North America

Upcoming Shows

10/03/2023Volume Festival, Sydney, AUS
10/06/2023Tempo Rubato, Melbourne, AUS
10/07/2023Brisbane Powerhouse, Queensland, AU
05/03/2024Long Play Festival, Brooklyn, NY
05/04/2024Long Play Festival, Brooklyn, NY
05/05/2024Long Play Festival, Brooklyn, NY


FUJI||||||||||TA is a Sound Artist living in Japan. His unique practice utilizes various natural phenomena that respond to his interest in wanting to hear unheard sounds and unknown sounds. Instead of playing a composed piece of music, he aims to go as far as possible towards his own unknown state of being, with an emphasis on observing the sound closely.

In 2009 Fujita hand fabricated a Pipe Organ that has only 11 pipes and no keyboard. Fujita conceived and built it using his imagination, without any prior or specialized knowledge. The air pump (called “FUIGO”) which is kept moving by the left hand when playing, and is based on associations with an ancient blacksmith. This unique instrument is too delicate in its nature to be played properly without a great deal of experimentation and trial and error. Fujita has spent a long time inventing ways to play it and experimenting with ways to utilise this instrument in sound systems.

Since 2006 he has had many solo performances and collaborative works with musicians, including ∈Y∋ (Boredoms), Akio Suzuki, Keiji Haino, and Rashad Becker. He has presented his sound installation works in many contexts: the work “CELL”, which made audible the sounds of black soldier fly maggots buried in dirt, was exhibited in Sapporo International Art Festival 2017 and attracted a great deal of interest in Fujita’s artistic practice. A performance with an organ and 4 water tanks were performed in MODE (London) in 2019. And since then he have played at various festivals and venue, including Rewire Festival (NL), Big Ears Festival (US), Variations Festival (FR), Pioneer Works (US), Bourse de Commerce (FR), Send+Receive (CA) and Tectonics Glasgow (UK).

His albums are “iki” [Hallow Ground], “KŌMORI” [Boomkat Editions] and “NOISEEM” [33-33].