手塚愛子 TEZUKA Aiko


《親愛なる忘却へ(美子皇后について)-01》 2019年   
ジャカード織(作家によるデザイン、多色の縦糸、アクリル、綿)173×550×320 cm 織物制作:織物博物館(ティルブルフ、オランダ) 織物制作担当者:ジュディス・ペスケンス(織物博物館、ティルブルフ、オランダ)縫製仕様:奥山陽太、久保南子 協力:共立女子大学博物館 「Dear Oblivion – 親愛なる忘却へ」スパイラル(東京)、2019年の展示 撮影:山中慎太郎 (Qsyum!) 
Dear Oblivion (A Study of Empress Haruko) – 01 , 2019
Jacquard weaving designed by the artist with coloured warp threads (materials of the threads are acrylic, cotton) 173×550×320 cm Fabric development and production by TextielMuseum | TextielLab – Tilburg, the Netherlands, product developer is Judith Peskens (TextielMuseum | TextielLab), Tailor work by
OKUYAMA Yota, KUBO Minako , Production support by Kyoritsu Women’s University Museum, Exhibited at Dear Oblivion – 親愛なる忘却へ, Spiral, Tokyo, Japan, 2019,  Photo by YAMANAKA Shintaro (Qsyum!)







Born in Tokyo, Japan in 1976. Lives in Berlin, Germany. Mainly active in Berlin and Tokyo.

In 2001, completed the Master’s Degree programme in Painting at Musashino Art University, Tokyo (studied under sculptor Toya Shigeo). In 2005, completed PhD in Painting at the Art Research Department of Kyoto City University of Arts, Kyoto, Japan (studied under painter Usami Keiji). From 2010 to 2011, lived and worked in London, UK, supported by the Gotoh Memorial Cultural Foundation. Then began to live in Berlin (2011), with the support of a fellowship from the Japanese Government’s Overseas Study Program for Artists. In 1997, embarked on a type of work that unravels readymade fabric. Has continued to create new structural forms through referring to and editing historical objects, using unique methods of her own. Recent exhibitions: The Museum of Contemporary Art Tokyo; Fukuoka Art Museum; The National Art Center, Tokyo; Hyogo Prefectural Museum of Art; Toyota Municipal Museum of Art; TextielMuseum (Netherlands); Johann Jacobs Museum (Switzerland); National Museum of Modern and Contemporary Art Korea (Seoul, Korea); Ayala Museum (Philippines); Turner Contemporary (UK); Museum of Asian Art (Berlin, Germany): Museum für Kunst und Gewerbe Hamburg (Germany); Kunsthalle Mannheim (Germany); and many others.


Please refer to the following artist’s website and social media pages for new updates.



《必要性と振る舞い(薩摩ボタンへの考察)-02》 2019年 
ジャカード織(作家によるデザイン、多色の縦糸、アクリル、綿)インスタレーション 320×735×325 cm、(Kunsthalle Mannheim、2021年のインスタレーション、360 ×570 ×320 cm) 織物制作:織物博物館(ティルブルフ、オランダ)織物制作担当者:ジュディス・ペスケンス(織物博物館、ティルブルフ、オランダ)協力:KCI 公益財団法人 京都服飾文化研究財団 「Dear Oblivion – 親愛なる忘却へ」ギャラリー・ミヒャエル・ヤンセン、ベルリン、ドイツ、2019年の展示 撮影:レプコウスキー・スタジオ、ベルリン
A Study of Necessity (Satsuma-Buttons and Self-Orientalism) – 02 , 2019
Jacquard weaving designed by the artist with coloured warp threads (materials of the threads are acrylic, cotton)
320×735×325 cm (installation), 360×570×320 cm (installation in Kunsthalle Mannheim in 2021) Fabric development and production by TextielMuseum | TextielLab – Tilburg, the Netherlands, product developer is Judith Peskens (TextielMuseum | TextielLab) Production support by KCI (The Kyoto Costume Institute, Japan)  Exhibited at Dear Oblivion – 親愛なる忘却へ, Galerie Michael Janssen, Berlin, Germany, 2019  Photo by Lepkowski Studios, Berlin




《Mutterkuchen – 01「あなたに帰る場所はありますか、もしそうなら、それは偶然?それとも必然?」》2018年
既製品の織物を解いて編んだ籠と刺繍 155×70 cm(木枠サイズ 55 ×42 cm)

Mutterkuchen – 01, 2018 
Embroidery and a knitted basket with unravelled readymade fabric, wooden frame 155×70 cm (frame size 55×42 cm)




