2011 Vietnam

October 01, 2011

ベトナムいってきます!and I will be in Hanoi !

udon

ごぶさたしています。青森の展示・パフォーマンスを終えて、束の間の地元生活でだしのきいたうどんをやたらと食べています。ちょっとずつ涼しくなってきましたしね。大阪にいると言いつつも秋の展示等の準備に追われています。11月に東京、京都で展示です。また詳細は追ってアップします。

今月、つまり10月はベトナム北部のハノイに一ヶ月以上滞在し、10月29日スタート予定の展示のために制作を開始します!今回の展示はJapan Foundationの主催で、昨年ワンダーサイトでしりあったヴェトナム人のアーティスト、マミというパフォーマンス系のアーティストが主な企画者となって実現しました。日本からは私と、以前このブログでも紹介したワンダーサイトでは隣人だった下道くん(写真家)の二人が参加します。また久々の合宿生活でしょうか?

音に関してですが、先日もタイから来ているアーティストが言ってましたが、街の騒音がとにかくすごいらしく「mamoruがああいう環境にいたら何を考えるのか興味ある」とよくアジアのアーティストに言われます。自分でもよくわかりませんが、最近は電化製品のノイズとの付き合いもうまくなってきたので、きっとそんなレベルとはまた違う話しでしょうが、何かしら自分の耳をそこにさらしてみて、何かとらえることができたら、と思っています。

準備段階でいつもその国の歴史や食文化などをある程度リサーチしますが、初めて知る事も多くベトナムに対してとても興味を膨らましているところです。フォーやゴイクンを毎日食べるのは間違いないとしても、果たしてどんな一ヶ月になるのか楽しみです。

ブログもアップしようと思いますのでcheckお願いします。ただ、iPhoneからは画像がアップ出来ないので、画像はTwitterからあげるかなにかしますので、やってるかたは @afewnotes フォローして下さい。あとは、このページ右下にも覗き見なボックスがあるので、Twitterしていない方もリンクをクリックすると画像みれるとは思います。

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I will be in Vietnam, Hanoi from tomorrow on. The Japan Foundation has invited me and another artist from Japan to do an exhibition there. I will be there for more than a month, and am lookign forward to hear the noise of the city. I have been studying about the history and culture of Vietnam, and it makes me very curious to see what is there now. I want to hear/listen and see the people.

I will be updating my trip on blog and also Twitter. so if you have an account please follow me @afewnotes, and if you dont you can still see my tweets and mostly images from my iPhone if you scroll down and check the right field on this page.



soundartist77 at 11:00|この記事のURLComments(0)

October 06, 2011

ハノイより。その1。 and a report from hanoi !

ハノイ到着から5日目の夜です。滞在先は街に中心から自転車で約20分くらいのところで、現地の方達以外はまず見かける事のないローカルなエリアな気がします。
こちらは外食文化で、朝は米粉でつくったベトナム名物のフォーとか、バインミーという小さめのバゲットにパテやらハムやらをサンドイッチしたものとかを食べます。面白いのはチリソースをそういう時もいれたりします。北部ならではなのか、わかりませんが。美味しいです。

あとは、パジャマ姿のおばさん、お姉さん達も路上の食堂にて晩御飯を食べていたりしていて、なんだか違いを感じます。(なぜか男性でパジャマ姿はみかけません。)「エムォーイ」と言って若い店員さんを呼ぶんですが、いまのところ全然嫌な思いをする事もなく、こちらの人たちは親切にしてくれます。もちろん予想外のものがでてくることはしばしばですが。。。

こっちで合流したベトナム人のアーティストのMamiくんが移動手段として自転車を用意してくれて、これがなかなかの経験です。
交通ルールがすごくて、信号とかほとんど意味をなしていないので、どうなってんだ、と思いましたが。これが割と利にかなっている!?と言うのは言い過ぎかもしれませんが、みんな時速20km前後でゆっくり走っていて、交通量が多い時なんかはほとんど自転車でもかわらない早さだったり。走行中は前後左右に注意をはらいつつ、ビービーとクラクションを鳴らしまくって「通るよー」とか「横にいますよー」とかっていう感じです。
歩行者が道を横断する場合もほとんど同じで、気をつけて渡る、というのが基本的なルール。怖いなーと思いましたが自分が突拍子もない動きでもしない限りはみんな避けてくれます。

Twitterで画像もアップしてますが、路上のの飲食文化というか小さなプラスチック製のイスや机でなりたっている露店がとても良くて、少し疲れたら緑茶の熱いのを頂きます。これでまったりして、友達とおしゃべりして。

まだ、こちらで何をするのか決まりませんが、生活するエネルギーに溢れている街に住む人達にいったいどんな体験を提供できるのか考え続けています。

またアップします。

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A week has passed since I arrived here in Hanoi.
Yes, it is an asian "noisy" city, however its energetic rhythm makes me feel good.
And off course, great food. Pho, rice noodle with some herbs, or Banh my, french bread with sausage slice and chili sause, in the morning.

