<html>  	<head> 		<meta http-equiv="content-type" content="text/html;charset=iso-8859-1"> 		 		<title>www.art-action.org - Rencontres Internationales Paris/Berlin - Catalogue 2001 - Rika OHARA</title> <META NAME="Author" CONTENT="art-action.org - roARaTorio transmdia">  <META NAME="language" content="fr"> <META NAME="Identifier-URL" CONTENT=" http://www.art-action.org"> <META NAME="Reply-to" CONTENT="info@art-action.org"> <META NAME="robots" CONTENT="all"> <META NAME="revisit" CONTENT="7 days"> 		<x-sas-window top="42" bottom="757" left="4" right="534"> 	 <link rel="stylesheet" href="texte.css" type="text/css"> </head>  	<body bgcolor="#CCCCCC" text="#000000"   background="../../../../graphics/courants/fond.gif" link="#000000" vlink="#000000"   alink="#000000"> <p><b><font  face="Arial,Helvetica,sans-serif" size="2">Rika OHARA<br>   <font  face="Arial, Helvetica, sans-serif">Shelter </font> <br>   </font></b><font  face="Arial,Helvetica,sans-serif" size="2"><i>Document d'installation    vid&eacute;o danse - dv - couleur - 1:02:00 - USA - 2000<br>   </i></font><font  face="Arial,Helvetica,sans-serif" size="2"><font  face="Arial, Helvetica, sans-serif"><br>   </font><font face="Arial, Helvetica, sans-serif" size="2" ><img src="http://horscircuit.free.fr/site/fr/catalog/00_01/gif/0706.gif" width="200" height="150"></font><br>   <font  face="Arial, Helvetica, sans-serif"> <br>   </font><font  face="Arial,Helvetica,sans-serif" size="2"><font  face="Arial, Helvetica, sans-serif"><i><font  size="2" face="Arial, Helvetica, sans-serif"><i><font face="Arial, Helvetica, sans-serif" size="2"><i><font face="Arial, Helvetica, sans-serif" size="2"><i><font face="Arial, Helvetica, sans-serif" size="2"><img src="../../../../graphics/fr.gif" width="20" height="16"></font></i></font></i></font></i></font><br>   </i></font></font><font  face="Arial, Helvetica, sans-serif">Inspir&eacute;    d'un r&ecirc;ve sur l'attente de la destruction nucl&eacute;aire derri&egrave;re    un abri de verre, Shelter incorpore des &eacute;l&eacute;ments de performance    chor&eacute;graphique et th&eacute;&acirc;trale dans une installation bas&eacute;e    sur l'utilisation de m&eacute;dias actuels. L'abri est d&eacute;crit par une    vid&eacute;o digitale anim&eacute;e et de multiples projecteurs - une serre    sensible et r&ecirc;veuse - tout comme ces habitants, et cr&eacute;ant ainsi    un espace o&ugrave; repose la conscience.<br>   </font></font><font face="Arial, Helvetica, sans-serif" size="2" >Les sujets    de pr&eacute;occupation formels de Shelter ont &eacute;t&eacute; peaufin&eacute;s    en deux phases: dans un premier temps entre 1989-92, gr&acirc;ce &agrave; la    production d'une s&eacute;rie de performances et d'installations - sur la plage,    en haut d'un toit et sur une rue du centre ville de Los Angeles. La seconde    phase fut le d&eacute;veloppement initi&eacute; par une bourse accord&eacute;e    en 1996 par le National Endowment for the Arts. Shelter (phase VII) &agrave;    l'Hutington Beach Art Center (1997) - pour lequel plus de deux milles diapos    ont &eacute;t&eacute; montr&eacute;es, une nouvelle musique de 61mn fut compos&eacute;e    et une piste vid&eacute;o fut ajout&eacute;e, fut pr&eacute;sent&eacute; comme    une exposition en trois parties (installation/performance/installation). Shelter    8 (1999) contenait une partie de la performance en vid&eacute;o digitale, r&eacute;affirmant    ainsi les influences de l'&eacute;poque cin&eacute;matique sur la chor&eacute;graphie    et la composition. A l'automne 2000, l'animation diapo fut transf&eacute;r&eacute;e    en vid&eacute;o digitale pour l'exposition de Monaco: le forum Danses Dances.<br>   Plus une question culturelle et psychologique qu'une r&eacute;elle prise de    position politique, la pi&egrave;ce d&eacute;finit l'Age nucl&eacute;aire par    son absence totale d'&eacute;v&eacute;nement d&eacute;cisif - impossible &agrave;    identifier comme ph&eacute;nom&egrave;ne historique et localis&eacute; - et    notre m&eacute;lange de fascination et de r&eacute;pulsion faisant partie de    notre anxi&eacute;t&eacute; mill&eacute;naire.<br>   La d&eacute;tonation de la premi&egrave;re bombe atomique sur le site de Los    Alamos a amen&eacute; le genre humain plus pr&egrave;s que jamais d'une mort    qui transcende celle d'un individu. La mort &agrave; l'&acirc;ge du nucl&eacute;aire    pouvait &ecirc;tre celle de la culture, d'une nation ou d'une civilisation tout    enti&egrave;re. Un demi si&egrave;cle plus tard, les images de la Bombe, r&eacute;currentes    dans les m&eacute;dia, ont laiss&eacute; une empreinte psychologique inamovible    sur cette g&eacute;n&eacute;ration.