Ryoko Akama

Japanese-Korean working with installation, performance and composition, residing in Huddersfield, UK.

Akamas works sculpt domestic appliances and scrap wastes with invisible energy, especially interested in heat, magnetism and gravity, into kinetic contraptions. Her site-specific works infuse both aural / visual occurrence as one entity, creating ephemeral situations that magnify undefinable relationships between noise and silence, time and space. Her recent artistic practice examines architectural awareness, immigration ecology and conflict, cultural fluidity, relativity of livings.

She improvises, and composes / performs alternative scores in collaboration with other artists and musicians worldwide. She is a member of the lappetites, electronic musician collective since 2000 and a member of the 9-piece band a.hop.

She is an artistic director for ame c.i.c., supporting DIY culture and underground art/music scene. She also co-runs the independent publisher mumei publishing.

Selected installations include: in.visible (The Art House, 2023, UK), divulgence (Donaueschinger Musiktage, 2023, Germany), not a matter but it really matters (Lo Pati, 2022, Spain), inefficient ways to comprehend the matter (Exhoraum, 2022, Austria), the way they are (Yorkshire Sculpture Park, 2019, UK), composition of happiness (Spanien19C, 2019, Denmark), kosetsu (Stedelijk Museum, 2019, Amsterdam), ploughs and harrows (Konfrontation Festival, 2018, Austria), listening with the city (Internationales Musikinstitut Darmstadt, 2018, Germany), odds and ends (Bunkier Sztuki Gallery, 2018, Poland), loiner or (Industrial Museum of Leeds, 2018, UK), Object Migration (Avant Art Festival + Sanatorium Dź wię ku, 2017, Poland) and 1→ 5 (Uppsala Art Museum, 2016, Sweden).