artists initiative gallery. She started working with performance in 2008 and has participated in NIPAF (The Nippon International Performance Art Festival) and many other performance art festivals overseas. Borrowing from Claude Lévi-Strauss, Kitayama explores the idea of Bricolage as the core foundation of performance art, and produces performance works using simple materials. In her work, she attempts to interact with audiences by thinking about things which may appear between them. Her exhibited work has taken the form of filmed performance, installation, painting and live performance and has been shown at SIPAF (Solidarity in Peace Performance Art Festival), Manila, Philippines, 2017; Performance Art Resource Orchestra, Singapore, 2017; the 11th GUYU ACTION International Performance Art Festival, Xian, China, 2017; the Miami International Performance Festival, Miami, US, 2017; the Bakery Festival, Saitama, Japan, 2014-2016; Otera-Happun! Rainbow, Shiga, Japan, 2014-2015; EXTRA! Vol4, Mexico city, Mexico, 2013; iN-PAF 1 (International Interactive Performance Art Festival), New Taipei City, Taiwan, 2013; Poetry Action, Tokyo, Japan, 2012, 2014; NIPAF (Nippon International Performance Art Festival) 2009 – 2012, 2017, Tokyo, Japan; Contact, Taiwan, 2013; Tree of Life, Kawaguchi, Japan, 2009; among others.

コミュニケーション・ディレクター 北山聖子
1982年長野県生まれ。東京造形大学絵画科卒業。武蔵野美術大学通信課程油絵コース卒業。造形大学在学中に学生自主運営スペースnodeにて企画展や地域アートプロジェクトに携わる。2008年よりパフォーマンスアートを始め国内外のフェスティバルに参加。クロード・レヴィ=ストロースの「ブリコラージュ(器用仕事)」をパフォーマンスの根幹に据え、簡易なマテリアルと行為の間に意味を生成する。観客との呼応の中で、あなたとわたしの関係の中に生じるものを考える。他に映像、インスタレーション、絵画作品。主なフェスティバルに、SIPAF(2017、マニラ)、Performance Resources Orchestra(2017、シンガポール)、谷雨西安行為芸術祭(2017、西安)、長野映像実験室(2016.2017、長野)、(東京創造芸術祭、2015、東京)、パン屋会(2014-2016、埼玉)、長谷寺秋分祭(2011-15、長野)、おてらハプン!(2014-2015、滋賀、m-fat 企画)、Miami International Performance Art Festival(2014、マイアミ)、EXTRA! Vol4(2013、メキシコシティ)


A performance could cause a significant change in my self. Various experiences of this radical moment involved in a performance have changed me physically and mentally. This is the reason why I have conducted performance art and have been abroad to see various artists’ performances for the last ten years. No, indeed, I had another reason. It was my disappointment with Japanese society. The feelings that I had been deprived of my energy to live drove me to go outside of Japan.
I have met really wonderful artists both in Japan and in other countries for the last ten years. They knew why they do performance art and why they need to do it in their country. Each artist had problems in his/her own society. They made performance to resist and to get their freedom. They did actions again and again in their conflict. The strength of their works did not depend on their career but was found in their reasons and in their life, in their experiences and in their bodies. Art was alive in their crooked nose, the ear that could not catch sounds, and lines on their hands. They had something special in their body and spirit, and the moment in which it had come out thrilled me through my emotions.
Japanese people seem more jealous and tend to hate each other more fiercely than before. They monitor each other and do not know how to get freedom. I always get freedom through doing a performance but at the same time I am depressed in Japanese society. I really want to see a strong performance that fundamentally changes our bodies and spirits on this land, on the soil of Japanese society.
I want to stand with you in a strong wind blowing to us. I am weak, small and would be blown away without you. Only in performance art, I can find the ways in which I can stand with you.
Responding: International Performance Art Festival and Meetings is a new movement managed by artists who have different backgrounds and are active in various countries. Responding aims to be an organically moving body that may change its members from one event to another. At this moment, I do not know if it would go well or not in the future. It depends on how we can stand. In case I become disappointed at the activities of this organization, I would not hesitate resigning the position of director immediately.
Talking about myself, I am just an artist who has kept doing performance for ten years. The things I know and can show are only slight. I would like to create an environment in which people can study performance in Japan. I would like to set up a network of Japanese performance artists in order to share their investigations, records and studies of performance. This is my lifework and I keep this work even if I leave Responding.

