A pop, cute, and grotesque cannibalism
(Live performance → Installation and screening)
(Changes have been made to the program schedule)
Based in Yogyakarta, Indonesia, Natasha Tontey is a visual artist who has also been receiving attention for her performance works in recent years. This project, which started in 2017, takes the act of eating—an act on which human life depends—and immerses it in the pop, cutesy yet grotesque world of Tontey’s art, inviting viewers to reflect on various contemporary issues such as global warming and overconsumption.
A table full of dishes that resemble human body parts in shape and color is placed in the exhibition space. In this same space, a newly produced video work of Tontey and performers enjoying this food is screened. This act of eating also evokes the socially taboo subject of cannibalism, and exposes how eating, and by extension living, is dominated by social fear and anxiety. It is worth noting that the representation of cannibalism has historically been shaped by the dynamics of colonialism, which can still be said to inform its perception today. There is also an ironic parallel at play, between a society that is slowly destroying its own planet through overconsumption, and people who can only survive by consuming (i.e. eating) their own bodies.
At the screening enjoy the video works and Tontey‛s menu, created especially for this Kyoto presentation, in an exhibition space that reflects the dramatic setup of a “performative dinner.”
*Due to the spread of coronavirus (COVID-19) this artist is no longer able to come to Japan. Instead of the originally planned live performance, new video works produced in Indonesia will be screened inside an installation designed by Natasha Tontey. At times when the screenings are not held, the installation at Studio 1, Kyoto Art Center is open to visitors.
3.9 (Tue) – 3.14(Sun)
18:00 / 20:00（All dates）
Screening: 17:00／19:00 (All dates)
Exhibition: 10:00-16:00 (Free, no reservation required)
*Audiences will be guided to the screening from the venue box office.
*During the period 3.9 (Tue) – 3.14 (Sun) audiences may visit the installation at the venue.
Duration: 45 min (TBD)
No audiences below preschool age. Audiences aged 12 and under must be accompanied by an adult.
- Talk by the co-directors after the screening at 19:00 on 11th March.
- Artist talk by Natasha Tontey and her creation team after the screening at 19:00 on 12th March.
546-2 Yamabushiyama-cho, Nakagyo-ku, Kyoto, 604-8156
- 5 minutes’ walk from exits 22 and 24 of Shijo Station (Kyoto Municipal Subway Karasuma Line) and Karasuma Station (Hankyu Kyoto Line)
Natasha Tontey is an artist and graphic designer based in Yogyakarta. Her work explores the concept of fiction as a method of speculative thinking. This investigation presents fictional accounts of history and myth surrounding ‘manufactured fear’ and explores how this determines expectations of the future. Her works have been shown at Next Wave Festival (2016), Koganecho Bazaar (2015), Instrument Builder Project Kyoto (2018), Other Futures: Multispecies Experiment (2019), Polyphonic Social 2019 by Liquid Architecture, K4 Gallery of Video and Moving Image (2019) and The Wrong Biennale for Digital Arts (2019) amongst others. In 2019 she received the Young Artist Award by ArtJog MMXIX, HASH Award 2020 for Net-Based Projects in the Fields of Art, Technology, and Design by ZKM | Karlsruhe, Akademie Schloss-Solitude, Performance Space Micro Fellowship 2020 and Martin Roth Initiative Virtual Residency for transmediale 2021.
Directed, Written, Dramaturg, and Designed by Natasha Tontey
Performers: Ahmad Susantri, Arsita Iswardhani, Natasha Tontey Production Manager: Basundara Murba Anggana
Assistant Costume Designer: BaBam
Special thanks to Max Suriaganda
Production: Natasha Tontey
Co-production: Kyoto Experiment
Sponsorship: Consulate General of The Republic of Indonesia, Osaka Supported by the Agency for Cultural Affairs Government of Japan through the Japan Arts Council and National Arts Council, Performance Space Micro-Fellowship 2020
Presented by Kyoto Experiment