S p r i n g
2 0 1 7
ãžã£ãŒãã«
I S S U E
# 8
Photo: Feducia
3
ãžã£ãŒãã«ã«ã€ã㊠FORWARDãžã£ãŒãã«ã§ã¯ ããã«ã«ã®äžå¿ã«ããæ°ããã³ãã¥ããã£ãWard Villageã§æŽ» èºãã人ã ãå¹ åºãåæããŠããŸããã¢ãŒãã«æº¢ããç掻ãã€ãããŒãã£ããªèµ·æ¥å®¶ãã³ ãã¥ããã£ãžã®è²¢ç®è ãªã©ã«çŠç¹ãããŠããã®ã³ãã¥ããã£ã®éå»ã«æ ¹å·®ããªããããæª æ¥ã«æ ç±ãçãã人ã ãã玹ä»ããŠãããŸãã
第8å·ã¯æ§ã ãªã¹ã¿ã€ã«ã®ã¢ãŒãã«æ¬æãè¡šãããã®ãšãªã£ãŠãããŸããããã«ã«ã»ããš ã³ããŒã¬ã®ææ°æ å ±ãåœéçã«æåãªã¢ãŒãããŒã ãšããŠæŽ»åãã倫婊ãæ°ãããªãŒãã³ ããNobuã§ã®å³ã®èžè¡ã®èŠ³è³ããã®è¡ã¯ã¢ãŒãã溢ããŠãããç§ãã¡ã¯ããã«å¯Ÿããã ã以äžãªãã»ã©ã®æè¬ã®æ°æã¡ãæ±ããŠããŸããèªè ã®æ¹ã ã«ã¯ç¬¬8å·ãã楜ãã¿ããã ããã¢ãŒããžã®æãçãäžããŠããã ããããšæããŸãããŸãããã®å·ããã£ããã«ãŸã ãªããã®è¡ã§éãããã¯ãŒã«ãã¯ã©ã¹ã®çŸè¡å±ã«å¿ãèºãããŠããã ããããšãç¥ã£ãŠã ãŸãã
ç® æ¬¡
4
16
ä»ãããã®æžŠäžãã
å ã®äžã§
10
18
ãã¥ã®ã£ã¶ãŒ
åµé çãªãã¬ãã
14
20
èªç¶ãžã®ååž°
ã€ãã³ãã«ã¬ã³ããŒ
ON THE COVER Art by Les Filter Feeders, who will be displaying their work at the Honolulu Biennial beginning in March.
Top: Beatrice Glow, Rhunhattan Tearoom (2015) | Bottom: teamLab, Graffiti Nature (2016)
5
ä»ãããã®æžŠäžãã 2017ããã«ã«ããšã³ããŒã¬ã®ã玹ä»
6
ããšã³ããŒã¬ã®çºè¶³ Isabella Ellaheh Hughes ïŒ Katherine Ann Leilani Tuider ããã«ã«ããšã³ããŒã¬è²¡å£ã®ãã£ã¬ã¯ã¿ãŒåã³å ±ååµèšè
çŸ
åšãäžçã®ãããããªå Žæã§ãããšã³ã㌠代ã¢ãŒãã£ã¹ãã ãã®å±ç€ºãè¡ãå Žæããªãããšã ã«ã«ããã¯ã€å šåã§è¡ãããä»ã®ã¢ãŒããã«ã«ã ã¬ãããªãšã³ããŒã¬ãªã©ã100以äžã®æ§ã ãããããããã£ã³ã¹ã ãšèãã2014幎ã«ãã©ã³ã ã£ãŒã€ãã³ãã®äžèŠ§ã衚瀺ãããªã³ã©ã€ã³ã¬ã€ã ãªåœéçŸè¡å±èŠ§äŒãéå¬ãããŠããŸããæ ã£ã¢éå¶ã®éå¶å©èžè¡é¢é£å£äœãšããŠHBFãåµèšã ã補äœããŠããŸãã®ã§ããåç §ãã ãããwww. åãªãã®ãšããŠã¯ãã·ã³ã¬ããŒã«ãã·ãããŒãã€ã¹ ãŸãããäŒç»ãè³ééãã«3幎ãè²»ãããåŸã2017 honolulubiennial.org/umeke-umbrella ã¿ã³ããŒã«ããã«ãªã³ãããããæç¥ãéå±±ããªã 幎3æ8æ¥ãã5æ8æ¥ãŸã§ãä»ãããã®æžŠäžããã ããŒã«ããããŠãã¡ããäžçæå€ã®ããã¹ããšã³ã ãšé¡ããããã«ã«ããšã³ããŒã¬ãåããŠéå¬ã§ãã ããã«ã«ããšã³ããŒã¬ã®çºè¶³ã¯ãåœéçãªååã ã ãŒã¬ïŒ1895幎çºè¶³ïŒãªã©ãæããããŸãããã㧠ããšãšãªããèªãããæã£ãŠããŸãããã®ããšã³ã ã§ãªããã³ãã¥ããã£å ã®ãã¹ãŠã®éšéããå€ãã® ã¯ãããšã³ããŒã¬ãšã¯äžäœã©ã®ãããªãã®ã§ããã ãŒã¬ã¯ãããã«ã«å ã®9ã€ã®ç°ãªãå Žæã§éå¬ããã 人ãšç¥ãåããååããæ©äŒãåŸãããšãã§ããé ãïŒåºæ¬çã«ãããã¯ãçŸä»£çãªããžã¥ã¢ã«ã¢ãŒã ãã¯ã€ã倪平æŽãã¢ãžã¢å€§éžãåã¢ã¡ãªã«ããã®33 åžžã«ããããã®ãããããžã§ã¯ãã§ããããŸããã ã®å±ç€ºã«çŠç¹ãåœãŠäºå¹Žããšã«è¡ãããå±èŠ§äŒã®ã 人ã®ã¢ãŒãã£ã¹ãã®äœåãåãäžããããšã§ãã㯠ã®ãããžã§ã¯ãã«ååããŠãã ãã£ãæ¹ã ã«ã¯å€§å€ ãšã§ãäžè¬çã«å€§èŠæš¡ã«éå¬ãããåŸåããããŸã ã€å·ã«ãããã¢ãŒããšã®çµã³ã€ããå圢æããããš é ãäžããæãã§ãã ããå€ãã®å Žåãæ£åŒãªçŸè¡é€šã®åœ¢åŒããšããªã㧠ãã§ããã§ããããæ±äº¬ã®æ£®çŸè¡é€šé€šé·ã®åæ¢å²ç è¡ãããŸããäžã€ã®éœåžã®äžã®è€æ°ã®å Žæã§éå¬ã æ°ããã¥ã¬ããªã¢ã«ã»ãã£ã¬ã¯ã¿ãŒãåãããªãŒã¯ ãŸã ããšã³ããŒã¬éå¬åã§ãããããã«ã«ããšã³ã ããäž»ã«ãã®ããšã³ããŒã¬ç¬èªã®ããŒãã«åèŽãã ã©ã³ãã»ã¢ãŒãã®ã£ã©ãªãŒã»ãã€ã»ãªã»ã¿ããã§å ãŒã¬ãåœå°ã®ã¢ãŒãã·ãŒã³ã«äžããŠããããžãã£ã ãããªã¢ãŒãã¯ãŒã¯ãæ°ããå§èšããŠå±ç€ºããŸãã äœæ°ã¢ãŒããããªãªã¢ãŒãã®ãã¥ã¬ãŒã¿ãŒã20幎 ãªåœ±é¿ããããã«ã«ãããŒã«ã«ã®ã¢ãŒãã£ã¹ãã«æ³š ã¢ãŒãã¯ãŒã¯ãå±ç€ºãããå Žæãéœåžã®æŽå²ã«çŠç¹ éå€ããNgahiraka Masonæ°ããä»ãããã®æžŠäžã ç®ãéãŸãã€ã€ããããšãç§ãã¡ã¯ãã§ã«æãå§ã ã眮ãããããšããã°ãã°ãããŸãã ããã®ãã¥ã¬ãŒã¿ãŒãåããŸãã ãŠããŸããåœå åã³åœéçã«æåãªå ±éæ©é¢ããã® ã€ãã³ããåãäžããããã§ã¯ãã¯ã€ã®æ°é²ã¢ãŒã ããšã³ããŒã¬ãšã¯æ¬è³ªçã«ãåœéçã¢ãŒãã£ã¹ãã® ãŸããããšã³ããŒã¬ã¯ããããŸã§äžå¿ãšããŠèªèã ã£ã¹ãã®èšäºãã¡ã€ã³ãšãªã£ãŠããŸããäžçææ°ã® äœåãšãšãã«å°å ã®ã¢ãŒãã£ã¹ãã®äœåãå±ç€ºãã ããŠããªãã£ãéœåžããçŸä»£ã¢ãŒããã«ã«ãã£ãŒé¢ ãã¥ã¬ãŒã¿ãŒãçŸè¡é€šã®ãã£ã¬ã¯ã¿ãŒãããã¯ã€åº éå¶å©çãã§ã¹ãã£ãã«ã§ããã€ãŸããçŸä»£ã¢ãŒã é£ã®äžå¿å°ãšããããšã«ãäžåœ¹è²·ãããšãã§ããŸãã 身åã³ããŒã«ã«ãªã¢ãŒãã£ã¹ãã«ã€ããŠãã£ãšè©³ã ãéè³ããæ矩ããæåç亀æµãä¿é²ããããã®ã ãã®ããšã³ããŒã¬ã蚪ããããšãç®çãšããŠäžçäž ãç¥ããããšèå³ã瀺ããããšã³ããŒã¬ã®åéå¬ã« ã©ãããã©ãŒã ã§ãããå±èŠ§äŒãè£å®ããããã«ã ãããã£ãŠæ¥ãå€ãã®äººããéå¬éœåžã®ã¢ãŒããã« åãããŠåœå°ã蚪ããèšç»ãç«ãŠãŠããŸãããŸãã æ°å€ãã®å ¬å ±ããã°ã©ã ãæè²ã€ãã³ããããªãŒã ã«ãã£ãŒã·ãŒã³ã®ä»ã®èŠçŽ ãäœéšããããšã§ãå°å å€ãã®äººããã®ããšã³ããŒã¬ã«éã«åãããã«æ°ã ãã³ã°ã®é±ã«ã¯VIPããã°ã©ã ãéå¬ãããŸãã ã®çµæžãããžãã¹å šäœã最ããŸããHBFã¯çã®ã³ã ãäœåã補äœããŠãã ãã£ãããšã§ãã¢ãžã¢ã倪平 ã¥ããã£ãåºç€ãšããè©Šã¿ã§ããããã¯ã€å·ããã æŽãåã¢ã¡ãªã«å šåããã®ã¢ãŒãã£ã¹ãã®äœåãå§ ç§ãã¡ã¯å ±ã«ãã¯ã€ãæããè ãšããŠãããäžäººã® ã«ã«åžãã«ãŠã³ãã£ãçŸè¡é€šãæåæœèšã財å£ãæ ããŠå±ç€ºããããšãã§ããããšãšãªããŸãããç§ã å ±ååµèšè ãKJ Baysaå çãšäžç·ã«ãããã«ã«ããš æºã¡ãã£ã¢ãäŒæ¥ãå人ããã®å¯ä»ãåµæ¥æã®åºè³ ã¡ã®æåãšãä»ã®å€ãã®åœã ãæåãšã®éã§æ矩ã ã³ããŒã¬ãéå¬ããéå¶å©å£äœããã«ã«ããšã³ã㌠è ã§ç§ãã¡ã®ããŒãããŒã§ãããã¯ãŒããã¥ãŒãºã» ã亀æµãæ¯æŽããããšãã§ããéåžžã«åã°ããæ㣠ã¬è²¡å£ïŒHBFïŒãå ±åã§åµèšããããšã決å®ããŸã ã³ãŒãã¬ãŒã·ã§ã³ãšã¯ãŒããã¬ããžãããããã®ã ãŠããŸãã ããã¢ã¡ãªã«æ¬åœãæµ·å€ã§äœå¹Žãç掻ãæ è¡ãå°±æ¥ ã©ã³ãã£ã¢ã®æ¹ã ãã€ã³ã¿ãŒã³ãåç· åœ¹äŒããã㊠ãçµéšããåŸãç§ãã¡ã¯ããããšã«æ°ã¥ãããã㧠ç¹å¥ã«å¥çŽãã瀟å¡ãªã©40以äžãã®å€çš®ã®ããŒãã ç§ãã¡ã¯ãäœããã£ãŠãããšã³ããŒã¬ã®æåãšèã ãããã¯ã€ã®å€ã§ã¯ãããã§çãçããšããçŸä»£ç ãŒãšååããŠãçã«äžççèŠæš¡ã§ãã€ãããã¯ã〠ãŸããããšããå°ããããŸãããç§ãã¡ã®æã倧ã ãªã¢ãŒãã·ãŒã³ãè²ãŸããŠããããšãã»ãšãã©ç¥ã ç¬èªã®ããšã³ããŒã¬ãããŒã ã¿ãŠã³ã«çºè¶³ããéå¬ ãªæã¿ã¯ãäžçã®çŸä»£ã¢ãŒãã·ãŒã³ã§ä»ãŸã§èŠéã ããŠããªãã®ã§ããç§ãã¡ã¯ãå°åã®ã¢ãŒãã·ãŒã³ ããéã³ãšãªããŸããã ãããŠããã軜èŠãããŠãããã¯ã€ã®çŽ æŽãããæ ãåœéçãªãã©ãããã©ãŒã ã§çŽ¹ä»ããäžã§ãããš èœã«ãç®ãåããããããã«ããããšã«è²¢ç®ã§ãã ã³ããŒã¬ã倧ããªåœ¹å²ãæããããšãèªèããŠã㟠Umeke Umbrellaããã°ã©ã ã®äžç°ãšããŠããã»ã¡ ããšã§ãããã®ã€ãã³ãã®æåãè©äŸ¡ããããã«ã¯ã ããããããŠãããã«ã«ã«ã¯ããŒã«ã«ãåœéçãªçŸ ã¢ã»ãã¯ã€ãšå ±åã§ãããšã³ããŒã¬éå¬äžã«ãã ä»åŸ2幎ãã5幎ã®éã«èµ·ããå€åã調ã¹ãã®ãé©
