Kosai Hori, MEMORY-PRACTICE (Reading-Affair), 1977 Open reel tape recorder, Open reel tape, Microphone, Speaker ©Kosai Hori Unidentified photographer
Kosai Hori, MEMORY-PRACTICE (Reading-Affair), 1977/2018 Open reel tape recorder, Open reel tape, Microphone, Speaker ©Kosai Hori Photograph｜Ryo Fujishima
Kosai Hori’s Memory-Practice (Reading-Affair) comprises two performers and two open reel decks. The performers sit on chairs side by side on a stage. A microphone is placed on a desk in front of them. The open reel decks are placed at the front left and front right of the desk. A tape is winded on the left reel of the deck that is connected to the microphone and placed on the left side from the viewpoint of the audience. The tape extends from the reel to the opposite deck through the magnetic head, runs through the magnetic head of the right deck, and is winded on the right reel of the deck. If the recording button of the left deck and the replay button of the right are pressed simultaneously, sounds that are picked up by the microphone are recorded by the left deck and replayed by the right a little later.
Two performers hold newspapers on that day, and start reading them aloud character by character. Their articulated voices are replayed a little later. Since the microphone picks up the sounds, their voices become layered as their performance goes on. However, not only do their voices become layered but also the open reel decks gradually generate howling. The sound grows to invade the voices and slowly becomes loud to such an extent that it swallows them. When their performance runs to a certain length, the thickness of the layers of their voices and the howling reach their limit and a certain condition continues.
From Tomotaro Kaneko, “Wavy boundaries: Kosai Hori, Memory-Practice (Reading-Affair)“
MEMORY-PRACTICE (Reading-Affair) Technical rider (By Chiho Oka)
Japanese Art Sound Archive: Kosai Hori, MEMORY-PRACTICE (Reading-Affair), 1977
January 7th, 2018 SCOOL
Performance
Kosai Hori, MEMORY-PRACTICE (Reading-Affair), 1977 / 2018 Performers｜Manami Seki / Shogo Baba
Kosai Hori + Erize Hori, Who am I?: Reading-Affair 2018, 2018 Performers｜Kosai Hori / Erize Hori
Kosai Hori, MEMORY-PRACTICE (Reading-Affair), 1977 / 2018 Performers｜Manami Seki / Shogo Baba
Kosai Hori + Erize Hori, Who am I?: Reading-Affair 2018, 2018 Performers｜Kosai Hori / Erize Hori
Text, Talk｜Kosai Hori / Minoru Hatanaka / Tomotaro Kaneko
Technical Assistant｜Shohei Amimori / Hideki Umezawa / Chiho Oka
Sound Recording｜Makoto Oshiro
Photograph｜Ryo Fujishima
Video｜Ryohei Tomita
Leaflet Design｜Tadao Kawamura
Technical Assistant｜Shohei Amimori / Hideki Umezawa / Chiho Oka
Sound Recording｜Makoto Oshiro
Photograph｜Ryo Fujishima
Video｜Ryohei Tomita
Leaflet Design｜Tadao Kawamura
Leaflet
Kosai Hori, “Reading-Affair: Notes on the origin”, 2018
Tomotaro Kaneko, “Wavy boundaries: Kosai Hori, Memory-Practice (Reading-Affair)“, 2018
Minoru Hatanaka, “An Essay on Japanese Art Sound Archive: Review of “Tsukurukoto (Making)” with technologies seen in Kosai Hori’s Performance”, 2018
“Kosai Hori’s works around Memory-Practice (Reading-Affair) (-1977)”, 2018
Kosai Hori, “Reading-Affair: Notes on the origin”, 2018
Tomotaro Kaneko, “Wavy boundaries: Kosai Hori, Memory-Practice (Reading-Affair)“, 2018
Minoru Hatanaka, “An Essay on Japanese Art Sound Archive: Review of “Tsukurukoto (Making)” with technologies seen in Kosai Hori’s Performance”, 2018
“Kosai Hori’s works around Memory-Practice (Reading-Affair) (-1977)”, 2018
Kosai Hori Biography
1947 Born in Takaoka, Toyama
1969 Organized ‘Bikyoto’, Council of Artists for a United Front
1970 Left Tama Art University
2002-15 Appointed a professor at Tama Art University
1969 Organized ‘Bikyoto’, Council of Artists for a United Front
1970 Left Tama Art University
2002-15 Appointed a professor at Tama Art University
Selected Solo Exhibitions
1971 The first solo exhibition at Space Love Hair, Tokyo