I am riding a bicycle to move around the city now. I first was afraid of driving, but after realizing how slow people are actually driving, maybe about 20-30km/h?, and most of the people are very cautious about who's driving in what way sort of things. Constantly, you hear the horns of cars and motorbikes. The use of the horn is quite different from the one in Japan, people are just saying like "I'm here, watch out, just in case" or something like, "I'm going to pass next to you, don't come this way." I mean it is not so loud in its essence.

All around the city, all most like every street, you see this street tea shop. Their set up is very very simple. Small plastic chairs and tables, one or two steel wagon with small equipments and glasses, some snack or sweets. The city is dusty and I am getting easily tired but after a cup of hot grean tea and some time chatting with friends, I feel recovered. Hanoi people seemed to integrate this tea shop into their lives.

I am not sure what to show in this city. But from yesterday, I started to do "sound-mapping" as a start. Maybe I will present the study as a document in the gallery space.

The show starts on Oct.28th. 20 more days to set up.

more later.

please see some images on my twitter account. @afewnotes.
you can check it right bottom of this blog page. (see it with PC Web page if you are reading this from mobile device.)

soundartist77 at 08:00|この記事のURLComments(0)

October 12, 2011

ハノイより。その2。and the exhibition info!

(Bilingual)しばらくぶりです。
着いてから寒く雨ばかりでしたか、ここ数日は夏日で割と体にこたえます、一緒に招聘されてこちらで共同生活中の下道くんはすこし風邪をひいてしまいましが、なんとか回復、
水がとまったり、電気がとまったり、毎日なにかしら問題ありますが、なんとかやっています。
日々のようすはTwitterにてafewnotesでちょいちょいつぶやいてます。

It has been raining and so humid in Hanoi since I arrived. Last two, three days, we finally have some sun light. Also, we had no water, or no electricity sometime, it is difficult to concentrate on work; however, you gottta do what you gotta do!

今回の展覧会のタイトル、詳細がようやくでましたのでアップします。
The detail of the exhibition is as following.

リサーチの過程と先日青森で初登場させた耳栓を使うパフォーマンス、
今年の青森、台湾で実験してきたハンガーの仕事をうまくミックスできれば、と思っています。
また書きますね。
I am going to show a process of my research in Hanoi using the ear-plug-performance idea I experimented in Aomori. Also, the sound work using hangers that I have been developing this year. I will update more next time!

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Emerging Artist Series 02:
Motoyuki Shitamichi x Mamoru Okuno x Tuan Mami
 
Triển lam|Exhibition
NOWHERE
29.10 – 20.11.2011
 
Khai mạc|Opening = 18:00 Thứ sau [Fri.] 28.10.2011
Buổi tro chuyện của cac nghệ sĩ| Artists talk = 14:00 Thứ bảy [Sat.] 29.10.2011
 
[Giờ mở cửa |Opening hours: 09:30 – 18:00]
Phong triển lam|Exhibition Hall
Trung tam Giao lưu Văn hoa Nhật Bản tại Việt Nam
The Japan Foundation Center for Cultural Exchange in Vietnam
27 Quang Trung, Hoan Kiếm, Ha Nội

soundartist77 at 09:55|この記事のURLComments(0)

October 15, 2011

ハノイより。その3。 and The way I hear.

(for English please scroll down)

ハノイに来てから15日目。

最近は毎日数回ほど、リスニングノートをつけています(マリー・シェーファーという作曲家が昔に紹介したエクササイズに近いものです)。約10分間じっとして、ただ聞こえてくる音を箇条書きで書き留めたり、音を頼りに情景が想像された場合は描写を書き加えたりしています。例えば、今だと「表の通りで誰かが水を打っている音が聞こえる」、「階下の食堂でおにいちゃんが中華鍋を振ってコムラン(チャーハン)を作っている音が聞こえる」とか既知の情報や認識とその場で聞こえてくる音が組み合わさって感じられる内容を「音」として書き留めるわけです。

これを、いろいろな場所、時間、曜日で行うと、書き記される場面は変わるのですが、共通項(車やバイクのクラクション)が聞いてるうちにわかってきてハノイのサウンドスケープみたいなのが頭の中に組み上がってきます。その時々、場所場所で、ドラマチックな「面白い音」(突然のスコール)や、「特徴的な音」(物売りの叔母さんのかけ声、路上の床屋さんのハサミの音)など、ランドマーク的な音という意味で「サウンドマーク」とでも言えそうな音に出会うこともあります。

どの街でも、住んでいると、こういう音の差異がなくなり、ただ聞き流す対象としてだけ認識されていくことがほとんどだと思います。なので、部外者として私がこういう事を行い、再認識する機会いを作るだけでも何かしら発見があったり考えることがあったりするかもしれません。ただなぜこのリスニング行為をハノイで行い、なぜハノイの人たちに提示する必要があるのか、自問自答しています。

こちらに来る少し前から、ベトナムの歴史を古代から、近現代にわたって一通りだけれど読み通しています。彼ら(複雑な民族変遷があるのであえて「彼ら」とします)の数千年に渡る中国との関係、他の東南アジア諸国との関係、仏領時代、抗仏・抗日、ベトナム戦争、国内の権力闘争やアジア通貨危機、そして現在のベトナムを動かす自由路線ドイモイ政策。読んでいて、改めて現在のハノイの経済的な発展や、都市化されてゆきつつある街のほこりっぽい姿というのは、ここ百年くらいで考えた場合特にレアな状態なのではないかと思い至りました。