Zhan Wang, Artificial Rock No. 133 (2007)
Sama Alshaibi, Wasl (Union) (2016)
7
A Brush up on Biennials As the worldâs oldest and most storied biennial, t h e Ve n i c e B i e n n a l e h a s b e c o m e a d e s t i n at i o n f o r b o t h a r t - l ov i n g v i s i t o r s from across the world and Ve n e t i a n s f o r m o r e t h a n a c e nt u r y, a n d i s l a r ge l y regarded as the most i n f l u e nt i a l o f a l l b i e n n i a l s .
åã§ããããç§ãã¡ã¯ããã¯ã€åºèº«ã®ã¢ãŒãã£ã¹ã ã®ç¥å床ãé«ãŸãããããã¢ãŒãã£ã¹ãã®äœåãåœ å å€ã®çŸè¡é€šãã®ã£ã©ãªãŒããããŠãã¡ããä»ã®ã ãšã³ããŒã¬ã§ãå±ç€ºãããããã«ãªãããšãæã㧠ããŸãããããŠãã¢ãŒããéããŠå¯å®¹ãç解ãå°æ¬ã æå亀æµãæšé²ããããšã³ããŒã¬ã«é¢é£ããæè²ã® æ©äŒãæäŸããããšããç§ãã¡ã«ãšã£ãŠéåžžã«éèŠ ã§ãããæåã®ããäžã€ã®å®çŸ©ãšãªããŸãã ãã¯ã€ã§äœãæ°ããããšãå§ããã®ã¯ã決ããŠå®¹æ ã§ã¯ãããŸãããäžã€è³æãåŸãããã«ããããã 20ã®å察æèŠãè³ã«ããããšã§ããããããšã³ã㌠ã¬çºè¶³ãŸã§ã«ã¯ãå€ãã®é害ãè¡ãè©°ãŸãããã§ã ããã©ããçã声ããããŸãããã芪åã«ãæéã å²ããŠå°éç¥èãæäŸããæ¯æŽããŠãã ãã£ãæ¹ã ãçµç¹ãéåžžã«ãããããããŸããããªã¹ã¯ããšã£ ãŠãæéãšãšãã«ã®ãŒãè²»ãããå¯ä»ããã©ã³ã㣠ã¢ãªã©ã§ããã«ã«ããšã³ããŒã¬ã®çºè¶³ãæ¯æŽããŠã ã ãã£ãåæ¢ãªæ¹ã ãžã®æè¬ã®æ°æã¡ã¯ããããã å¿ããŸããã
Fumio Nanjo, Director of Tokyoâs Mori Art Museum, serves as the curator of the Honolulu Biennial.
The São Paulo Biennial in Brazil (the largest in the Americas) first opened in 1951, and is only held during even-numbered years. The Biennale of Sydney, Australia debuted down under in 1973, making it the third oldest biennial in the world. The event runs from June through September in even-numbered years throughout various galleries and exhibits in Sydney. The Ve n i ce B i e nnale was o r i g i n a l l y e nv i sio ne d a s a Wo rld Fair fo r co nte mpo rar y ar t and wa s me a nt to se r ve as a p re tex t fo r t he we d d i ng a n n i ve r s a r y o f t he I t ali an ki n g i n 18 9 5 . Fe atu ri n g co nte m p o rar y Afr i c a n ar t , t he Dak 'A r t B i e n n i a l i s he l d i n Dak ar, S e ne ga l i n M ay d ur ing eve n -nu m b e re d ye ar s.
Andrew Binkley, Stone Cloud (2017)
Drew Broderick, Billboard I (The sovereignty of the land is perpetuated in righteousness) (2017)
Charlton Kupaâa Hee, PÅhue: storied gourds (detail) (2016)
The success of this event is best measured by looking two to five years into the future. We hope to see an increased representation of Native Hawaiians and artists who hail from Hawaiâi exhibiting nationally and internationally in museums, galleries and of course, other biennials.
8
Venues
Artists 1
6
TEAMLAB
1
(b. 1978) HAWAI`I | USA
JAPAN
Honolulu, Hawaiâi
KALIHI
The Eyes of the Gods | 2017 single-channel video with sound
Graffiti Nature | 2016 interactive digital installation
(14:00 duration)
(dimensions variable) 5
Pu`uloa | 2017 pencil and ink drawings
team-Lab.net
CHINATOWN
(dimensions variable)
7
janecmi.com 4
2
6 8
1
8 WAIKIKI
(dimensions variable) #kailichun
Native Hawaiian artist Kaili Chun produces thought-provoking, impactful installations using relatively unconventional materials. Her innovative work often explores the affects that Westernization has had on Hawaiian culture. âUsing unconventional materials I create large-scale installations that often reference the impact the past continues to have on the present day. Themes of self-containment and self-empowerment are juxtaposed against notions of systemic power to untangle the individual from perceived limitations.â
DIAMOND HEAD
9
1
VERNON AH KEE (b. 1967) AUSTRALIA CantChant | 2009 three-channel video installation
1
6
THE HUB AT WARD VILLAGE
BERNICE PAUAHI | BISHOP MUSEUM
Museum hours: EVERY DAY 12 PM - 7 PM, except
Hours: EVERY DAY 12 PM - 7 PM, except Wednesdays
Wednesdays
1525 Bernice St. Honolulu, HI 96817
333 Ward Ave. Honolulu, HI 96814
(dimensions variable) cernonahkee.blogspot.com 1
âWaslâ (Arabic for âUnionâ â from the project Silsila) | 2017 Single-channel video with sound
+1 808-847-3511
2
HONOLULU MUSEUM OF ART
7
Sculpture on view 24/7. Museum hours: Tuesday-Saturday
THE ARTS AT MARKS GARAGE
10am-4:30pm, Sundays 1-5pm, closed Mondays.