<br>   Le projet explore la temporalit&eacute; nucl&eacute;aire caract&eacute;ris&eacute;e    par la suspension. Les diapos d&eacute;finissent &agrave; la fois l'environnement    visuel et la composition des &eacute;l&eacute;ments temporels. La densit&eacute;    et l'absence d'images et de lumi&egrave;re, combin&eacute;es avec le mouvement    des performers, jouent sur la dur&eacute;e pendant que les mouvements des panneaux    d&eacute;forment et alt&egrave;rent les dimensions de l'espace. La chor&eacute;graphie    est int&eacute;gr&eacute;e dans l'environnement visuel. L'emploi &agrave; r&eacute;p&eacute;tition    de plan fixes et la r&eacute;p&eacute;tition aboutissent &agrave; une certaine    dislocation, identique &agrave; celle qu'un survivant d'Hiroshima a d&eacute;crit    comme un flash, et dirigent l'attention du spectateur vers d'autres &eacute;l&eacute;ments    en d&eacute;fiant la suppos&eacute;e hi&eacute;rarchie des &eacute;l&eacute;ments    et en &eacute;levant la participation du public &agrave; un niveau subliminal.<br>   Comme le Dr Oppenheimer en avait l'intuition &agrave; Los Alamos, l'armement    nucl&eacute;aire donne un pouvoir de destruction comparable &agrave; celui que    les dieux poss&eacute;daient autrefois. Le fantasme de la survie met en &eacute;vidence    le mythe de l'&acirc;ge nucl&eacute;aire dans lequel un paradis est restaur&eacute;    apr&egrave;s une profonde catharsis, les survivants demandant alors le statut    d'omnipotent, dans son sens le plus infantile. L'environnement de Shelter est    le Paradis r&eacute;gressif o&ugrave; notre notion de progr&egrave;s n'est plus    une ligne droite mais une boucle formant un z&eacute;ro.<br>   <br>   </font><font  face="Arial,Helvetica,sans-serif" size="2"><font  face="Arial, Helvetica, sans-serif"><i><font  size="2" face="Arial, Helvetica, sans-serif"><i><font face="Arial, Helvetica, sans-serif" size="2"><i><font face="Arial, Helvetica, sans-serif" size="2"><i></i><img src="../../../../graphics/en.gif" width="20" height="16"></font></i></font></i></font><br>   </i></font></font><font face="Arial, Helvetica, sans-serif" size="2" >Inspired    by a dream of awaiting nuclear destruction in a glass shelter, Shelter incorporates    dance-theater performance into a time-based visual-media installation. Animated    and live-action digital video on multiple projectors portray the titular shelter    -- a sentient, dreaming greenhouse &shy; as well as its inhabitants, creating    a space for layered consciousness. Shelter's formal concerns have been refined    in two stages: first in 1989-92 through the production of a series of site-specific    installation/performances -- on the beach, on a rooftop and on a downtown L.A.    street. The second stage of development was initiated by a grant in 1996 from    the National Endowment for the Arts. Shelter (Phase VII) at Huntington Beach    Art Center (1997) -- for which more than 2,000 slides were shot, a new 61-minute    musical score was commissioned and a video track was added -- was presented    as a three-part exhibition (installation/performance/installation). Shelter    8 (1999) contained its performance element in digital video, reaffirming influences    of<br>   cinematic time on choreography and composition. In fall 2000, the slide animation    was transferred to digital video for exhibition at Monaco Danses Dances Forum.    <br>   More a cultural/psychological question than a political statement, the piece    defines the Nuclear Age by the very absence of a decisive event -- no longer    identifiable as an historical or localized phenomenon - and our mixture of fascination    and revulsion as part of the millennial anxiety.<br>   The detonation of the first atomic bomb at Los Alamos test site brought mankind    closer than ever to a death which transcends that of an individual; a death    in the Nuclear Age could be of a culture, a nation or an entire civilization.    Half a century later, the images of the Bomb, through its recurrence in the    media -- have left an irreversible psychological imprint on this generation.<br>   The project explores nuclear temporality characterized by suspension, central    to our nuclear experience. The slide animation defines both the visual environment    and the composition of time elements. Density and absence of images and light,    combined with the movement of the performers, cumulatively affect the perceived    duration, while the gridlike patterns of the glass panes distort and alter the    dimensions of the space. Choreography is integrated into this visual environment.    <br>   Frequent flashbacks appropriate cinematic time in reference to the medium's    role in establishing the mushroom cloud as an icon. Extensive use of stillness    and repetition creates a sense of dislocation, similar to what one Hiroshima    survivor described as an instant dream, and redirects viewer attention to other    elements, defying the expected hierarchy of elements and heightening participation    on a subliminal level.