Best of Singapore Art Exhibitions in 2012
2012年にシンガポールで開催された美術展(美術館も含めて)のベスト4に選ばれています。
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2012年にシンガポールで開催された美術展(美術館も含めて)のベスト4に選ばれています。
2012年にシンガポールで開催された美術展(美術館も含めて)のベスト4に選ばれています。
デジタルイノベーションは進化を続けており、それを技術革命が支えている。ビデオ・アートやデジタル・アートは表現方法として受け入れられつつあるが、それらは氷山の一角にすぎない。シンガポールのイッカン・ギャラリーで10月27日まで開催された展覧会「エクスペリエンス・マシーン」によって、この事実はさらに明らかなものとなった。この展覧会は9人の国際的なアーティストの過去13年のニューメディア・アートの作品を展示したものだ。タンジョン・パガ-にあるイッカン・ギャラリーを訪ねた際、鑑賞者参加型の超現実主義の作品に、私は驚いたと同時に圧倒させられた。この独創的で魅惑的な作品は、東京を拠点とし、代表として猪子寿之(1997年 – )を置くチームラボによって制作された。「世界はこんなにもやさしく、うつくしい」は、チームラボの様々な国から来た各分野のバックグラウンドを持つメンバーが、書家である紫舟とコラボレーションした作品だ。紫舟は、日本の漢字による「書」で、感情的かつ視覚的な力を追求している。インタラクティブな作品はすでに珍しいものではないが、このインスタレーション作品が他の作品と異なるのは、鑑賞者がそれぞれの自己世界へと誘われ、まるで自分がある種の表現者になったように感じることにある。
この作品空間の中に入ると、最初はまるで地球がまだ創造されていないかのように真っ暗である。そして囲まれた四方の壁の上に漢字が降り注ぎ、鑑賞者の手の影が映像に加わる。花という字に触れると、あたり一面は花でいっぱいになる。鳥という字と木という字に同時に触れた場合、たちまち鳥達が一斉に空を飛び立ち、浮かび上がる木の枝を埋め尽くす。風という字を触ると、画面上のすべてのものが吹き飛ばされ、その漢字自体もどこかに行ってしまう。蝶と花という字を同時に触ると、蝶は花を自動的に探しだす。比較的最近ニューヨークからシンガポールのこの美術館に赴任してきた支配人・真田一貫によれば、これらの漢字にはそれぞれ知能がプログラムされているのだという。漢字が降り注ぐ前の、月明かりに照らされたドラマチックな夜の暗い風景の中に立っていた時、私はまるで自分が創世記の中の天地創造を体験しているように感じた。天地創造との自明な違いは、触れたり人間の影を認識することで発生する映像は、どれもごく短命で、他の漢字に触れるとすぐ消えてしまうことだ。これはもしかしたら物事のはかなさや非永続性にヒントを得ているのかもしれない。また同じように、映像を表示するために人間の手が必要なことは、自然環境の保全には人間の手が不可欠であることを表しているのかもしれない。2012年春季のヨーロッパ最大規模のヴァーチャルリアリティ美術展覧会であるラヴァル・ヴァーチャル(Laval Virtual)の国際コンテスト、レヴォリューション(ReVolution)において、この作品は建築・芸術・文化賞(Architecture, Art & Culture Award )を獲得した。また、この展覧会で、チームラボは他にも西洋美術とは異なる東洋美術の世界観を紹介する作品を展示している。「花と屍 剝落」のアニメーションは、2次元の日本画を3次元のCG映像で再現したものだ。チームラボによれば、伝統的な日本美術は定まった焦点を持たず、主観と客観が曖昧になっており、これは西洋絵画が一貫した視点を持ち、幾何学的要素や客観性を重要視していることと一線を画すのだという。
Transition has been on my mind of late. Maybe that’s why I gravitated towards the insight noted in The Experience Machine’s catalogue essay on the industrial age making way for the “electronic era", allowing for renewed “ways of seeing and experiencing our world".How then does our current electronic era influence art? More than ever, artists are using technological advances to alter and challenge their practices and processes, giving rise to ‘New Media Art’, which comprises “constantly evolving hybrid technological art forms such as video art, digital art, interactive installation and customized software art". The semantics of art then comes into question. Can the programmed digital software John F. Simon Jr. used to create what I heard some visitors call a “Microsoft screensaver" be called art? Ambivalence about popular acceptance of such unfamiliar art forms has clearly not deterred co-curator and owner of Ikkan Art International, Ikkan Sanada, from presenting a plethora of unconventional, tech-savvy and wonderfully bizarre works that the local art scene has probably not yet witnessed. After all, what is transition without the slight discomfiture and strange newness of change?With change comes a reconfiguration of habits and customs. Technology allows and promotes the manipulation and reconstruction of our visual, social and perceptive norms, engendering new sights and experiences that challenge the beliefs we have become used to. Iconoclastic and irreverent, Morimura Yasumasa’s contemporary takes on the historically famed Vermeer painting, Girl with a Pearl Earring, challenge art-historical and social ideas regarding the male gaze. By reconstructing his Japanese, male identity into that of a Western, female figure, Morimura subverts the conventional notions associated with the invasive, voyeuristic male gaze, confounding the viewer and prompting him to look beyond the superficiality of representation. He employs more physical reconstruction and metamorphosis than technological (although his use of video alone in the appropriation of Vermeer inserts