Hours: EVERY DAY 12 PM - 7 PM, except Wednesdays
900 S Beretania St. Honolulu, HI 96814
1159 Nuuanu Ave. Honolulu, HI 96817
honolulumuseum.org
artsatmarks.com
+1 808-532-8700
+1 808-521-2903
3
HAWAIâI PRINCE HOTEL WAIKIKI
Museum hours: EVERY DAY 10amâ5pm, except Wednesdays.
Hours: EVERY DAY 12 PM - 7 PM, except Wednesdays
1240 Ala Moana Blvd. #400 Honolulu, HI 96814
100 Holomoana St. Honolulu, HI 96815
wardvillage.com
princeresortshawaii.com
+1 808-591-8411
+1 808-956-1111
4
HONOLULU HALE Hours: EVERY DAY 12 PM - 7 PM, except Wednesdays
530 S King St. Honolulu, HI 96813
Hours: EVERY DAY 12 PM - 7 PM, except Wednesdays
honolulu.gov
4055 Papu Cir, Honolulu HI 96816
+1 808-768-6622
shangrilahawaii.org +1 808-734-1941
5
FOSTER BOTANICAL GARDEN Hours: EVERY DAY 12 PM - 7 PM, except Wednesdays
honolulu.gov +1 808-522-7060
1
Thatch Assembly with Rocks | 2017 wood, thatching, rocks (dimensions variable)
ALFREDO AND ISABEL AQUILIZAN (b.1962, b. 1965) PHILIPPINES | AUSTRALIA
@seanwconnelly 1
Rhunhattan Tearoom | 2015 acrylic and decal collage on ceramics, ink on paper, terracotta infused with scents of colonial commerce
(dimensions variable) @aqsisabel (ig)
(dimensions variable)
ANDREW BINKLEY
beatriceglow.org
(b. 1979) HAWAIâI | USA Stone Cloud | 2017 Urethane-coated nylon, ink, air
1
Target Island | 2017 fiberglass-reinforced concrete
andrewbinkley.com
(1300 x 1300 x 200 mm
DREW BRODERICK
|51.18 x 51.18 x 7.87 in)
(b. 1988) HAWAIâI | USA Billboard I. (The sovereignty of the land is perpetuated in righteousness) | 2017 neon, vinyl (3.7 x 7.3 m | 12 x 24 ft drewbroderick.com
BRETT GRAHAM (b. 1967) NEW ZEALAND
(4.9 x 3.7 x 2.1 m | 16 x 12 x 7 ft)
1
BEATRICE GLOW (b. 1986) USA
CantChant | 2009 Three-channel video installation
5
SEAN CONNELLY (b. 1984) HAWAIâI | USA
samaalshaibi.com
9
SHANGRI LA CENTER FOR ISLAMIC ARTS AND CULTURES
5
(9:00 duration)
8
WARD VILLAGE (IBM BUILDING)
SAMA ALSHAIBI (b. 1973) PALESTINE, IRAQ | USA
bishopmuseum.org
KAILI CHUN
(b. 1962) HAWAIâI | USA Veritas II | 2012â17 steel
A true sign of the times, the collective of Tokyoâbased artists that form teamLab are using the digital world to redefine a medium. âThe characteristics of digital technology allow artworks to express the capacity for change much more freely,â they said. âViewers, in interaction with their environment, can instigate perpetual change in an art work. Through an interactive relationship between the viewers and the artwork, viewers become an intrinsic part of that artwork.â
KAKAâAKO
3
180 N Vineyard Blvd. Honolulu, HI 96817
JANE CHANG MI
brettgraham.co.nz 1
MARQUES HANALEI MARZAN (b. 1979) HAWAI`I | USA âAâahu kino lau | 2017 textile installation, cordage, foliage dimensions variable (dimensions variable) marquesmarzan.com
9
Stats 1 3 4
CHOI JEONG HWA
1
(b. 1945) HAWAIâI | USA
(3.5 x 8 m diameter | 11.5 x 26 ft diameter)
1
The Nature of Nature | 2017 live performance
(b. 1967) AUSTRALIA
Breathing Flower | 2015 fabric, air blower (motor+timer), LED lamp
AL LAGUNERO
ALEXANDER LEE Te atua vahine mana ra o Pere (The Great Goddess Pere) LâAube où les fauves viennent se désaltérer | 2017 multi-room installation, ceramic, ink on paper, acrylic on cotton, furniture
Korean artist Choi Jeong Hwaâs work defies categorization. Itâs always impactful and often forces the viewer to stop in their tracks. By creating his installations from a variety of materialsâranging from used soda bottles to dishes purchased from the .99 cent storeâHwa creates art that plays into both the harmony and chaos of the urban environment. He has created a 10-story installation made from 1,000 discarded doors, and decorated Seoulâs Olympic Stadium with garlands made from 2 million pieces of trash. As his motto states, âMy art is your heart.â 1
(dimensions variable)
1
(21:23 duration)
1
#lisareihana 1
The Corallinales (biogenerative painting) | 2009 coralline algae, marine organisms, glass, metal, wood, acrylic, electronics, seawater
LEE MINGWEI 100 Days with Lily (series) | 1995 / 2017 Silver dye bleach prints (ilfochrome)
(dimensions variable)
1
leemingwei.com
1
(dimensions variable)
9
EKO NUGROHO
(dimensions variable) ekonugroho.or.id
(dimensions variable) charltonkupaahee.com
YAYOI KUSAMA 5 (b. 1929) JAPAN 3
up of a collective*
zhanwangart.com 5
LYNNE YAMAMOTO (b. 1961) ASIAN PACIFIC AMERICAN | USA
ORIGIN of 33 artists/groups total
Borrowed Time| 2017 wood (dimensions variable) lynneyamamoto.net
1
KEN + JULIA YONETANI
From Hawaiâi: 34% From Elsewhere: 66%
(b. 1971, 1972) JAPAN | AUSTRALIA
Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (series) | 2007 uranium glass, antique chandelier frames and electrical components, UV lights (174 x 174 x 248 cm | 69 x 69 x 98 in)
GENDER of 35 artists total*
kenandjuliayonetani.com/en
MICHELLE SCHWENGEL REGALA
Female: 43% Male: 57%
(b. 1971) HAWAIâI | USA
(b. 1977) INDONESIA
Above the Wall Under the Rainbow, Free Air I luna o ka paia i lalo o ke anuenue, ke ea kuâokoâa | 2017 acrylic paint
*Excluding teamLab which is made
chrisritson.com
(5 pieces, 166.5 x 115 cm each | 65.6 x 45.3 in each)
CHRIS RITSON (b. 1985) HAWAI`I | USA
(b.1964) TAIWAN | USA
A Study of a Samoan Savage (from the series) | 2015 c-prints
yayoi-kusama.jp
(14:20 duration)
0-30: 6% 31-40: 20% 41-50: 46% 50+: 28%
| 55 x 72 x 71 in each)
LISA REIHANA Tai Whetuki â House of Death, Redux | 2016 two-channel ultra HD video, stereo sound
AGE of 35 artists total*
(140 x 184 x 180 cm each
(b. 1964) NEW ZEALAND
mickidavis.com
(b. 1975) SAMOA | NEW ZEALAND
(dimensions variable)
6
MARIQUITA MICKI DAVIS Magellan Doesn't Live Here | 2012â2017 single-channel video with sound
SHIGEYUKI KIHARA
I am Here, but Nothing | 2004, 2000 / 2017 vinyl stickers, UV lights, furniture, household objects
Fiona Pardington has become one of New Zealandâs most treasured contemporary artists. For more than three decades, Pardington has been working in a variety of mediums examining worldly issues as well as social and environmental issues related to her native New Zealand. Her work has been featured in several important exhibits and is represented in the collections of Te Papa Museum of New Zealand and the Christchurch Art Gallery.
