東京2020 NIPPONフェスティバル Our Glorious Future KANAGAWA2021のアートのミライ映像です
The music hall and library designed by MAEKAWA Kunio were built in 1954.
The Youth Centre was built 8 years later.
In response to the different times, roles and structures of these buildings, the works of the five artists will be created with tangible and intangible objects such as people, creatures, light, sound and wind.
When holding the exhibition without an audience was decided, TSUDA Michiko opted not to install the work, but rather to stream a video of the empty space where it were to be exhibited, in order to let the viewer imagine an exhibition that does not exist.
Using a camera, screen and mirrors, the work cleverly brings the present and the past into the space, including people who are present and people who have already gone, with the intention of encountering others we may never meet and ourselves we may never see.
In this exhibition, the "presence of absence" that transcends time and space will be shown by connecting the works that were exhibited and photographed in other places with the venue at the Youth Centre without the works in the video.
In a room of the library, a treasure house of knowledge and words, IWASAKI Hideo presents a co-creation with microorganisms.
The work consists of cut-outs of his own biological paper and text related to the Olympic Games, on which bacteria were inoculated.
The intricate patterns created by the bacteria slowly over time correspond to the contradictions and complexities of the artist's perception of the past and present.
The movement of the wind is reflected in the work of MIHARA Soichiro.
The air in the room flows based on real-time data of the wind captured by sensors on the rooftop.
In a room floating in the air between the library and the music hall, a circle of vinyl exists within an invisible dome of airflow, twisting, tangling, unravelling and twirling through the air like a living thing.
The work is a quiet reflection on the nature of air in Japan, as typified by the term "kuki wo yomu (reading the air)”.
MATHRAX〔Shozo KUZE + Mariko SAKAMOTO〕 used the space of the music hall, called the wooden hall, to create this work.
When you put your hand close to the circular wooden objects on the stage and in the audience seats, sound is emitted into the space, while the wooden cubes around them twinkle and make a sound in response.
This beautiful space, created by communicating with a remote person through sound and light, invites us to reflect on our own existence and that of others.
SAKUMA Kaito 's work will be displayed in the square surrounded by buildings.
The work consists of a 1.5-metre-long circular mirror, which can be seen behind the camphor tree, the symbol of the area, and which visualises sound while reflecting the sky and the surrounding buildings.
The sound created by the mirrored surface vibrates faster than the visual perception, shaking the viewer's physical senses and making the presence of the objects and the sound explicit at the same time.
Based on a human heartbeat or a bird's chirp, the work is filled with a thought for all life.
Through the works of these five artists, who are standing in an empty space with nobody, we hope to capture the ever-changing present, to reflect deeply on the existence of human beings who were originally meant to be here, and to think about the symbiosis between the modest and the diverse, together with the people beyond the images who have various thoughts.
Curator: FUJIKAWA Haruka
Photo: teppei kobayashi
Artist. Her work takes a variety of forms, including installation and performance, and suggests an invisible presence through the viewer's gaze and movement. Major solo exhibitions include "Trilogue" (TARO NASU, 2020), "Inter+Play" (Towada Art Center, 2020), and "Aichi Triennale 2019: Taming Y/Our Passion".
Artist, researcher in bioscience and bio aesthetics. He is a professor at the Faculty of Science and Engineering, Waseda University, and the director of the bio-aesthetic platform metaPhorest. He is interested in the complex interface and relationship between science and art, and is engaged in scientific research and art production. He is the author of "What is 'Life': Expressive Biology, Thinking Art" (Kodansha 2013). He has been awarded prizes including the Young Scientists' Award of the Commendation for Science and Technology by the Minister of Education, Culture, Sports, Science and Technology, the Excellence Award of the Japan Media Arts Festival, etc.
Photo: Ben Matsunaga
She specialises in contemporary art and education, and has organised a number of projects that use the environment and space to engage the senses. Her "Road to (from) the Museum" exhibition, which she organised with artists and people with impairments by researching the local area, was highly acclaimed as a new experiment in art for a diverse audience. She is a jury member of the selection committee for the 20th, 21st and 22nd Japan Media Arts Festival and a part-time lecturer at Joshibi University of Art and Design.
This work, which was to be exhibited, is an installation in which the viewer experiences a space with a camera, projector, frame, mirror, screen and other visual devices while walking around freely. One of the important elements of the work is the presence of the "spectator" who is in the space and is reflected in the images and mirrors. This time we decided not to show the work as the exhibition was with no spectators. The video will help the audience to imagine what the exhibition would have been like by looking at the space where it was supposed to be exhibited together with the works that were exhibited in the past. The video seems to capture reality, but it is a slice of reality, so seeing is very ambiguous. I hope to create a real exhibition in this day and age, where facts slip through the cracks and are difficult to capture, depending on where you cut them.