例えば、私は自転車で移動していますが、ほとんどの人達はバイクにのっています。でも10年前は圧倒的に自転車だったと友達は言います。つまり街に溢れかえっていて、耳栓をしようとも聞こえてくる、ほとんど騒音と思われているこれらの音も実は「レアもの」希少な音の塊なのかもしれない。レアだから「良い」という事ではないですが、人がこうしてとにかく生きていて活力に溢れて暮らしている事の証だとすれば「聴くに値する音」じゃないだろうか。だとすればわかりやすい「サウンドマーク」を探すことよりも、ただ淡々とそこにある音を書き留めておく事がそのものが重要かもしれない。そういう思いに至りつつあります。

そんなことをふと思った時に、今年の4月に出版した本のあとがきを書いた経験を思い出しました。ちょうど出版を控えていた時に東日本大震災があり、追記という形で私は「希望に満ちた日常の音が響いてくる事を心から祈ります。」と書きました。当たり前ですが、音が聞こえるということは、そこの周辺に何かが行われていて、誰かが居て、その音が聞こえる範囲に別の誰かも居て。。。最低限の「社会」がある、という事の証明だと思うのです。無音や反響がない状態を音用語でも「dead」と表現しますが、まさに音がないというのはそういう事なのです。

昨日は、展示の際にこれらの音の記述を入れる箱を作ろうと思い、ブリキ屋にいって箱をオーダーしてきました。思った通りになるかわかりませんが、私を含めて数人で聞き取った音や、その記述というのは、きっと何かしら価値があるものなんだ、という事を簡単なやり方で提示出来れば、と思ったのですが。果たして、どうなるのでしょう。仕上がりりに期待!

ちなみにこの作品は「The way I hear」というタイトルの予定で、私以外の4人のベトナム人の協力を得て、グループワークを行うことにしています。それぞれのWayが音の記述から読み解かれ、同時に読む人たちが記述から何かを想起できたとしたら、彼らのWayともつながるだろう、と期待しています。

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15 days since I arrived here in Hanoi.

I have been taking the listening notes that is quite similar to what Raymond Murray Schafer introduced as a educational exercise in his texts.

You just sit down and listen to all the sound around you for about 10 min or so. While listening, you take memos of what you hear or describe the scene/action you can imagine from the sound and in some case together with the information about the place if you already know.

For example, as I am writing this texts, I hear
"someone throwing water on the street" and "a guy making com rang/fried rice with his Chinese pan(=sound of iron pan hitting the iron stove)"

After listening in several places, on weekdays or weekends, at the different hours of the day, you start to have some common sound such as "horns of motorbikes and cars" that gives you an image of what is the soundscape of Hanoi is consisted of. Sometimes, you encounter dramatic moments such as "sudden heavy rain", or sound-marks such as "a melodic call from the street seller", or "street hairdresser using his scissor".

Those are all ordinary sound and easy to be undermined after living in the place for a while. So a stranger like an artist from Japan may be able to activate the conscious towards it and remind people what they are hearing everyday and make them wonder what those sounds actually are.

I have been reading about the history of Vietnam from the ancient time to the present. Even though I am just scratching its surface, I can tell that the present condition of rapidly-developing-dusty-Hanoi is probably very unique and very rare moment in their history, at least in their current 100 years that they had survived the times of occupations and wars.

For example, I hear numbers of motorbikes running on the street making horns almost everywhere I go. I asked my friend one time how it was before, and he said that the people were riding bicycle instead of motorbikes 10 years ago. In this sense, the continuous "noise" of this city, which already becomes one of the sound character is a remark of the changes, or representation of the present era.

I am not simply saying that it is interesting because it carries some meaning, but I think it is worth of listening to and wonder about it. Maybe I can say that I hear the history by listening to the sound of the city? I guess it can be modernologic, sociologic or historical to archive the sound in this way.

When I was preparing for my first book to be published in April, I experienced the earthquake and the problems afterwards. I added a few lines to my end notes of the book to mention my feelings and wrote "I pray that I hear the ordinarily sound once again in the future." I remember this experience after a while I have intending to take listening memos in Hanoi. This city is vibrant, full of energy. It is alive.

It goes without saying, but the fact that someone has heard some sound is a proof of the existence of someone and his/her action. There is a contour of a "society" in minimum scale. When you have no sound, or no reflection, we call it is "dead". The fact that you hear something can have the notion of hope in a sense: something is arrive and relating to each other.

Yesterday, I had visited some tin-box shop in the center of the city and ordered several boxes to put the notebooks. I am planning to ask 4 Vietnamese friend to be a "listener" and collect the sound through out a week or so. The box is to treat them as something valuable.

I have titled the project as "THE WAY I HEAR" SImply, it will show 5 different person points of view/listening, and also the reader might become the second listener by imaging the sound and have their ways. We'll see how it goes!

There will be another sound installation with steel hangers. I will write about it maybe next time I post.

Thank you for reading it.
I go back to work/listening now!

soundartist77 at 16:35|この記事のURLComments(3)

October 19, 2011

ハノイより。その4。and about Michi !

(日本語:スクロールダウンしてください。) 

It's the 19th day in Hanoi.

