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Dislocate 06

Ginza and Koiwa, Tokyo - 28th July - 18th August 2006

Ginza Art Laboratory 銀座芸術研究所  

Keiko Takahashi
Allen Coombs
Collectif_fact
Kim Collmer
Anthony Kelly and David Stalling
Nick Cope and Tim Howle                                                                                      
Takayo Sugiyama
Patrick Jameson                                                                                     
Andrew Wood
Jean Gabriel Periot 
                                                                                    
Akiko and Masako Takada                                                                                  
Steffen Blum                                                                              
Marina Chernikova

Koiwa Project Space 小岩プロジェクトスペース

Yuko Mohri
Yoshinori Niwa                                                                                                    
Jeanie Finlay
Christophe Charles and Scopac                                                                                  
Kevin Jones
David Thomas
Ben Woodeson
Lori Amor
Catherine Clover
Sara Heitlinger
Dune & Devil

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Keiko Takahashi

Keiko Takahashi 

DioramaTable」と題された作品を作成。テーブルの上に置かれたカップ・ソーサー・ナイフ・フォーク・箸などを動かすと、自動車・電車・家・樹木の映像がテーブル上に映し出される仕組になっている。観客同士が関わり合うことで成り立つ作品である。

Keiko Takahashi has devised ‘Diorama Table’, a space for communication between groups of people in which their movement of cups, saucers, knives, forks and chopsticks cause the appearance of cars, trains, houses and trees upon the table top, forming a new projected world upon its surface.

http://www.th.jec.ac.jp/~keiko

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Allen Coombs

Allen Coombs 私達の現在位置とは何かを検証する。GPSテクノロジーを駆使し、街中で移動する自らの軌跡をドローイング作品として発表する。

Allen Coombs questions our geographic location through his locative GPS technology, creating live drawings through his movements through the city.

 

 


 

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Collectif_fact


Circus: 

« Circus » deals in a very unusual way the construction of space. The video work is based on digital photos of a busy square in Geneva that the artists dissembled into layers and subjected to digital animation. The installation shows a constantly moving view of the city that seems to be disintegrating. Set pieces of urban architecture, logos and passers-by float incalculably and vertiginously towards the viewers. On the basis of the photographic document of a real city, the artists create a three dimensionality that refers indirectly to the virtual 3D worlds of computer games, while at the same time deconstructing the unambiguity and coherence of their spatial order and hyperrealistic graphics.

In addition, the work refers to the way in which we appropriate urban structures. The accelerated movement and navigation in the public space, results in the non-linear perception of our environment, the associative scanning of distinctive points of reference and landmarks and striking details. Accordingly, the customary conception of the city as a homogeneous, clearly structured unified whole, the basis of two-dimensional postcard vistas and the cartographic urban model, gives way to a fragmentary, fleeting, dynamic picture of urban space.

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Kim Collmer


Lichtwelten
4:30 minutes, 2006
Concept/ Edit: Kim Collmer
Sound Design/ Composition (Lichton©): Petra Klusmeyer
Camera: Kim Collmer, Jeff McGrory

Lichtwelten- Light worlds- is an abstract underwater realm of rhythmic vibrations. Radioactive frequencies stream as light floats in patterns through thick liquid, yellow pods pulsate, communicating a deep and hidden message that we are briefly allowed to hear. Spaces fold into themselves, time becomes submerged and our laws of gravity, visual and acoustic perception and orientation become momentarily disentangeled from "reality".

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Anthony Kelly and David Stalling

Title: 'asphalt' Artists: Anthony Kelly and David Stalling

The short audio visual composition 'asphalt' encompasses the artists shared practices of recycling objets trouveés of visual and sound material.

The visual sets up an imagined fragmented internal urbanscape with suggestions of abstracted chopped up architectural forms that the viewer is invited to travel through. The audio track interacts with the rolling visual (constantly transmitting abstracted information), sometimes in sync, sometimes out of, stuttering and collapsing (informed & misinformed). Real and electronic voice fragments chatter (in a call and response) falling in & out of time with the images, mixed into raw noise and original music segments which have been collected from the artists shared field recordings.

