AICHI TRIENNALE IN OKAZAKI PART 5

▷ART / EVENT

R O O F

by studio velocity

my friend who visited here said to me " the most bright place ever I've visited " that words were so impressive and it acted to let me go there. actually I already visited twice when the fireworks festival in okazaki in early august. however, at that time here was quite changed to dark coz of in night, and I couldn't see the complete view. and other time were totally overcast day. therefore, it was exactly third time lucky. this works named " roof " was made by studio velocity which constructed by kurihara kentaro and iwatsuki miho literally located on the roof of CIBICO where going to be main venue in okazaki. ここを訪れた僕の友達がこう言った。"今までで一番眩しい場所だったよ！"そしてその言葉はとても印象に残り、よし、行ってみようという気にさせた。実は以前に二回来た事があったが、８月初めの岡崎での花火大会の時は完全に夜だったので闇に包まれていて完成図を見る事はできなかったし、別の時は完全に一面曇り空でした。したがって、正に三度目の正直となりました。この栗原健太郎と岩月美穂によって構成されるstudio velocityによって作られた"roof"という作品は文字通り岡崎のメイン会場になっているシビコの屋上にあります。

Studio Velocity

Kurihara was born in saitama prefecture and Iwatsuki in aichi prefecture, both in 1977. these two young architects both worked with junya ishigami + associates before setting up studio velocity in 2006. they gave birth to a new architectural vision, in which avant-garde designs coexist with the cute. this has brought them a lot of attention in japan and overseas. in their "curved little house ", built as a nagoya beautician's premises, they made clever use of a gentle curve to increase the internal space. they have designed several homes in okazaki, including the " montblanc house ", distinctive for its high triangular roof with the space beneath divided into multiple small rooms, terraces and courtyards, and " sky-view ground floor, city-like top floor" which is circular in form, with each floor creating a totally different world. construction of their " aichi sangyo university educational center for language and IT ", plans for which were displayed at palazzo bembo during the 13th venice architecture biennale, has just been completed in 2013. their solo exhibition, entitled " fluctuation " featured some exquisite environmentally sensitive installations, such as a free-standing structure made with ultra-thin film only 0.25mm thick, and micro-models likening the scratches and cracks on the floor to landscapes.

埼玉出身の栗原さんと愛知出身の岩月さんは共に1977年生まれで、石上純也建築設計事務所勤務を経て、studio velocityを設立。前衛的なデザインとかわいらしさが共存する新しい感覚の作品によって、国内外の注目を集める若手建築家ユニット。名古屋の美容室"曲線の小さなワンルーム"では敷地にぐにゃっと湾曲するボリュームを巧みに配置。岡崎では、"白い山のような家"や"空の見える下階と街のような上階"などの住宅を手がける。前者は大きな三角屋根の内部に小さく分節された部屋群、テラスや中庭を抱え、様々な見せ場を持つ。後者は円形のプランの上下に別世界を展開させる。第１３回ヴェネチアビエンナーレ国際建築展で展示した"愛知産業大学言語・情報共育センター"は2013年に竣工し、彼らの最新作となる。また、ゆらぎを意味するタイトルの個展、"fluctuation" では、0.25mmの極薄フィルムを垂直に自立させた構築物や、床の傷やひび割れをランドスケープに見立てたマイクロ模型など、環境に応答する繊細なインスタレーションを発表した。

can you believe what this all white were repainted by two of studio velocity!? this venue, cibico was actually decrepit department store. I have no idea how many white paint cans were used for this. unfortunately, I couldn't photographed on the picts, (tbh, I forgot to take for only.) in this work, the thin kite  strings which can not be visually are spread around as diced state at approximately 2 meters overhead of us. I promptly felt one thing. the landscape which I see through the strings was as if like the digital picture which is pixelated. this impressions was figured out coz of I am photographer. I intuitively felt something like resistance notion which against to disrupting the aesthetics in this digitalize society. and this inescapable blindness is exactly makes me feel that blind development of modern era by digitalize, and we feel that are concerned it might be connected to loss of eyesight someday.   

このあたり一面の白をstudio velocityの二人が塗り替えたのを信じれますか！？この会場、シビコは事実、老朽化した百貨店でした。いったいいくつの白ペンキが使われたのか想像もつきません。残念ながら、写真に残すことはできませんでしたが、(実際は忘れてました。笑)この作品にはおよそ頭上２メートルほどの所に賽の目状に視覚できないほど細い蛸糸が張り巡らされているのです。僕はすぐさま感じ取りました。その糸を通して見た景色は、まるでピクセル化されたデジタル写真のようでした。これは写真家としてだからこその感想かもしれませんが、何かデジタル化する社会における美意識の破壊のようなものを直感的に感じました。そして避けられないこの眩しさこそ、そのデジタル化における現代の盲目的発展、そしていつかそれは失明に繋がってしまうのではないかという懸念さえ感じます。

words and photography by Souichiro Ota

AICHI TRIENNALE IN OKAZAKI PART 4

▷ART / EVENT

FALLING

BY MUKAIYAMA Tomoko + Jean KALMAN

at 5F Okazaki CIBICO, Kosei site

set in the floor of a department store that is no longer in use, two artists living in europe create an installation / performance composed of a set of binary concepts such as light and darkness, sound and silence, and a human and an object. a small trip around life and death or history and memory, which each viewer experiences individually, is also a ritual from death towards regeneration. and also this exhibition is a world premiere. 使われなくなった百貨店のフロアを舞台に、ヨーロッパ在住の２作家がつくりあげる光と闇、音と沈黙、人と物で構成されるインスタレーション / パフォーマンス。鑑賞者が個別に体験する生と死、歴史と記憶を巡る小さな旅は、死から再生へと向かう儀式でもある。 またこの展示は世界初演になる。

MUKAIYAMA Tomoko who based in Amsterdam. since winning first prize at the international gaudeamus piano competition in 1991, tomoko mukaiyama has been performing as a pianist with prestigious orchestras and ensembles around the world. she has also collaborated with film directors, designers, architects, photographers and choreographers. in recent years, she has extended her artistic practice to visual art, exhibiting installation works such as for you at Yokohama Triennale 2005, you and bach at Sydney Biennial 2006, and wasted at the Echigo-Tsumari art Triennale 2009. she directed and performed dance performance " shirokuro " at dance Triennale tokyo 2012.