This work is based on my life's work, the “Culturing <Paper>cut” series, and has been newly created for this particular "exhibition". This series originally focused on the way in which science (scientist) perceives life and its modes of description. A scientific article (paper), which is often seen as objective, actually has a very human side to it. I studied photosynthetic microorganisms (cyanobacteria), wrote a paper on them and cut out the subjective part. From there, microorganisms that were the subject of the thesis 's observations grow to cover the paper, creating a complex pattern. In this way, the front and back are reversed like a Möbius circle.
This <O/Paper>cut version is a combination of the <Olympic>cut = <O>cut, which is cut out pieces of document about the Olympic Games with the above-mentioned (scientific) <Paper>cut. Even before the Covid pandemic, I had many doubts about the bid for and hosting of the Olympics in Tokyo, so this exhibition has been a source of much personal conflict. Some motifs related to this background (some text from the Olympic Charter and the host-city contract for the Tokyo Olympics and other controversial episodes related to the past Olympics) were cut out and subjected to coexistence with microorganisms to critically assimilate the context.
The library, the venue, is a place where individuals come together as individuals as well as being presented with the accumulation of knowledge, unlike the collective mobilisation symbolised by the Olympic Games. It is also a place where scientific journals and documents related to the social contract, the subject of this exhibition, are stored. In the exhibition hall, we arranged various documents and articles on the view of nature and life from the late Edo period to the present, and added the design of the Prefectural Library on the paper cut-outs. With this 'no-viewer exhibition', the date and time of the exhibition could not be announced in advance, and even the simultaneous broadcast was forbidden paradoxically. It is time to think again about the huge number of "absences" around us, such as works that are not appreciated, books that are not read, lives that are not felt, people who are not noticed, responsibilities that have nowhere to go, funerals that we cannot attend etc.
Study of Air .
Microphone, low-pass filter, control circuit, DC fan, film, lead...
The movement of a fluttering floating object is due to an invisible change in airflow. This phenomenon, which is associated with presence and feeling, is a very low frequency air vibration, which we experience as wind. In order to quantify this, a sensor system applying small microphones has been installed outdoors and is constantly measuring data from this location.
Based on this, a fan on the floor controls the airflow in real time. The series of systems that capture and reconfigure the wind are intended as a practical reflection on the Japanese concept of air. This work was inspired by the book "A Study of Air" by YAMAMOTO Shichihei, which I have pulled off the shelf several times since 2011. In Japan, there is a unique term for collective decision-making: 'kuki wo yomu (reading the air)'.
In order to verify these words, I began by developing a device to objectively and quantitatively capture the metaphorical object, the air itself. Afterwards, looking at the work as if I were an observer, I am aware that the shifting movements of the floating bodies are maintained by an invisible cage of air currents, and I apologetically imagine that the air is annoyed by the fact that it does not belong to any country and cannot speak. Ten years later, on a day in June 2021, I am writing this text in the humid air of the rainy season. In the midst of a global pandemic, a national peace festival, based on air, is about to take place on the theme of recovery.
Stella nova is an installation work that has the meaning of "a newborn star". The word "nova" conjures up images of the birth of a new star, but it also refers to a phenomenon in which a dark star that is no longer active shines brightly as a result of a chemical reaction caused by the approach of another star. In the past, people used to imagine a new life of star being born by the sight of it. The work “Stella nova” is an attempt to communicate with oneself and others through the medium of sound, by allowing the user to approach or touch a circular interface that resembles a planet. The sounds symbolise a person's gestures and the workings of their consciousness, and weave together a variety of relationships. Stella nova in this work refers to the phenomenon of sound when a person is reborn through the encounter with another person.
This work is a one-to-one mirror that responds to the viewer. Like a speaker, it makes sounds, and like water, the source of all things, it changes its shape regularly and chaotically. In this exhibition, it will continue to sound its "breath" for two days in response to a camphor tree. In the era of covid-19, the number of deaths is reported every day, and on the other hand, there are deaths that go unreported. I cannot help feeling that the distance between us and death is becoming larger and larger every day.
In such times, I would like to question once again the one-to-one relationship between living beings. I believe that to first feel the life of the immovable camphor tree in front of us is a step to regain our mortality. If the Tokyo Olympics 2020 is to be held as a hope for the future, I hope that this exhibition will confirm where we are.
Production: CG-ARTS (WAKIMOTO Atsushi, AZAMI Takahiko, HARA Eriko)
Video and Photography: NISHINO Masanobu (general), TOMITA Ryohei (general), OHNO Ryusuke (camera assistant), HYUN Woomin (TSUDA Michiko’s work), MIKAMI Ryo (TSUDA Michiko’s work)
Setting up: TOKYO STUDIO (TAMAMURA Taiki、NAKAZATO Hiroaki、KUSUMOTO Shoko、 NAGAO Kazunori), TABEI Katsuhiko (MeAM studio), NAKAJI Hiroaki, TAKAHASHI Ryohei
Support: WAKUI Maito, TARO NASU