MIKI NITADORI
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  • Home
  • About
  • Artist statement
  • Contact
  • News / blah blah
  • Workshop & Conferences
  • Art Objects
    • A-lien Pacific 2018
    • Odyssey : reflect artist book 2014 - 2018
  • Exhibitions & Installations
    • Odyssey : Reflect Exhibition / Installation 2014-2020
    • Combat exhibition 2008
  • Visual works
    • Odyssey : reflect orginal works 2013 -2015
    • Gratitude 2017
    • Post-script 2013 - 2018
    • Blond Ambition 2008
    • Combat : Manual for daily survival original works 2003 -2008
    • Triumph 2004
  • Curatorial projects
  • Participative & community projects
    • Timelesshugs: August - December 2015
    • Timelesshugs: January - February 2016
    • Timelesshugs: Arles 2016
    • Timeless hugs: Bandstand
    • Combat in progress 2008
  • Interventions & collaborations
    • Tissu / Motifs Bethune-Bruay 2021
    • A-lien cuisine 2018
    • Aloha Phantasm 2015
    • Humility Quest 2014
    • I am humility 2015
    • one night in the gallery 2015
  • Written pieces
    • Mini dictionary of aqua-humility 2015
    • Slapping 2015
    • Slurp piece : Eat noodle or die 2015
  • Older works
    • Catherine's Pier 2017
    • Interface 2010
    • Transform part one 2010
      • Transform origin 1895 - 1960
    • Looking for "tree in the sun" 2010
    • Combat mini video 2007
    • water field 1997, 2007
    • Paradises lost 2000, 2005
    • seesaw spotting 1997-2001
  • project proposition
    • Ecology & waste
    • Textile as a form of Cultural heritage & Community
  • Research

a new exhibition

9/28/2020

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I have never done so much work for an exhibition project. a new exhibition. what is so new about it? it is the experience in its self. I realised that I am no longer a single artist. What does that mean? Artist work with their name. my name today is like a platform for a collaborative project. I am not that interested in trying to be a single artist. I embrace meetings, get surprises during the construction.  I am becoming less cheerful, less jolly these days. I speak in such a soft voice that surpasses my own expectation. perhaps, I am becoming this tough person who pretended to be tough. Yet there are always these beautiful spirit that awakes me. they are the other people. I melt in the beautiful presence of the spirit. And that is why I can still do the same exhibition, differently every time. Because I am touched by others, others in the photographs and others in the process of creating an exhibition. I love learning and that is why I do things. I love to listen to people and their knowledge and also study possibilities. What can I do differently this time? I study materials and what they are , how do they react, what can be possible and how well can I communicate with everyone so everyone can bloom in this experience. That is the only reason why I do exhibition. I don't really need to do more shows. I am probably so different from people who uses photography to be recognised. my ego is only about this process of making. can I do it? will this ever become real?will this be a surprise for some people who see it?  I like it when it scares me to work on an exhibition project where I have never challenged myself nor others to make it come real. I am this kind of person. I like challenges for the sake of the challenge. Every exhibition is for me a play ground that needs to bring something to the viewer, something little more than indifference. When I was younger, people were very critical of my work. I used to be shocked. these days these criticalness isn't what shocks me. It is the fact that things I planned to do can actually become alive. It is only about an imagination. I imagine things as I like imagining things. It doesn't turn out exactly as I imagine. Yet they make me very happy. This happiness is something that is close to the most joyful state I can be. Like when I was looking up at the blue sky as a child. infinite joy that expands within my body and soul.
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    Miki, an artist, that questions and propose to share experiences with another.

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©Miki Nitadori 2022, All rights reserved
  • Home
  • About
  • Artist statement
  • Contact
  • News / blah blah
  • Workshop & Conferences
  • Art Objects
    • A-lien Pacific 2018
    • Odyssey : reflect artist book 2014 - 2018
  • Exhibitions & Installations
    • Odyssey : Reflect Exhibition / Installation 2014-2020
    • Combat exhibition 2008
  • Visual works
    • Odyssey : reflect orginal works 2013 -2015
    • Gratitude 2017
    • Post-script 2013 - 2018
    • Blond Ambition 2008
    • Combat : Manual for daily survival original works 2003 -2008
    • Triumph 2004
  • Curatorial projects
  • Participative & community projects
    • Timelesshugs: August - December 2015
    • Timelesshugs: January - February 2016
    • Timelesshugs: Arles 2016
    • Timeless hugs: Bandstand
    • Combat in progress 2008
  • Interventions & collaborations
    • Tissu / Motifs Bethune-Bruay 2021
    • A-lien cuisine 2018
    • Aloha Phantasm 2015
    • Humility Quest 2014
    • I am humility 2015
    • one night in the gallery 2015
  • Written pieces
    • Mini dictionary of aqua-humility 2015
    • Slapping 2015
    • Slurp piece : Eat noodle or die 2015
  • Older works
    • Catherine's Pier 2017
    • Interface 2010
    • Transform part one 2010
      • Transform origin 1895 - 1960
    • Looking for "tree in the sun" 2010
    • Combat mini video 2007
    • water field 1997, 2007
    • Paradises lost 2000, 2005
    • seesaw spotting 1997-2001
  • project proposition
    • Ecology & waste
    • Textile as a form of Cultural heritage & Community
  • Research