<br>   As Dr. Oppenheimer intuited at Los Alamos, nuclear weaponry democratically distributes    the once-divine power of destruction. The fantasy of survival underscores the    Nuclear Age myth in which a Paradise variant is restored following a fiery catharsis,    the survivors thereby reclaiming the infantile sense of omnipotence. Shelter's    environment is this regressive Paradise, where our notion of progress has ceased    to be a straight line and instead forms the figure zero. <br>   </font></p> <hr noshade size="1"> <font size="2"><br> <b><font face="Arial, Helvetica, sans-serif" >Biographie</font></b><br> <font  face="Arial, Helvetica, sans-serif"><font  face="Arial,Helvetica,sans-serif"><font  face="Arial, Helvetica, sans-serif"><br> </font><font  face="Arial,Helvetica,sans-serif" size="2"><font  face="Arial, Helvetica, sans-serif"><i><font  size="2" face="Arial, Helvetica, sans-serif"><i><font face="Arial, Helvetica, sans-serif" size="2"><i><font face="Arial, Helvetica, sans-serif" size="2"><i><font face="Arial, Helvetica, sans-serif" size="2"><img src="../../../../graphics/fr.gif" width="20" height="16"></font></i></font></i></font></i></font><br> </i></font></font><font  face="Arial, Helvetica, sans-serif"><i>Depuis le d&eacute;but  des ann&eacute;es 80, Rika Ohara a combin&eacute; les supports m&eacute;dia actuels  avec la danse en public et a construit une &#156;uvre pluridisciplinaire. En &eacute;largissant  le potentiel des technologies dont elle disposait et en s'affranchissant des r&egrave;gles  &eacute;tablies - en projetant notamment des diapositives et des n&eacute;gatifs  de films, des images d&eacute;form&eacute;es ou intelligemment manipul&eacute;es  - elle a inspir&eacute; un observateur qui d&eacute;finit son &#156;uvre comme  du &quot; high-tech &agrave; bas prix&quot;. N&eacute;e &agrave; Saimata au Japon,  d'un p&egrave;re historien et d'une m&egrave;re enseignante, elle commence tr&egrave;s  t&ocirc;t &agrave; peindre et &agrave; dessiner. Parmi ses premi&egrave;res influences,  on note Osamu Tezuka, le cr&eacute;ateur d'Astro Boy et de Kimba le lion blanc,  qui remarqua son travail dans une publication de BD &agrave; laquelle elle contribuait  quand elle &eacute;tait encore au lyc&eacute;e, et qui l'a encourag&eacute;e &agrave;  poursuivre une carri&egrave;re dans l'univers du dessin. Elle d&eacute;barque  aux Etats-Unis en 1980. Elle &eacute;tudie &agrave; l'&eacute;cole des beaux arts  de Californie &agrave; Oakland avec le photographe surr&eacute;aliste tch&egrave;que  Vilem Kriz, puis avec Simone Forti &agrave; New York o&ugrave; elle commence &agrave;  m&eacute;langer divers supports dans des &#156;uvres conceptuelles (films, vid&eacute;os  et installations). Son sujet de th&egrave;se &agrave; l'Institut des beaux arts  de Californie (1985) &eacute;tait une adaptation th&eacute;&acirc;trale et chor&eacute;graphique  de Salom&eacute; d'Oscar Wilde, en collaboration avec la chor&eacute;graphe Tracy  Rhoades. C'est &eacute;galement &agrave; cette &eacute;poque qu'elle se lan&ccedil;a  dans un projet qui la propulsa dans une s&eacute;rie de performances artistiques  qui devait s'&eacute;taler sur plus d'une d&eacute;cennie: la destruction nucl&eacute;aire  et sa port&eacute;e psychosociologique. &quot;Neither garlic nor beans&quot; (1983-85/88)  fut pr&eacute;sent&eacute; &agrave; San Diego au SUSHI Inc. en tant qu'&eacute;l&eacute;ment  du Neo Fest de 1985 et fut intitul&eacute; &quot; Among the Best &quot; par la  Gazette de San Diego, avec &eacute;galement des &#156;uvres de Rachel Rosenthal  et d'Eric Bogosian. S'ensuivit &quot;Astro Boy meets Godzilla&quot; (1986-87)  qui changea de point de vue et montra des exp&eacute;riences partag&eacute;es  par des enfants au Japon et aux Etats-Unis et pr&eacute;senta le motif de &quot;Trade  War&quot; (guerre commerciale) qu'elle explorera par la suite dans &quot;Tokyo  Rose&quot;. Dans le m&ecirc;me temps, Ohara a d&eacute;velopp&eacute; ses id&eacute;es  et ses techniques sur des plans s&eacute;quences et des plans fixes en gagnant  sa vie comme photographe sur un projet de laser disque. Apr&egrave;s &ecirc;tre  pass&eacute;e par l'Allemagne et les Pays-Bas en 1988, Ohara a commenc&eacute;  a travaill&eacute; sur &quot;Shelter&quot;, inspir&eacute; d'un r&ecirc;ve dans  lequel elle attendait la destruction nucl&eacute;aire sous un abri de verre. Cette  pi&egrave;ce fut d&eacute;velopp&eacute;e sous la forme d'installations/performances  dans les rues, sur les plages, sur les toits et dans des espaces de