Duration: ca. 4 mins 30 secs

 Year of completion: 2006

 

 

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Nick Cope and Tim Howle

Open Circuits (2003) dur 6'

Nick Cope Video

Tim Howle Music

Taking its title from a Nam June Paik manifesto of 1965, Open Circuits takes the viewer on a journey of dislocation through a world where the distinctions between real and virtual, conscious and unconscious, daydream and nightmare become indistinguishable and borders breakdown.

The sounds are re-ordered and successively superimposed -creating a soundtrack that is progressively distanced from the origin - creating a palate of sonic material that functions both 'in' and 'out' of the frame.

The video is constructed out of 16mm film time lapse animations, and Winamp computer animations montaged in linear and non-linear video editing platforms that are combined to explore the anxieties and ambiguities within and between real and virtual worlds. A hybridization of art forms constructed out of the convergence of acousmatic music, associated dislocations and video art techniques.

 

 

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Takayo Sugiyama

In her original animation, Sugiyama presents a comic take on language difference, between English and Japanese.

 


 

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Patrick Jameson

I am interested in using processes that break down and re-frame the perception of the material world.  Part of the research for my work involves examining the origins and application of technical drawing and mapping. While existing essentially to serve as a plan or diagram, a technical drawing or map is a figurative representation, offering an insight into the shared codes through which we attempt to describe the material world and the things in it.

Phenomenology has been described as ‘the attempt to arrive at the essential truth about one’s situation in the world by paying close attention to one’s mental processes, particularly one’s individual perception of objects’.1 Like maps or diagrams, my animations attempt to pick out particular threads of significance from everyday scenes, acting as proposals for a new understanding of the material world.

In recent works such as, 'While we sleep here, we are awake somewhere else' I have begun to explore fictions which, while underpinned by everyday existence begin to reveal hidden patterns and relationships. Commonly seen urban architecture takes on human characteristics, and while physically separate, the buildings develop an almost symbiotic relationship.

(1) Fontana Dictionary of Modern Thought

Patrick Jameson, June 2006

 
 

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Andrew Wood

See U in Heaven is a short experimental video work: an ambient and haunting portrait of a derelict and neglected property which is awoken and brought back to life by an assortment of drawn and printed characters, scrawlings and words. Filmed in Budapest and Brighton, the piece is a montage of still video and animated photography, drawing on street art and vandalized cityscape as inspiration, and is set against a soundtrack of electronic noise, and mysterious sampled coded radio messages and electronic voices. This is a reaction to the myriad of personal languages (oral, pictorial, written and numeric) which surround us and more often than not we fail to acknowledge or even recognize. Yet they intertwine blending into each other and mutate into the fabric of our environment.

 

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Jean Gabriel Periot

dies irae

 

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Akiko and Masako Takada

'Rainstorm'

It is a scene of rainy urban cityscape in Tokyo and it changes to rainstorm. Then the cityscape disappear with the storm. There is a tragic sense of narrative in the vanishing Tokyo city and yet the whole scene is at the end contained within a fictional space of small wine glass.

雨の降る東京の都市風景の場面から、次第に暴風雨の場面へと変わる。そして街の風 景は嵐と共に消え去る。消滅する東京の街という悲劇的な筋書きではあるが、一連の 場面は結局のところ小さなワイングラスの中という虚構の空間で起こったにすぎない。

'Freeze'

'Freeze' starts from a scene of cityscape which are made out of plastic bottles and packages. The city is barely visible at the beginning but gradually it appears and becomes frozen city. The scene captures a transient moment of chemical change; the buildings are in fact covered by salt water and the salt is crystallized on their surface.

'Freeze'はペットボトルやプラスチックのパッケージから作られた都市風景の場面から始まる。初め、街の光景はほとんど見えないが、徐々に立ち現われそして凍り付いた街となる。その場面は移り変わる化学変化の瞬間を捉えている、つまりそれらのビル群は食塩水で覆われ、そして塩がその表面に結晶しているのである。

 

 


 

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Steffen Blum

Steff [no] mi manca tanto - part II

a visual sound design project

It is about the emotional state after moving to a new place. At first everything is unknown, perhaps a bit strange. One feels disoriented, having to find ones way around, getting familiar, finding all the most important locations to be able to organize daily life. While trying to organise everything as fast as possible one feels like being in different places at the same time. This emotional confusion evolves up to the point were time seems to congeal.