(b. 1982) GUAM | USA
@mohammedkazem.1
Pohue: Storied Gourds | 2016â2017 ceramic, paint, fiber
ZHAN WANG (b. 1962) CHINA Artificial Rock No. 133 | 2007 two pieces: stainless steel; stone
lesfilterfeeders.com
(dimensions variable)
CHARLTON KUPAâA HEE (b.1989) HAWAIâI | USA
3
Local Knowledge (series) | 2017 archival inkjet print on Habotai silk, enamel paint, powdered pigment, epoxy resin on wood panel
EMIRATES
6
tautai.org/artist/john-vea 2
(b. 1971) & (b. 1969) HAWAI`I | USA
MOHAMMED KAZEM 9 (b. 1969) UNITED ARAB
5
(4:00 duration | dimensions variable)
fionapardington.blogspot.com
LES FILTER FEEDERS: SALLY LUNDBURG AND KEITH TALLET
7
#yukikihara
She sows this aina with her younger siblings, yet she cannot inherit that same aina | 2016-2017 single-channel video, rocks, corrugated board, found materials
(dimensions variable)
4
@kathyjkijiner
1
(b. 1985) TONGA | NEW ZEALAND
alexanderleestudio.com
Islands in a Basket | 2017 single-channel video with sound installation
Directions (Honolulu) | 2017 vinyl text, light
JOHN VEA
(dimensions variable)
KATHY JETÃIL KIJINER (b. 1987) MARSHALL ISLANDS | USA
1
Nabokovâs Blues: The Charmed Circle (from the series) | 2017 pigment inks on Hahnemuhle Photo Rag
(b. 1974) TAHITI | USA
choiJeonghwa.com
FIONA PARDINGTON (b. 1961) NEW ZEALAND
#allagunero 1
Water Column 1 | 2016â2017 wire (copper, aluminum) (0.9 x 0.9 x 0.9 m | 3 x 3 x 3 ft) schwengala.wordpress.com 1
GREG SEMU (b. 1971) SAMOA | NEW ZEALAND After Hans Holbein the Younger - The Body of the Dead Christ (diptych) | 2016 digital photographic prints on acrylic lightbox (40 x 180 cm each | 16 x 71 in each)
As a couple, Ken and Julia Yonetani personify the power that art can have on all of us. As Australians by way of Japan, both Ken and Julia left their established professional careers to focus on creating art in 2008 and have never looked back. Their collaborative work, which is primarily composed of heavily acclaimed interactive installations, seeks to connect people with their environment.
*Excluding teamLab which is made up of a collective*
VENUE of 36 installations shown
gregsemu.photography
As one of the most acclaimed Indonesian artists to come of age in the 2000s, Eko Nugrohoâs work often depicts social and political criticism. Although heâs been influenced by street art and themes tied to modern urban living, Nugroho also incorporates traditional Indonesian elements back into much of his work.
The Hub at Ward Village: 54% Honolulu Museum of Art: 3% Ward Village (IBM Building): 8% Honolulu Hale: 5% Foster Botanical Garden: 12% Bernice Pauahi | Bishop Museum: 7% The Arts At Marks Garage: 3% Hawaiâi Prince Hotel Waikiki: 3% Shangri La: 5%
Children and parents gather together to examine and interact with In-Flight (2009). Photos: Courtesy HBF
11
ãã¥ã®ã£ã¶ãŒïŒäžç·ã«ïŒ ã¢ã«ãã¬ããïŒã€ã¶ãã«ã»ã¢ã¯ã£ãªã¶ã³ã®äžä¿çãªèžè¡ æ Beau Flemister
12
As a couple, the Aquilizans have traversed the world, creating art out of their unique experiences.
倫婊ãçµã³ä»ããŠãããã®ã¯ ãèœã¡çããã ããšããèšã ããã家åºãç¯ãã®ã¯ãç㟠ãããšãããããããã¯ãã ããããããæ¿åããããã ãªãããã®åããæ ããã㊠éçãšã¯ãŸã£ããéã®ãã€ã ããã¯ãªç©ºéããåæ§ã«ãæ¬ åœã«å®¶åºã圢äœãããšãã§ã ãã®ãããããªãããŸãã¯ã ãã®ãããªåããããå倧㪠èžè¡ãäœãã®ã§ã¯ãªãã ãã ãã ãããã«ããŠããã€ã¶ãã«ãšã¢ã«ãã¬ããã»ã¢ã¯ã£ãªã¶ ã³ã¯ããã®äººçã®ã»ãšãã©ã移åããŠéãããŠãããã ãã¯åœŒãã®äœåã«ãèŠãŠåãããšãã§ãããæ§ããéé£ ç¶ãªå€åããã¹ã¿ã«ãžã¢ãæ°æ§ã®äžçã®æçããããã® å®å šãªéã¿ãšå®¹ç©ã圌ãã®ã«ãã³ã«è©°ãŸã£ãŠãããProject Be-LongingïŒTransitïŒãããžã§ã¯ãã»åž°å±æãšæ§ ãïŒç§»åã2006幎ïŒãšé¡ããããææåãç«æ¹äœã«é 眮 ãããŠãã圌ãã®äœåã®ããã«ã ãã®ã€ã³ã¹ã¿ã¬ãŒã·ã§ã³ã¯ãã¢ã«ãã¬ãããšã€ã¶ãã«ã® å®ç掻ãšèžè¡ãåºåãå¢çç·ãäžæçã«ããŠããããã ãã¯ããªãæå³çã«ãªããããã®ã ã2006幎ã«ã圌ã ãš5人ã®åäŸãã¡ããã£ãªãã³ãããªãŒã¹ãã©ãªã¢ãžã® 移äœãèããŠããæãã·ãããŒã®ããšã³ããŒã¬ããæåŸ ãåããããã®å¹Žã«åœŒãã¯ç§»äœã決ããã®ã ãã圌ã㯠ãã®çµéšãèžè¡ã§è¡šçŸãããåäŸãã¡äžäººã²ãšãã«ã㣠ãªãã³ã®ããªã¯ãã€ã³ã®ç®±ãæž¡ããäžçªæã£ãŠè¡ããã ãã®ãå ¥ããããã®ã ããããIn TransitïŒç§»åäžïŒãš ããäœåã«ãªãããããåŸã«äººã ã®ææåãäžã€ã®ç«æ¹ äœã«åãã140åã®ç«æ¹äœã«é 眮ããProject Another Country: AddressïŒãããžã§ã¯ãã»ä»ã®åœïŒäœæã 2008幎ïŒãžãšçºå±ããã
Here, There, Everywhere: Project Another Country (2016)