performances  dans les alentours de Los Angeles. Le groupe de performers s'est fait conna&icirc;tre  sous le nom de &quot; Famille Nucl&eacute;aire &quot;. Ohara et la Famille Nucl&eacute;aire  tournaient dans l'Ouest am&eacute;ricain avec &quot;Tokyo Rose&quot; de 1993 &agrave;  1995 et examinaient la x&eacute;nophobie raciale et sexuelle. Ils s'appr&ecirc;taient  &agrave; faire une tourn&eacute;e mondiale quand des probl&egrave;mes financiers  ont conduit le th&eacute;&acirc;tre am&eacute;ricain de Paris &agrave; fermer  ses portes &agrave; peine quatre mois avant leurs repr&eacute;sentations de mai  1996. Leurs venues &agrave; Glasgow, Sydney, Minneapolis, Cleveland, &agrave;  la Kitchen de New York furent aussi report&eacute;es &agrave; cause de la crise  qui touchait l'art &agrave; cette &eacute;poque dans le monde entier. Ohara s'est  ensuite consacr&eacute;e &agrave; &quot;Shelter&quot; (Phase VII) (Huntington  Beach art Center, 1997) en tournant 2000 plans &agrave; partir de nouvelles sources  d'images, en ajoutant de la vid&eacute;o digitale et en retravaillant les chor&eacute;graphies.  En 1999, une version virtuelle de la famille nucl&eacute;aire partit vers Tokyo  en vue d'une installation vid&eacute;o-diapo intitul&eacute;e &quot;Shelter VIII&quot;.  Ohara cr&eacute;e toujours des projets hybrides en m&eacute;langeant les performances,  les supports et les installations aussi bien que la chor&eacute;graphie et la  mise en sc&egrave;ne. Ses travaux ont &eacute;t&eacute; financ&eacute;s par New  Langton Arts/NEA Regional Arts Grant (1995-96), le California Arts Council Touring  and Presenting Program (1995-97) et la ville de Los Angeles (1990-91, 91-92, 92-93,  94-95), entre autres. Elle fut l'une des premi&egrave;res &agrave; critiquer publiquement  les abus du multiculturalisme (1992). Elle a contribu&eacute; &agrave; des essais  culturels, des films et des critiques de livres pour le L.A Weekly (1992-97) et  a enseign&eacute; &agrave; l'Universit&eacute; du Kentucky et au Mus&eacute;e  de Photographie de Californie.<br> <br> </i></font><font  face="Arial,Helvetica,sans-serif" size="2"><font  face="Arial, Helvetica, sans-serif"><i><font  size="2" face="Arial, Helvetica, sans-serif"><i><font face="Arial, Helvetica, sans-serif" size="2"><i><font face="Arial, Helvetica, sans-serif" size="2"><i></i><img src="../../../../graphics/en.gif" width="20" height="16"></font></i></font></i></font><br> </i></font></font><font  face="Arial, Helvetica, sans-serif"><i>Born in Saimata,  Japon, into a familyof a historian father, teacher mother and WW II survivor grandmother  with socialist cousins, she drew and painted from an </i></font></font></font></font><font  size="2" face="Arial, Helvetica, sans-serif"><font  face="Arial,Helvetica,sans-serif" size="2"><font  face="Arial, Helvetica, sans-serif"><i>early  age. Her early influences include Osamu Tezuka, the creator of Astro Boy and Kimba  the White Lion, who spotted her work in a college comics club publication - to  which she contributed as a junior high schooler - and encouraged her to pursue  a career in cartooning. Arriving in the U.S. in 1980, she studied with Czech surrealist  photographer Vilem Kriz at California College of Arts and Crafts in Oakland and  movement with Simone Forti in New York City and began combining various media  in conceptual art works, film/video and installations. Her MFA thesis project  at California Institute of the Arts (1985) was a dance-theater adaptation of Oscar  Wilde's Salom&eacute;, in collaboration with choreographer Tracy Rhoades. It was  also during her years at CalArts that she stumbled opun a subject that would propel  her into a series of performance-art pieces that spanned more than a decade: nuclear  destruction and its socio-psychological signifiance. Neither Garlic nor Beans  (1983-85/88) was presented at San Diego's SUSHI, Inc. as part of Neo Fest in 1985  and was named &quot;Among the Best&quot; by the San Diego Gazette along with works  by Rachel Rosenthal and Eric Bogosian. Astro Boy meets Godzilla (1986-87) followed,  shifting the focus to mediated experiences shared by children in Japon and the  U.S., and introducing the &quot;Trade War&quot; motif she would later explore  in Tokio Rose. Concurrently, Ohara developed her ideas and techniques for sequential  use of still images by earning a living as a still photographer on a laserdisc  project. After a tour of Germany and Holland in 1988, Ohara began working on Shelter,  based on a dream she had of awaiting nuclear destruction in a glass shelter. The  piece developed in a series of site-specific installation/performances on city  streets, on the beach, on rooftops and in performance spaces around Los Angeles.  