"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

Artists Talks
Jan.28 (Friday)
Jan.29 (Saturday)
Jan.30 (Sunday)
Feb.6 (Sunday)
Feb.11 (Friday)
Special Events : "Phase of Post Music"

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


"Undirected / Entbildung"
Christoph Charles

Christophe Charles has a long list of installations, collaborations, and concerts to his credit. In recent years he has worked mostly as a musician, but for this exhibition he has gone back to the foundation of his work and created a soundscape installation.Charles once said that his work was meant to direct people's attention "more to the sounds outside than" to those in the composition itself. If this is true, this would mean that the composition itself if a kind of device that works as a catalyst to make outside sounds easier to hear. The composition functions to incorporate the surrounding environment and the outside.This reminds one, for example, of John Cage's 1952 work <4'33"> which is still remembered and will long continued to be referenced as a monument in music history. This four minutes and thirty-three seconds "soundless" piece, if it is to be considered music, is one in which the performer is silent. And along with that silence the listeners are made to hear "sounds outside" without relying on conventional performance. With the release of <4'33" [No.2] (0'00") >in 1962, this <4'33"> loses even the structure of time that was so important to the concept of composition. But this time the work is converted to the listener's operation of perceiving the moment and can theoretically be repeated at any time. This means that from within daily activities, or following on silence, sounds will emerge.The term "undirected" which appears so often in the titles of Charles' works refers to the fact that the focus is not set. Sound spaces woven from computer-controlled samplers and images without any focus so that one can pay attention to anything and everything are realizations of what Charles calls "inter penetration without obstruction." The work arises from sounds and images produced at random by computer and the indefinite elements of audience and place. None of them become independent or complete, and there is no compunction. This makes possible an ideal form of interactivity.

(HATANAKA Minoru / Assistant Curator, ICC)