I am constantly thinking about the “overall shape of life and the world,” and aspire to the production of works that are each attuned to the circumstances of their creation.
By “overall,” I mean entirety in terms of various dimensions, domains, and scales. I am likewise continually engaged in practice exploring ways of conceiving and giving form to this entirety amid the mutual mixture and overlapping of its elements.
While my activities span different genres, they center on the domains of film/video and live/ performance. As I see it, these two domains are the most basic ones in the contemporary age. Nevertheless, thought and practice apprehending these two holistically are still extremely underdeveloped, even in society at large. I believe that, because of this, the omissions in these respective domains are already crystal-clear.
At the same time, I think that the developments which have appeared in various forms over the last few years in particular, and the figures of ourselves and society as we struggle to deal with them, are symbolized by these omissions.
To begin with, one shot with a camera in the domain of film/video is a live picture of so-called “reality.” In the 20th century, the build-up and accumulation of such shots evolved into a culture. In the domain of live/performance, on the other hand, while activities have fundamentally remained live, they have continued to be photographed, recorded, replayed, and remembered by means of film/video. Going far beyond the structural domains, the relationship between the two is complexly intertwined with the fictions and realities of individuals and the social system as a whole. In this context, human action ends up making the worldʼs very environment unnatural.
The dysfunctional state of words spanning individuals and society, and the lack of wholeness in individual cognitive capabilities, have the effect of causing all sorts of obstacles.
Nevertheless, rather than apprehending these things as failings, it is more important for us to recognize the realities, probe possibilities for the future, and find rays of light, however faint.
Titled meta dramatic, this new work is a crystallization of my long-standing activity in the domains of film/video and live/performance. I am convinced that it is one which will really prompt people to think.
ABOUT THE WORK
A plan for a new video work meta dramatic
meta dramatic will strictly configured in 4 cores of 7min footage shots. The fiction / reality of “live performances” and the fiction / reality of “words” will mingle and overlap with the fiction / reality of the present-day society and individuals. By making the wholeness of its danger and charm “dramatic”, this work will become a video work as an organic being.
“Main” = Shite kata (actors who play the main role in Noh)
The video work meta dramatic is shown on a large screen. The large screen hung from the ceiling shows the image as body, which is the main character of “live”, and the screen is framed with something like black fur in the image of a costume as a festival / ritual.
“Sub” = Waki kata (actors who play the side role in Noh)
There is an elongated area with tatami mats and artificial grass by the wall opposite the screen. At some point during the exhibition, a performer sends an energy quietly, makes small sounds and voices to watch over the screen and the audience as a secret ritual.
The area is dim and the audience gazes at the screen image, feeling the presence of a live performance behind them.
LTBTIQ (171224mix), 2017, HD, color, sound, 6 min. 41 sec., Courtesy of the artist and ANOMALY
NA-MU, 2004-2009, DV, color, sound, 70 min., Courtesy of the artist and ANOMALY
The Form of the Palace of Matsumae-kun’s Brothers 1 +(060617MIX), 2006, DV, color, sound, 17 min., Courtesy of the artist and ANOMALY
Heaven-6-Box, 1995, 16 mm film, color, sound, 60 min., Courtesy of the artist and ANOMALY
Melody of Buddy Matsumae, 1992, 16 mm film, color, silent, 50 min. 45 sec., Courtesy of the artist and ANOMALY
A Film of Buddy Matsumae, 1988-1989, 8 mm film, color, sound, 180 min., Courtesy of the artist and ANOMALY