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YCAM Re-Marks

In Media Sockets: Realities brimming over media sockets.

Photo by Eiji Ina

New realities opened up by new technologies
Artistic expression as a socket connecting man and technology

This group exhibition was a comprehensive introduction to art utilizing photography, video, computers and other media that have been exerting a major influence on today's culture. Held as part of the program celebrating the opening of YCAM, the exhibition featured six artists/groups from Japan and abroad, each of which presented an installation realized through the respective artist's explorations and creative combinations of the technical characteristics of media technology.
In these days of rapidly evolving and spreading reproduction media, human perception and cerebration models are continuously facing updates, as a result of which reality, and eventually also forms of artistic expression keep changing. Through works stimulating from different viewpoints critical thoughts on such transformations, the exhibition proposed new approaches toward new realities that appear in all kinds of shapes.
Date
November 1 - December 28, 2003
Place
Studio B, Foyer, Gallery second floor

Works

Ladder

Mami Iwasaki

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Ladder

Mami Iwasaki

This photographic work captures from various distances urban sceneries in the UK, Holland, Singapore, Germany, and Japanese cities including Yamaguchi.
Multiple images are arranged to create by interfering with each other the impression of an exhibition space depicting one single location beyond national borders, and encourage the visitor to reconsider the multi-layered relationship between photograph and reality, photograph and photograph.

OZU Style (Commissioned by YCAM)

Yoshitsugu Horike

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OZU Style (Commissioned by YCAM)

Yoshitsugu Horike

This research paper in the form of a video pays homage to Yasujiro Ozu, one of the great masters of Japanese cinema.
Combining and algorithmically reconfiguring 15 of Ozu's post-war works into one big movie, this work stresses the appeal of single scenes that otherwise tend to be overlooked, and highlights the macroscopic rhythm that flows as an undercurrent through the work at large. At the same time, it stimulates the viewer's imagination of Ozu's approach exploring the possibilities of cinema as a conception tool.

ikisyon 9 No 1 (Commissioned by YCAM)

ressentiment

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ikisyon 9 No 1 (Commissioned by YCAM)

ressentiment

This video installation makes creative use of the physical characteristics of the space it is exhibited in.
Projection mapping style images based on the space's features as a foundation for video expressions generate various focal points inside the exhibition space, resulting in non-uniform deviations between space and footage within the same video. By regarding such distortions as a source of creativity rather than eliminating them as noise, the work frames as space that evokes an unreal sense of perspective.

ikisyon 9 No 2

ressentiment

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ikisyon 9 No 2

ressentiment

Video footage of tranquil grassland, recorded with an original photographic apparatus combining a lens for astronomical observation and a CCD camera, is continuously projected onto a large screen set up in the exhibition space. Only for a brief moment, an unidentifiable object appears in the scenery. The attempts of the "camera eye" to automatically catch the moving object hint from the viewpoint of technology for observation purposes at the imminent major changes in the history of film media.

VHSM: Video/Hack/and/Slash/Mixer (Commissioned by YCAM)

exonemo

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VHSM: Video/Hack/and/Slash/Mixer (Commissioned by YCAM)

exonemo

This installation wraps the visitor up in video images with intense flickers introduced by analogue methods.
Three projectors with fan-like blades attached to their lenses are set up in large cages in the exhibition space. The blades rotate synchronously or randomly, resulting in flickering multi-layered projections onto a screen in front of the projectors. Through this visual effect, the viewer gets caught up in the swirling sensory pleasure of images that are gradually integrated or stripped of their original meanings.
The projections contain videos of people walking in the vicinity of the exhibition venue, images of living matter, archive footage of Yamaguchi City, and various other materials that are controlled - just like the blades on the projectors - via a computer.
While employing an expressive element as radical as flickering visual images, the work is characterized by a unique kind of mellowness, at once incorporating a "zapping" style reminiscent of such street culture as hip hop and skateboarding, and showing glimpses of a bottom-up kind of approach to architecture from the human body.
Credit
Production support: Ryota Kuwakubo

personalscape (Commissioned by YCAM)

Iori Nakai + scapegirls

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personalscape (Commissioned by YCAM)

Iori Nakai + scapegirls

With this sound art piece in a device format, visitors can relive acoustic experiences of multiple persons in a zapping style. The work was completed during a 7-month-long workshop with Nakai and the "scapegirls", a project team of Yamaguchi citizens.
Audio recordings made on the same day at the same time by nine persons at different locations in Yamaguchi are arranged on nine parallel timelines. Visitors use pens to "zap" through the recordings by tracing the timelines on a display. The polyphonic urban soundscapes inspire the visitor to imagine sceneries or the behavior of the individuals who made the respective recordings.

Bubbles (Revised version)

Wolfgang Munch + Kiyoshi Furukawa

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Bubbles (Revised version)

Wolfgang Munch + Kiyoshi Furukawa

In this interactive installation, visitors can use all of their bodies to play with bubbles in a video.
Projected onto a large screen in the exhibition space are video images of bubbles dancing in a real-looking fashion. When a visitor gets close to the screen, and his or her shadow touches one of the bubbles, the affected bubble lingers, bounces back or bursts.
Credit
Technical assistant: Shintaro Imai

OBAKE

Wolfgang Munch + Kiyoshi Furukawa

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OBAKE

Wolfgang Munch + Kiyoshi Furukawa

Visitors to this interactive installation can enjoy dialogues with fancy characters that respond to their shadows.
As soon as a visitor holds his or her hand to a screen set up in the exhibition space, a wide variety of ghostly characters appear above the shadow. Each with a unique sort of "personality", the characters respond to the visitor's movements, and learn and grow through repeated strings of interaction.
Credit
Technical assistant: Shintaro Imai

Profiles

Credit

Organized by:

  • Yamaguchi City Foundation for Cultural Promotion

In association with:

  • Yamaguchi City
  • the Board of Education of Yamaguchi City
  • Yamaguchi Prefecture
  • Yamaguchi Prefecture Board of Education
  • Yamaguchi Prefecture Foundation for Cultural Promotion

Corporate sponsor:

  • Wacom Co., Ltd.
  • Canon Inc.

Technical support:

  • YCAM InterLab

Produced by:

  • Yamaguchi Center for Arts and Media [YCAM]
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