Responding: International Performance Art Festival and Meeting は異なるバックグラウンドを持ち、異なる国で活動してきたアーティストたちによって新しく生まれたパフォーマンスアートの動きである。Respondingはその企画ごとに中心となるメンバーを変えながら有機的に動く運動体を目指す。だからこの動きが上手くいくのか、分からない。わたし達がどのように立てるか、にかかっているだろう。この団体の活動に失望したら、わたしは即時にこの団体から抜けるだろう。

Academic Adviser
Yoshiya Makita

Yoshiya Makita is a historian. His research is exploring transnational connections and network in the modern world. His current project focuses on the emergence of humanitarian network in the Asia Pacific in the early twentieth century. As the director of Network Trans-Section, he is now launching a new project on the contemporary politics of memory, history, and cultural heritage. He is also working as an assistant professor at the College of Policy Science, Ritsumeikan University in Osaka, Japan.

アカデミック・アドバイザー 牧田義也
歴史家。立命館大学政策科学部助教。一橋大学大学院社会学研究科博士後期課程単位取得退学、日本学術振興会特別研究員を経て、現職。 人・制度・思想の国境を越えたつながりに着目したグローバルヒストリーの視点から、人道支援と災害復興、 国際保健衛生事業の歴史を研究。近年は歴史遺産や文化財の調査を進め、歴史と記憶をめぐる現代社会の政治力学について考察。主要論文に「広域圏・国際連関・越境空間」『歴史評論』792号(2016年)

Responding: International Performance Art Festival and Meeting is a brand-new challenge of facilitating critical dialogue between art and society. Artists from various countries and regions will shed new light on social issues and problems by their own research, production, and performance at the festival, whereas scholars and specialists in related fields will discuss these issues and problems through a series of symposium sessions.
Responding is a “multidirectional” festival connecting various countries and regions and promoting interactive relations among these localities. With their unique insight and methods, participating artists will raise issues inherent in specific localities by demonstrating the possibilities of understanding these issues in ways different from dominant and ordinary manners in society. By constructing a new performance-art network connecting distant localities beyond borders, our new venture accelerates multilateral conversation among these places, peoples, and organizations and thus enables us to better understand social issues and problems from multiple perspectives.
Responding reconsiders the meaning of “the encounter with the other” through the practice of performance art. In an art festival, artists may usually remain “outsiders” to a local community in which the festival takes place. For local residents, artist is a stranger who comes to the locality at the time of the festival and will leave there at some point after the event. The fundamental foreignness of an artist to the community particularly stands out in the field of performance art, which highlights the body of an artist as an essential part of his/her work and consequently signals physical intrusion of an outsider to the public space quite conspicuously. Some of the local residents might deem the arrival of such “outsiders” to the community as a violent “invasion” of strangers into their everyday life. Yet, this act of intrusion belongs to primordial violence, which any encounter with the other inevitably entails. Distancing our venture from superficial pretension of harmony and coordination with local communities, Responding explores the new ways in which this primordial mode of violence would contribute, in one way or another, to extending our comprehension of social issues and problems and ultimately facilitate radical changes in both art and society.

Responding: International Performance Art Festival and Meetingは、パフォーマンス・アートを通じて社会的課題と向き合うことを目的とした、国際アート・フェスティバルです。国内外で活躍するパフォーマンス・アーティストを結集して、調査・制作・発表を行うことで、社会が直面する困難な課題に対して多角的な視点から新たな光を当てます。また、多様な分野の識者を招聘して関連シンポジウムを開催することで、当該課題に対する理解を深めていきます。

Director of Operations
Akuho Azuma

Akiho Azuma graduated from University of Tokyo (Sociology) and studied art management. In 2016, she started volunteering in “NIPAF”, an international performance art festival in Japan.

