photo by Alloposidae




A place in the middle of nowhereA place in the middle of nowhere. A place of nowhere, a place of nowhere, a place of neither.But in fact, this is where I am now. I'm looking for a place where my body can go.I'm looking for a place where my body can go.

Here and there in the city, a space covered with a curtain appears. They appear here and there in the city, usually in the evening or at night, one by one.They are called "anklingan". It's called "angkringan," and it's about lazing around while snacking on impromptu drinks and snacks. Spending time lazing around with impromptu drinks and snacks.That state of sitting back and relaxing.And then moving on is the meaning of the word.

I went inside.A wooden stall supports the unreliable space.Sitting on a long, narrow bench, I feel strangely at ease. The distance between us and others is so close that our skin touches. I repeat a trivial conversation with the owner. He seems to be one of the regulars rather than the owner.It's okay to read something in silence. When I forgot how much time had passed. I stepped through the curtain and went outside.

The familiar city dazzled me. Is this the search for a place that the city has abandoned?Is this a modest projection of the "oasis" that city people seek? No, this is "everyday life". It is the daily life of someone in a distant foreign country. It's the real everyday life of our neighbors who survive in our society. It is the real everyday life of the "neighbors" who survive in our society.

A double landscape, a double common sense, a double body language. Be a person who can handle it. Be a city that tolerates it. Be a "double.







photo by Alloposidae


Come evening, covered roadside stalls called angkringan begin to appear on the streets of Yogyakarta.
The people inside sit and converse side by side in a cozy, informal space where time flows slowly.
What is taking place there is hidden from sight to anyone outside by how the stall is covered by a sheet,
making these angkringan accessible to people on the street yet not too open.
The angkringan is a place that maintains the public nature of the city through its ambivalence as both visible and invisible, both public and private.
“NOWHERE OASIS” is a project by the Tokyo-born and currently Yogyakarta-based artist Jun Kitazawa,
conceived from the disquiet he felt at having “nowhere” to go during the back-and-forth life he led between two countries and societies,
and then layering this over an interpretation of these angkringan.

Several angkringan stalls made in Yogyakarta appear on the streets of Ikebukuro, Tokyo.
Though mainly located in the plaza in front of Tokyo Metropolitan Theatre, the stalls also move between various sites around the Ikebukuro Station area.
Run with members of the Indonesian community in Japan, these angkringan will elicit a range of responses from the people coming and going through Ikebukuro.

The landscape conjured up by this project in Tokyo will then be taken back to the angkringan in Yogyakarta.
The angkringan dotted here and there around the city assume the memories of Tokyo in an attempt to defamiliarize the everyday life of Yogyakarta.

On the streets of two cities in Asia, “NOWHERE OASIS” creates, searches for,
and moves between places connected to the contexts of both cities while simultaneously belonging to neither.
In this way, it aspires for an oasis that is nowhere yet also now here.


夕方、ジョグジャカルタの街なかに幕で覆われた路上屋台「アンクリンガン」がぽつぽつと現れる。その内部での人びとの会話や体づかいは互いに近しく、同時に自由で、時間がゆるやかに流れる。また外部からは幕によって中がほどよく隠れていることで、路上にありながらも開放的すぎない。アンクリンガンは、可視/不可視、公/私といった両面性を併せ持つことで、都市の公共性を確保する現場である。NOWHERE OASISは、東京出身で現在インドネシア・ジョグジャカルタを拠点に活動する北澤自身が、2つの国と社会を行き来する中で感じた「行き場のなさ」に対する違和感と、このアンクリンガンへのまなざしを重ね合わせることから構想したプロジェクトである。



NOWHERE OASISは、同じアジアの2 つの都市の路上を舞台に、それぞれの文脈に接続しながら同時にそのどちらにも属さない場をつくりだし、探し、巡る。どこにもない(no where)が、たしかにいまここ (now here) にある「オアシス」を目指して。


Period : 21 October - 30 November 2019
Location :Tokyo Metropolitan Theatre (front plaza)

Conceived and Directed by Jun Kitazawa
Angkringan Team : Retno Watanabe, and others
Collaborators : Kei Namba, Takehiro Go, Eiji Takeda
Project Assistants : Junichiro Endo, Munif Rafi Zuhdi, Annisa Putri Cinderakasih, Anastasia Yuanita
Design : Tadao Kawamura
Interpreter, Translator : Teruri Yamawaki
Photography & Video : Takashi Fujikawa, Hibiki Miyazawa (Alloposidae), Rizky Nur Widyatmaja
Production Coordinators :Mayuko Arakawa, Toshifumi Matsumiya (Festival/Tokyo), Naho Kato (TASKO inc.), Miki Kanai
Interns : Nanami Uematsu, Ryoko Koketsu, Ryo Sugita
In cooperation with Monggo Moro, Art Merdeka, Angkringan 45 Bayat, Taman Budaya Yogyakarta, Biennale Jogja
Endorsed by the Embassy of the Republic of Indonesia
Presented by Festival/Tokyo


場所:[東京]東京芸術劇場 劇場前広場ほか

コンセプト・ディレクション:北澤 潤
アンクリンガン店員:レトノ・ワタナベ、ムハマッド・ジダネ・マダニ、モハマッド・カッフィ ほか
コラボレーター:南波 圭、洪 雄大、竹田英司
プロジェクトアシスタント:遠藤純一郎、ムニフ・ラフィ・ズディ、 アニーサ・プトゥリ・チンデラカシ、アナスタシア・ユアニタ
記録:藤川琢史、宮澤 響(Alloposidae)、リズキー・ヌル・ウィジャットマジャ
制作:荒川真由子、松宮俊文(フェスティバル/トーキョー)、加藤夏帆(TASKO inc.)、金井美希
インターン:植松七海、纐纈涼香、杉田 亮
協力:ジャワ料理専門店モンゴ モロ、アートムルデカ、アンクリンガン45バヤット、ジョグジャカルタビエンナーレ