I was motivated to produce this work from my experiences visiting the Alien Registration Office in Germany, in order to acquire a residence permit/visa every two or three years. The majority of the staff working there were Germans; thus, whether we immigrants were “appointed to a nice person or not” became something of a topic among us. When we had “a bad staff,” we could instantly tell that they looked down on us, from their gazes on us the moment we opened the door and walked into the room, and how they questioned us in a gruff tone of voice. Since my visit to the office was to acquire a German visa, I behaved appropriately while I was there. But at the same time, the question that came into mind was, “Was it your choice to be born in Germany?”
Needless to say, not a single person in this world chose to be born into a certain nationality. But this “obvious fact” is difficult to penetrate society. Thus, acts of discrimination based on nationality still strongly exist in real life. Living in Germany as an immigrant myself, I have had quite a few experiences of being discriminated against. It hurt every time, but it also led me to become aware that this subject keenly involves many of today’s social problems, including the fact that I myself could also turn a discriminating eye on someone.
Structurally, in this work, the unravelled pieces of thread were divided into bundles, and then knitted into a basket form. I wanted to create a form that could connect all elements. That is to say, my aim was to produce a structure in which its own body is dismantled, and then for it to once again have a structural body that can accept the “body fluid” that seeps out. A segment of the unravelled thread was used to embroider the text, “Did you choose your place of birth, or was it decided for you?” This is as if a part of the dismantled body was once again posing a question to its own body.
(Translated by NANPEI Taeko)


《Ghost I met》2013年 
多色織(EPOTEX) 330×385cm(2点組)、各パネルサイズ 330 ×190cm 制作協力:川島織物セルコン 撮影:レプコウスキー・スタジオ、ベルリン
Ghost I met , 2013
Multicolor Weaving “EPOTEX”  330×385 cm (installation), 330×190 cm (each), set of two  Fabric development and production by Kawashima Selkon Textiles Co.,Ltd  Product developer is WAKITA Tsunehiro (Kawashima Selkon)  Photo by Lepkowski Studios, Berlin




The work consists of two large panels, and a translucent large ghost is standing in the centre of the two panels. All the motifs on the left panel are inspired by Japanese cultural references such as ancient embroidery in the 7th century, fabrics and silk shoes in the 8th century, a Buddha statue in the 13th century, Kimonos in the 17th – 20th century and daily-use clothing in the 19th century. On the other hand, all the motifs on the right panel are inspired by European culture such as ancient Greek statues, ancient Coptic clothing in the 7-10th century, Celtic patterns in the 7th century, paintings in France and Spain in the 16-18th century, Italian lace in the 17th century, English embroidery in the 17th century, Italian sculptures in the 17th century, women’s dresses in the 18-19th century. Motifs found both on the left and right are collected according to their similarities. The varying motifs create many layers and they can be found all across the fabric as the layers are juxtaposed. The translucent ghost is perhaps my self-portrait who is torn between Japan and Europe. When I made this work I was facing the difference between Japanese and European cultures. Gradually, I felt that I could no longer say that I was “pure” Japanese because I grew unable to articulate what “pure” Japan is like. “Japan” has been changing, increasingly “Europeanized” and “Americanized”, perhaps more rapidly than when I was born. Therefore, projecting myself onto the ghost, the translucent ghost appears between the layers.



Please refer to the artist’s website for more detailed information : http://aikotezuka.com/ghost-i-met/


《弛緩する織物》 2005年 
解体された織物 200×700 ×300 cm(インスタレーションサイズ)、155×1100 cm(織物) 展示:「『森』としての絵画:『絵』のなかで考える」岡崎市美術博物館(愛知)2007年 岡崎市美術博物館蔵 撮影:柳場大
Loosening Fabric , 2005
Unravelled fabric  200×700 ×300 cm (installation size), 155 x 1100 cm (fabric)  E
xhibited at Painting as Forest: Artist as Thinker, Okazaki Mindscape Museum, Aichi, Japan, 2007  Collection of Okazaki Mindscape Museum, Aichi, Japan  Photo by YANAGIBA Masaru



《経糸を引き抜く 新しい量として》 2003年 
引き抜いた縦糸、織物、パネル 228× 162×135 cm(インスタレーションサイズ)、140×80 cm(楕円形パネル)、400×150 cm(織物)豊田市美術館蔵 撮影:福永一夫

Extracting Warp Threads to Create a New Quantity , 2003
Extracted warp threads, fabric, wooden panel  228×162×135 cm (installation size), 140×80 cm (oval panel), 150×400 cm (fabric) Collection of the Toyota Municipal Museum of Art, Aichi, Japan  Photo by FUKUNAGA Kazuo



White threads, nearly 4 meters in length, are extracted from a classically toned elegant fabric, looking as if spring water is pouring out. The viewers would find that the part of the fabric on the floor looks slightly darker because white threads are pulled out from that section. The white threads are extracted, one by one, using a needle from the edge of the fabric up to the outline of the oval shaped panel. It is crucial that the white threads are still connected to the original fabric because I intended to blur the distinction between what is original and its derivative. The original fabric and the thick bundle of the extracted white threads seem to be separated and yet still connected with each other.