RRR OFFICE Sub-rent Program #7: Grafis Huru Hara

Group exhibition “Knot | Kawaii Witches” presents a collective installation as part of the RRR sub-rent program. Emerging from their ongoing practice that began with “Whispers of the Kawaii Witches,” the collective shifts from performance to spatial presence, exploring the intersections of material, emotion, and technology. “Knot | Kawaii Witches” is a process-oriented collaborative project bringing together artists from South Korea, Austria, and China, working across installation, sound, fabric, and digital imagery to examine how care, resistance, and healing intertwine through the shared metaphor of the knot. #gallery-2 { margin: auto; } #gallery-2 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-2 img { border: 2px solid #cfcfcf; } #gallery-2 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */ Reference image:Bian Ka Reference image:Hyejeong Yun Reference image: JOHANNA RIEDL Artists Bian Ka Born in 1998, based in Tokyo. Supported by Otsuka Pharmaceutical and Tobe Maki Foundation. Earned an MFA in Fine Arts from Joshibi University of Art and Design Graduate School in 2024. Attended Tokyo University of the Arts, Faculty of Fine Arts, as a research student from 2022 to 2023. Having lived in multiple countries since childhood, BIAN KA’s practice focuses on the theme of “boundaries.” Since moving to Japan in 2020, she has worked primarily in installation and mixed-media, exploring contemporary issues related to technology and ethics, the boundaries between reality and virtuality, and the nature of subjectivity. Through experimental use of materials such as metal, glass, and AI, she investigates the interactions between humans, the environment, and the digital realm. Linktree Instagram: @bianka78770   Hyejeong Yun Yun is an artist based in Berlin. Her work explores societal dynamics within hegemonic power structures through personal narratives. She analyzes social structures, creates allegorical connections, and deconstructs colonial myths through moving images, installations, and performances. Yun‘s practice engages her body, voice, language, and poetry to map political landscapes, focusing on intersectional identities, decolonization, and the collective memories of migration.She is the founder of Heisse Maroni and a member of the Asian Feminist Studio for Art and Research (AFSAR). https://yunhye.de/ Instagram: @hyejeongyun_   Johanna Riedl Riedl is a media artist who engages with video, sound, and sculpture. By means of performative interactions, the work broadens the scope of technology in society, redefining its role and presence. This approach gives rise to generate opportunities at the intersection of nature and technology. Johanna fosters an atmosphere of contemplation, emphasizing a critical perspective on research and creation, shifting the focus away from solely calculated strategies. Audiences are encouraged to explore the coexistence of technology through rituals, while sculptures themselves take on a social role, becoming integral components of a collective consciousness. https://jhnsi.com/ Instagram: @jhnsi____   Curator Li Jingwen (SEIBUN) Li is an independent curator based in Japan. With a background in sculpture and media theory, she explores the relationship between technology, spatiality, and the body through curatorial practices. Her work focuses on alternative communities and the young generation, engaging in projects that bridge emotional immediacy and contemporary relevance. She is the founder of the artist residency “D-O-U Narimasu” and has been involved in initiatives such as Upload AIR, The Colossus, and the collective Datsuijo. https://lijingwen.icu/ Instagram: @celiamo_

RRR OFFICE approaches gathering as both methodology and theory: an open practice that uses presence, conversation, and shared time as tools for collective making. Each encounter contributes to the formation of the work, slowly transforming Ebihara Shoten into a site of exchange and resonance. It runs its own program, but also opens to others through a sub-rent approach.   The week’s participant in the sub-rent program is Lily Onga. Starting from Ebihara Shoten, a century-old former clothing store, Lily Onga wanders around Kanda’s Yanagihara street to record memories of people’s activities in old and new shops, shrines, kindergarten, and dwellings by observing, interviewing and recording by filling in the paper forms found in the very own place with drawings. It is not quite scientifically accurate as photographs, but it is pretty accurate as human’s memories. From 14 (Fri) to 16 (Sun) November the artist will be staying on-site to create new works. Previously created pieces will also be on display, so please feel free to stop by!   Artist Lily Onga Born in 1997 in Bangkok and now based in Tokyo, Lily began her career in book design before expanding into illustration and animation. Using colored pencils, clay, wood, receipts, boxes, eggshells, and found objects, she collects materials like a crow drawn to shine—turning everyday fragments into imaginative worlds. Her work blends comic-like expressions, receipt graphics, and playful design twists, revealing an artist endlessly fascinated by the beauty and absurdity of daily life. http://lilyonga.com/ Instagram: @Lilyonga

RRR OFFICE approaches gathering as both methodology and theory: an open practice that uses presence, conversation, and shared time as tools for collective making. Each encounter contributes to the formation of the work, slowly transforming Ebihara Shoten into a site of exchange and resonance. It runs its own program, but also opens to others through a sub-rent approach. The week’s the sub-rent program is the workshop by Helen Eriksen. This workshop brings together two groups of participants—arts faculty students and students of Japanese language—across three convivial sessions shaped by dialogue and exchange. At its core lies a guiding question: How does a collective identity align with the needs and wishes of individual identity? In this workshop, participants explore national and individual identities through collage and assemblage. By bringing their own skills, methods, and cultural knowledge, participants contribute to creating a shared, collaborative space. By combining perspectives from artistic practice with those rooted in Japanese language and culture, the project opens space for dynamic and unexpected visual dialogues around belonging, national narratives, and the shaping of personal experience. Schedule(tentative) 11:00-13:00　Introduction 14:00-17:00   Collage and Assemblage   Artist Helen Eriksen Artist and educator living and working in Oslo. She was born in and raised in the UK. She is a co-founder of Tenthaus art collective and currently an associate professor in arts and crafts at Oslo Metropolitan University. She works in the intersection of art, pedagogy, and research to explore the potential of that space and to investigate transdisciplinary modes of knowledge production.

