{"id":21320,"date":"2025-05-30T18:23:19","date_gmt":"2025-05-30T09:23:19","guid":{"rendered":"https:\/\/www.a-i-t.net\/?post_type=blog&p=21320"},"modified":"2025-06-06T14:04:06","modified_gmt":"2025-06-06T05:04:06","slug":"residency-report-annika-kahrs-berlin-based-artist-in-japan","status":"publish","type":"blog","link":"https:\/\/www.a-i-t.net\/en\/blog\/p21320\/","title":{"rendered":"Residency Report: Annika Kahrs, Berlin-based Artist, in Japan"},"content":{"rendered":"\n

AIT (Arts Initiative Tokyo) supports the Mercedes-Benz Art Scope program, an artist-in-residence initiative by Mercedes-Benz Japan Co., Ltd. in collaboration with Tama Art University. This program fosters the development of emerging artists and promotes international exchange between Japan and Germany through artist residencies.<\/p>\n\n\n\n

For the 2024 edition, Japanese artist Yuriko Sasaoka was dispatched to Berlin, while Annika Kahrs, an artist based in Berlin, was invited to stay in Japan.<\/p>\n\n\n\n

In this blog post, we share a report on Annika Kahrs\u2019 residency in Tokyo, including her research, experiences, and a lecture she gave at Tama Art University. Annika spent two and a half months in Tokyo from September 2024, engaging deeply with the local art scene and academic community.<\/p>\n\n\n\n

Photos and insights from her stay are featured below.<\/p>\n\n\n\n

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Annika Kahrs<\/a><\/strong><\/p>\n\n\n\n

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Born in 1984 in Achim, Germany, Annika Kahrs is an artist based in Berlin. She has participated in prestigious residency programs such as Villa Aurora (Los Angeles) and Villa Sul (Brazil), and has received numerous awards and scholarships throughout her career.<\/p>\n\n\n\n

Her work has been exhibited at renowned institutions including Hamburger Bahnhof \u2013 Museum for Contemporary Art in Berlin, Germany. She has also participated in major international exhibitions, such as the 5th Thessaloniki Biennale of Contemporary Art (2015, Greece) and the 16th Lyon Biennale of Contemporary Art (2022, France). Scheduled to hold a solo exhibition at the Hamburger Bahnhof in November 2025.<\/p>\n\n\n\n

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Photo by Marit Blossey<\/p>\n<\/div><\/div>\n\n\n\n

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Intro<\/strong><\/p>\n\n\n\n

In her artistic work, Annika Kahrs explores the boundaries of what is generally understood as music, examining its cultural and social functions, communicative aspects, and formal nature. Through performances, video installations, and sound installations, Kahrs investigates the roles music and sound – acoustic information – play within diverse social, cultural, and political contexts of coexistence. Collaborating with people from other fields or with different knowledge is an essential part of her work process.<\/p>\n\n\n\n

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“Infra Voice”, 2018. Three channel video and four channel sound installation, 2K, colour, sound, 10’35” Courtesy of the artist and Produzentengalerie Hamburg Photo: Hamburger Kunsthalle<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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“La Banda”, 2024. 4K, colour, sound, 22’00”
Courtesy of the artist and Produzentengalerie Hamburg<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

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Text: Annika Kahrs (Artist)<\/p>\n\n\n\n

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Listen<\/strong><\/p>\n\n\n\n

During the residency, one of my intentions was to explore Tokyo\u2019s experimental music scene. The city has always been at the forefront of experimental music – especially noise music – with an exciting scene, that I couldn\u2019t wait to get to know. It was my first time in Japan, and I was genuinely excited to experience the country firsthand.<\/p>\n\n\n\n

The first thing I did after arriving was head out and just listen – to the streets, the train stations, the shops, and whatever sound emerged. What struck me immediately was that central Tokyo is overflowing with all kinds of sounds and music – melodies, little jingles, like the ones you hear at train stations. It\u2019s a continuous stream, but not necessarily too present or aggressive. At the same time, these areas are packed with people, yet everyone is incredibly quiet. It felt almost eerie. I began recording sounds the next day, and this became an ongoing habit throughout my two-and-a-half months in the city.<\/p>\n\n\n\n

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Left: The first night in Shibuya, Tokyo Right: Annika Kahrs doing the first recording<\/figcaption><\/figure>\n\n\n\n

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Music<\/strong><\/p>\n\n\n\n

I started frequently visiting underground live music venues to experience Tokyo\u2019s internationally renowned noise and experimental music scene up close. The city is a treasure trove of small, intimate venues that regularly host exciting concerts and keep the experimental scene alive – constantly pushing boundaries. <\/p>\n\n\n\n

My list of favorite spots kept growing by the week: OTOOTO, Permian, Ftarri, Hako Gallery, ochiai-soup\u3001POLARIS, Spread, forestlimit\u2026 just to name a few. The list could easily go on.
At first, I wasn\u2019t sure how easy it would be to connect with musicians or the people running the venues. But as soon as I showed up a second time, people started to approach me, ask where I was from, what brought me there, and so on. People were incredibly open-minded, kind, and easy to talk to. Over the course of my stay, I met people from the scene and got some interesting insights into their ways of working, their motivations, and how they sustain their practices.<\/p>\n\n\n\n