In the ‘70s, Tamura Gallery, Maki Gallery, etc., and since the ’80s, Gallery Yamaguchi, Muramatsu Gallery, Gallery Ueda and many others
1984 Galerie Nane Stern, Paris, France (’91)
1991 “Recent Works of Kosai Hori”, The National Museum of Art, Osaka
“Meguro Meigaza”, Meguro Museum of Art, Tokyo
1996 Takaoka City Museum of Art, Toyama (’04)
2000 Kuma Museum of Art, Ehime
2008 Gallery A Story, Seoul / Busan, South Korea
2010 Space Hongjie, Seoul, South Korea Gallery 604, Busan, South Korea
2011 “Naked Place”, Mizuma Art Gallery, Tokyo
2014 “Naked Place: Kosai Hori”, Tama Art University Museum, Tokyo
2015 “The Garden of the Fall and Rebirth”, Mizuma Art Gallery, Tokyo
“The Garden of the Fall and Rebirth”, 3331 Arts Chiyoda, Tokyo
2016 “HORI Kosai”, Gallery 604, Busan, South Korea
Selected Group Exhibitions
1967 “Self-Burial Ceremony”, On the Ginza street, Tokyo
1969 “The 9th Contemporary Art Exhibition of Japan”, Tokyo Metropolitan Art Museum, Tokyo, traveled to Kyoto Municipal Museum of Art, Kyoto
1975 “The 10th Japan Art Festival”, The Ueno Royal Museum, Tokyo, traveled to Australia and New Zealand
1977 “10e Biennale de Paris”, Musée d’art moderne de la Ville de Paris, France
1980 “The 1st Hara Annual: Perspective for ’80”, Hara Museum of Art, Tokyo
1984 “41st Venice Biennale”, Venice, Italy
1989 “Europaria Japan 89”, Museum of Fine Arts, Ghent, Ghent, Belgium
1992 “Avanguardie Giapponese degli Anmi 70”, Galleia Comunale d’arte Moderna di Bologna, Bologna, Italy
1995 “Japan Today”, Louisiana Museum of Modern Art, Denmark. traveled to Norway, Finland and Sweden
1997 “Point of Contact – South Korean, Chinese, and Japanese Contemporary Art Exhibition”, Daegu Culture and Art Hall, Daegu, South Korea
1998 “Busan International Contemporary Art Festival”, Busan Museum of Art, Busan, South Korea
1999 “Global Conceptualism”, Queens Museum of Art, New York, U.S.A.
2001 “Century City”, Tate Modern, London, U.K.
2002 “Attitude”, Kumamoto Museum of Contemporary Art, Kumamoto
2003 “The Echigo-Tsumari Art Triennale 2003”, Niigata
2004 “Intercross of 4 Critics”, Tama Fine Arts University Museum, Tokyo
2006 “The Echigo-Tsumari Art Triennale 2006”, Niigata
2010 “Contemporary Art of China and Japan”, Busan Museum of Art, Busan, South Korea
2011 “Elpis-Sky of Hope”, Tokyo Designers Week 2011, Tokyo
2012 “Aizu Urushi Art Festival”, Fukushima
“Minimal | Post Minimal – The Contemporary Japanese Art from 1970s”, Utsunomiya Museum of Art, Tochigi
2016 “Busan Biennale”, Busan, South Korea
“Water”, Kuragaike Art Salon, Aichi
2017 “A Trip through the Tokyo Station Gallery Collection: from Railway Art to Picasso” Tokyo Station Gallery, Tokyo
“Collection Exhibition”, Kurobe City Museum, Toyama
2018 “A View of Prints: The Trajectory of the Gendai Hanga Center”, The Museum of Modern Art, Saitama, Saitama
Erize Hori Biography
1948 Born in Shibukawa City, Gunma Prefecture
1970 Left Tama Art University
1970 Study at B Seminar School
1971 Study at Jiro Takamatsu’s “private school”
1973 Solo exhibition, Nirenoki Gallery, Tokyo
“Kyoto Independent”, Kyoto Municipal Museum of Art, Kyoto
1973-74 “Tautology”, performance and installation by a unit with Kayoko Ueda (8 times)
In the above exhibitions, worked in the name of Erize Watanabe.
1975-77 Worked as a collaborator and performer of the performance of Kosai Hori, and perticipated in Biennale de Paris 1977 etc.
Kosai Hori + Erize Hori
Presented performance, moving image, and site-specific works as “Unit 00” (Kosai Hori, Erize Hori, and Minoru Hatanaka) from 1998 (in “Attitude” (Kumamoto Museum of Contemporary Art, 2002), “The Echigo-Tsumari Art Triennale” (2003, 2006), Utsunomiya Museum of Art, Hiroshima City Museum of Contemporary Art, and Tama Art University Museum etc.). After the great earthquake disaster in 2011 until the present, working as a unit “Kosai Hori + Erize Hori” (“Busan Biennale”, 2016, etc.).
Japanese Art Sound Archive 