a wholly new artistic dimension and comparison): notorious for being contemporary art’s “most famous drag queen", Morimura paints his face and painstakingly transforms his sartorial, facial and overall physical appearance to that of his subjects. From artist to subject (and object), male to female, Asian to Western, hidden to exposed, Morimura boldly appropriates a revered historical piece, only to playfully, completely turn it on its head.One of the things I love about contemporary art is its ability to engage audiences in participation and dialogue. Performance alone does not suffice, as the distance between artist and audience is sorely emphasized. By engaging the senses and encouraging activity, art ceases to be a hierarchical distinction and moves into a new realm of participation, reflection and agency.The magnum opus of The Experience Machine is SISYU+teamLab’s installation that presents a visually captivating spectacle, allows visitors to participate and act, and uses technology to reflect, not manipulate or violate, a natural milieu. Upon walking into a specially constructed black room, I was surrounded by screens depicting a surreal, otherworldly 3D landscape of nebula and falling kanji (Chinese characters). Intrigued, Mr. Sanada then prompted me to ‘touch’ a falling character. My action caused the kanji signifying ‘bird’ to transmogrify into an animated version of a bird. Mr. Sanada then proceeded to enliven ‘tree’, which the bird then flew to. This is just one of many instances of the everyday, arbitrary interactions between nature, the elements and animals that the installation mirrors with surprising accuracy. While we might often think of technology as automated, soulless and clinical, What a Loving, and Beautiful World demonstrates how SISYU+teamLab has invigorated their animation with the unpredictability and simple beauty of nature.While some might get lost in SISYU+teamLab’s technological playground, my favourite work from the show was unenviably positioned in a quiet corner in the neighbouring room. Walk into the room flashing with Jim Campbell and Ben Rubin’s light installations, and you might just leave without noticing Bea Camacho’s video, located on the floor in a corner next to the door. Interestingly, the artist herself made the curatorial decision to place her video screen in a negligible place.Enclose isn’t meant to scream out at you. On the contrary, as the title suggests, it wants to be hidden, isolated. Besides forcing the viewer to bend, squint and make a physical effort to watch her video, Camacho has refused to make Enclose a performance piece, isolating herself from the glare and scrutiny of a surveying audience and their emotional and auditory responses. By choosing not to sensationalize her emotions, Camacho makes a bold statement about artistic and personal integrity. Enclose is thus poignant because it is an act of catharsis, not a lurid, effusive spectacle.Having never been physically or emotionally close to her family, Camacho channels the rejection and loneliness she experienced (or is experiencing) by literally ensconcing herself in a crocheted cocoon. While crochet might evoke memories of familial warmth and affection, for Camacho, it refers to “an idealized version of home". Challenging the futility of fulfilling a romanticized fantasy, Camacho pushes herself to physical extremes by crocheting non-stop for 11 hours, going without rest, food or water. The artist as sufferer, a familiar concept popularized by Marina Abramovic, is here given new life by Camacho, who allows us to witness and experience her pain vicariously through her creative process. As The Experience Machine shows, this shiny new electronic age has more heart than we might think.
