{"id":31962,"date":"2018-10-16T14:45:04","date_gmt":"2018-10-16T12:45:04","guid":{"rendered":"https:\/\/serwer2650909.hosting-home.pl\/autoinstalator\/wordpressplugins\/?p=31962"},"modified":"2026-09-23T12:02:33","modified_gmt":"2026-09-23T10:02:33","slug":"liminality-in-kamiyama","status":"publish","type":"post","link":"https:\/\/ewawes.com\/pl\/liminality-in-kamiyama\/","title":{"rendered":"Liminality In Kamiyama"},"content":{"rendered":"
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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t
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LIMINALITY
2022<\/h4>\t\t\t\t<\/div>\n\t\t\t\t
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Wzg\u00f3rze Oawa, Kamiyama, Tokushima, Japonia mapa google<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Betonowy sze\u015bcian 8x4m
posadzka z wapienia 5,5x2m
drewniana \u0142awka, skrzynka z kompletem d\u0142ut do k\u0142ucia w kamieniu, rylcami, m\u0142otkami<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Liminality to miejsce wyodr\u0119bnione z otoczenia \u2014 przestrze\u0144 \u201epomi\u0119dzy\u201d, wyj\u0119ta z kontekstu i pozbawiona przypisanego znaczenia. Obiekt w lesie to \u201enon-place\u201d; tworzy pust\u0105 i neutraln\u0105 struktur\u0119 przej\u015bciow\u0105.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Mo\u017cna na nim pozostawi\u0107 zapis obecno\u015bci. Skrzynka z narz\u0119dziami do kucia w kamieniu udost\u0119pnia gest inskrypcji. \u015alady w wapiennej powierzchni staj\u0105 si\u0119 materialnym zapisem, podlegaj\u0105cym akumulacji. Praca odnosi si\u0119 do powszechnych praktyk i rytua\u0142\u00f3w towarzysz\u0105cych przekraczaniu granic miejsca: potrzebie zaznaczenia obecno\u015bci, znakowania, pozostawiania \u015bladu oraz ch\u0119ci utrzymywania relacji z danym miejscem poprzez 'oznaczenie' go i zbudowanie tym aktem ch\u0119ci powrotu.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Liminality znajduje si\u0119 na wzg\u00f3rzu Oawa w Kamiyamie, przy \u015bcie\u017cce prowadz\u0105cej do \u015bwi\u0105tyni na szczycie. Praca pozostaje w relacji z ruchem i rytmem przej\u015bcia: z drog\u0105, zatrzymaniem i powrotem i tym nowym, co nast\u0105pi. W tym uk\u0142adzie przestrze\u0144 \u201epomi\u0119dzy\u201d nie jest t\u0142em, lecz elementem r\u00f3wnorz\u0119dnym wobec form wyznaczaj\u0105cych jej ramy. Nawi\u0105zuje to do japo\u0144skiej koncepcji przestrzeni pomi\u0119dzy \u2013 MA. W koncepcji tej przestrze\u0144 pomi\u0119dzy elementami ma r\u00f3wnoznaczn\u0105 warto\u015b\u0107 do obiekt\u00f3w 'otaczaj\u0105cych' t\u0119 przestrze\u0144. Drewniana \u0142awka nawi\u0105zuje do engawy, czyli charakterystycznej dla japo\u0144skich dom\u00f3w drewnianej werandy \u2013 pasa pod zadaszeniem, biegn\u0105cego wzd\u0142u\u017c budynku jako przestrze\u0144 po\u015brednia pomi\u0119dzy wn\u0119trzem a ogrodem. Engawa funkcjonuje zarazem jako podest i miejsce zatrzymania: strefa przej\u015bcia, odpoczynku i spotkania, w kt\u00f3rej koncentruje si\u0119 to, co wydarza si\u0119 \u201epomi\u0119dzy\u201d.\nTytu\u0142owa liminalno\u015b\u0107 odnosi si\u0119 do stanu przej\u015bcia: momentu pomi\u0119dzy jednym porz\u0105dkiem a drugim. Praca konstruuje sytuacj\u0119, w kt\u00f3rej znaczenie nie jest dane, lecz pozostaje w zawieszeniu i ujawnia si\u0119 poprzez gest, czas trwania, obecno\u015b\u0107 i akumulacj\u0119 \u015blad\u00f3w.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Referencje:
Marc Aug\u00e9 Non-places: introduction to an Anthropology of Supermodernity<\/a><\/span>
Arnold Van Gennep Rits of Passage<\/a><\/span>