事務局長 東秋帆

Like any other field of art, performance art has its genre-specific expressive ability and interesting points. I felt it every time I saw a work of performance art. Although I believe in the possibilities of performance art in this way, I may not have as strong a feeling for this artistic genre as other executive members do. Yet, I’m strongly interested in this festival and symposium “Responding.” Particularly I’m interested in its core concept of “creating a relationship with society.” It is a big challenge to create a relationship between art and society. The words “relationship” and “society” are open to various interpretations. I do not expect too much. I do not expect such a big thing as “this festival can change society.” The idea that “art could be related to society” might be a delusion. In some cases, art might annoy people. Nevertheless, this festival offers a place where artists come in and express themselves. Just with a concept of “creating a relationship with society,” something different will happen. I want to make this festival real and see what will happen. This is the very reason for which I am doing what I should do as the director of operations.​

パフォーマンスアートは、他のあらゆる芸術と同様にそのジャンル固有の表現能力と面白さを持つ。これまで何回もパフォーマンスアートの作品を見るたびに感じていた。このようにパフォーマンスアートの可能性を信じているものの、自分は他の参加者ほどこの芸術ジャンルに対する強い思い入れは持っていないかもしれない。それでも今回立ち上がったフェスティバル & シンポジウム ”Responding”の企画内容には強く魅かれた。特に面白いと思う部分は、パフォーマンスアートを社会に関わらせるというコンセプトである。芸術が社会に関わるというのは難しいチャレンジだ。そもそも「社会」に「関わる」という個別のワードの意味自体が曖昧だ。レスポンディングというフェスティバルが開かれることで社会が変わる、など大きなことは思っていない。「芸術が社会と関わる」という言葉がとても図々しいことも分かっている。むしろ人に迷惑をかけるかもしれない。それでもアーティストたちがある場所に入っていって、表現をする。「社会と関わる」というテーマが掲げられているだけで、そこではいつもと違うことが起こるはずだ。このフェスティバルをちゃんと現実のものとしたい、そしてそこで起こることを見てみたい。そのために事務局長として自分のやるべきことをしたいと思う。

Osamu Adachi

Osamu Adachi studied apparel design at Bunka Fashion College and went on to study painting and workshop facilitation at Musashino Art University. Many of his works and ideas are based on his childhood experiences as a TCK (Third Culture Kid).

“My works and performances are the result of doubting or revealing what is taken for granted in our culture and society. I do this not to accuse or divide, but to invoke contemplation, empathy and connection.” (Osamu Adachi)



Fumika Kimura

Ayaka Kimura was born in Fukushima, Japan in 1997 and is currently studying at Tokyo University of the Arts. Kimura’s work tackles the relationship between catastrophe and the human through animism. Kimura participated in the international performance art festival “NIPAF”(Tokyo, Osaka ,Nagano) in 2017 and 2018, and her short film Mattaki-Sekai was screened in Tokyo in 2018. She will also participate in an art project in Tokyo’s entertainment district this year. Kimura organized the pre-event of Responding International performance Festival and Meeting.


木村文香 1997年生まれ福島県出身 現代アーティスト 東京藝術大学美術学部油画在籍 アニミズムを通して災害や破壊と人間の関わりをテーマに作品を作る。 絵画やインスタレーション、映像、パフォーマンス、ファッションなど様々な媒体で表現する。 2016年より東京都内で展示を複数企画及び参加。 NIPAF International (2017 、東京、大阪、長野)、NIPAF Asia(2017、東京 、大阪) NIPAF International (2018、東京) など国際パフォーマンスフェスティバルに参加。 自身の映画作品である「全き世界」の上映を行う(2018、銀座) Responding International performance art festival プレイベント企画(2018、上野) 上野仲町通り公民館プロジェクト参加(2018、上野)

Jin Tong

Jing Tong was born in Hebei, China, in 1991. She has been painting for nearly ten years and has been studying art for nine years. Her art works cover various fields including photography, performance, and illustration. Tong began working with performance art by drawing inspiration from a range of sources including Japanese modern theatre, arthouse films, and opera. However, her performance is not a simple variation of a modern theatrical performance; rather, it is an exploration of the connections between things and people in space. In her words, “‘I live in the present space. I choose the space where I am and choose the things that surround me. I change the space and the space also affects me and changes me. My performance explores the feelings and relationships between myself, the space, and others.”