The mutating group of perfomers came to be known as &quot;the Nuclear Family&quot;.  Ohara &amp; The Nuclear Family toured the western U.S. with Tokyo Rose (1993-95),  a multimedia examination of racial and sexual xenophobia. They were ready to extend  teh tour internationally when financial problems closed teh Paris American Center's  theater just four months before their May 1996 performance dates. The Kitchen  in New York and venues in Glasgow, Sydney,Minneapolis, Claveland, among others,  also postponed presentation following the world-wide art recession. Ohara next  produced Shelter (Phase VII) (Huntington Beach Art Center, 1997), shooting 2000  slides from new image sources, adding digital video and reworking the choreography.  In 1999, a virtual version of the Nuclear Family traveled to Tokyo for a video-on-slides  installation, Shelter 8. Ohara continues to create hybrid art projects, combining  performance, media and installations, as well as choreographing and directing  others in theater and new music pieces. Her works have been funded by New Langton  Arts/NEA Regional Arts Grant (1995-1996), California Arts Council Touring and  Presenting Program (1995-97) and the City of Los Angeles (1990-91, 91-92, 92-93,  94-95), among others. One of the first to publicly criticize the abuses of multiculturalism  (1992), she has contributed cultural essays, film and book reviews to the L.A.  Weekly (1992-97) and lectured at University Kentucky and the California Museum  of Photography, as well as on radio and television.</i></font></font><i><b><br> </b></i></font><font  size="2" face="Arial, Helvetica, sans-serif"><i><b><br> </b></i></font><i><font face="Arial, Helvetica, sans-serif" size="2" ><b>Awards/Grants  and Commissions</b></font></i><i><font  face="Arial,Helvetica,sans-serif" size="2"><font  face="Arial, Helvetica, sans-serif"><i><br> </i></font></font><font face="Arial, Helvetica, sans-serif" size="2" >1999</font></i>  <i><font face="Arial, Helvetica, sans-serif" size="2" >Sony Entertainment Center,  Berlin (visual design for Beno&icirc;t Maubrey's &quot;Audio Sweepers&quot;; realization  postponed) <br> 1995-97 California Arts Council Touring and Presenting Program<br> 1995-96 New Langton Arts/National Endowment for the Arts Regional Initiative:  Artists Regranting Program Grant<br> 1994-95 The City of Los Angeles Cultural Affairs Department Grant<br> 1992-93 The City of Los Angeles Cultural Affairs Department Grant<br> 1992 Metropolitan Structures, Los Angeles (a video installation/performance commission  for the Video Freewaves Festival)<br> 1991-92 The City of Los Angeles Cultural Affairs Department Grant <br> 1990-91 The City of Los Angeles Cultural Affairs Department Grant <br> 1990 Publicly Accessible Artwork Project Grant, Los Angeles Center for Photographic  Studies <br> 1990 The City of Santa Monica Arts Division (a site-specific performance commission  for the Santa Monica Arts Festival)<br> <br> <b>Selected Exhibitions and Performances (**solo)<br> </b>2000 <br> 11-17 Dec. Monaco Danses Dance Forum Shelter 9, a video installation (running  time: 60 minutes).<br> November Battery Park Z&uuml;rich Electronic Music Festival, Switzerland Shelter  9<br> October Battery Park Cologne Electronic Music Festival, Germany Shelter 9 (premiere).<br> 5-7 Oct. Highways, Santa Monica The Heart of No Place excerpts as part of &quot;Hot  &amp; Sticky.&quot;<br> June - &quot;A&quot; Virtual Memorial, an online exhibition.<br> April Bank Vault Ball, Los Angeles, a benefit for Side Street Project<br> 1999<br> 04-21 Dec. The Plaza Gallery, Tokyo, Japan** Shelter 8, a time-based media installation  (running time: 60 minutes).<br> 20 Nov. The Lab, San Francisco Shelter 8 (premiere).<br> 08-17 Oct. Battery Park Electronic Music Festival, K&ouml;ln, Germany video 1,332  Feet Below the Sea (18 min.) and Touch (Reanimation) (17 min.), premieres, in  installation.<br> 03 Oct. Highways, Santa Monica 1,332 Feet Below the Sea (digital video version,  6 min.) excerpt as part of &quot;Hot &amp; Sticky.&quot;<br> 1998<br> 13-14 Nov. &quot;New Windows&quot; at One Colorado, Pasadena Shelter 7.5.1 (30  min.), an outdoor media installation-event as part of a series by NewTown Pasadena  Foundation. <br> 30 July Hollywood Athletic Club 1,332 Feet Below the Sea performance version (7  min.) as part of &quot;XX: The Happening&quot; to benefit LACE.<br> 1997 <br> 22 February - 04 May Huntington Beach Art Center** Shelter (Phase VII), an audiovisual  installation (60 min.) with performances on 11&amp;12 April. <br> 15-16 August Los Angeles Contemporary Exhibitions, The Heart of No Place excerpt  as part of &quot;Hot &amp; Sticky.&quot;<br> 1996<br> 23-25 May The American Center, Paris** (cancelled due to closing of theater) Tokyo  Rose.