I am getting use to the city, meaning I know some faces at restaurants that I go often and I started to learn several useful expressions in Vietnamese to buy or order what I want now. Most  importantly, I don't hesitate to cross the street anymore! (maybe at night it still scares me sometime, though)

Well, the exhibition opening is getting close. and all of us, Mami, Michi, Mamoru = 3Ms are preparing for own works to be installed. I want to write a little bit about the two other artists participating in this exhibition. Today I will introduce Michi, my artist friend, ex-neighbor, now-roomate, one of the 3Ms.

Michi is a photographer, and yet he is trying to stretch out the boundary of what you might think "photographers" do. I think that he is thinking or seeing his work as something you might be able to call like "the photographic behavior"; framing out the landscape in still moment. Also, the way he install his exhibition always inspire me. He doesn't just show his photos in the frames. It kind of draws you more into his attention not to the photo as "the object." Maybe the installation is like a photobook, and he puts his focus on somewhere by editting the space and time involved in observing it. and when you find it you see the whole image very clearly. well. I myself am looking forward to see his new works.

I met him in 2009. We both applied for an artist-in-residency program in Tokyo at the same time. After the interview, sitting down on a couch at the entrance of the building, I saw him walking by and looking confused as I was, so I talked to him. "hey, what did they ask you?" That was how we started our conversation. Both of us got in to the 1 year program, so we spent a year as a neighbor in the center of Tokyo. Now, we share an apartment rooms together in Hanoi. so He is now my roommate. It is a funny feeling to see him such often here and there.

In Hanoi, he is walking around the city and especially into the small alleys to take photos of something he named as  "connections". They are the little bridges made with wood or stone, basically to smooth the steps into the house when people put their motorbikes in. (I guess)
He told me his installation plan, and you should see it rather than reading about it. He has some unique idea to present them to you.
This is some of the images from his past exhibition. (It is a heavy loading page...so be patient!)
http://m-shitamichi.com/exhibition/

Ok. that's it for today. I have to work on my project!
I will write about Mami's "Celebration of Our Moment and Love" ! 

thanks for reading and see you soon!

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先日、ハノイのカルチャーイベントなどをカバーしている唯一?らしいポータルサイトHanoi Grapevine の運営者の方からこのブログを展覧会の紹介をかねてリンク(http://nowhere.hanoigrapevine.com/)したいというはなしがあり、ちょっとしばらくは英語を上にしようと思います。

今日は、私と同じくハノイにて滞在制作中の下道くんについてちょっと書きました。今年の7ー8月にαMギャラリーにて発表したシリーズのハノイバージョンともいうべき内容ですが、展示の展開がかなり新しいのではないか、と思っています。知らないところに踏み込もうという気が感じられて、刺激をうけています。詳しくは彼自身の言葉で。そのうち書くんじゃないかとおもいます。w
http://shitamichi.exblog.jp
などを参考に!

私の「THE WAY I HEAR, HANOI, 2011」に協力してくれる学生達にこのまえあったのですが、映画を学んでいるらしく、描写力に優れていて適役な人達ですごく喜んでいます。ブリキ箱もできてきて、近々Twitterでも画像アップしたいとおもいます。
お楽しみに。あと10日たらずでオープニングです。



soundartist77 at 11:55|この記事のURLComments(0)

October 26, 2011

ハノイより。その5。and about Mami !

(日本語:英文の後です)
 Only 2 and a half days to open our exhibition! All of us are busy working on our own works. I have made boxes to put the listening note. And Finally, I started working in the gallery space from yesterday. I am installing one of my etude, "etude no.11 hanger, variation with two fan and 200 tin hangers."

 I would like to write little bit about Mami, one of the participating artist. He is preparing his new project-work called "The Celebration of Our Monet and Love." It actually is a part of his "Celebration" series, which he has been developed in Korea, and Germany.  In Korea, I guess country side, he found unique benches in many of the houses. He borrowed them and asked people to all gather in one big yard. In Germany/Munich, he turned  his farewell party into a performance; along with him, the people invited to the table were asked to put eye-mask, and the other people just gathered around the table and become the observers. I cannot write details about the 2 projects, but in both projects, he is addressing the pre-existed object or behavior that generates the relationship between people, and stating his own idea about it, and most importantly, he provides the opportunity for people to re-experience the essence of those things or behaviors by reframing the structure. The participants play extremely important roles. 

 I also met Mami in Tokyo, same place I met Michi. So this exhibition is like a reunion for 3 of us. Anyway, he came through a program, which Japan Foundation organized, called JENESYS. The program is to energize intercultural exchange between Asian artists and curators. At first, I recognized him as being a performer and his past work was showing his concerns, emotion towards the ambiguity of his identity. Covering himself with the cans of condensed milk, cutting his skin and planting rice, and so on. We had artists presentation every month for new comers, and Mami always emphasize the word "identity." I could just guess how hard it may be to be himself in where he is from. (I mean in essence it is difficult thing anywhere for anyone though.) 

