About Aimi
Chinen Aimi (pronounced a-e-mi like I am Me, Aimi) is an artist born in Okinawa, Japan, former Ryukyu Kingdom, to a native mother and a United States Marine father. Through Campy approaches, she creates territories of contradiction exposing the duality of everyday gender, power and war. Through dream analysis she attempts to relate her memories to collective trauma and cultural symbols. She has a strong interest in Sosensuhai (Ancestors Worship), militarization of… more
Finding Ryukyu: Theater of Tacit Operations
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Theater of Tacit Operations, 2019Theater of Tacit Operations, 2019 Mixed media, wood, clay, encaustic, organic objects, milk-paint, transducer, single-channel audio T.O.T.O. is a tabletop game board featuring a map of Okinawa, Japan, formerly known as the independent Kingdom of Ryukyu, which has its own distinctive oral language. The island was first annexed by the Satsuma Clan of mainland Japan in 1609, then occupied by the United States following World War II. Roughly twenty-percent of the island is garrisoned and reserved for U.S. military use and is inaccessible to the general public. The table was engraved and cut out using a CNC router. Viewers are invited to interact with the board and the objects on it.
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FR OURAWAN MANCAMP VS INDIGINOUS WOMENMANCAMP vs INDIGINOUS WOMEN, 2018 Gelatin silver print 16x20inch Henoko beach displays the contradiction of the powers of colonized and the colonizer. On the left is the current USMC (United States Marine Corps) military base Camp Schwab and its expansion. Nicknamed “Man Camp” the land of the base was confiscated by force from the locals that were threatened with further violence after the “end” of The Battle of Okinawa. On the right is the ancient ritual site to worship The God of the Sea, the Ryugushin. Known by the islanders with ambilineal traditions as the women’s god, or the god of women. The Sea is considered as one out of the three Ultimate Ancestors with the Sun and the Earth.
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FR RYUGYUSHIN HELIRYUGUSHIN-HELI, 2018 Gelatin silver print 16x20inch Black and white image of Ourawan shrine in Henoko of Nago in Okinawa. Ryugushin is the god of the sea, god of women, or women's god. Ryugushin is one of the Ultimate Ancestors who give life. Rugushin watches the United States Military Base Camp Schwab steal, pollute, and expand on the land of her children.
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FR BUTSUDAN FULLButsdan Family Alter, 2018 Gelatin silver print 16x20inch Before WWII, every Ryukyu family home held an ancestral altar called the Butsudan. It was known as the family treasure and passed down ancestral information. The Butsudan is the satellite and transmitter for prayer to ancestors. Rituals and prayers follow the cycle of nature, the sun, the moon, and its seasons.
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FR Sounds Become LandscapeSOUNDS BECOME LANDSCAPE, 2018 Gleatin silver print 16x20inch On its way back down to the largest U.S. foreign military installation, Kadena Air Base, a large aircraft carrier flies low and loud vibrating the island landscape. Violent sounds perpetuate the raw trauma over and over.
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FR NIRAIKANAINiraikani, 2018 Gelatin silver print 16x20inch Bushes of Adan create a dark long winding path. What is on the other side is hard to see. For someone who has never seen the pathway, this tunnel can be an intimidating scene. What lies on the other side is guided by the Yuta, the female dominant island shamans who feel the open sea and the far away dreams of their ancestors. In the present, the Yuta sees both in the past and the future.
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FR UCHIBARU OSPREYUCHIBARU-OSPREY Gelatin silver print 16x20inch The names of these small islands off the shores of HamaHiga have been forgotten by many. Uchibaru and Feuchibaru are confiscated by United States Military use and are off limits to the islanders. The younger generation of islanders have been denied their ancestral land and with its denial have forgotten their culture. Everyday at all hours, US military fly their military aircrafts for training, emanating and reverberating sounds of violence, reminding residents of their dominance.
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FR USMC PROPERTY LINEUSMC PROPERTY LINE,2018 Gelatin silver print 16x20inch Camp McTureous is a part of Marine Corps Butler Base occupying Kawasaki and Iribaru in Agena town that is part of former Gushikawa city, now part of Uruma city. This base is colonized specifically for the dependents of service members that work within the neighboring bases such as Camp Courtney and Tengan Pier. Camp McTureous is equipped with family residential facilities, sports facilities and an elementary school in the American aesthetic, maybe because the service members and their families need a mini America for their everyday living to comfortably colonize another country free of consciousness.
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FR HAGUSGI-LDAY LANDINGHAGUSHI-LDAY LANDING, 2018 Gelatin silver print 16x20inch As I stare into the horizon known in the Ryukyu oral language of uchinaguchi as tinzake, the split of heaven, the heavenly border, I can hardly imagine the horrors that sailed in on the easternshores of Yomitan. Battle of Okinawa, 1945 L-Day invasion’s L stood for LOVE. How can love become the horrors the islanders saw. Love Day invasion tactics followed the same invasion methods of the Satsuma clan invasions that colonized the islanders almost hundred years prior. Today, the United States and Japan's relations unite their colonizing tactics to silence the remaining colonized oppositions on the island.