Michel de Certeau The Practice of Everyday Life<\/a><\/span>, Michel de Certeau Walking in the City<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Public art work in Oawa Mounatin forest in Kamiyama <\/p>","protected":false},"author":1,"featured_media":31955,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"_acf_changed":false,"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[14,16,17],"tags":[18,19,20],"class_list":["post-31962","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-apps","category-social","category-tech","tag-apps","tag-conference","tag-developers"],"acf":[],"yoast_head":"\nLiminality in Kamiyama<\/title>\n<meta name=\"description\" content=\"Public artwork in Oawa Mountain Forest in Kamiyama, Tokushima, Japan. Liminality in Kamiyama is a place abstracted from its surroundings...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ewawes.com\/pl\/liminality-in-kamiyama\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Liminality in Kamiyama\" \/>\n<meta property=\"og:description\" content=\"Public artwork in Oawa Mountain Forest in Kamiyama, Tokushima, Japan. Liminality in Kamiyama is a place abstracted from its surroundings...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/ewawes.com\/pl\/liminality-in-kamiyama\/\" \/>\n<meta property=\"og:site_name\" content=\"Ewa Wes\" \/>\n<meta property=\"article:published_time\" content=\"2018-10-16T12:45:04+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-23T10:02:33+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/ewawes.com\/wp-content\/uploads\/2018\/10\/art-in-public-oawa-mountain_Kamiyama_ewa-wes.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1995\" \/>\n\t<meta property=\"og:image:height\" content=\"1500\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Ewa Wes\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/ewawes.com\\\/liminality-in-kamiyama\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/ewawes.com\\\/liminality-in-kamiyama\\\/\"},\"author\":{\"name\":\"Ewa Wes\",\"@id\":\"https:\\\/\\\/ewawes.com\\\/#\\\/schema\\\/person\\\/913dccdc929d6873be789ae079d6d896\"},\"headline\":\"Liminality In Kamiyama\",\"datePublished\":\"2018-10-16T12:45:04+00:00\",\"dateModified\":\"2026-09-23T10:02:33+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/ewawes.com\\\/liminality-in-kamiyama\\\/\"},\"wordCount\":399,\"publisher\":{\"@id\":\"https:\\\/\\\/ewawes.com\\\/#\\\/schema\\\/person\\\/913dccdc929d6873be789ae079d6d896\"},\"image\":{\"@id\":\"https:\\\/\\\/ewawes.com\\\/liminality-in-kamiyama\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/ewawes.com\\\/wp-content\\\/uploads\\\/2018\\\/10\\\/art-in-public-oawa-mountain_Kamiyama_ewa-wes.webp\",\"keywords\":[\"Apps\",\"Conference\",\"Developers\"],\"articleSection\":[\"Apps\",\"Social\",\"Tech\"],\"inLanguage\":\"pl-PL\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/ewawes.com\\\/liminality-in-kamiyama\\\/\",\"url\":\"https:\\\/\\\/ewawes.com\\\/liminality-in-kamiyama\\\/\",\"name\":\"Liminality in Kamiyama\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/ewawes.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/ewawes.com\\\/liminality-in-kamiyama\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/ewawes.com\\\/liminality-in-kamiyama\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/ewawes.com\\\/wp-content\\\/uploads\\\/2018\\\/10\\\/art-in-public-oawa-mountain_Kamiyama_ewa-wes.webp\",\"datePublished\":\"2018-10-16T12:45:04+00:00\",\"dateModified\":\"2026-09-23T10:02:33+00:00\",\"description\":\"Public artwork in Oawa Mountain Forest in Kamiyama, Tokushima, Japan. 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Her practice focuses on sculpture and installation, investigating how invisible forces become perceptible through matter, inscription, and spatial experience. Working with objects, installations, two-dimensional works, and interventions in public space, she develops systems based on registration, repetition, seriality, and spatial relations. Across sculpture, installation, public-space works, and two-dimensional works, Ewa Wes develops a continuous body of work concerned with inscription, memory, duration, and the perception of spatial relations. Her installations are composed of multiple elements in which meaning emerges through the relation between objects and through the movement of the viewer in space. Her two-dimensional works extend the same logic of registration into a flat format, while her public-space interventions introduce durable