Jean KALMAN who born 1945 in Paris has worked extensively as designer and lighting designer for dance, theatre and opera since 1979. he has collaborated for stage productions with artists such as Karel Appel, Georg Baselitz, Iannis Kounellis, Anish Kapoor and the composers Mauricio Kagel and Heiner Goebbels. with Cristian Boltanski he cosigned a number of installations in particular at the Echigo-Tsumari art Triennale. in 1991 he received the Lawrence Olivier Award for best lighting designer. was nominated for Outstanding Lighting Design, Drama Desk Award in 2011. since 2012 he is associated artist to Royal Shakespeare Company.

as you can recognize from this pict, the uncountable newspapers were paved in their venue. specific meaning are not particularly disclosed by them. but we can read that meaning is something enormous historical recollection in this world. the different type of pianos also were used for installation as you can see on picts. as if like for reminding an old memories in childhood that like the first contact with music. or might be meaning that music has a power to finish the music. perhaps as described above, MUKAIYAMA Tomoko were pianist before, that is most relative meaning I think. but I don't know details. a roaring sound resounded in the venue and the light which perceive the sense of crisis scattered the sense of tension all around makes me feel that I am in the battlefield. as they explained this state was the way which going to birth from the death. the war was such a term by some chance. in any case, but this tremendous decadent atmosphere was unexpectedly cosy place to me. この写真からも分かるように、数えきれない量の新聞紙が会場に敷き詰められていました。何か特定な意味はアーティストからは開示されてませんが、何かこの世界の膨大な歴史の追憶を意味させるような気もします。写真でもみれるように様々な違ったタイプのピアノがインスタレーションで使われていました。まるで子どもの頃の音楽との出会いのような古い思い出を想起させます。または音楽は戦争を終わらせれる力があるという意味なのかもしれません。おそらく上記でも記したように、詳しくはわかりませんが、向山ともこさんは以前ピアニストでしたのでそれが関係しているでしょう。会場にはごうごうという音が轟いていて、危機感を感じさせるような光が緊張感を散らしていました。私はまるで自分が戦場にいるかのように感じさえしました。彼らがこの状態によって説明したのは死から誕生でした。もしかしたら戦争とはそんな期間なのかもしれません。いずれにしろ、この途方も無い退廃的な雰囲気は私には思いのほか心地よいものでした。

words and photography by Souichiro Ota

AICHI TRIENNALE IN OKAZAKI PART 3

▷ART / EVENT 

A R I E L

SHLESINGER

part 3 of aichi triennale introduction starts with ariel shlesinger's works. he is the artist from israel based in Berlin and he has been creating works of " critical " state. recently, he exhibited in Tel Aviv a series of works in which he combined a photo of a broken glass widow with the actual broken glass as well as pieces of inside-out pottery lined up on the floor. in okazaki, he presented a work of destruction and attempt to repair it.　あいちトリエンナーレ紹介パート3はアリエル・シュレジンガーの作品からスタートします。彼はベルリンベースに活動するイスラエル出身のアーティストで「危機」的な状態を作品化してきたアーティスト。近年テルアビブで発表した割れた窓ガラスの写真とその割れたガラスを組み合わせて見せた作品と、表と裏をひっくり返した陶器を床に並べるシリーズ作品を岡崎でも発表した。破壊とその修復の試みが示された。

what I personally felt from his works of glass was that to using a sprung glass means something like the hurts and unforgettable memories of the past which came from love, friendship, some fear like traffic accident and natural disaster something like this time. and everyone who got it will try to overcome from that pain. but it's not easy as everyone knows. in fact, there are some people who still insurmountable about it. but I thought this works are kind of things for such a persons. what I interpreted from this works is that to affirmation for such a people. also, it means that discovering the beauty which they and such a mind has. as if like a crystal of memories and pain which constructed by past. and I guess that crystal will reconstruct a new significance of existence. and I thought something like this works which made by cracked ceramic exactly might be eggs of hope. 私が個人的に彼のガラスの作品から感じたのは、ヒビの入ったガラスを使う事で何か恋愛や友達関係であったり、事故や今回の震災のようなものからきた痛みや忘れられない過去の記憶を意味していると思います。そしてそれらを抱える全ての人達がそういった辛さから克服をしようとするでしょう。しかし誰もが知っているようにそれは簡単なことではありません。事実、それをまだ克服できずにいる人達もいることでしょう。しかし、この作品はそういった人達の為のようなものではないかと私は思いました。私がこの作品から解釈したのはそういった人達の対する肯定です。その意味は彼らやそんな気持ちが持ち合わせている、まるで過去によって構成された悲しみと思い出の結晶という美しさの発見です。そしてその結晶は新たな存在意義を再構築すると思います。そしてこの割れた陶器から作られた作品はまさにそんな希望の卵といえるでしょう。

words and photography by Souichiro Ota