YOKO SEYAMA / Art & Scenography

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The Silence of Insects (2015) Installation, Scenography/ The mobile with 96 paper folded cicadas

Material : Japanese washi paper (Kozo), glue, water base paint, alminium, thread
Dimention : 6 m x 17m x H 18 m (variable)
Exhibition : Rose Hotel Bangkok, Thailand 12 - 17 November 2015

This installation 'The Silence of Insects' was shown for 'Unfording Kafka Festival' which was held Nov-Dec 2015 in Bangkok, Thailand.
The 96 origami paper cicadas are hanging by the mobiles from high top of the 18 meter down almost to the floor.
Each cicada is made from the sqare 110x110cm Japanese washi (kozo-shi) paper, with 150-200 folds. They are all glowing in the darkness represented as the moment of their transformation 'metamorphosis'.
Cicadas are insects living in warm climates, known for their transparent wings and high pitched buzzing (However paper cicadas do not make any noice). Cicadas grow up underground for years as nymphs for the main part of their lives. One summer day, the nymphs come out from the soil and climb to a branch to perform its 'metamorphosis'. They molt and emerge as adults with wet transparent wings. It’s wrinkles stretch and wait for the first fly.

The festival director, choreographer Jitti Chompee choreographed his performance, an imaginative world of Franz Kafka referred from the letter to his father with the scenary of the cicada installations.

Origami is the traditional Japanese art of paper folding, The goal of this art is to transform flat sheet of paper into Kafka’s creature, becoming a huge installation, through folding and sculpting techniques, and to pay much attention to “space” where Kafka’s protagonist’s body is able to move.
Unfolding Kafka’s metamorphosis will pose the question of how choreography, physical movement, Origami installation and visual art interact and which processes facilitate a translation from one to the other. Conceived as a performance installation, this new work focuses on the interaction between space and the human body, choreography and dance, sound and visuals, interaction and participation. The audience becomes a part of the work.
One of the many ways of interpreting The Metamorphosis is to see it as being about a person who puts forward flimsy little legs and a useless mouth as the signs of a total incapacity to bear the burden placed upon him. He literally puts up a protective shell around himself as an expression of his refusal to take responsibility any more. In this state he finds some sort of hope for peace. But the marvel of The Metamorphosis is that it has as many meanings as it has viewers.

Exhibition : 12 – 17 November 2015
Live performance : 14, 15, 16 November 2015
Venue : The Rose hotel Bangkok, Thailand

Installation and scenography : Yoko Seyama
Choreographer : Jitti Chompee
Performers : Pattarasuda Anuman Rajadhon, Sun Tawalwongsri and Klittin Kiatmetha
Lighting design : Jirach Eaimsa-ard

Origami design by: Periodical Cicada and Flying Cicada by Robert J. Lang, Cicada by Hisao Fukui
Origami folded by : Yoko Seyama, Benjamin Tadif and Thai-Niche Institute of Technology Origami Club
(Ekkasit Khemnguad,Pattanan Kusalasai, Rattana Assavakongprateep,Tanatip kositpipatt,Phakram Srithong)
Art assistants : Krittathat Taveetanathada, Parichat Tanapiwattanakul, Piroonmas Kajorndechakul, Chomphupak Poonpol, Sakulrat Sattaratanakpl

Japanese paper sponcer : Awagami Factory
Co - organization : Japan Foundation Bangkok and 18 Monkyes Dance Theater
(Festival organized by Goethe Institute Thailand, http://www.unfoldingkafkafestival.com/)


Origami pattern designed by Robert J. Lang (Flying Cicada)


Performance directed by Jitti Chompee

photo:Tree P Chowvanayatin

Brief an den Vater by Franz Kafka, NOV 1919

Text 1
Mostly when you suffered in silence, your affection and kindliness in their own strength overcame all obstacle, you moved me immediately. Rare as it was, it was wonderful. For instance, in earlier years, when you were tired after lunch, I saw you having a nap in your office with your elbows on the desk. Or when you visited us on summer holidays, on Sunday's worn out from work. Or when mother was gravely ill and you stood holding on to the bookcase, shaking with sobs. Or during my last illness, I saw you tiptoeing to Ottla's room to see me, stopping in the doorway, craning your neck to see me, and out of consideration only waved to me with your hands. At such times, one would lie down and weep of happiness. And one weeps again now, writing this down.
Text 2
“... it is, after all, not necessary to fly right into the middle of the sun, but it is necessary to crawl to a clean little spot on Earth where the sun sometimes shines and one can warm oneself a little.”
“My writing was all about you; all I did there, after all, was to bemoan what I could not bemoan upon your breast.”
“there is nothing bad to fear; once you have crossed that threshold, all is well. Another world, and you do not have to speak”
Text 3
This whole rejoinder - which can partly be turned against you - does not come from you, but from me. Not even your mistrust of others is as great as my self-mistrust, which you have bred in me. I do not deny a certain justification of this rejoinder. It contributes new materials to the characterization of our relationships. But naturally, things cannot in reality fit together the way the evidence does in my letter. Life is more than a Chinese puzzle. However, with the correction made by this rejoinder - the correction I neither can, nor will elaborate in details - in my opinion, something has been achieved. It so closely approximates the truth that it might reassure us both a little. And make our living, and our dying easier.


photo:Tree P Chowvanayatin

Origami pattern by Hisao Fukui (cicada)



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