èããããã¯ãã£ã¢ã¹ãã©ãšåŒã°ããéå£ã«èªåãã¡ã çµ±åãããããšããçã¿ã䌎ãéçšã§ã¯ãã¢ã€ãã³ã㣠ãã£ã¯äžå®ããã絶ããå€åãããã®ã§ããã®æ§ç¯ã¯çµ¶ ãéãªã亀æžã®ããã»ã¹ã«ãªããŸãããããŠããã®ãã ãªç¶æ³ãååž°å±ããããšããé¡ããåž°é·ãžã®è¡åãã家 æãèšæ¶ããã¹ã¿ã«ãžã¢ãèšèªããããŠãæ§ã ãªåœ¢ã§é© å¿ããããšããèŠåŽãé¡æã«ããæ°ãããããžã§ã¯ãã« ç§ãã¡ãé§ãç«ãŠãç§ãã¡ã«ãšã£ãŠã®èŠèŠèšèªã«ãªã£ã ã®ã§ãã ããã§ãããæ代ãé¡ã£ãŠã¿ããããã£ãªãã³ã§äºãã® å®å®¶ãè¿æã ã£ãã¢ã«ãã¬ãããšã€ã¶ãã«ã¯è¥ãé ã«åº äŒã£ããäºäººãšãæ人ããŠèžè¡å®¶ã«ãªãããã£ãªãã³ã® ãã¹ã»ããã§ã¹ã»ã©ã°ãã«ãããã£ãªãã³èžè¡é«çåŠæ ¡ ïŒ70幎代ã«ã€ã¡ã«ãã»ãã«ã³ã¹ã«ãã£ãŠèšç«ïŒã§æéã åãããã«ãªã£ãããã®åŠæ ¡ã¯äŒç«å±±ã®ãµããšã«ããåœ ç«çŸè¡é€šã®äžéšã ã£ããããã§ã€ã¶ãã«ãåå Žèžè¡ãã ã°ã©ã ãããŸããã¢ã«ãã¬ãããèŠèŠèžè¡ããã°ã©ã ã æ åœããŠãããã¡ã«ãåµé çãªè¥ããã€ã³ãã磚ãããš ã«å¯Ÿããäºäººã®å ±éã®æãèŠåºããã
Wings (2009)
ããããéããŠãç§ãã¡ã¯ããããã®ã¯ã©ã¹ãçµã³ä»ã ç§ãã¡ã®åéãååããªããåŠéçã«éçºãæšé²ãèªçºã æ¢çŽ¢ããå ±ååµé ã®æ€èšŒããããããžã§ã¯ããè¡ãããš ã«ãªããŸãããããšã€ã¶ãã«ã¯èªãããç§ãã¡ã®ãããž ã§ã¯ãã¯æ宀ã®å€ã«å±éããã³ãã¥ããã£ãšåæ¥ããç§ ãã¡ãä»ã®äººã ã®ç©èªãåµäœã»ç¿»èš³ããææ³ãåŸãã®ã§ ããç§ãã¡ã®äœåãéåžžã«ååçã§ã€ã³ã¿ã©ã¯ãã£ãã ãããŠé¢ä¿æ§ã«å¯ãçç±ã¯ãŸãã«ããã«ãããŸããã Close up of In-flight. (2009)
ã€ã¶ãã«ãšã¢ã«ãã¬ããã¯ãäžçäžã®12ãè¶ ããããšã³ ããŒã¬ãããªãšã³ããŒã¬ããé·å¹Žã«æž¡ãå§å±ãåããŠã ãã圌ãã®è¡ãå ã¯ã·ã³ã¬ããŒã«ãã¢ã¹ã¯ã¯ããªã©ã³ãã ã¢ã©ãéŠé·åœé£éŠãæ¥æ¬ãã€ã¿ãªã¢ãªã©å€å²ã«ãããã æ¯å¹Žæ°ãããå幎ãšã¯å®å šã«ç°è³ªãªå Žæã ã圌ãã®äœå ãããã«è² ããªãã»ã©é©ãã»ã©å€æ§ã§ãªãªãžãã«ãªåªäœ ããæã£ãŠããã ããšãã°ãWingsïŒç¿Œã2009幎ïŒãšé¡ããã圫å»ã§ ã¯ãã·ã³ã¬ããŒã«ã®ç¯æ£æœèšããæ°çŸãã®ãŽã èå±¥ãé ãã人éã®ãµã€ãºã®äžå¯Ÿã®å€©äœ¿ã®çŸœãåµäœãããDream BlanketïŒå€¢ã®ãã©ã³ã±ããã2002ïŒ2006幎ïŒã§ã¯ã å®éã«äººã ããã®äžã§ç ãã倢ãèŠãæ°çŸæã®ãã©ã³ã± ãããæããããã§ã¢ã¬ã³ãžããåé¢ãéãããã£ãã ããã«é 眮ããŠããããããŠé ããããµãŠã³ãã·ã¹ãã ãèªåã®èŠã倢ãèªã人ã ã®å£°ãåé¿ããŠããã In Habit: Project Another CountryïŒç¿æ £ïŒãããžã§ã¯ ãã»ä»ã®åœã2012幎ïŒã§ã¯ãé£ãèã倩äºããéããŸã« åãäžãããã段ããŒã«ã®è²§æ°è¡ãããããæ¡ããåºãŠã å転ãã空ãåºã«åãã£ãŠäŒžã³ãŠããããã ã£ãã
ã移äœã¯ãç§ãã¡ã®ä»äºã«ãšã£ãŠåžžã«äžå¿çãªåé¡ã§ã ãããšã€ã¶ãã«ã¯èšãã ã2006幎ã«ãã£ãªãã³ãé¢ã㊠氞äœã決ããæãç§ãã¡ã¯ããè¯ããã£ã³ã¹ãšæ©äŒãæ± ãæ¥åžžçãªç©ãçŽ æã䜿ã£ãŠäœåãå¶äœããã®ã¯ã芳客㫠ãã移æ°ã³ãã¥ããã£ã®äžå¡ã«ãªã£ãŠããŸãããæ ¹ç¡ã åå ããŠãããããã®ç§ãã¡ã®æŠç¥ã§ãããšã€ã¶ãã«ã¯
Gericault, âLADEâ : Project Another Country (2014)
13
â When we decided to leave the Philippines and migrate permanently in 2006, we had become a part of a community of migrants who choose to live outside their homelands and seek a better opportunity and chance.â Belok Kiri Jalan Teru âDevicesâ: Project Another Country (2015)
èªããããããã£ãŠèŠ³å®¢ã«å®éã®åµé ã«é¢äžããŠã ããã®ã¯ã圌ããèžè¡ãšã¯äœããç解ããã®ã«åœ¹ç« ã€ãšæãã®ã§ããã ããããIn Habit: Project Another Countryã¯ç°ãª ãã¿ã€ãã®ç§»æ°ããã€ã³ã¹ãã¬ãŒã·ã§ã³ãåãã圌 ãã®å€ãã®ä»äºã®ã²ãšã€ã ããã£ãªãã³å西éšã®ã ãžã£ãªæã¯ãææ¥ãããæµ·ã«æµ®ãã¶ç²æ«ãªäœå± ã«äœ ãã§ãããã圌ãã¯ãã°ãã°åœŒãã®å®æãšéç§æ°ã§ ãããããã®å·®å¥ã«çŽé¢ããŠãããã¢ã«ãã¬ãããš ã€ã¶ãã«ã¯ããã®ãããªç€ŸäŒçãªåé¡ã«ãèžè¡ã䜿 ã£ãŠçåœãå¹ã蟌ãã ãç§ãã¡ã®ãã¹ãŠã®ãããžã§ã¯ãã«ã¯ãåžžã«ç§ãã¡ èªèº«ã®å人çãªçµéšãè¶³å Žã«ããŠããŸããããšã¢ã« ãã¬ãããèªããã家åºã家æãå Žæã®åªå€±ãã¢ã€ ãã³ãã£ãã£ãé å¿ãèšæ¶âãããã¯ãç§ãã¡ã®å ± åå¶äœã«å¿ ãåºãŠããéèŠãªåé¡ãªã®ã§ããã ãããŠä»æ¥ã«è©±ãæ©éããããšããã®2人ã®èžè¡å®¶ ã¯ç¬¬1åã®ããã«ã«ããšã³ããŒã¬ã§ãã£ãŒãã£ãŒã ããäºå®ã ãããã¯åœŒãã«ãšã£ãŠåããŠã®ãã¯ã€ã§ ãããã倪平æŽå°åã«æ¡ããæ§ã ãªæåãæã€ã¢ãŒ ãã£ã¹ãã«ãã©ãŒã«ã¹ããå Žæã®æèŠã«å€§ããªãã© ãŒã«ã¹ã眮ãããã®ããšã³ããŒã¬ã®ã³ã³ã»ãããä»ã ããã®æžŠäžã ããã¯ããŸãã«ã¢ã«ãã¬ãããšã€ã¶ãã«ã®ããã«äœ ãããããŒãã§ãããã®ããã ã
ããã«ã«ããšã³ããŒã¬ã§ãã£ãŒãã£ãŒããã圌ãã® äœåã«ã€ããŠãç§ãã¡ã®äœåã®å€ãã¯ããã£ã¢ã¹ ãã©ã®æŠå¿µã移äœã®ãã¿ãŒã³ãèŠæ®ããŠããŸããã ãšãã€ã¶ãã«ã¯èªãããããã¯ç§ãã¡ããšãŠãèå³ ãæã£ãŠããäºæã§ããããããããããã¯ã€ã®ã³ ãã¥ããã£ãšãã®èå³ãå ±æã§ãããã®ãšæã£ãŠã ãŸããã ãç§ãã¡ã®äœåã¯ãã€ãªããã®çºæ³ã«æ ¹ãããŠã㟠ãã第äžã«ããã®å Žæãã³ãã¥ããã£ããããŠçŽ æ ãšã®ã€ãªããããããŠããããäœåã«ã©ã®ãããªæ å³ãäžããããšããããšã§ãã第äºã«ã¯ããã®å±èŠ§ äŒã®ãã¥ã¬ãŒã¿ãŒã®èããŠããããšãšã®ã€ãªãããšã ãã®ãã¬ãŒã ã¯ãŒã¯ã®äžã§ãã®ã³ã³ã»ãããã©ã圢 äœããã第äžã¯ããã®ç©ºéãšã®ã€ãªããããããã äœåã®åœ¢ç¶ãã³ã³ãã¯ã¹ãã決å®ããããæåŸã¯ã 芳客ãšã®ã€ãªããã§ããã®äœåã®æå³ã®æ玢ãžã®å å ãä¿ãããšã§ããã å®ã«ããããã¢ã¯ã£ãªã¶ã³å€«åŠ»ã®äœåãéããŠåœŒã ã®ãããŸã§ã®å€ãã®æ ã«èŠ³å®¢ãåå ã§ããããšãæ å³ãããªãã圌ããå¶äœããäœåãç¥ãã®ã¯ãšãŠã ãšããµã€ãã£ã³ã°ã ããã£ãšãæå ã«ãã¹ããŒãã æºåããããããªãã ããã
Project Another Country: Passage (2010)
Project Another Country: Address (2008)
In-Habit: Project Another Country: (2009)
Bismuth sculpture (2014)
15
èªç¶ãžã®ååž° Chris Ritsonãèªå·±ã®äœå矀ãèªã æ Beau Flemister
ã
