kamaro‘an ss27 ———— shaped by pebbles

dune showroom
tokyo | ss27
japan & international sales
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dates:
september 08 – 10

location:
hrp_a, ss jingumae, 4f
3-1-26 jingumae, shibuya
150-0001 tokyo, japan

by appointment only

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dates:
september 15 – 16

location:
n id tokyo
1-3-2 jinnan, shibuya
150-0041 tokyo, japan

by appointment only

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@dune_showroom
@dune_intl_showroom

japan
• atsuki kobayashi – kobayashi [at] dune-jp.net
• junnosuke saito – junnosuke-saito [at] dune-jp.net

international
• violetta tomita – vio.tomita [at] dune-jp.net
• hiromu suzuki – hiromu [at] dune-jp.net

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“prehistoric pottery from taiwan’s east coast has pebble traces inside,” read a note imay sent me from the literature. “when i was little, i found a prehistoric net sinker while walking near my home. i kept it in a drawer,” nacu said.

“pebbles are a phenomenon,” imay said. calling them a phenomenon suddenly turned the pebble from an object into a process, a trace of the sea and time. across a vast scale of time, every sharp edge becomes poetry, a long, long echo.

this summer, our studio moved back home to the coastal village of cawi’. and one day, sitting on the rooftop with the ocean in front, the legendary eternal happiness will become touchable, when every moment becomes the echo of another, and all things start reflecting one another.

「史前陶器內側，有鵝卵石拍打的痕跡」，伊麥傳過來文獻上的筆記，「我小時候在家裡旁邊走，就撿到史前的網墜，收在抽屜裡」，nacu 説。

「你知道，鵝卵石是一種現象」伊麥說。雖然本來就知道海岸邊打磨出來的屬於鵝卵石，但用現象來形容，鵝卵石忽然從物件變成一種過程與痕跡，於是所有的稜角在宏大的時間尺度裡都被修辭了，成為很長很長的回音。

今年夏天開始的時候，我們的工作室搬回海岸邊的靜浦部落了，也許回到老家的時候，在屋頂看海，就會碰到傳說中奇妙而永恆的幸福，關於每一個片刻都成為另一個片刻的回聲，然後萬物開始互相映照。

today imay was talking to lafa about weaving, with the world shifting all around you, all you can do is believe, then follow what you are weaving in your hands and keep moving forward. it made me think of the structure of the pleated straw bag. in lukang, the sewing craftsman believed in it, spending so much time finding the exact angles of tension and release by hand. “every one we make is our precious baby,” they said at the workshop.

and suddenly, torii ryūzō’s discussions of pangcah pottery and gourd vessels, and the pottery forms of the melanesian islands, kano tadao’s notes on the pebble traces inside pottery, all the questions of continuity and discontinuity between the ancient and the present faded away. because the origin may be nothingness, but what is in our hands will keep moving forward.

“through the naïveté of chronologies, we shall be led back toward an ever-receding point that is never itself present in any history.”
— foucault, the archaeology of knowledge

今天 imay 在跟 lafa 説編織，世界風起雲湧的，你只能相信，然後跟著自己手裡編的東西往前走，然後想到摺疊草編的結構，也許也是師傅相信，才可以費盡心思找出車縫手感收放的角度，每個做出來的都是心肝寶貝，鹿港工廠說。

於是忽然之間，鳥居龍藏寫的阿美陶與瓢壺、美拉尼西亞諸島的陶器形制之間的討論，鹿野忠雄筆記的陶器內側鵝卵石的拍打痕跡，古老與現在的連續性與不連續性，都煙消雲散了，因為起源是虛無的，可是手裡的東西會一直往前。

「我們注定會透過時間順序的天真樸實，被重新導向一個永遠在後退、從未出現在任何歷史中的起點。」《知識考古學》，傅柯。