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FR SHINJYUGRAVEMunchu Haka, 2018 Gelatin silver print 16x20inch Munchu haka is a family grave made up of coral imbedded into the landscape. This grave holds 200 to 300 years of ancestors and their knowlege. This pictured haka, grave is from my matrilineal grandmother’s family. The matriarch and or yuta of the family that carries the family knowledge has disappeared with the modernization of the island post WWII. The word “munchu” holds multiple meanings and it is also known as record of ancestral information or knowledge. What happens when we lose knowledge of our grandparents, great grandparents and the important family history?
Feminist Standard Bureau
Feminist Standard Bureau (FSB) was a two year (2016-2018) cumilative activity and project that created a recruitment space for feminist discussion, ideas, and bureaicracy.
Artist-collaborators and participants were encouraged to analyse bureaucratic structures and languages that perpetuate imperial violence. Bureaucratic structures are embedded in government systems and military systems that are interconnected with everyday society to globalized imperialism. Often, these structures are put into place by the ethnocentric dominant power that has failed to imagine or learn from indigenous cultural systems.
The pivotal moment occurred when I learned about artist Thomas Hirschhorn with his motto, “ENERGY YES, QUALITY NO.” He makes art with materials that are accessible to show how everyone and anyone can be an artist by acting. We can all act and give voice to silenced communities.
Hirschhorn's approaches allowed me to see art in ways I had long imagined: as an action that can influence and question the way we participate in the cultural paradigm. I’ve learned objects and materials can be the starting point to discussions which create time and space for sharing community. With his Monument project, even after the physical materials were disassembled, the energy that was put into sharing the philosophy of life was passed on, living through community members’ memories. The collective effort and energy that was shared created an imprint, leaving an invisible essence that could be felt by those who want to remember.
With Hirschhorn’s influences, project Feminist Standard Bureau cumilated in a curated space for critical dialogue by reimagining military structures and bureaucratic procedures with an intersectional feminist perspective. This project is a collaborative effort with peers and faculty from the Intermedia Digital Arts MFA program at University of Maryland Baltimore County and artists from the local Baltimore community. Playing on the military draft system, we created a self-selective service system called the Feminist Service for Genuine Security (FSGS). The initial FSGS Task Force guided community participants through this performative display of activities and knowledge to become registered and certified as a self-selected feminist aware of the multiple waves of feminism and the need to continue learning.
Leading participants include Joan Cox, Renee Tantillo, Mollye Bendell, Rebekah Cherryhill, Jeffrey Gangwisch, Mitchell Noah, Jaclin Paul, Chris Kojzar, Parastoo Aslanbeik, Jason Charney, Liz Faust, Zoey Howell-Brown, Kathy O’Dell, Lynn Cazabon, Rebecca Adelman, Pinar Idil Yakut, Nicole Ringle, Leah Michaels, Shana Goetsch and Wombwork Production.
As I continue to root into Baltimore, project Feminist Standard Bureau has connected me with the community to learn what we all have in common as humans, feeling the sense of belonging to each other in a globalized world.This project utilized art as a tool to unite and connect the differences we are taught to feel.
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Feminist Standard Bureau Wall of Bureaucracy StationParticipants reading and signing feminist bureaucracy with inspirational feminist quotes and commitments.
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Feminist Currency CherryhillOne of four feminist currency design used in Feminist standard Bureau Project. Participants were given printed copy of feminist currency in exchange after their education and commitment to the Feminist Service for Genuine Security (FSGS). Feminist currency designed by Jaclin Paul. Image of Rebekah Cherryhill.
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FSB: Feminism Fights Patriarchal Power ExhibitionMain desk where participants received FFMM stamps in approval from the Feminist Standard Bureau.
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Gender Analysis Questions WallGender Analysis Questions Wall This wall defined feminism and militarism according to Cynthia Enloe's book on "Globalization and Militarism". It supplied quote bubbles for participants to comment and further question and discuss ideas present by interacting with the material.
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Feminist Curiosity Oath WallFeminist Curiosity Oath Wall Large wall mural contract with participant signatures. (Willy Wonka Contract Inspiration)
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Feminist Standard Bureau Wall of BureaucracyWall of large copies of feminist bureaucracy with table in the center with smaller versions for participants to read and sign using feathered pens.
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Semiotic Square on Peace and WarSemiotic Square analyzing the signs and symbolism of seemingly opposing terms of "Peace" and "War". Image taken after community workshop.
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Feminist Questioning of WAR WallDefinition on how to use feminist curiosity. Facts and imagery of war with questions where participants can comment on with quote bubbles surrounded by feminist quotes.
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Wombworks Production Inc. PerformanceWombworks Production performs in front of Feminist Curiosity Questioning of War.
Semiotics of Ryukyu
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12 Transliterations of Ryukyu Tableaux
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LiuChew_LuTchu_12 Transliteration Tableaux
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LuChu LewChiu 12 Transliteration Tableaux
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RuuChuu LewChew 12 Transliteration Tableaux
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Semiotic of Ryukyu Game BoardGame board with twelve transliterations of Ryukyu on the left side, Ryukyu island stenciled in the center with semiotic square analysis, and on the right side is the twelve zodiac directions used by the indigenous Yuta/shamans with abstract ceramic objects. The entirety of the board is scattered with organic materials dried and dipped in encaustic wax playing with the semiotics of environmental relationships to time and history.
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Corner Right 12 Transliteration Board
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Left Panel 12 Transliteration Board
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LooChoo LiuQiu 12 Transliteration Tableaux