Q: Ryo’s “Mokkori” dance in the film was an incredibly funny scene. How did that come about and how did you practice that?
Ryohei Suzuki: In the script, it only said he dances in the cabaret, and the line was mokkori-sho, and that was it. So, we didn’t know what kind of dance he does or what kind of tricks he does.
But I had a sense that I knew what kind of dance Ryo would do if he was in the modern day. He is 100% going to imitate some Japanese comedians who, you know, comedians with naked dances. And I got inspiration from four great Japanese comedians.
So, I told the director that I was going to choreograph for the dance, and I rented a studio. And I went there with an actor friend, and we choreographed together. We shot the scene, edited the video, made that mokkori dance scene, and showed it to the director, and the director liked it. So, that was the dance [in the film]. [Source]
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I have officially completed building in The Arts Quarter of San Myshuno! I still have quite a bit left to do in the city, but I'm kind of a proud mama bear for how this area turned out!
910 Medina Studios
920 Medina Studios
930 Medina Studios
121 Hakim House
122 Hakim House
San Myshuno MoMA
Fountainview Bistro
The views in San Myshuno will never ever ever ever get old!
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Does Ed ever use the royal we when speaking as the capital? Does he ever try to speak for the Providence as the capital? Also does he use his capital privileges to make the other cities do things they don’t want to?
It would be redundant of me to say I may be biased since it's so self evident here but once again here's my bias and as usual I slap it directly onto Ed. And I thought I have enough emotional distance from the election to get properly mad about it again :)
Basically, there have only been two times when Ed felt appropriately represented by the provincial government since the province was founded (one of those times being something deliberately engineered in collaboration with the federal liberals to strengthen Edmonton's position the likes of which conspiracy theorists would go nuts over today; the other being the "accidental" vote split that led directly to the strongest official opposition in the history of the province.)
The rest of the time, being capital is a begrudging role that Ed plays not because he likes it but because he stubbornly refused to let it go a hundred years ago and the first past the post system continues to make his life hell in return. Ed would prefer to have a government that provides all the services government is supposed to, and most of the province would like to have as little government as possible (which, of course, in the Cash Money province means elected officials get paid Cash Money to spend on whatever they want instead of having to be held accountable by the law or by their constituents).
anyway i wish the last two panels were fake i WISH they weren't based on reality but it's par the course for how Edmonton is perceived by the provincial government. We're not "in charge", we're just the ones with the circus in town.
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Starting to think about my upcoming show with American Craft Made Baltimore. There’s a lot to plan and create ahead of a big show like this. I’ve learned over the years that starting as early as possible gives me the most flexibility to create my best work. The more time I have the more likely I am to take a creative risk and try something new. It seems that the closer a deadline approaches I start to focus on tried and true pieces and spend more of my time working on things I know have worked in the past. I’m really excited to be bringing some of the new work I created over the last few months to this show. Trying to stay consistent with my studio time every day!
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Anthony Freese “State of Emergency”, 2023 vinyl and “Termination”, 2023 3D print
(L to R) Jay Giroux “Slow Burn”, 2023, waterborne acrylic on aluminum sign panel mounted to MDF; Ryan Lagasse, “This Isn’t Sunshine”, 2023, acrylic on wood; Blake Bailey, “Solar Pressure”, 2023, linocut relief print
Ryan Lagasse “This Isn’t Sunshine”, 2023, acrylic on wood
RJ Martin, “Cold projections”, 2023, digital print on signboard and “Truth in blue”, 2023, 3D print
Jay Giroux, “Drug Store”, 2023, acrylic on primed MDF
(left) Edgar Sanchez Cumbas, “Where There Is Brown There Is Gold”, 2023, digital print embellished with wax, acrylic, and charcoal on Arches cold press 140lb paper; (right) Joana Hila “Equilibrium of Insect & Flora”, 2023, mixed media
The works above are from Department of Contemporary Art’s latest group exhibition Degrees, organized with Tampa’s Greater Public Studio. It explores the multiple uses of the word “degrees” including in climate change, education and history. Artists included in the exhibition- Blake Bailey, Anthony Freese, Jay Giroux, Joana Hila, Ryan Lagasse, Richard Martin, Julia Parrino, Alex Roberts, and Edgar Sanchez Cumbas.
About Degrees from the gallery’s website-
In this exhibition, we unravel the layers of meaning behind ‘Degrees’. From the nuanced shades of truth that shape our perceptions to the tangible degrees of temperature that influence our environment, the exhibition creates a dynamic dialogue between different dimensions of this concept.
Situated in a pivotal battleground state, the exhibition also contemplates the intricate relationship between degrees and the pressing issue of global warming. Delving into the political discourse, we examine how degrees of belief and denial intersect, particularly in the context of climate change debates.
Furthermore, the exhibition prompts contemplation on the notion of an art degree. What does it signify? How does it define one’s creative journey? These questions guide us through an exploration of artistic qualifications and the degrees of expertise they represent.
A journey through art history reveals the connection between degrees and lines, as we delve into the associations between angles, perspectives, and the progression of artistic movements. This collection invites you to ponder how degrees of inclination can shape artistic expression and historical narratives.
Join us in this immersive exhibition, where degrees of interpretation converge, offering a multi-dimensional encounter with the concept of ‘Degrees’.
Tomorrow (10/26/23) from 6-9pm is the last chance to see the show.
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