 Looking back now, I think Mami was in transition when he was in Japan. At first, like I just said, his works were mostly about his own "identity." but in Japan, or even before, he started "exchanging" it more. He did 2 small project, as far as I know, that made a bridge into his new projects. He exchanged his cloth and other people and asked them to take picture afterwards. He exchanged his breath with other people's. I simply thought that he was dealing with his "identity" problem, but looking back from now after knowing what he did in Kore and Germany, I think these were the attempts or first few steps for him to really change his art practice.

 For his new project, he mentioned that he wants to let people carry the heart of the project, not him. To do this, he needs to first identify himself, and be willing to exchange his role as an artist, and takes all the risks to see if his idea has communicated with someone, and if the "world" can be trusted or not. Very briefly about the project, he selected his assistants and asked them to find 50 participants for the project. The participants receive some money and are asked to buy gifts for a person they want to express their gratitude, generosity, and love. They are also asked to take photo of the gift-giving moment, and write a short text about the occasion, or their feelings, thinkings, or impressions of their experience. His installation will be consisted of these photos and texts, and one more very important element, which is an event he is planning to do on the opening day. You should come and see what he/his participants do.  Please be a witness to his experiment. I am sure you would find some delight in it. Come to the opening for the "Celebration of Our Moment and Love."

check also Mami's Web:
http://tuanmami.com/DetailProject.aspx?ProjectId=56

Thanks for reading, and I write about my project soon, maybe even tomorrow.

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展示まであとわずか2日の作業時間。みんなギリギリの制作をつづけています。先日紹介した下道くんの作品に続いて今日はマミの作品を少しばかり紹介します。



今回彼がとりくんでいるのはCelebration of Our Momentというシリーズの一つで、アシスタントを経由して、50人の人達にある程度のお金を渡し、参加者の人達が自分で選んだプレゼントを誰かにあげ、その様すを写真で撮ってもらって、簡単な文章を写真とともに回収して、展示するというながれのものです。さらにオープニングの日にはイベントを用意していて、
派手に飾られたステージにMCの人を用意して、参加者50人のうちの何組かがステージでプレゼントをあげたり、もらったりする過程の話を聞かれる、それをオープニングにきた人達はみたり、きいたりする。そんなとこでしょうか。

マミともトーキョーワンダーサイトで知り合いました。コンデンスミルクを全身に浴びるとかといった自分のアイデンティティーに関するパフォーマンスからスタートした彼の活動は、ちょうど日本にいた時期に、着ている服を交換して写真を撮ったり、呼吸を交換する簡単な装置を使ったパフォーマンスをしたり、徐々に「アイデンティティーの交換」という様相を呈していました。そこだけみていた時は、結局自分のアイデンティティーのあいまいさみたいなものをやりたいのかな、と思っていましたが、今の作品からそれをみると、それらはあくまでも彼にとって準備だったのだと思います。

今回の作品に直接つながるシリーズに手を付けたのは韓国とドイツでのレジデンスだったようですが、すでにその国や文化に根付いて居るなんらかの要素を取り上げつつ、彼自身の考えも述べつつ、最も重要な事としては数名にしろ、多数にしろ作品実現に巻き込まれ、参加している人達が自らその行為や物にかんして再考を迫られる、またはそうする機会を得る、というところがあるように思います。マミが考えを大きく移した、きっかけに日本での滞在があったり、その時期に僕らに出会ったことはきっと反応してることだし、やや手前味噌ですが、短い間に着実に成長した3人で展示できることはことは本当に嬉しいことだなと思います。

またオープニングイベントの当日の様子などアップしますが、その前に自分の作品についても明日できれば書き加えたいと思っています。

soundartist77 at 08:51|この記事のURLComments(0)

October 27, 2011

ハノイより。その5 and about myself and a Mizuki Takahashi wrote a text for our exhibition!

(The English follows the Japanese, and Vietnamese at last !)

この文章は、Mami、mamoru、下道基行による「NOWHERE」展の小冊子の為に書き下ろされた文章です。冊子には英訳、ベトナム語訳のみが掲載されるため、原文も読んで頂きたいと思い、高橋さんの許可のもと、アップさせえいただきます。

。。。。。

「美しいと言うこと」の自由について
高橋 瑞木(水戸芸術館現代美術センター学芸員)