RRR OFFICE approaches gathering as both methodology and theory: an open practice that uses presence, conversation, and shared time as tools for collective making. Each encounter contributes to the formation of the work, slowly transforming Ebihara Shoten into a site of exchange and resonance. It runs its own program, but also opens to others through a sub-rent approach. The week’s participant in the sub-rent program is Collective Collective. Collective Collective is a project between eight visual arts collectives with majority-racialized members in Tkaronto (Toronto, Canada) as a response to the systemic racism and exploitative labour conditions in the arts, as well as the interrelated lack of sustainability within the sector. In Tokyo, they will be hosting two events that center the practice of gathering together. == Guidance Council Date: Saturday, November 8, 14:00–16:30 Please RSVP here. Guidance Council is  a casual gathering that invites artists and collectives to eat together, share stories, exchange experiences, and offer advice to one another. Through informal conversation and mutual support, Guidance Council reimagines forms of professional networking, workplace gossip, and leadership training — centering friendship, shared learning, and collective care. Guidance Council is usually hosted in Tkaronto (Toronto, Canada) by and for ethnic-minority artists to disrupt how systemic racism prevails in the power dynamics of the local art sector. *This event will be conducted in English only. *Guidance Council is organized by Peter Rahul and Alexandra Hong as part of Collective Collective. == Destiny’s Childcare Date: Sunday, November 9, 14:00–16:30 Please RSVP here. Artist-parents and their children are invited to participate in a collaborative flower arrangement activity and a discussion on the interrelated aspects of caregiving and artmaking. No floristry experience required. Materials provided and you’ll get to take home your floral arrangement. This program is part of Destiny’s Childcare – a project that responds to the lack of structural support for artist-parents and challenges the norm that artists disappear from the art world after becoming parents. It affirms that children are integral to everyday life, and that intergenerational care is a shared social responsibility.   *Please note we will be using fresh flowers. *Destiny’s Childcare is a project between art collectives Younger than Beyoncé and Gendai, as part of Collective Collective.

RRR OFFICE approaches gathering as both methodology and theory: an open practice that uses presence, conversation, and shared time as tools for collective making. Each encounter contributes to the formation of the work, slowly transforming Ebihara Shoten into a site of exchange and resonance. It runs its own program, but also opens to others through a sub-rent approach. Sub-rent means the space can be usedindependently by artists or local communities, creating open-ended forms of participation. Sub-rent allows others to use the space freely, while respecting house rules and collaboration agreements. Through this, we want to explore: RADMIN, gathering, and translocal methods. How social and community projects can grow in Tokyo. How trust and collaboration can help create space. Making use of spaces that are often overlooked.   The first participant in the sub-rent program is Slekke Wørld. On Sunday November 2nd at Ebihara Shoten, Slekke Wørld presents an audiovisual installation which is part of their ongoing project Water Based. Since 2022, they are researching the significance and role of ephemeral graffiti in different urban locations around the world. Water Based is a process-oriented experimental project synthesizing field recording, site-specific interventions, participatory post-graffiti and video.   Artist Slekke Wørld Slekke Wørld was born in Belgium and lives in Oslo, Norway. Their work includes art, curation, and cross-disciplinary collaboration. They synthesize tools and rituals from gardening and graffiti through a variety of media such as performance, installation, and site-specific interventions. Carving out space to make tangible things which transcend societal labels and constraints, connecting with processes of deep change and transitions in life. They investigate self-organized dissemination via small-press and video and alternative exhibiting approaches such as off-site and online. Slekke is a member of the Tenthaus collective since 2019, and a member of the GRAA collective since 2022. Since 2018 they annually perform a participatory spring ritual with Bart Van Dijck. https://slekke.com/

Members of the Norway-based Tenthaus Art Collective, Shahrzad Malekian and Ida Uvaas, will present their new performance Kizuna in October 2025. Kizuna is a site-responsive work developed in and around Kanda’s Ebihara Shoten. Shaped through movement and embodied research, it leaves traces in the form of shared rhythms, presence, attentiveness, and moving images. The performance is part of Malekian and Uvaas’ long-term collaboration STIM—a living, context-specific choreographic organism. STIM unfolds through a flexible score that shifts with each location, taking on a new title in response to its surroundings. Rooted in an inquiry into time, memory, belonging, and spatial narratives, the work treats public space as a layered and contested terrain, where movement becomes a mode of listening, tracing, and reimagining. Previously presented in Norway, Singapore, and other sites, STIM adapts to each context with sensitivity to its history and social fabric. In Tokyo, the project takes form as Kizuna, engaging with Ebihara Shoten as both a structure of memory and a site shaped by visible and invisible systems of care and control.   Notes Event held rain or shine (mostly indoors). Bring an umbrella for site transfers.   Performers 角田莉沙 / Tsunoda Lisa 坂井美乃里 / Sakai Minori 樋笠 理子　/　Satoko Hikasa 德安　慶子 /  Keiko Tokuyasu 徳安祐子 / Yuko Tokuyasu 山田 響己 / Yamada Hibiki 高成 麻畝子 / Takanari Mahoko Direction： Shahrzad Malekian, Ida Uvaas   Shahrzad Malekian An interdisciplinary artist working across performance, video, and sculpture, they use play to explore power, resistance, and care within public spaces and institutions. Recent exhibitions include SACO Biennial (2025) and Singapore Art Museum (2024). @shahrzad.malekian   Ida Uvaas A movement artist exploring mobility across body, mind, and society. Through interdisciplinary, participatory works, she challenges structures and invites collective experiences across performance, visual art, and site-specific practices. @idauvaas