CRAWL is a program for art workers (planners) held at BUG, an art center run by Recruit Holdings Co., Ltd.. Using project proposals as a communication tool, the program connects art workers with opportunities and spaces such as soundboarding sessions with mentors, peer review among participants, and networking events, with the aim of shaping connections that will endure into the future.
Starting from June 10, 2026, we will hold “Doulia’s Ballroom,” which was selected for the CRAWL program.
This project began by examining the point of intersection between different minorities, as an attempt to explore new possibilities for solidarity. Standing at the place where “care (to support life),” “queerness (to destabilize norms),” or “grief (to be with loss” overlap, it investigates the aesthetics that emerge from moments when they “coincide.” Allowing the process to run its course, this project seeks to show that state as it is.
The highlight of this event will be a live performance at the venue, by the families of a child who requires medical care. When performances are not being held, the venue will be transformed. Through an installation that takes its starting point from photography, video, and living beings, the art center will be redefined (updated) as an open, public sphere that aligns with the philosophy of “parks” for citizens.
During the exhibition and interactions with the audience, the project will portray the afterimages and premonitions of “a place of belonging” for us to live alongside each other.
About the exhibition
The transformative “ballroom,” where care and queerness intersect
We present a site where care, which is a personal and everyday activity, and the spirit of resistance and celebration inherent in queer culture cross paths. The carer (family) transforms into a drag queen, and in a lipsync performance where they surrender their body to the voices and sounds of the children, they radiate “life” that transcends their fixed roles. This is not simply a show, but an earnest testing ground to find the first step toward solidarity.
A new experience of appreciation caused by a space of “coinciding”
When there are no performances, the venue transforms into a space where one can relax and stay, as a place for exhibition and interaction. What is placed there, and what impressions linger in the air? Through a space woven together by an interactive photography exhibit and the fragments of the performances, the visitors themselves can physically experience what it means to “coincide” with somebody at that site.
Redefining the art center as a public sphere and expanding accessibility
BUG is reopened as a space that aligns with the philosophy of a “park,” where anybody can come and spend time there according to their own rhythms and needs. Visitors using a wheelchair are of course welcome, and staying for a prolonged period, or making loud noises while using a suction device to clear phlegm, is entirely acceptable. The intention is to create a place that disentangles the established norms for art appreciation, where people of diverse bodies and backgrounds can equally feel that “they are welcome there.”
Planner profile
I was raised in Taipei and currently reside in Kyoto.
To make it easier to remember me, I use the first character of my surname, “Mo,” as my professional name.
Recently, I have been active as a member of the dance company Mi-Mi-Bi part of the NPO Dance Box. Each member, embodying diverse ways of being, begins by tentatively placing their own unique dance into the space. Our days are spent in ongoing rehearsals, kneading and reshaping our relationships and seeking a sense of conviction that emerges not from the individual, but from the space itself. At some point during this process, the day of our performance arrives.
In the course of building a career as a systems engineer, my experience with illness and the resulting medical and non-medical social effects sparked an interest in “care” and the inherent resonance of this subject. I create projects that permit an intuitive understanding of ideas and shared experiences with diverse people, even when verbalization proves to be difficult.
Major performances include Monochrome Circus, FLOOD (2019, Kyoto Art Center), and Mi-Mi-Bi, Shima jima no mai mai mai (2024, Toyooka Theater Festival Official Program).
It is with deep regret that we inform you that Mo, the planner behind this exhibition, passed away on April 19, 2026. Even in the final stages, Mo worked tirelessly toward the realization of “Doulia’s Ballroom.”
In order to carry on Mo’s wishes, and with his family’s support, those involved will work together to make the exhibition a reality.
We offer our humble prayers for Mo’s peaceful repose.
開催情報
2026/6/10（Wed）－28（Sun）
11:00-19:00
Tuesdays
Free
BUG
