- SUPER OPEN STUDIO 2019 実行委員会（Super Open Studio NETWORK・アートラボはしもと）
- 公益財団法人 朝日新聞文化財団
- 東京造形大学校友会・多摩美術大学校友会・株式会社studio ban
I started participating in SUPER OPEN STUDIO (S.O.S.) last year.
There are still many areas that are unknown to me.
There are also some people I have never met before.
Even when I talk to other participating artists, their opinions and how they support S.O.S. are different from one another.
If this organization had been under one single ism or manifesto, it would have been difficult to continue this annual event for 7 years, which includes more than 100 people.
Although this imbalance creates confusion, which may be the reason why some cannot get their heads around what S.O.S. is trying to do, it is something I cannot let go of.
You can come join the group whenever you want, and you can also leave whenever you want.
There is always ceaseless fluidity with well-ventilated air, and I would like to observe how new networks will emerge out of the fluidity.
Emi Mizukami / Red Iron Studio
I go to my studio after I’m done with my work.
Especially when it’s crunch time I don’t know how to complete my work, or I add unnecessary things to it, and I end up going to work while I’m sleep deprived.
I had never thought that working while making art would be such a difficult task until I graduated from my university.
It was around this time when I rented my studio.
While observing artists who were much older than me at the time, I vaguely thought of myself 10 years from then.
4 years later, my studio has become a space not only for making art but also for igniting my creativity.
There are so many artists of different generations and stances in Sagamihara, and they have been loosely connected to each other for some time through the fact that they make art in their studios.
Lately, artists of my generation started to join those studios and I have more opportunities to talk to them.
I think there are things we can see and do since we are of the same generation.
For the first step, I would like to get them involved in this. What I want to do is about my consciousness and I want to be able to take actions by receiving its minuscule changes, however subtle it is going to be.
Yukiko Oyama / REV
These studios scattered around this area are personal spaces for artmaking, and their visitors are usually their friends and acquaintances.
You can consider them as rooms in someone’s house.
While some studios see changes in their numbers of people, some cease to exist and some are about to emerge.
A studio has its own metabolism; an artist makes his or her piece, transfers it to another location or stores it somewhere else, and starts making another piece.
This sort of metabolism is not only limited to studios, but also apparent in companies, schools, families, and cities and countries at large.
A personal space has never been homogeneous nor stable, and its contour line never stops shifting among the metabolizing group.
If a personal space is undefined, the contour line of the group that consists of multiple personal spaces is also undefined.
The same may be true not only of the physicality of everyday life but also of isms and opinions of each individual.
All sorts of relationships emerge due to the contour lines of those spaces being undefined, and among those relationships cooperation and hostility also emerge.
Since there is cooperation, individual behaviors attain more freedom and their opinions get emphasized.
On the other hand, hostility creates differentiation and placement.
I would like to treat this vague, vast network alternatively in relation to various phenomena that occur both inside and outside the network.
Hiroshi Nirei / Aihara Studio