What struck me most was how small yet electric these venues were: tiny rooms where incredibly rich, surprising, and complex things were happening. They are essential spaces for repeated experimentation and testing. It made me think a lot about the importance of such places and what it takes for artists to survive and keep going.<\/p>\n\n\n\n

I was also lucky to conduct a few interviews, for instance with Hiromi and Seiji Kimura from the venue OTOOTO in Higashi-Kitazawa, who shared some really valuable insights for my research.<\/p>\n\n\n\n

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Left: Spread (Shimokitazawa) Center: Keiji Haino Performance at Polaris (Kanda) Right: Hiromi and Seiji Kimura at OTOOTO (Higashikitazawa)<\/figcaption><\/figure>\n\n\n\n

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Tanuki<\/strong>
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A second area of focus during my residency was researching the mythical figure of the Tanuki, with the idea of potentially developing a new work centered around the myths and stories surrounding this creature. I was especially interested in the acoustic and musical traits attributed to the Tanuki.<\/p>\n\n\n\n

The Tanuki \u2014 often depicted as a raccoon dog \u2014 is a figure from Japanese folklore and part of the Y\u014dkai universe. It has fascinated me for years. One of its most well-known traits is its ability to shapeshift. Throughout history, the Tanuki has been portrayed both as a bringer of mischief and evil, and more recently as a playful, lighthearted trickster.<\/p>\n\n\n\n

In Japan today, the Tanuki has a much more positive image. It\u2019s a kind, silly creature, sometimes even a symbol of good luck. This is in stark contrast to how the real raccoon dog is perceived in Germany, where it\u2019s considered an invasive species. In folklore and imagery, the Tanuki is often portrayed with exaggerated features \u2014 most famously its oversized scrotum. Its belly is also usually round and oversized, sometimes used like a drum, adding a musical element to the character. These traits, especially the cuteness and comedic exaggeration, are beautifully embodied in the ceramic Tanuki figurines made in Shigaraki.<\/p>\n\n\n\n

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I took the opportunity to travel to Kyoto and then on to Shigaraki, one of the oldest pottery-producing areas in Japan, now particularly known for these iconic Tanuki sculptures.With generous help from Ms. Mami Katsuya and Mr. Yoshimi Matsunami from the Shigaraki Ceramic Cultural Park, and with support from artist Takumi Morozumi, I was able to visit the workshops of local craftspeople who produce Tanuki figures in all shapes and sizes. I also had the chance to speak with Prof. Masamichi Ohira from the Japan Tanuki Society and conduct interviews with him and the artisans. It was a genuinely exciting day, full of Tanuki encounters, stories, and impressions.<\/p>\n\n\n\n

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Annika and Tanuki<\/figcaption><\/figure>\n\n\n\n
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Tanuki Statues in Shigaraki<\/figcaption><\/figure>\n\n\n\n
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A Pottery Studio making Tanuki Statues<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Theatre<\/strong><\/p>\n\n\n\n

One unexpected field of interest I stumbled into during my stay was the world of Noh theatre \u2014 a classical Japanese form of musical dance-drama. A new friend I met at one of the music venues in Tokyo told me about this traditional art form, which features a very unique musical language. I got curious and, on a whim, decided to go see a play at the National Noh Theatre.<\/p>\n\n\n\n

Knowing that tickets are usually sold out months in advance, I didn\u2019t have high hopes. I was banking on a last-minute cancellation or maybe a leftover ticket at the cashier\u2019s desk. No luck. I stood around outside, a bit unsure of what to do, when a woman suddenly approached me and offered me a free ticket \u2014 her friend hadn\u2019t shown up. I couldn\u2019t believe my luck. Once again, I was touched by the kindness of the people I encountered during my stay.<\/p>\n\n\n\n

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The music in Noh is truly striking and incredibly complex. Its structure, emotional tone, and narrative flow are carried largely by the singing of the actors, supported by a small ensemble of instruments. Music is present throughout – woven seamlessly into the rhythm of movement, language, and presence.A few weeks after my visit to the National Noh Theatre, the team from AIT organized a special visit with a Noh actor and teacher at the Nohgaku Hall of the Hatomori Hachiman Shrine. Mr. Kazuma Tatsumi, the Shite-kata H\u014dsh\u014d School Noh Actor, welcomed us and generously shared his knowledge and experience. I was lucky enough to conduct an interview with him as well, and gained some fascinating insights \u2014 not only into the intricate musical structures of Noh, but also into what it means to devote one\u2019s entire life to this centuries-old art form.<\/p>\n\n\n\n

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Noh Performer Mr.Kazuma Tatsumi and Annika Kahrs at Hatomori Hachiman Shrine Noh Theater<\/figcaption><\/figure>\n\n\n\n