「美しい」ということについて、Mami、下道基行、そしてmamoruの作品を通して考えてみようと思う。なぜなら、私たちは最近アートを見ても「美しい」とは言わなくなっているから。
「美しい」の変わりに、最近よく使われるのは「興味深い」という言葉だ、と言ったのは、批評家のスーザン・ソンタグだった。彼女は「美について」というテキストで、「美」という価値がどうして「興味深い」にとってかわられたのか、とても「興味深い」考察を述べている。(1)
「美しい」という言葉は、規範化されている表面的な形式を指し示しているような印象を与えがちだ。その形式は絶対的で、厳格な価値を備えているようで窮屈な感じがするし、その規範から逸脱するユニークさは排除されてしまう印象がある。だから、この窮屈で保守的な「美しさ」からより自由で幅のある価値を求めて、「面白い」という言葉が使われるのだろう。「面白い」は、確かに便利な言葉だ。ある作品をどうにも受け入れ難いと思っても、とりあえず「面白い」と言っておけばその場のお茶を濁し、自分の価値判断に猶予を与えることができる。
さて、Mami、下道、mamoruはそれぞれ身体、写真、音と三者三様異なる素材を媒介にアーティスト活動を実践している。しかし、彼らに共通するのは、プロダクツとしてのアートを作るのではなく、人と人との関係や、普段見過ごしていたり気に留めない事象に対しての気づきなど、形を持たない瞬間を作り出していることだ。アートをモノづくりだと考えるならば、彼らの実践はそこからはずれたちょっと「面白い」ものだが、果たして本当に「面白い」という言葉で片付けてしまうことがふさわしいかは疑問だ。それは、彼らの実践の根底に「美しさ」の発見があると思うからだ。人と人のコミュニケーションの課程で生じる笑いや、日常生活の中でさりげなく、あぶくのように生まれる創造性、普段何気なく使っている日用品がかすかに奏でる音、こうした現象にこの3人の作家は愛おしさをもって眼差しを向け、実践を通してアートへと昇華させる。
私たちが目撃する彼らの実践は、人が生活している場所であれば、「今、ここ」でも、「どこでもない場所」でも、共有されうるささやかだが普遍的な「美しさ」への誘いである。そのインビテーションは、今や世界のどこにでも開催されているアートプロダクツが溢れる市場優先型のアート界とは、逆の方向を指している。だから、わたしは彼らの実践を見聞したときに勇気づけられ、こう感じることができるのだ。日常生活の中で、もっともっと「美しい」と言っても良いのだと。そして、アートは「美しい」という言葉を発することのためらいから、解放してくれるものなのだと。


(1)Susan Sontag, An Argument about Beauty, Daedalus, Vol. 131, 2002


:::::::::::::::::::::::::::::::

A day before the opening, I am at the Japan Foundation office, resting a bit before getting back on exhibition site to install works.

As I wrote on the other day, I am working on the two works. One is about listening to the sound of Hanoi; the title is "THE WAY I HEAR / HAY LẮNG NGHE." The work would be combined with a small piece called "tuning plugs," which probably help people reading the sound description in a little silent way, and it will create another moment but I won't write it here, you should try and see if you can get it. 

The other one is one of my etude works; etude no.11 variation for 2 electric fans and 200 tin hangers. I have made the similar variation for hangers and electric fan in Aomori, and in Taiwan this year. And this time in Hanoi. 
The new variation is inspired by a specific experience. On Oct 10th, I wrote the following: After a week of humid & raining days, the sun light finally came out through the dusty air. Today, I saw lots of laundry on all kinds of cables/wires out on the street; the electric cables between houses and trees, metal wire crossing over the streets, and even on the barbed wires! There were full of closes hanged under the sky. It was beautiful and I just imagined what the sound might be like if wind blows when people put off the close and left some hangers there.

I have written more about two other artists, and I can write about mine more, however, instead of doing so, I would like to introduce the text that Mizuki Takahashi, a curator of the Contemporary Art Center Art Tower Mito, wrote for our booklet of the exhibition.
 
....................................


The Freedom to Say That "It Is Beautiful"
Mizuki Takahashi / Curator, Contemporary Art Center, Art Tower Mito

I would like to consider the issue of stating "beauty" by examining the works of Mami, Motoyuki Shitamichi, and mamoru. It must be worth discussing about it because of the fact that people no longer respond to the art works saying that it is "beautiful" anymore. Suzan Sontag, a critique, once wrote that the people recently tend to employ the word "interesting" instead of "beauty." In her essay, "An Argument about Beauty"(1), she raised an "interesting" discussion about how "beauty" as a word representing a sense of value has been replaced by "interesting."
The word "beauty" tends to give such an impression that it is referring to a standardized form; the form nearly stands as something absolute, together with a set of value which is rigid and restrictive. The alternatives that deviate from it are most likely to be excluded. Therefore, people prefer to say "it is interesting," hoping that it implies much broader and flexible senses of values rather than this binding and conservative "beauty". The word "interesting" is surely convenient as an opinion on the work that you cannot appreciate or understand at a first glance. You can avoid making your clear standpoint and postpone your final judgment on it for a while.
Mami, Shitamichi, and mamoru practice and realize their art with different media: body, photography, and sound. However, instead of producing art objects, all of them create ephemeral moments that do not have any physical shape, such as relationship between people, and the awareness to the subtle gestures that we normally do not pay any attention to. Therefore if I define art as the fabrication of the objects, then their artistic practices are off the grid, and in this regard, their works are "interesting". But I am reluctant to label them as just being "interesting" since I find the notion of “beauty” underneath their practices. They discover “beauty” in the humor that is brought into being through communication among people, in the everyday creativity that is indistinct and that may only last for a short while, and in the sound of the everyday objects that we use without any care. These three artists look into those elements with their affections and mold them into the art works.
They draw you into the understated yet fundamental "beauty." Therefore their artistic practices that we would be witnessing can be understood whether it is "now here" or "nowhere", any place where people run their lives around. They invite us towards the opposite direction of the current art world, which is market-driven, and full of commercial art productions. This is why I feel encouraged when I observe or learn about what these three artists are doing. I can feel free to say that "it is beautiful" in everyday basis, and feel also free to believe that art can break the chains of our hesitation and give us freedom to say that "it is beautiful."