objects and inscriptions into existing urban, architectural, and landscape contexts. In 2022, Ewa Wes realized Liminality, a permanent public artwork at Oawa Mountain in Kamiyama, Tokushima, Japan. Situated in the forest, the work was conceived as a place without a predetermined function or meaning. Consisting of a concrete platform, a stone surface, a bench, and carving tools available to visitors, it remains open to the gradual accumulation of traces produced through repeated encounters. Ewa Wes has exhibited internationally and has participated in exhibitions, residencies, and research programmes in Europe, the United States, and Japan. Ewa Wes received an MFA in Sculpture from the Jan Matejko Academy of Fine Arts in Krak\u00f3w in 2007. In 2022, she completed a PhD in Arts and Conservation of Works of Art at the same institution. Her doctoral research examined the relationship between art and science, focusing on historical changes in the understanding and representation of time and space before and after the formulation of the theory of relativity. 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Her practice focuses on sculpture and installation, investigating how invisible forces become perceptible through matter, inscription, and spatial experience. Working with objects, installations, two-dimensional works, and interventions in public space, she develops systems based on registration, repetition, seriality, and spatial relations. Across sculpture, installation, public-space works, and two-dimensional works, Ewa Wes develops a continuous body of work concerned with inscription, memory, duration, and the perception of spatial relations. Her installations are composed of multiple elements in which meaning emerges through the relation between objects and through the movement of the viewer in space. Her two-dimensional works extend the same logic of registration into a flat format, while her public-space interventions introduce durable objects and inscriptions into existing urban, architectural, and landscape contexts. In 2022, Ewa Wes realized Liminality, a permanent public artwork at Oawa Mountain in Kamiyama, Tokushima, Japan. Situated in the forest, the work was conceived as a place without a predetermined function or meaning. Consisting of a concrete platform, a stone surface, a bench, and carving tools available to visitors, it remains open to the gradual accumulation of traces produced through repeated encounters. Ewa Wes has exhibited internationally and has participated in exhibitions, residencies, and research programmes in Europe, the United States, and Japan. Ewa Wes received an MFA in Sculpture from the Jan Matejko Academy of Fine Arts in Krak\u00f3w in 2007. In 2022, she completed a PhD in Arts and Conservation of Works of Art at the same institution. Her doctoral research examined the relationship between art and science, focusing on historical changes in the understanding and representation of time and space before and after the formulation of the theory of relativity. In 2020\u20132021, she completed the Of Public Interest post-master programme at the Royal Institute of Art (KKH) in Stockholm, where she participated in OPI \u2013 Of Public Interest Research Lab.","sameAs":["http:\/\/serwer2650909.hosting-home.pl\/autoinstalator\/wordpressplugins","https:\/\/www.instagram.com\/ewa.wes\/","https:\/\/www.linkedin.com\/in\/ewa-wes\/"],"url":"https:\/\/ewawes.com\/pl\/author\/studioewawes\/"}]}},"_links":{"self":[{"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/posts\/31962","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/comments?post=31962"}],"version-history":[{"count":0,"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/posts\/31962\/revisions"}],"wp:attachment":[{"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/media?parent=31962"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/categories?post=31962"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ewawes.com\/pl\/wp-json\/wp\/v2\/tags?post=31962"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}