NaoKo TakaHashi’s (b. 1973, lives and works in London)performative work questions social interactions through either the physical or suggested presence of the artist. The frequent use of text in her installation, performance, and video art examines the act of writing and interrogates notions of representation. The work complicates categorically fixed identities, engaging with dislocation and multiplicity. TakaHashi was an artist-in-residence at the 7th Sharjah Biennial and has performed and exhibited at venues including the Al Ma’mal Foundation for Contemporary Art (Jerusalem) and Whitechapel Gallery (London). Her chapbook Not So Too Much of Much of Everything was published by Book Works (London).
NaoKo TakaHashi creates site-sensitive work in Marrakech; part one of three is presented here as a sound installation. By looking into Gnawa music – the history, the musicians, the locations in which the music has developed and its place in society - her process-based work provokes questions about identity, ownership and globalization through social reflection. In "Entry," TakaHashi transforms the verbal documentation of narration into poetic and rhythmic language, which she deliberately does not translate into languages commonly spoken in Morocco in order to emphasize the notion of alienation. The piece finishes with music that was created by adding some elements onto a simple bass line of Gnawa music, taken (stolen, with permission) during her time in Marrakech.
Listen to "Oh Boy, Where are the Seven Colours? Part One: Entry" on R22 Art Radio
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