(1) Susan Sontag, An Argument About Beauty, Daedalus, Vol. 131, 2002

。。。。。。。。。。。。。。。。。。。。。

Tieu đề: Sự tự do binh luận về cai đẹp

Mizuki Takahashi (Curator, Contemporary Art Center, Art Tower Mito)


Toi muốn xem xet lại vấn đề về việc binh luận, đanh gia về “cai đẹp” thong qua việc khảo sat cac tac phẩm của Mami, Motoyuki Shitamichi va Mamoru. Đay la một vấn đề thiết yếu, cần phải được thảo luận, vi tren thực tế, mọi người khong con sử dụng nhiều cau noi “thật la đẹp” để đanh gia về cac tac phẩm nghệ thuật nữa. Nha binh luận Susan Sontag từng viết rằng con người ta gần đay co xu hướng sử dụng từ “hay” thay vi “đẹp”. Trong bai phan tich co tựa đề “Tranh luận về cai đẹp” (1), ba đa từng đặt một vấn đề thảo luận vo cung “thu vị” về cach lam thế nao ma “đẹp” – một từ ngữ dung để diễn đạt gia trị quan về mặt thẩm mỹ lại bị dần thay thế bởi từ “hay”.

Từ “đẹp” thường đưa ra một ấn tượng về một hinh thức tieu chuẩn, một hinh thức gần như chạm đến sự tuyệt đối, cung với một tập hợp cac gia trị cứng nhắc va hạn hẹp. Những thể thức chệch khỏi tập gia trị ấy hầu hết đều bị loại trừ. Bởi vậy, người ta thường noi “thật la hay”, với suy nghĩ rằng lời noi của minh bao ham y nghĩa về gia trị quan rộng hơn va tương đối dễ xe dịch hơn sự đong khung về “cai đẹp” bảo thủ. Từ “hay”chắc chắn tiện hơn khi được sử dụng để đanh gia một tac phẩm ma bạn khong thể cảm thụ hết hay hiểu được ngay từ cai nhin đầu tien. Bạn cũng co thể tranh noi thẳng ra quan điểm của minh hoặc la tri hoan việc đưa ra kết luận cuối cung về tac phẩm đo. Mami, Shitamichi va Mamoru thực hanh va hiện thực hoa nghệ thuật của họ với cac phương tiện truyền thong khac nhau: cơ thể, nhiếp ảnh va am thanh. Tuy nhien, thay vi việc tạo ra cac đối tượng nghệ thuật, những nghệ sĩ nay đa tạo nen những khoảnh khắc phu du khong co bất kỳ một hinh dạng cụ thể nao, chẳng hạn như mối quan hệ giữa con người với con người, va sự nhận thức về những mối quan hệ tinh tế ma chung ta thường khong để y đến. Nếu toi định nghĩa nghệ thuật như sự hinh thanh nen cac đối tượng, vật thể, thi việc thực hanh nghệ thuật của họ nằm ngoai khuon khổ tieu chuẩn, va theo đo thi cac tac phẩm của họ được cho la “hay”. Đồng thời, toi miễn cưỡng liệt những tac phẩm của họ chỉ la “hay” vi toi tim thấy trong tac phẩm của họ y niệm về “cai đẹp” nằm dưới sự thực hanh nghệ thuật. Họ tim thấy “cai đẹp’ trong sự hai hước được mang đến qua sự giao tiếp giữa mọi người, trong sự sang tạo hang ngay ma khong ro rang va co thể chỉ tồn tại trong giay lat, cũng như trong những am thanh của những vật thể thường dung hang ngay ma chung ta khong để y tới. Ba nghệ sĩ tai năng nay đa nhin vao những yếu tố đo với những tất cả tinh cảm chan thanh va nuoi dưỡng chung trong cac tac phẩm nghệ thuật của minh.

Sự thực hanh nghệ thuật của họ ma chung ta đang được chứng kiến co thể được hiểu theo cả hai nghĩa: “now here” (ở nơi đay) va “nowhere” (khong ở nơi đau), bất cứ nơi nao ma con người sinh sống. Họ loi cuốn bạn vao một “cai đẹp” thường bị đanh gia khong đầy đủ nhưng tren thực tế lại vo cung quan trọng. Sự tiếp cận của cac nghệ sĩ nay đi theo hướng đối lập với xu hướng của thế giới nghệ thuật hiện nay: cac sản phẩm nghệ thuật mang tinh định hướng thị trường va thương mại cao. Đay chinh la ly do vi sao toi cảm thấy được động vien phần nao khi toi được ngắm nhin hay học hỏi những gi ma ba nghệ sĩ nay đang lam. Toi co thể hang ngay tự do ma noi rằng “cai nay thật đẹp”, cũng như cảm thấy tự do ma tin rằng nghệ thuật co thể pha vỡ những mắt xich rang buộc sự do dự của chung ta va mang lại cho chung ta sự tự do ngon luận khi noi rằng: “cai nay thật đẹp”.

(1) Susan Sontag, An Argument About Beauty, Daedalus, Vol. 131, 2002


soundartist77 at 16:56|この記事のURLComments(1)

November 06, 2011

ハノイより。帰り路につきます and I am leaving Hanoi!

(English will be updated soon! please wait a little.)