ãããªããã©ããã§Chris Ritsonã®ã¢ãŒãäœåã èŠãããããééããªãæ¯ãåããŠäºåºŠèŠãã ã ãããèŠã人ã«ãããããå¹æãããã®ã ã 圌ã®çµæ¶äœã®äœå矀ã¯ãèŠãè ã«äœãèŠãŠããã®ã ãã ãšçåãæãããã圌ã®çŽã®åœ«å»ãèŠããšãçŸå®ãšã¯äœ ãªã®ããšäžæè°ã«æã£ãŠããŸããã«ã€ã«ã¢ã§è²ã£ãŠãã¿ ã³ã¿ã©ã¹ã®äžã«äœããã®ã¢ãŒãã£ã¹ãã第äžåã®ããã« ã«ããšã³ããŒã¬ã§å±ç€ºããäœåãããã®å³¶ã®èªç¶ç°å¢ã« åå¿ããŠãã®äžã§è²ã€çããææ©äœã§ãããšããã®ã¯ã å°ããäžæè°ãªããšã§ã¯ãªãã®ã ããã¯ã€ã代衚ããå å ã¢ãŒãã£ã¹ãã®äžäººãšããŠã Chrisã¯çæããã¢ãŒã㫠匷ãæ¹ãããæ°æã¡ãšã倪平æŽãåšèŸºå°åã®ã¢ãŒãã£ã¹ ãéã«å¯ŸããŠããã«ã«ãæãããŠãã圹å²ã«ã€ããŠèªã£ ãŠãããã ããšã³ããŒã¬ã«åºå±ããŠããäœåã«ã€ããŠè©±ããŠãã ã ãã äœåã¯ïŒç¹ãããŸãããŸãäžã€ç®ã¯ãCorallines ãŠããã (çç©çæãã€ã³ãã£ã³ã° ) ã§ãããã¯æ°Žç£é€æ®ã·ã¹ãã ã®äžã§ïŒæ¬¡å ããã«äžã«ãŠããããè²ãŠãã€ã³ã¹ã¿ã¬ãŒ ã·ã§ã³ã§ããããã«ã¯åãåºããŠä¹Ÿç¥ããããšãä¿åå¯ èœãªäœåã«ãªããŸããäºã€ç®ã¯ãGanoderma ãã³ãã³ã¿ ã± (çç©çæãã€ã³ãã£ã³ã° ) ã§ãããå±ã«æ€ããããã³ ã®è糞äœããçããïŒæã®âãã³ãã£ã³ã°âã§ãã ãããã§ãããããªãã®ã¹ã¿ã€ã«ã¯ã©ããã£ãŠåºæ¥äžã㣠ãã®ã§ããã? äœã«æåãããã®ã§ãã? çæã¢ãŒãã¯ãã¹ã ã¢ãããºã ã®ã²ãšã€ã®åœ¢ãšèšã㟠ããé¡æã«å¯Ÿããã¢ãŒãã£ã¹ã/äœå®¶ã®åœ¹å²ã«çåãæã ãããããã«ããåãããææ³ã§ããããããäœåã®é ç¥ã§ãããã¥ã·ã£ã³ããã€ã¹ãã¡ããã¬ãŒãKakãªã©ã«ãš ãŠãæåãããŸãããä»ã§ã¯ãç°çš®éã®ã³ã©ãã¬ãŒã·ã§ ã³ãçæã¢ãŒãããã€ãªã¢ãŒããªã©ã¯æ¯èŒç確ç«ããã ãžã£ã³ã«ã«ãªããããããã®ã¢ãŒãã£ã¹ãããã¶ã€ã㌠ã®æŽ»åã§ããã®å¢çç·ã¯äžæçã«ãªã£ãŠããŠããŸããé åžžãç§ã¯èªç¶ãšã®å¯Ÿå³ã®ããããæ¢ç©¶ããããã«ããã® ææ³ã䜿ã£ãŠããŸãã é¢çœãã§ãããããªãã®çµæ¶äœã®äœåãäœãã«ã¯ãååŠã çç©åŠãžã®é è©£ãå¿ èŠãšãããããã«èŠããŸãããããã ã£ããã®ãšã®é¢ããã¯ã©ãã§ãã? 以åã¯ãã€ãªãã¯ãããžãŒãå匷ããŠããŠããšãé€æ®å Ž ã§æ°Žç£é€æ®ã®ä»äºãæ«ããããŸããã家æã¯ç§åŠã«æ·±ã é¢ãã£ãŠããŠãç§ãçãŸããŠãããã£ãšãç©äºãç解ã ãæ¹æ³ãšããŠã¢ãŒããšç§åŠã®ã©ã¡ãã«ãåããããèå³ ããã£ãŠããŸããã ããªãã®ä»ã®è¡šçŸæ段ããšãŠããŠããŒã¯ã§ãããç¹ã«çŽã® äœåãããããæéããããäœæ¥ã«èŠããã®ã§ããããã ã»ã¹ã«ã€ããŠå°ãæããŠãã ããã
ããšã³ããŒã¬ã«ã¯çŽã®äœåã¯åºããŠããŸããããæ¬åœã« æéã®ãããäœæ¥ã§ããããšã¯ç¢ºãã§ãããµã³ãã©ã³ã· ã¹ã³ã®ã¬ã³ã¿ã«ãããªå±ã§åããŠããæã«äœãããã«ãª ããŸãããæ ç»ã®ãã¹ã¿ãŒãåºåãå±±ã»ã©ãã£ãã®ã§ã æšãŠãªãã§ãšã£ãŠããããã«ãªã£ããã§ããæå³ã¯ãšèš ãã°ãåªäœãšã身äœã®èªç¶ãªæ§çžãã€ãŸãèãæ¯ãªã©ã«
ã€ããŠæ±ã£ãŠãããã§ãããã¯ã€ã«æ»ã£ãŠãããããã« ã« ãã¥ãŒãžã¢ã ã®ããã«ã¢ãã¡ãŒã·ã§ã³/圫å»äœåãäœã£ ãã®ã§ãããããã¯ã¯ã€ããã®è¡ã®ãããäžã§æã«å ¥ã ç¡æã®èŠ³å éèªã ãã䜿ã£ãŠäœããŸãããããäžã€ã¯ã äžåç£åºåã®ããŒãã¬ãŒãåçã ãã§äœãããäŸé Œãã ãŸããã ããªãã®äœåã¯ãã¯ã€ã«æ·±ãæ ¹ä»ããŠãããšèšã£ãŠããã ã§ãããã? èªåã¯ãã€ããèªç¶ã®æŠå¿µãå®éã®å§¿ãã©ãç解ããŠå ãåãã®ããšããããšã«é¢å¿ããã£ãŠããŸãããããã ãèªåã®æ žã«ãªã£ãŠãã䟡å€èŠ³ã¯ããã¯ã€ã®å³¶ã ãšã®é¢ ä¿ãããã¯ã€ã«ãããªãèªç¶ã®ããã»ã¹ãžã®æ¬æã«ã 圱é¿ãåããŠããŸãã瀟äŒã®äžã«ãã£ãŠãç°å¢ãšã®é¢ä¿ ã«ãããŠãã人é¡ãåºäŒãå°é£ãšããã®ã¯ãèªç¶ãšã®é¢ ä¿ãæªçºéã§ããããšããèµ·ãã£ãŠãããã®ã ãšæã㟠ããã ãããç§ã®ã¢ãŒãã¯ãèŠã人ã«ãã®é¢ä¿ãèãçŽ ããããæ¢ç©¶ããããããããã®ãã®ãªã®ã§ãã æè¿ã®ããã«ã«ã®ã¢ãŒã ã·ãŒã³ã«ã€ããŠã©ãæããŸãã?
Riston, at home in Hawaiâi. Photo: Feducia
ä»ãã¯ã€ã¯ãšãŠãé¢çœãææã ãšæããŸããäžçã®ã¢ãŒ ãã®æ¬¡ã®äžå¿å°ã®ã²ãšã€ã«ç§ãã¡ãä»ãŸãã«ãªãããšã ãŠããæã§ãç§ãã¡ã¯ãäžçã®åé¡ã«é¢é£ãæ·±ãã®ã«é å°è©äŸ¡ãããŠããç°å€ªå¹³æŽå°åã®å£°ããäžçã«å±ããã ãšãã§ãããšæããŸããããã«ã«ãæ¥éã«çºå±ããŠèŠ³å 客ã®äººå£çµ±èšãå€ãã£ãŠããŠããããšããããã«ã«ã»ã ãšã³ããŒã¬ã®ãããªçµç¹ããã¯ã€è«žå³¶ãè¶ ããŠåºç¯å²ã« 掻åå±éããŠããããšã®çµæã ãšæããŸãã ããšã³ããŒã¬ã§ããªãã®äœåãå±ç€ºãããããšã«ã¯ã©ã㪠æå³ãããã®ã§ããã? ãšãŠãå æ ã§æãå€ãã§ãããããªã«æèœãã人ãã¡ãšäž ç·ã«äœåãå±ç€ºã§ããã ãã§ãªããéå¬è ããã¥ã¬ãŒã¿ ãŒã«ã¢ããã€ã¹ããããããæèŠã®äº€æãã§ããã®ã¯ã ãšãŠã貎éãªäœéšã§ããäžçã«åããŠãã¯ã€ã代衚ãã ãšãã倧æãå®çŸã§ããããšã«æè¬ããŠããŸãããå°å ã§æŽ»åããŠããä»ã®ã¢ãŒãã£ã¹ããä»åŸæ³šç®ãããŠæå ããŠããããã«å°ãã§ãè²¢ç®ã§ãããå¬ããã§ãã
Reptilians do not Dream (2009)
å°æ¥è©ŠããŠã¿ãããšæã£ãŠããæ°ããææ³ã¯äœããã㟠ãã? ããšã³ããŒã¬ã®Corallines ãŠããã ãããžã§ã¯ããå±å€ ã®ãã£ãšå€§ããªéæŸãããã·ã¹ãã ã«æ¡å€§ããŠã¿ãããš æã£ãŠããŸãããã®ã€ã³ã¹ã¿ã¬ãŒã·ã§ã³ã¯ããã®ææ©äœ ãè²ãŠãããã®ãã©ã¡ãŒã¿ãŒã確ç«ããå®éšã®ãããªãš ããããã£ãã®ã§ã次ã®ã¹ããŒãžãšããŠä»åºŠã¯ããã£ãš 倧ããéãè²ãŠãããšãå¯èœã«ãªã£ãŠããµã³ãŽç€ã«ãã ãžãã£ããªåœ±é¿ãäžããããšãã§ãããšæã£ãŠããŸãã ãã®ä»ã«æ°ããããšããããšããã°ãããã¯ãäœåèªäœ ã®æ§ææåãæ瀺ã§ããŠãããã«ãã£ãŠç°å¢ã«ããåœ±é¿ ãäžããããšãã§ãããã®ãããã«èžè¡äœå (ãšãããã ãç§ãšææ©äœãšã®é¢ä¿æ§/å ±åäœæ¥ã®èšŒ) ãšããŠãã€ãŸã§ ãä¿åããããšãã§ãã人工ç©ãæ®ããã®ã§ãªããã°ãª ããªããšæã£ãŠããŸãã
Ritual for the Unborn (2013) Images Courtesy of VSCO Artist Initiativeâ¢
16
å ã®äžã§ ã¯ãªã¹ã»ããŒã¬ã« ãã©ããšãã»ã€ æ Jeff Mull ã®ãã£ãã·ã§ã³ Chris Rohrer This image felt like a nice urban landscape to me. The puddle in the front really seemed to capture my eye. It sounds a little funny, but it felt like an urban Ansel Adams type of a shot.
I actually shot this photo in front of the new tower, Waiea. I like the contrast here, both with the light and whatâs displayed in the image. The leaf and the metal bike rack seem to make an interesting juxtaposition.
Photo: John Hook
This was a pretty interesting shot. Obviously, the way the pipe bends is pretty unique and itâs pretty jarring seeing it against the field. But then I saw a guy in the background making his way through the frame. So I waited for him to line up with the pipe before taking the shot.
