Cluster

dokyu: Intersections of History, Creative Writing, and Arts Practice / Aki Sasamoto

By Aki Sasamoto

These materials are part of the dossier Dokyu: Intersections of History, Creative Writing, and Arts Practice, published in ASAP/Journal volume 8, number 3, January 2024. Spanning multiple locations of research including Singapore, the Philippines, Japan, Hong Kong, the U.S., and Switzerland, Dokyu’s participants draw from varied fields such as documentary poetics, environmental and community-based art and history practices, performance art, and painting, among others, in order to expand the ways in which we approach, understand, and interact with historical documents. Ultimately, Dokyu aims to establish an experimental space that fosters interdisciplinary dialogue, transforms artistic and scholarly methodology, and informs the ways the interdisciplinary in the humanities is both practiced and taught. 

Contents: 

  1. Chan Yi Qian (artist & writer)
  2. Martin Dusinberre (historian)
  3. James Jack (artist)
  4. Hilmi Johandi (artist)
  5. Collier Nogues (writer)
  6. Siddharta Perez (curator)
  7. Aki Sasamoto (artist)
  8. Lawrence Lacambra Ypil (writer)

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Interview with Aki Sasamoto for the 59th International Art Exhibition ‘The Milk of Dreams’ (Biennale Arte 2022, Venice, 23 April – 27 November 2022)

In this interview, Aki Sasamoto discusses her installation “Sink or Float.” 

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  • Aki Sasamoto

    Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever more medium that takes to get her ideas across. Her works have been shown both in performing art and visual art venues in New York and abroad. Besides her own works, she has collaborated with musicians, choreographers, scientists and scholars, and she plays multiple roles of dancer, sculptor, or director. Sasamoto's performance/installation works revolve around gestures on nothing and everything. Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies. The constructed stories seem personal at first, yet oddly open to variant degrees of access, relation, and reflection.