|
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)
|
|
Jan.28 (Friday) - Mar.12 (Sunday), 2000
[Finished] 
Artists Talks
Performances
