"Dreaming of Inscriptions on Skin"
"Parasites, Influences and TRansformations 2 / Parasitic Electronic Seance IV"
"Undirected / Entbildung"
"Frozen Water"
"Tokyo Circle"
"Matrix (for an anechoic room)
"Finding of a State of Light: Distribution of Luminous Intensity and Its Fluctuation"
"Monitor Unit for Solid Vibration"
"Placed or Replaced"
"Topophony of the Text"
Participation Artist's
Related Events

Special Events : "Phase of Post Music"

Jan.28 (Friday) - Mar.12 (Sunday), 2000 [Finished]


"Finding of a State of Light: Distribution of Luminous Intensity and Its Fluctuation"
m/s(Sato Minoru)

Is it possible to record or recognize a certain spatial situation or condition using sound? If we take a moment to consider the concept of the frame in art, installation art seems to be trying to free itself from the limitations imposed by the frame or focus of conventional painting and sculpture. But some spatial works are still based on the establishment of a frame or focus in a different sense. In other words, the work itself functions as a kind of frame vis a vis space. Installations are based on the physical restriction of closed spaces such as the gallery and even when they are outside in the open they are provisionally structured inside a limitless focus. If we include these changes in space in our perspective they can become an index or system to conceptually visualize and perceive the work including the axis of time. Moreover, they are devices to help us recognize situations and conditions of space-time we would not necessarily grasp as daily experiences and make us perceive a more open world.

m/s (Sato Minoru), Tsunoda Toshiya, and Shimizu Jio are the members of "WrK," a collective which has attached importance to conceptual attitude that each member gives consideration to "phenomena as shift/passage in time-space and to reception/perception of the phenomena. " In their work thus far they have recorded events in space-time by taking up minute changes in spatial conditions and fluctuations beyond the realm of perception and bringing them into perspective with sufficient conceptual analysis and only the slightest manipulation. In this exhibition the three have brought their analysis to bear on the space of ICC itself to make us better perceive it. The positioning of the work and the methods of perception were determined in site surveys and discussions held in advance. m/s (Sato Minoru) has placed solar batteries at the charactristic point of ICC's. The energy produced according to the levels of illumination in each site causes speakers to emit sound and vibrate, rendering those levels both audible and visible. Tsunoda Toshiya has focused on the propagation of sound through solid vibrations of matter. He has placed a number of piezo ceramic sensors on the walls of ICC in order to help us become aware, through the differences in vibrations at each site, of the structure both of ICC itself and Tokyo Opera City Tower in which it is housed. Shimizu Jio has transformed household electronic devices such as television monitors, computers, and watches into devices for collecting sounds. The different structures of electrical circuitry of each device and the characteristics of the site in which it is situated affect the way sounds are collected, making us aware of those specific conditions and characteristics.

The results of this recording of conditions specific to ICC are highly subtle and elusive. And they are presented with the same subtlety that keeps us from taking any particular notice of them in our daily lives. But if we focus in on the devices they have set up and the concept they have expounded, we ought to be able to perceive the conditions and structure of time and space in this site through these sounds that would otherwise be covered over by the noise of daily life. By creating an ingenious "frame=concept" these artists are producing a vivid description of elusive, invisible events that nonetheless exist in all certainty.

(HATANAKA Minoru / Assistant Curator, ICC)