<br> 13-14 Jan. The Stage, San Jose** performance of Tokyo Rose. <br> 08 June Festival of the Five Senses: Touch at Hollywood Moguls Untitled (Touch)  (17 min.), a time-based slide installation.<br> 1995<br> 19-20 May The Lab, San Francisco** Tokyo Rose (premiere of touring version).<br> August University of Hawaii at Manoa, Honolulu** Tokyo Rose.<br> August Honolulu Academy of Arts, Tokyo Rose excerpts as part of &quot;Hiroshima  and Nagasaki: 50 Years Later.&quot;<br> August Glaxa Studios, Los Angeles Tokyo Rose excerpts. <br> July Los Angeles Contemporary Exhibitions, The Heart of No Place excerpt as part  of &quot;Hot &amp; Stikcy.&quot;<br> 1994<br> Japanese American Cultural Community Center Doizaki Gallery, Los Angeles** performance  of Tokyo Rose.<br> Galerie E43 IM Treppenhaus, Berlin, Germany Tokyo Rose (exhibition of video documentation).<br> The New Gallery at the 18th Street Arts Complex, Santa Monica an exhibition of  object from performance Fishing for White Ferret (Shelter Phase IV).<br> 1993<br> Los Angeles Contemporary Exhibitions (LACE)** Performance of Tokyo Rose, with  an exhibition in the LACE Gallery Hall.<br> 1992 <br> The Performance Art Festival, Cleveland, Ohio Tokyo Rose excerpts.<br> Video Freewaves Festival at the California Plaza Water Court, Los Angeles Tokyo  Rose excerpts.<br> 1991<br> Japan America Plaza, Los Angeles** Shelter Phase VI, a site-specific installation/performance<br> The California Plaza, Los Angeles** Shelter Phase V <br> Highways Performance Space, Santa Monica Tokyo Rose excerpts.<br> 1990<br> The Lab, San Francisco** Shelter Phase II; Madame Strangelove, or How I Stopped  Worrying and Learned To Love the XXXX <br> The Los Angeles Open Festival** The Last Supper (Shelter Phase IV-1/2), a site-specific  installation/performance with four dancers, created on Vignes Street in downtown  Los Angeles. Commissioned by the Los Angeles Center for Photographic Studies (LACPS)  and co-presented by the Zeta Collective.<br> The Santa Monica Arts Festival** Fishing for White Ferret (Shelter Phase IV),  a site-specific performance with five dancers.<br> Los Angeles Contemporary Exhibitions (LACE) Shelter Phase II, as part of the &quot;Twisted  Spring&quot; choreographers' series<br> Warehouse SOMA, San Francisco Madame Strangelove, or How I Stopped Worrying and  Learned To Love the XXXX. Japanese-American Cultural Community Center Doizaki  Gallery, Los Angeles Shelter Phase II.<br> 1989 <br> Highways Performance Space, Santa Monica<br> premiere of Madame Strangelove, or How I Stopped Worrying and Learned To Love  the XXXX<br> Powerhouse Theater, Santa Monica<br> 1988<br> Schokofabrik, Berlin** Neither Garlic nor Beans <br> Tempodrom, Berlin Neither Garlic nor Beans (with German subtitles) as part of  &quot;Jugentag 88,&quot; organized by Sozialistische Einheiz Partei W. Berlin.<br> Fischlabor, Berlin Neither Garlic nor Beans <br> Het Apollohuis, Eindhoven, Netherlands; The Sprengel Museum, Hannover, Germany;  Kino Eiszeit, Berlin; Westwerk, Hamburg; Gallus Theater, Frankfurt; Verein f&uuml;r  Visuelle Kommunikation, Hannover.<br> 1987 <br> The Los Angeles Fringe Festival** Astro Boy Meets Godzilla, co-produced by Oranges  and Sardines Gallery Wallenboyd Theater, Los Angeles &quot;Jap Rap: Godzilla&quot;  (Astro Boy Meets Godzilla excerpt)<br> 1986<br> Oranges and Sardines Gallery, Los Angeles** Astro Boy Meets Godzilla<br> 1985<br> Roark Graphics, Los Angeles** an exhibbition of paintings.<br> SUSHI, Inc., San Diego Neither Garlic nor Beans as part of &quot;Neofest&quot;  performance festival.<br> Los Angeles Center for Photographic Studies Neither Garlic nor Beans as part of  &quot;Imagine There's a Future.&quot;<br> Southern California Library for Social Studies and Research, Los Angeles Neither  Garlic nor Beans as part of &quot;Artists for Self-Determination&quot;<br> </font></i><b><i><font face="Arial, Helvetica, sans-serif" size="2" ><br> Works in Selected Collections<br> </font></i></b><i><font face="Arial, Helvetica, sans-serif" size="2" >Mr. Norman  Engel, Berlin<br> Joslin Corporation, San Francisco <br> Ms. Tress MacNeille, Los Angeles<br> <br> </font></i><b><i><font face="Arial, Helvetica, sans-serif" size="2" >Lectures  and Other Speaking/Teaching Experiences<br> </font></i></b><i><font face="Arial, Helvetica, sans-serif" size="2" >1997 Huntington  Beach Art Center<br> 1996 Los Angeles Contemporary Exhibitions (LACE) (Shelter workshop)<br> 1995 California Museum of Photography, Riverside <br> (panel discussion in conjunction with &quot;Nagasaki Journey, The Photographs  of Yosuke Yamahata&quot;)<br> University of Kentucky <br> University of Hawaii at Manoa, Honolulu<br> 1994 Jefferson High School, Los Angeles<br> <br> </font></i><b><i><font face="Arial, Helvetica, sans-serif" size="2" >Other Professional  Experiences (selected)<br> </font></i></b><i><font face="Arial, Helvetica, sans-serif" size="2" >1999  Still photographer for the Can reunion, K&ouml;ln, Germany (The Can Box: The Book).