To me, this image feels unique and abstract. I like that itâs open for interpretation. I was cruising in the park, watching the light and how it moved when I took this photo. I really like how the little weeds in the foreground look like mini palm trees.
I took this photo at Kewalo Harbor. There are some really interesting shapes and angles there. I loved shooting at the harbor. Locals, tourists, surfers, fisherman, everyoneâs there. It felt like a microcosm of Honolulu.
This was an interesting image to me. You have these massive roots standing over these rocks, right in the middle of an urban hub. I shot this at Waiea and it felt like you had the confluence of all these elements coming together in one place.
ããã«ã«ã¯ã¢ãŒãã£ã¹ãã®æŽ»æ°ã ãã³ãã¥ããã£ã®ããŒã ã ãšæã ãŸãããããç§ãã¡ããèªãã®ã¬ ã³ãºãéããŠãã¯ã€ãæ®ã£ãŠãã æ°å€ãã®ã¯ãªãšã€ãã£ããªåç家 ãã¡ã«ã¹ããããåœãŠãŠããªããš ããããããã¯æ æ ¢ãšèšãããã åŸãªãã§ãããã ãã®æèœãã å€ãã®äººãã¡ã®å é ã«ããã®ãã ã¯ãªã¹ã»ããŒã¬ã«æ°ã§ãã 圌ã㯠æ°æ¥œã§ãã¬ã³ããªãŒã§ãããã㌠ã¬ã«æ°ãåæ§ã§ãã圌ã¯äœå¹Žãã® éãåçã«å€¢äžã«ãªããèªãæ®åœ± ããåçãéããŠç©èªãèªããæ æ ããšããã倩æ§ã®çŽ 質ãçºå±ã ããŸããã 圌ã®ãæ°ã«å ¥ãã®ãã ã€ãã®ã€ã¡ãŒãžã«ã¹ããããåœãŠ ãã®ã«å ããŠãç§ãã¡ã¯ããŒã¬ã« æ°ã«ãã¯ãŒããã¬ããžã®éããã ã®åšèŸºãã圌ã«èªããããç¬éãš ã·ãŒã³ãæ¢ããªãããæ©ãåã£ãŠ ããããŸããã
17
ãã£ãšåç家ã«ãªãããã£ãã®ã§ããã
ãã£ã«ã ã§æ®åœ±ããã®ã奜ããªçç±ã¯ã
è¯ãåçã«ã¯äœãå¿ èŠã ãšæããŸããã
å®ã¯åäºã«ãªãããã£ãã®ã§ãããèªåãèŠå¯ã§ã ã£ãŠãããã»ã©ã¿ãã ãšã¯æãããŸããã§ãããå çã¯ãã¯ã€å€§åŠã§ã¯ãããŸãããç§ã«ãšã£ãŠåç ãšã¯åžžã«æ¢ãæ±ããããšãªãã§ããæ°ããé è¿æã ããæ·±ãç©ãèŠãããšãæ ç±ãåŒã³èµ·ãããŠããã ãã§ãã
ç§ã«ãšã£ãŠãæ®ãã®ããã£ã«ã ãããžã¿ã«ãã¯å¿ ã ããéèŠãããªããã§ããã«ã¡ã©ãªãã§ããããã ãã®åçã¯ããŒã©ã€ãã¬ãã¯ã¹ã§æ®ã£ããã§ããã ãã€ã®éžãã ããã¹ã¿ã«ãžãŒãçããå®ããŠã¬ã³ãº ãèŠãããã®ãããŸããªã奜ããªãã§ãããšãŠãèª ç¶ãªæããããŸãããã®ã«ã¡ã©ã¯äœãããŠãã50幎 以äžã«ãªããŸããããŸã ããä»äºãã§ããŸããã䟡 å€ã¯å šãæãªãããŠãŸãããã
åç家ã®ä»äºã¯åŸ®åŠãªãã®ã§ããã¡ãã»ãŒãžãåé¢ ã«æŒãåºããªãããã«ããŠããŸãããåçãèªãã ããèŠã人ãã¹ããŒãªãŒãæãããããããªãã®ã« ããããšã¯æã£ãŠããŸãããã¡ãããæ§å³ãšããã ãããããŸãããç§ã«ãšã£ãŠåªããåçãšã¯ã¹ã㌠ãªãŒãèªããä»ã®ããšãå¿ããããŠããŸãã»ã©èã ããããã®ã§ãã
Thereâs a lot going on in this shot. It feels really nostalgic to me, looking out towards Diamond Head from Point Panic and Kewalo Harbor. That tree reminded me of a banzai tree. And then you had this musician, who was playing a guitar the whole time, just checking out Diamond Head and strumming away. I wonder how many other musicians have done the same thing over the years? Thereâs a lot of emotion in this photo.
Nobu continues to redefine the "culinary art."
19
åµé çãªãã¬ãã æçãšããã¢ãŒããæ¢ã ããŒã¬ã³ã»ããã
çŸ
è¡é€šãæ£çããçœå£ã«äžå¯§ã«ãããããŠã ãå·šå ãã¡ã®äœåãéè³ãããäœãäœçœ®ã« ãããã«ãããã®ããŒãããäœåã«è¿ã¥ã ãããªãããã«éãã«èŠåãããçŸãã圫å»ã¯åå ãã¬ã©ã¹ã§ä¿è·ãããŠãããã»ãšãã©ã®èžè¡ã§ã¯ã 倧è¡ã¯åãªãéè³è ãèŽè¡ã®äžéšãšããŠã®ç«å Žãã èš±ãããªããäœåãæ瀺ãããé¢ãããšããããã ã®æå³ãç解ãã解éãããããªãããããæçã® äžçã§ã¯äºæ ã¯ç°ãªãããNobuãã®ãããªã¬ã¹ã ã©ã³ã«è¶³ãèžã¿å ¥ããã°ãããã©ãŒãã³ã¹ãããªã ã¡ã¢ãŒããå±éããäžã§ãã®äžéšãšãªãããšãã§ã ããã²ãšå£ã²ãšå£ãã·ã§ããšã®ãŠããŒã¯ãªå¯Ÿè©±ãªã® ã ããã®èšèªãšã¯ïŒ é£ã¹ç©ã§ããã Nobuã§12幎ã®çµéšãããããã©ã³ã·ã§ãããã ãã»ã©ãœã«ãšã£ãŠãåµé çãªããã»ã¹ã¯éåžžãçŽ æ ããå§ãŸããæ°é®®ãªå°å ç£çãšãã®ãããªææãç ã®ãŸãŸã§å³ãããšãçåãããµããŠãããã©ããªå³ ãªã®ãïŒ ããããªçå³ãšæµ·ã®èŠå³ãã©ããªå³ä» ããåãã®ãïŒ ã¢ã€ãã¢ã湧ãåºãŠããŠãè©Šè¡ã å§ãŸããã·ã§ãã®çããããŒã ã¯éç²ãã€æ£ç¢ºãªå äœã§ãã¡ã€ã³ã®çŽ æã«æ§ã ãªæ¹æ³ãè©ŠããŠãããç
Chef Matt Raso, at home in his kitchen / studio.
ãšããåãéããçŽç«ã§ãã¶ãããããã è²ã«ãªã ãã身ã¯æããããŸãŸã ãããã€ãã®ã¢ã€ãã¢ãäž æ¡çšãšãªã£ãåŸãæçµçãªæ±ºå®ãäžããããã¢ãŒã ã®å®æã ã å³ã®ãããã£ãŒã«ã決ãŸã£ããã次ã¯çãä»ãã«å ¥ ãããã¶ã€ã³ãšæ©èœãäž¡ç«ããã客ã«æéãäžãã é£æ¬²ããããããã«ããªããŠã¯ãªããªãããã®ã¬ ã¹ãã©ã³ã¯ãã·ã³ãã«ãªããããšã¬ã¬ã³ããªçãä» ãã§ç¥ãããŠãããæ¡ã®æã®å€§ããªäžžç¿ã«ãé¯ã®åº 身ãç¹çŽ°ã«çãä»ããããŠãããåéæã®éã«ã æãããã³ã¯ã®ã°ã¬ãŒããã«ãŒããæ·±ç·ã®ãã©ã㌠ãã§ãå°éãããã³ã°ãããå³åãšå¡©ãæ¯ãããã ãããå·ããéãéã£ãã¡ã¹ã«ã«ããŒã¹ã®ãã¬ã ã·ã³ã°ããéãšã°ã¬ãŒããã«ãŒãã®å°ããªå±€ãåã å²ããèŠãç®ãçŽ æŽããããåæã«é£æ¬²ãåºæ¿ãã ãã ããããã®æçã«ä»äžããæœãããåµé çãªããã» ã¹ãçµããã«è¿ã¥ããããã§ã·ã§ããšããŒã ã¯ãæ çãšããã¢ãŒãã®æçµçãªèŠçŽ ã«åãæããããã ã¯å®¢ã«æéãäžããããšã ãããŸããïŒã·ã§ãã®ã
Eat your art out.