37日に及んだ活動を終え、6日23:50ハノイ発、インチョン経由、関空行きの便で日本に戻ります。もどってすぐにYUKA CONTEMPORARYでの展示のために東京です、そして直後に京都でも展示がスタートします。

ハノイからの最後の記事で今回の展示タイトルであるNOWHEREを考えてみようかと思います。

昨年のトーキョーワンダーサイトでの出会いの後に、三人で展示をしないか?というマミからの提案がやや具体的にあり、本当にやるのかなーとか言いつつもスケジュールなどを調整しだしてからちょうど一年ほどの時間をかけて生み出された三人展は、自分達で話し合い、お互いの作品や立ち位置を理解したり、つたえたり、少しは歩み寄ったりしつつ、一つの展示としてのまとまりを考え、それぞれの仕事を仕上げるというもので、何かしらテーマが上に載せられているタイプのグループ展とは雰囲気が違った様に思います。

We pass by without knowing it,
and yet, there it is.

到着してから10日間ほどかかって、2文に落とし込んだ三人のステートメントを手がかりに、タイトルを決めた。

NOWHERE

今回の展示のブックレットのために水戸芸の高橋瑞木さんが書き下ろしてくださった、「美しいと言うこと」の自由について、というテキストの中で"私たちが目撃する彼らの実践は、人が生活している場所であれば、「今、ここ」でも、「どこでもない場所」でも、共有されうるささやかだが普遍的な「美しさ」への誘いである。"と書いてくださっているとおり、今回の展示のために作られた三人の作品はハノイ性とどこでも性が共存している様に思います。

昨日のトーク前に雑誌の取材があったのですが、その際に下道くんは、こういう小さな橋はたぶんすぐになくなってしまうようなものだとは思うけど、それを生み出す人間の行為はきっと続いていくと思う、と言っていた。これまでいろいろと話を彼とは続けているので、私なりに勝手に、どこでもそういう行為やそれが形になったものは見つけられる、ただハノイのこの橋は面白いと思う、というニュアンスを補足してみた時に、そこらへんに彼なりのNOWHEREがあるのだな、と思いました。

マミは割とめまぐるしく海外を巡っている体験から改めて自分の街であるという理由以外に、なぜハノイに何故戻る必要があるのだろう、と自問したいたというような事を話し合いの時に言ってて「ここの人達がお互いに助け合ったり、いたわりあっているそういう価値観がやっぱり好きなんだと思う」と話していました。今回の作品は彼にとって、「あちこち」でやってきた事を「今ここ」で再考する機会だったのかもしれないとも思います。ちなみにマミはNOWHEREの発案者です。

また、わざわざベトナムにアーティストのリサーチを兼ねて、展示を見にきてくれて、昨日のトークのゲストとして今回の展示について話してくれた国際芸術センター青森学芸員の服部くんが三人の作品に共通する事として、三人三様ではあるけれど、そこにある何かというのをオーディエンス自身が発見する機会を作り出そうとしているんではないか、という事を話していて、その事を考えていた時に、作品と出会う展示空間の「NOW HERE」と、見た/聴いた人達自身が改めて発見するだろうどこか、という「NOWHERE」というのもあるかもしれないと思い至りました。

自分が見知っているはずの生活に、別の可能性や捉え方が潜んでいるという発見や興奮や不思議を展示とかアートというフレームで切り取られた体験をした事と、おなじものや行為を自分の生活の場面で今一度出会った時に、何かを発見するのか、はたまたしないのか。そんな風に、これまでに恐らく存在しなかった場面・局面を今回の展示が作り出していれば良いな、と思います。


"etude no.49 sunflower seeds"

トークの際に私は実演を兼ねたプレゼンテーションを行ったのですが、ハノイで一番気に入った音の一つに「ひまわりの種を食べる時の音」というのがあって、是非それをこういう機会にやってみたいと思っていたので、トーク途中で聴衆の皆と一緒に食べてみました。

街中のいたるところにある路上ティーショップやカフェで出される定番のおやつなので、この種がパチンと割れる音はハノイ人であれば間違いなく聞いた事のある音なのですが、私のアーティストトークという背景の中で体験すると、音にフォーカスがあてられるため、切り出されたサウンドと改めて出会う事が容易で、皆さんわりと静かに、楽しそうに食べて・聴いていました、そして面白いのは、その同じひまわりの種の音、それを食べる行為が、いつもはセットになっている、友達とのおしゃべりを引き出してしまい、なんとなくゆるい雰囲気になっていくことでしょうか。そこまで計算しているわけではありませんが、音の体験と普段の状態も地続きであるという事が自然と体現されていて、なんとなくそいう事も感じてもらえてたらな、とか、次にティーショップやカフェでパチンという音を聴いてみたりして欲しいなと思ったりしました。

きっとしばらくは今回の展示のブックレットとひまわりの種を持ち歩いていると思いますので、見かけた際は是非声をかけてください。ブログでは書ききれないいろんな話をしつつ、パチン、パチンとやりましょう。

できれば簡単な報告会みたいなものもできたら、とは思っていますが。どうなることやら。12月かな。どうでしょう。また書きます。ではでは!


soundartist77 at 10:06|この記事のURLComments(0)