<br> 1997 Technical Advisor, Jump Jim Crow, Jump! I Say by Charles Lane, performed  at the State Theater, California State University, Los Angeles <br> 1996 Director/Choreographer, Marilyn's '93/InCage, a new music piece by Amnon  Wolman, performed by tenor Charles Lane as part of &quot;Imusicircus&quot; with  the California EAR Unit at Los Angeles County Museum of Art Bing Theater<br> 1995 Panelist (Interdisciplinary), Kentucky Arts Council Fellowship <br> 1990 Panelist (Interdisciplinary), National/State/County Partnership Organizational  Grant<br> Choreographer, Prometheus on a Black Landscape, a play by Keith Mason, performed  at Highways<br> 1986 - 87 Assistant Producer/Still Photographer, The L.A. Disc, a laserdisc project  by Voyager/PioneerCorporation Japan<br> 1988 - Still photographer for various L.A. performing artists<br> </font></i><b><i><font face="Arial, Helvetica, sans-serif" size="2" ><br> Selected Radio and Television<br> </font></i></b><i><font face="Arial, Helvetica, sans-serif" size="2" >1994 East  Wind, KPFK-FM<br> 1993 Life and Times, KCET/PBS <br> East Wind, KPFK-FM<br> 1992 Ebony `92, KPCC-FM, discussion of problems of multiculturalism in the arts.<br> 1988 &quot;Rika Ohara Compilation 1985-1988,&quot; Offener Kanal Berlin (August)<br> 1987 Arts L.A., KCRW-FM (September 24)<br> <br> <b>Selected Published Writing<br> </b>&quot;Fashion and Film: Facets Of Japonism at Los Angeles County Museum,&quot;  the L.A. Weekly, May 22 - 28, 1998<br> &quot;Wall of Babel - Germany's un-unified fiction,&quot; the L.A. Weekly, October  18 - 24, 1996 (book review: Night Drive: Modern German Short Stories, edited by  Klaus Humann)<br> &quot;The Lizard King - Godzillarama,&quot; the L.A. Weekly, August 2 - 8, 1996  (film/sociology)<br> &quot;Taming Mrs. Butterfly - The trouble with the typical Japanese woman,&quot;  the L.A. Weekly, March 1 - 7, 1996 (book review: The Secrets of Mariko: A Year  in the Life of a Japanese Woman and Her Family by Elisabeth Bumiller) <br> &quot;Pacific Rim Shot - Chasing the money into the temple,&quot; (reprint), University  of California Academic Publishing Service<br> Propaganda/Antipropaganda of Tokyo Rose, Blue Fat Music, Los Angeles, 1995<br> &quot;Geisha Girls and Others - Kiana Davenport's strange hierarchy of Hawaiians,&quot;  the L.A. Weekly, September 16 - 22, 1994 (book review: Shark Dialogues by Kiana  Davenport)<br> &quot;Dreams of a Mad Old Man - Junichiro Tanizaki's tangles of death and eros,&quot;  the L.A. Weekly, March 18 - 24, 1994 (book review: Quicksand; The Reed Cutter  and Captain Shigemoto's Mother: Two Novellas by Junichiro Tanizaki)<br> &quot;Oliver's Two Hats - Stone takes refuge with the victims,&quot; the L.A.  Weekly, December 24 - 30, 1993 (commentary/film review: Heaven and Earth, dir.  by Oliver Stone) <br> &quot;River of Diamonds,&quot; the L.A. Weekly, December 17 - 23, 1993 (book review:  The Holder of the World by Bharti Mukherjee)<br> &quot;I Fight, Therefore I am,&quot; the L.A. Weekly, July 30 - August 5, 1993  (book review: The Pugilist at Rest by Thom Jones)<br> &quot;Bad Sun Rising,&quot; the L.A. Weekly, July 30 - August 5, 1993 (news/commentary  on the film Rising Sun)<br> &quot;Occidental Tourist,&quot; the L.A. Weekly, November 5 - 11, 1992 (book review:  African Visas by Maria Thomas)<br> &quot;Hollywood Narcissus - Marlene Dietrich was her own piece of work,&quot;  the L.A. Weekly, August 21 - 27, 1992 (book review: Blue Angel by Donald Spoto)<br> &quot;Victim in the Mirror - Frida Kahlo's latest tragedy,&quot; the L.A. Weekly,  August 13 - 20, 1992 (commentary/art history/film)<br> &quot;Pacific Rim Shot - Chasing the money into the temple,&quot; the L.A. Weekly,  June 5 - 11, 1992 (commentary on multiculturalism in the arts)<br> &quot;John Fleck's Snowball's Chance in Hell,&quot; Artweek, February 27, 1992  (performance art review)<br> &quot;Sleazecake: Linda Sibio and Apartment 409,&quot; the Los Angeles Reader,  January 3-10, 1992 (performance art feature)<br> &quot;The Language of Long Nguyen,&quot; Frontiers, November 1991 (dance feature)  <br> &quot;Butoh as Another Outbreak of Japanese Paganism,&quot; High Performance,  Summer 1990 (history/theory)<br> </font></i><b><i><font face="Arial, Helvetica, sans-serif" size="2" ><br> Selected Bibliography<br> </font></i></b><i><font face="Arial, Helvetica, sans-serif" size="2" >&quot;Performance  Pick of the Week&quot; by Peter Frank, the L.A. Weekly, October 1 - 7, 1999<br> &quot;The Low Life&quot; by Kateri Butler, the