ã§ã€ã¹ïŒãã£ããŒãé Œãã°ã客ã¯å¿ããããããã© ãŒãã³ã¹ã«åå ããããšãã§ããããã®ç¬éã ãã¢ãŒããšããŠã®é£ã¹ç©ããšããæŠå¿µãä»ã®èžè¡åœ¢ æ ãšäžç·ãç»ããã·ã§ããšå®¢ãšã®éããªå¯Ÿè©±ããªã¢ ã«ã¿ã€ã ã§å±éããã®ã ãè€æ°ã®åºãç©ãäžæŒã ããäºæããã«ã«åãããããŠã·ã§ãã®äœåã«å¯Ÿã ãåµé æ§ãšæ ç±ã«çŽæ¥è§Šããããšãã§ãããæåã® åºãç©ãå·è£œã®1ã2ç¿ã§å³èŠãåŒã³èµ·ãããããã ããŠç¬¬äºå¹ã§ã¯ææ©ç³»ã®è»œãå³ããã«ç¶ãã倧è㪠èŠã¿ãåé¢ã«åºãŠããã第äžå¹ã§ã¯ãç¹çŽ°ãªæãç© ãèã®ä¹ã£ãè±æœ€ãªããŒããç»å Žããæž©ããã¹ãŒã ã麺é¡ã§çµå¹ã«è¿ã¥ãããã£ããŒã¬ã«ã¯ã¹ã€ãŒãã ç»å Žãã幞çŠæã«å ãŸããå³èŠãèžãã Nobuã§ãããã·ã§ãã®ã¡ãã¥ãŒã泚æãã客ã¯çã éãçµéšãããããè¡ãçãå ã¯äžç·ã ãé£éã§ã ãããšé£äºãæ°è»œã«æ¥œãã¿ãã客ã§ããããšãå¿ã« çŒãä»ãããããã£ãšé£ã¹ãããšæãã®ã ãçµµçã æãããã§ã¯ãªããããããã·ã§ãèªèº«ãã¢ãŒã㣠ã¹ãã§ããããšã¯çãã®äœå°ããªãã
#WEAREWARD A collection of village moments
Ward Village regulars Jenn and Kingston share some love after a day spent in the pet-friendly village. @X3JENN08
Ala Moana Beach Park, awash in a sea of color at sunset.
Throughout the village, the familiar cadence of drumming fills the air, setting the soundtrack for the day. Upon closer inspection, it's clear these aren't just any drummers. These are the taiko drummers from the Kendo Music and Taiko Center of the Pacific. "This was a special day and we had a blast doing this performance at Ward Village," says the group's leader, Chizuko Endo."The kids loved it!"
The crew at Piggy Smalls is redefining the way Honolulu eats. Who would've thought that rasberry salt cured ahi with melon and prosciutto would make for such a perfect dish? They would.
@WVSHOPS @PIGGYSMALLSHAWAII
Ward Village Community Calendar ã«ã«ã¢ã³ ãã¡ãŒããŒãº ããŒã±ãã æ¯é±åææ¥ åå8æããæ£åãŸã§ ã¯ãŒã ãŠã§ã¢ããŠã¹ å°å ã®èŸ²å®¶ãååºãé£æåæ¥è ãéãã«ã«ã¢ã³ ãã¡ãŒããŒãº ããŒã±ããã§ã¯ãæ°é®®ãªæç©ãé èãã¯ãããæ§ã ãªçŸå³ããåç©ã販売ããŸãã å ¥å Žã¯ç¡æã§ãã¯ãŒããã¬ããžå šäœã®åºãé§è»å Ž ããå©çšããã ããŸãã
ã³ãŒãã€ãŒã ãšã¬ æ¯é±æšææ¥ ååŸ5:30ããååŸ6:30ãŸã§ IBMãã«ãã£ã³ã° ã³ãŒãã€ãŒã æ¯é±æšææ¥ã®ååŸ5:30ããååŸ6:30㟠ã§ãCorePower Yogaã®åè³ã§éå¬ãããç¡æã® ãšã¬ã¯ã©ã¹ã¯ãå ç50åæ§ãŸã§åå å¯èœã§ãã å€ãã®å Žåãããã«å®å¡ã«éããŸãã®ã§ãäºæ¿
æ¥å Žè ã¯ãç¡æã®ãããã³ãŒã³ãããŒãèªè²©æ©ã æ ç»ã®ããŒãã称ããã¢ã¯ãã£ããã£ãŒãã楜ã ã¿ããã ããŸããä»åŸã®äžæ äºå®ã座åžã®ãäºçŽ
ç¡æãã©ãã³ã¹ ã¬ãã¹ã³
(å ¥å Žã¯ç¡æã§ããããªã³ã©ã€ã³ã§ã®ãã±ããäº
ã¯ãŒã ãŠã§ã¢ããŠã¹ ã¢ã³ãã£ã·ã¢ã¿ãŒ ã¹ããŒãž
çŽãå¿ èŠã§ã) ã¯ãWardVillageShops.com/events
æ¯é±æšæå€ ååŸ5æ
ã§ã確èªãã ããã
磚ãããããŸããããåå¿è ã¯ã©ã¹ã¯ååŸ5æã
ãµã³ã㌠ã»ãã·ã§ã³ ã¯ãŒã ãŠã§ã¢ããŠã¹ ã¢ã³ãã£ã·ã¢ã¿ãŒ ã¹ããŒãž
ãã«ãã£ã³ã°ã§ç¡æã®æ ç»äžæ ãè¡ã£ãŠããŸãã
ã©ã§1åç®25%ãªããšãªããŸãã
ãååŸ6æãŸã§ãäžçŽããã³äžçŽã¯ã©ã¹ã¯ååŸ6æ
ãã¥ãŒãŠã§ã€ã ãã©ã€ããŒãº: ãµ ãŠã¹ã·ã§ã¢ ãœãŒã·ã£ã«
ããååŸ7æãŸã§ãšãªã£ãŠããŸãã
ãµãŠã¹ã·ã§ã¢ ããŒã±ãã æ¯æ第2éææ¥ãåæ¥ã¯4æ14æ¥ã®ååŸ5æãã
ã¯ãŒããã¬ããž
ãšã³ã¿ãŒãã€ã¡ã³ããã¯ã©ããããŒã«ãååºã®å¬
å±å£ã倪éŒã®ããã©ãŒãã³ã¹ã§ãããã®ã€ãã³ã
3æ1æ¥ãã3æ31æ¥ãŸã§
ãç©ãªã©ã§æ¥œããæéããéãããã ããã4æ
ã¯ç¡æã§ãã©ãªãã§ãã芳芧ããã ããŸããã¹
æ1æ¥ãã3æ31æ¥ãŸã§ã®æéã§250ãã«ä»¥äžã
14æ¥ä»¥éã®æ¯æ第2éææ¥ã«ãµãŠã¹ã·ã§ã¢ ããŒã±
ã±ãžã¥ãŒã«ã¯WardVillage.com/Eventsã§ã確èª
䜿ãããã ããšãç¡ææ ç»ãã±ããã2æç²åŸã§
ããã§éå¬ãããŸãã
ãã ããã
ããç¡æãã¬ãŒããŒãã³ã° (ããã蟌ã¿) ããå©
ã³ãŒãã€ãŒã ã·ãã
(HIFF) ãšConsolidated Theatresåè³ã®ããšãIBM
DelightsãSalvage PublicãREAL a gastropubãª
䜿ã£ãŠç²åŸããã
ã¯ãŒã ãŠã§ã¢ããŠã¹ ã¢ã³ãã£ã·ã¢ã¿ãŒ ã¹ããŒãž
ã³ãŒãã€ãŒã ã·ããã§ã¯ããã¯ã€åœéæ ç»ç¥
& Tea LeafãHoloholo MarketãBig Island
ãã© ãã©ãŠããããããããã³ã¹ ã°ã«ãŒããå
ãã ããã
æ¯æ第2æšææ¥
ããTheFaceShopãBig Bad WolfãCoffee Bean
æ¯é±æ¥ææ¥ ååŸ1æ
ç¡æã«ã³ããªãŒ ã©ã€ã³ãã³ã¹ 㯠ã©ã¹
IBMãã«ãã£ã³ã° ã³ãŒãã€ãŒã
ãšæããããšã¯ãªãã¯ãã§ã ã
çšããã ããŸãã詳现ã¯Wardvillage.com/events/ spend-getã§ã確èªãã ããã
æ¯é±ç«æå€ ååŸ6æ
ããã«ã«ããšã³ããŒã¬ã»ãŒãã³ã° ãã¹
ãã³ã¹ããŒãã®ã»ããã蹎æ£ãããOâahu Line
ã¯ãŒããã¬ããž
Dancersãäž»å¬ããç¡æã«ã³ããªãŒ ã©ã€ã³ãã³ã¹
2017幎3æ8æ¥ãã5æ8æ¥ãŸã§
ã®å€ã«åããŸãããã掻çºã«åãã楜ãã¿ãªãã
The Hubãžã®å ¥å Žåžã§ã2017幎3æ8æ¥ãã
æ°ããã¹ããããåŠã¶ããšããããã»ã©å¿å°ãã
5æ8æ¥ãŸã§æå¹ã®ç¹å¥å²åŒãã¹ãããããŸ
@wardvillage
ååŸ9æãŸã§
ã¢ãã¥ã¢ã« ã¢ã³ã¹ãªãŠã ãã©ã³ã ã·ã§ãŒ & ã»ãŒã« ã¯ãŒã ãŠã§ã¢ããŠã¹ 4æ14æ¥éææ¥ åå10æããååŸ8æãŸã§ 4æ15æ¥åææ¥ åå10æããååŸ4æãŸã§ çŸããã¢ã³ã¹ãªãŠã ãå±ç€ºã»è²©å£²ãããŸããã©ãª ãã§ããã¯ãã¬ã€ãã©ã³ãªã©ããŠã©ãŒã ãŠã§ã¢ ããŠã¹ã§ã楜ãã¿ããã ããŸ. éå¬ã¯4æ14æ¥éææ¥ãšç¿15æ¥åææ¥ã®2æ¥éãš ãªããŸã.
808.591.8411 | wardvillage.com
âa hui houâ
@SACHIKOREALTORHAWAII