About

Natalie TSYU is an interdisciplinary artist and researcher based in Oslo-Tokyo. With the theme of exploring the memory of landscapes, her projects include fieldwork, sound, performance, art books, graphics, and various other forms. In her artistic practice, Natalie deals with sound as a material tool for awareness and exploration of the way "how not to forget" historical landscapes. The sound in her practice takes on a visual form and helps to find the very borderline between visual and sound art, the border where the one who can’t see - can hear, and the one who can’t hear - can see.

She graduated from The Oslo National Academy of Arts and is part of the artistic research project DUNKE-DUNK related to the reconstruction of being in the north of Norway, which forms a method of (re)reading, opening up a space for interdisciplinary cooperation and meetings with the region, history, and art communities between the countries of the Barents region - the research received sponsorship from The Norwegian Barents Secretariat in 2020. In 2022, Natalie received a Japanese government scholarship for: (Un)mute performance: Developing an artistic methodology for ontological instruments based on the history of sound art in Japan (1980-2000) and Hirayama Ikuo Culture and Arts Award 平山郁夫文化芸術賞 in 2023. Currently, she is conducting the research project [Matter]iality of Memory – Tracing Invisible Roots in Hokkaido under the JREX fellowship and GEIDAI.

The recent artworks have been exhibited in Kunsthall 3,14 Bergen, Norway; Spriten Kunsthall Skien, Norway; Roots&Arts Shiraoi, Japan; ONA Project Room Tokyo, Japan; JCCAC Hong Kong; Above the Clouds Gallery London; UK, Komagome SOKO Tokyo, Japan, 3x3 Art Space Tokyo, etc.

ナタリー・ツゥー

オスロと東京を拠点に幅広い分野で活躍するアーティスト、研究者。風景の記憶の探求をテーマに、フィールドワーク、サウンド、パフォーマンス、アートブック、グラフィックなど様々な形態のプロジェクトを行う。歴史的な風景を記憶する方法を発見するために、音を道具として扱う。彼女の活動では、音は視覚的な形をとり、視覚芸術とサウンド・アートの境界線で、見えないものを聞き、聞こえないものを見ることへと導く。

2019年にオスロ国立アカデミーを卒業。ノルウェー北部における”存在”の再構築に関連する芸術的研究プロジェクトDUNKE-DUNKのmメンバー。この研究は2020年にThe Norwegian Barents Secretariatからスポンサーを受け、2023年にVIS - Nordic Journal for Artistic Researchに掲載された。日本政府奨学金(Un)mute performance (2022年)日本におけるサウンドアートの歴史（1980-2000）に基づく存在論的楽器の芸術的方法論の開発において平山郁夫文化芸術賞受賞（2023年）

最近の作品は、ノルウェー、ベルゲンのKunsthall3,14で展示されました。Spriten Kunsthall Skien、ノルウェー。ルーツ&アーツ白老、日本; ONAプロジェクトルーム、東京、日本。 JCCAC香港; アバブ・ザ・クラウズ・ギャラリー・ロンドン; イギリス

Interview:

You often use sound in your work, sound is one of the important elements for you which you call an “ingredient”, what is sound for you?

- The sound performs as a delicate archaeologist of a place. It shows the place without any embellishments, reflecting each macro process of our momentary stay of finding and observing. Sound reveals many processes between us, in us. By listening, we take a step toward the perception of a place: speaking, singing, whispering, touching, and being silent. By using many languages and many touches, by listening, we form subtle and delicate relationships in places of endless noise streams, where each has its own sound, visible or invisible.

In my artistic practice, I often work with sound as a material tool for awareness and exploration of the environment. The sound in my works takes on a visual form and helps to find the very borderline between visual and sound art, the border where the one who can't see - can hear, and the one who can't hear - can see.

The space of this sound creates its own significant immune structure, allowing us to listen to the elements that preserve the landscapes of isolated places. This sound takes the form of a guide, becomes an archaeologist of these places, and opens up another way for us to communicate with each other and the space around us.

Sound is one of the most essential ingredients of our being.