L.A. Weekly, August 14 - 20, 1998  <br> &quot;Performance Pick of the Week&quot; by Peter Frank, the L.A. Weekly, July  24 - 30, 1998 <br> &quot;The Low Life&quot; by Kateri Butler, the L.A. Weekly, August 29 - Sptember  4, 1997 <br> &quot;Best Bets,&quot; the Los Angeles Times, April 10, 1997<br> &quot;This Week in Da Bomb&quot; by Joel Beers, the OC Weekly, April 11-17, 1997  (photo)<br> &quot;`Tokyo Rose' Coming to San Jose,&quot; Hokubei Mainichi, January 6, 1996  (photo) <br> &quot;Performance Artist to Present `Tokyo Rose' in S.F.,&quot; Hokubei Mainichi,  May 16, 1995 (photo)<br> &quot;Rika Ohara to Perform in `Tokyo Rose',&quot; Nichi Bei Times, May 13, 1995  (photo)<br> &quot;Performance Pick of the Week&quot; by Connie Monaghan, the L.A. Weekly,  August 19 - 25, 1994<br> Vorort International (exhibition catalog), Galerie E 43 IM Treppenhaus, Berlin,  Germany 1994 (photos)<br> &quot;The Real Story of Tokyo Rose&quot; by Deborah Robiglio, the Los Angeles  Reader, April 16, 1993 (photo)<br> &quot;Performance Pick of the Week&quot; by Peter Frank, the L.A. Weekly, April  16 - 22, 1993 (photo)<br> &quot;Weekend,&quot; the Los Angeles Times, October 16, 1992<br> &quot;Medium Way Cool&quot; by Jan Stoom, the L.A. Weekly, October 16 - 22, 1992<br> &quot;Going It Alone - Solo Performance in Los Angeles&quot; by Lynn Swanson,  Visions Arts Quarterly, Summer 1992 (photo, color)<br> &quot;Dances Aided by Technology,&quot; The Plain Dealer, Cleveland, March 14,  1992<br> &quot;Performance Pick of the Week&quot; by Peter Frank, the L.A. Weekly, June  21 - 27, 1991 (photo)<br> &quot;Prometheus on a Black Landscape&quot; by Terry Wolverton, High Performance,  Summer 1990<br> &quot;`Twisted Spring' Aptly Titled&quot; by Jody Leader, the Daily News, April  30, 1990<br> &quot;Performance Pick of the Week&quot; by Lucia Dewey, the L.A. Weekly, April  27 - May 3, 1990<br> Performance Art Anthology, Last Gasp/Contemporary Arts Press, 1989<br> &quot;Having Fun With Duality&quot; by Alison Sloane, the Los Angeles Reader,  October 27, 1989 (photo)<br> &quot;Art Matters&quot; by Lesa Sawahata, Santa Monica Bay News, August 1989<br> &quot;Performance Art Pick of the Week&quot; by Peter Frank, the L.A. Weekly,  August 25 - 31, 1989 (photo)<br> &quot;Ungewohnte Signale (Unusual Signal)&quot; by Petra Erlwein, Offenbach Post,  Frankfurt, May 26, 1988<br> &quot;Die uns fremde Handschrift der Natur (The Strange Handwritings of Nature),&quot;  Hannoversche Evangelische Zeitung, May 1, 1988<br> &quot;Ein lebendiges Gesamtkunstwerk (Living Total Artwork),&quot; Hannoversche  Allegemeine Zeitung, April 15, 1988 <br> &quot;Pulner, Ohara in `Astroboy'&quot; by Gregg Wager, the Los Angeles Times,  September 26, 1987<br> &quot;Clear Vision in `Asian Eyes'&quot; by John C. Mahoney, Downtown News, July  13, 1987<br> &quot;Asian Eyes&quot; by Bill Raden, the L.A. Weekly, July 10 - 16, 1987<br> Alles und Noch Viel Mehr, Die katalog Anthologie der 80er Jahre by G.J. Lischka,  Benteli, Switzerland 1985 (photo)<br> &quot;Among the Best&quot; by Lair Davis, the San Diego Gayzette, December 26,  1985<br> &quot;Can Art Breed Action?&quot; by Kathe Burkhart, High Performance, Issue 32,  1985<br> &quot;Scratching a Cosmic Itch&quot; by Paula Bryant, High Performance, Issue  31, 1985 (photo)<br> &quot;New and Clear, Nuclear&quot; by David E. James, Artweek, September 21, 1985  (photo)<br> <b><br> Education<br> </b></font></i><i><font face="Arial, Helvetica, sans-serif" size="2" >Master of  Fine Arts, California Institute of the Arts, 1985<br> Bachelor of Fine Arts, California College of Arts and Crafts, 1983</font></i> <p>&nbsp; </p> <font face="Arial, Helvetica, sans-serif" size="1"><br> <br> <br> <br> </font>  <hr noshade size="1" align="left"> <div align="left"><font size="2"><br>   <font face="Arial, Helvetica, sans-serif"><a href="../../../fr_roart.htm" target="_parent"></a></font>    </font>    <table border=0 cellspacing=0 height="22" align="left" >     <tr align=LEFT valign=BOTTOM>        <td nowrap>&nbsp;</td>       <td nowrap><font size="2"><font face="Arial, Helvetica, sans-serif"><a href="../../../../../index.htm" target="_parent"><font color="#666666" size="1"><img src="../../../../graphics/courants/fleche_dr.gif" width="17" height="17" border="0"></font></a></font></font></td>       <td colspan="2" valign="middle"><font size="1" face="Verdana, Arial, Helvetica, sans-serif" color="#666666">back          to the main page</font> <font face="Verdana, Arial, Helvetica, sans-serif" size="1" color="#666666"></font></td>     </tr>   </table> <br>   <br>   <br>   <br>   </font></div> <p><font face="Arial, Helvetica, sans-serif" size="1"><br>   </font> <font face="Arial, Helvetica, sans-serif" size="1"></font>  </body>  </html> 