Her recent solo and group exhibitions include, ‘Proof of the existence’, No.20 Nipaf Asia performance art exhibition, Arts3331, Tokyo, Japan, 2017; ‘Atlas’, Tokyo University of the Arts, _Toride, Ibaraki, Japan, 2017; ‘Sex·Relation·etcetera’, Uptown gallery, Koenji, Tokyo, Japan, 2017;

‘10 Million’s of the wave, Wordless poems’, BULLET’S, Nishiazabu, Tokyo, Japan, 2018; and the 2018 GUYU Auction International Performance Art Festival, Shanghai, China, 2018.

靳彤 キン・トウ


2017/4「Light U」/ 東京芸術大学美術研究科先端芸術表現専攻 M1 Introduction Exhibition) 2017/8第20回ニパフアジアパーフォマンスアート連続展 「根本は路地、根本はアジア」出演作品 「存在する証明」/ アーツ千代田 3331)
2017/12二人展 「セックス・関係・など」 / UP TOWN 高円寺ギャラリー
2018/1東京六本木BULLET’S 「we meet again」出演-千万度の波、無字の詩。「私は波。」2018/2/23六本木BULLET’S 「燃える波」
2018/3第23回日本パフォーマンス国際展(NIPAF)「壊れた言葉ー間接に日常を触る」 2018/4/22 「自殺のすすめ」渋谷super beat
2018/4/23-5/3「繋ぐ」「言葉」「波-ナミダ」「部分見えないもの」「触ると話付き」/ 谷雨国際パフォーマンス フェスティバル/西安​

Riko Takahashi

Riko Takahashi was born in 1995. She majored Oil Painting at Tama Art University, and is currently enrolling on a Master’s course in the Intermedia art department at Tokyo University of the Arts. Takahashi has made performance art her main artistic activity since 2015. In her performance work, she primarily makes site specific works which involve actions that have a minimal impact on the site. By reading the compositions and the arrangement of existing objects at a site, she physically draws out actions corresponding to the existing conditions of the site in order to reexamine how we fundamentally perceive space. Her approach is based on a desire to transform by surrendering herself to the materials and the space. International festivals she has participated in include NIPAF (Nippon International Performance Art Festival) , Japan; IN: ACT, Vietnam; SIPAF 2017 (Solidarity in Peace Performance Art Festival), Philippines;, and Above the Clouds, China; and Performance Art Resource Orchestrator, Singapore.


1995年⽣まれの髙橋莉⼦は、多摩美術⼤学油画専攻を卒業後、現在東京藝術⼤学先端芸術表現専攻修⼠課程に在籍。2015年以降、パフォーマンスを⾃⾝の主要な芸術⾏為としておこなっている。パフォーマンスにおいて、髙橋は主に現場に沿った、サイトスペシフィックだが汎⽤性の⾼い、かつ最低限度のアクションをとる。場に現象が存在するための構成・順序を読み解くことで、それらの状況に対応した⾏為を導き出し、実⾏、そして空間の根本的な認識のあり様を再考する。また、彼⼥の試みは変⾝願望に基づいた、物質や空間へ属しようとする⾏為でもある。過去に参加した国際フェスティバルとして、2017年に「NIPAF(⽇本)」・ 「IN: ACT(ベトナム)」・ 「SIPAF(フィリピン)」、 2018年には「在云上(中国)」・「Performance Art Resource Orchestrator(シンガポール)」などがある。