シンガポール最大級の新聞「The Straits Times」にて、イッカン・アート・ギャラリーの「エクスペリエンス・マシーン」展と共に、チームラボ「花と屍 剝落」と、紫舟+チームラボ「世界はこんなにもやさしく、うつくしい」が紹介されました。
この展示会を1時間で見るならこの作品が良い、と8作品を選抜した内容で、チームラボの2作品が両方紹介されています。
以下、作品紹介を抜粋。花と屍 剝落
By teamLab, animation日本企業のチームラボは、コンピューターアニメーションで日本の伝統的な絵画を描いた。自然、市民の衝突、そしてその繰り返しや共生をテーマにしている。
時間の経過と共にアニメーションの表面が剥落し、その下の3D構造が見えるようになっている。アジアの伝統的な描写法は、中国では「duhua」、日本では「なりきり」というコンセプトに基づいている。この作品を観察することにより、別世界を体験することができるだろう。世界はこんなにもやさしく、うつくしい
By Sisyu+teamLab, interactive animation installationこのインタラクティブアニメーションインスタレーションは、書家・紫舟とチームラボの共同作品である。暗い環境の中でモーションセンサーを使い、観客が実際に触れて体験できるようになっている。漢字が壁からゆっくり現れ、人の影が触れるとその漢字がアニメーションするようになっている。このダイナミックな作品は、人々と相互作用することで終わりのない新しい世界を表現している。
A view of the installation “What a Loving, and Beautiful World" by Japanese calligrapher Sisyu and teamLab
by Sonia Kolesnikov-Jessop, ARTINFO
Published: September 19, 2012
Rather than being the sole creators of a work of art, new media artists often offer audiences the opportunity to interact with and contribute to their artworks.
"What a Loving, and Beautiful World" by Japanese calligrapher Sisyu and teamLab is such a piece where slowly falling kanji (the Chinese characters used in Japan) for words like ‘rain,’ ‘flower’ and ‘butterfly’ transform when touched by a viewer’s shadow to become the image of the word they represent while a corresponding sound is heard. This interactive animation installation, which combines projections with motion sensors in a darkened room, is a completely immersive experience, set — as the title suggests — in a beautiful world where rainbows appear after rain showers and butterflies snuggle up to flowers. It is also a very ephemeral experience which constantly changes. As in the natural world there are no identical moments thanks to 22 kanji falling randomly and interacting differently depending on how they meet (for example the butterflies flying toward flowers will change their course if a fire suddenly appears in front of them).
The work is part of “The Experience Machine," an exhibition dedicated to New Media at Ikkan Art Gallery, which include a selection of works by nine international artists: Bea Camacho, John Gerrard, John F. Simon Jr., Jim Campbell, Morimura Yasumasa, Sisyu+teamLab, Vuk Ćosić, Ben Rubin and Miao Xiaochun.
The exhibition seeks to explore the historical differences between Western and Asian art practices of portraying the world — i.e. the use of perspective and geometry in composition vs. the flat, perspective-free approach of traditional Chinese and Japanese paintings — as well as to explore how new media artists use technology to create new interpretations of space. Of particular note is Jim Campbell’s “Home Movie" (2006) installation, which uses widely spaced strings of individual LED lights hanging like a curtain to project back onto the wall found footage of old home movies. The LEDs are facing the wall, creating an image on its surface, but also partially blocking that low resolution image. The overall effect is ethereal.
“The Experience Machine" runs till October 27 at Ikkan Art Gallery
POSTED BY SONIA KOLESNIKOV-JESSOP ON 19 – SEP
Rather than being the sole creators of a work of art, new media artists often offer audiences the opportunity to interact with and contribute to their artworks. “What a Loving, and Beautiful World" by Japanese calligrapher Sisyu and teamLab is such a piece where slowly falling kanji (the Chinese characters used in Japan) for words like ‘rain,’ ‘flower’ and ‘butterfly’ transform when touched by a viewer’s shadow to become the image of the word they represent while a corresponding sound is heard.This interactive animation installation, which combines projections with motion sensors in a darkened room, is a completely immersive experience, set — as the title suggests — in a beautiful world where rainbows appear after rain showers and butterflies snuggle up to flowers. It is also a very ephemeral experience which constantly changes. As in the natural world there are no identical moments thanks to 22 kanji falling randomly and interacting differently depending on how they meet (for example the butterflies flying toward flowers will change their course if a fire suddenly appears in front of them).
The work is part of “The Experience Machine," an exhibition dedicated to New Media at Ikkan Art Gallery, which include a selection of works by nine international artists: Bea Camacho, John Gerrard, John F. Simon Jr., Jim Campbell, Morimura Yasumasa, SISYU+teamLab, Vuk Ćosić, Ben Rubin and Miao Xiaochun.