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University  <\/strong><\/p>\n\n\n\n

One of the key parts of the Mercedes-Benz Art Scope residency program was a collaboration with Tama Art University: a talk and an experimental workshop with the students. I was quite excited to meet the professors, talk to the students, get to know the university structures, and reflect on how they compared with my own experience as an art student back in Germany.<\/p>\n\n\n\n

The first part was a talk where I presented my work and tried to offer an honest glimpse into my journey over the last 15 years \u2014 how I\u2019ve navigated an artistic career, the ups and downs, the rewarding parts and the inevitable struggles. I wanted to end on a positive note, though, and share what I really believe: that it is possible to keep doing this work, and that it\u2019s a beautiful, meaningful profession. And what matters most, in my view, is to keep making things and to support each other.<\/p>\n\n\n\n

Two weeks later, we held the experimental workshop with a group of students. We started with brief presentations from everyone. Each student introduced their own artistic practice. I was genuinely impressed by the quality of their work and how confidently they spoke about it.<\/p>\n\n\n\n

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After that, we moved to a different venue \u2014 the so-called BLUE CUBE, a former shopping hall near Tama Art University, which is set to be transformed into a museum in the future. There, the students shared the results of a homework task I had given them in advance: to create short audio sketches using environmental sounds from everyday life.<\/p>\n\n\n\n

Each student had a different approach, picking out specific sounds from their sonic environment that surrounds them every day. What struck me was how naturally their choices reflected the themes and interests they had mentioned earlier in their presentations.<\/p>\n\n\n\n

I suggested using their audio sketches as a way to respond to the space we were in, approaching it through sound. The university provided some basic gear (some speakers, microphones, projectors) and we just made do with whatever was lying around. The students had only two hours to create something.<\/p>\n\n\n\n

By the evening, the formerly empty hall had been transformed into an experimental stage, filled with a vibrant mix of noises, sounds, installations, and spontaneous actions. Each student came up with an own piece. I was truly amazed to see how quickly and boldly they shaped their ideas. There was a lot of humor, thoughtfulness, wit, and a real sense of playfulness in it.It was such an unique experience for me and I honestly wished we could have continued the next day. I\u2019m deeply grateful to the art school for the invitation and to the professors for their support throughout.<\/p>\n\n\n\n

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Tokyo<\/strong><\/p>\n\n\n\n

Now that I\u2019ve been back home for a little while, the feelings and experiences from my time in Tokyo haven\u2019t faded at all. If anything, I\u2019m still digesting everything I encountered \u2014 still comparing, remembering, and reflecting.<\/p>\n\n\n\n

Every now and then, I catch myself checking my calendar and flight options, wondering if I might be able to go back, even just for a short visit.<\/p>\n\n\n\n

At the moment, I\u2019m listening to the many recordings I made \u2014 not only to revisit memories, but also as part of my process: thinking, sketching, and working on a new body of work. I\u2019m now diving into all the materials and research I brought back with me.<\/p>\n\n\n\n

My plan is still to create a work centered around the figure of the Tanuki. Maybe even developing sound sculptures in collaboration with the craftsmen I met in Shigaraki.<\/p>\n\n\n\n

I\u2019m also deeply interested in continuing the new connections I made within Tokyo\u2019s vibrant experimental music scene. There\u2019s so much potential for future collaborations, and I\u2019d love to explore that further.<\/p>\n\n\n\n

In many ways, my stay in Japan didn\u2019t feel like a completed visit \u2014 it felt more like the beginning of new works, new encounters, new returns\u2026<\/p>\n\n\n\n

A heartfelt thank you to the whole team at Arts Initiative Tokyo, who took such wonderful care of me, and to the Mercedes-Benz Art Scope artist-in-residence program, who made this truly unique research residency possible.<\/p>\n\n\n\n

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AIT (Arts Initiative Tokyo) supports the Mercedes-Benz Art Scope program, an artist-in-residence initiative by Mercedes-Benz Japan Co., Ltd. in collaboration with Tama Art University. This program fosters the development of emerging artists and promotes international exchange between Japan and Germany through artist residencies. For the 2024 edition, Japanese artist Yuriko Sasaoka was dispatched to Berlin, […]<\/p>\n","protected":false},"author":13,"featured_media":22030,"template":"","blog_projects":[152],"blog_category":[167,168],"_links":{"self":[{"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/blog\/21320"}],"collection":[{"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/blog"}],"about":[{"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/types\/blog"}],"author":[{"embeddable":true,"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/users\/13"}],"version-history":[{"count":50,"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/blog\/21320\/revisions"}],"predecessor-version":[{"id":22438,"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/blog\/21320\/revisions\/22438"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/media\/22030"}],"wp:attachment":[{"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/media?parent=21320"}],"wp:term":[{"taxonomy":"blog_projects","embeddable":true,"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/blog_projects?post=21320"},{"taxonomy":"blog_category","embeddable":true,"href":"https:\/\/www.a-i-t.net\/en\/wp-json\/wp\/v2\/blog_category?post=21320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}