After having become a bit more familiarized and having organised the most important affairs, everyday life begins again. This feels like falling into a hole - the abrupt change from the rushed flow to everyday life generates a feeling as if something is missing. A feeling of emptiness emerges - undefined, unspoken. Subconsciously one starts to search for the missing element, so again one finds oneself in a state of dislocation - between conciousness and subconsciousness.

Because one cannot name - or one does not want to name what is missing, because it stays undefined, this feeling condenses to an atmosphere without meaning or content.

mi manca tanto - part II evolves a little bit in the tradition of musique concrète and musique acous-matique.



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Marina Chernikova

CROSSINGS

video         Marina Chernikova
sound        Michel Peters
2004         05 min    color  stereo   DVD PAL
Three voyages, three cities, Moscow, Rome, Tokyo.
Different forms, different spaces.
Reflecting, crossing each other in my eyes and in my memory
They form yet another space,
The space of memories, memories of voyages,
Of voyages into the space of memories of these cities,
Into the space of reflections and crossings.
Pieces of images of different cities appear as seen from a rapidly moving train. The sound of the train accentuates this motion. Initially it is possible to distinguish the features of each of the cities. Gradually, the number of layers increases; they overlap and merge with each other in various ways accompanied by a variety of street sounds. Phrases and melodies, sometimes recognizable, finally give way to the sound of city traffic. Through the multiplication of all of these elements, an incredible, imaginary city emerges as seen through the ever-present eyes of the filmmaker.

 


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Yuko Mohri

私たちが普段意識する事のない目には見えない空間、私たちを取り巻く磁場の存在をテーマにした作品を発表する。磁場の存在を音、或いは物の運動に置き換えることで視覚化し、観客と不可視の空間が関わり合う場を創り出す。

Yuko Mohri draws our attention to the invisible spaces which we move through, the electro-magnetic signals which surround us. Their presence can only be realised through their impact, Mohri attempts to visualize this presence through the use of sound and physical movement, presenting us with our own interactions with these hidden fields.

 

 

 
Finger Disko
 

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Yoshinori Niwa

Yoshinori Niwa 野性を飼い慣らすことをテーマにしたパーマンスインスタレーションを通じて「内側」と「外側」を隔てているものは何かを問いかける。

Yoshinori Niwa investigates the barriers between inside and outside in a performative installation which seeks to domesticate the wild.

 

Finger Disko
 

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Jeanie Finlay

Jeanie Finlay  イギリス・日本の2ヶ国における滞在制作中、7人の高齢者を訪問し「Home-Maker」と題された作品を完成。ひとりひとりと時間を共し、それぞれが辿ってきた人生や日々考えている事、想いを聞きつつそれをビデオに撮影した。ビデオでは7人それぞれの住む場所を360度のパノラマで窺い知ることが出来る。

Jeanie Finlay has created ‘Home-Maker’ which is the result of two residencies which took place in the living rooms of seven housebound, older people in South Derbyshire, England, and Tokyo, Japan. Jeanie Finlay spent time with each of the seven people, getting to know their histories, preoccupations and passions, creating video and panoramic portraits of each of them in their homes.

 

 

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Christophe Charles and Scopac


Christophe Charles has been living in Japan since 1987, and has written a PhD on Japanese media arts while working as an artist and a composer. He has done numerous releases on CDs (Mille Plateaux, Subrosa, etc.), and several permanent sound installations (Narita Airport, etc. ). The sounds of his music appear independently from any arbitrary hierarchy, and the listener remains free to listen to the sounds of the environment happening simultaneously, enjoying a total harmony where any sound can meet any other sound. This "undirected" music
"holds itself up" (as pointed out by John Cage).
http://home.att.ne.jp/grape/charles.html

Scopac - Since about 1997 I’ve made images for performance, usually in collaboration with musicians and sonic artists. Images are made in direct response to sound, using video and overhead projectors, video footage, live camera, and some software image processing. More recently I've been working with sound, too, on a project called Foreign Correspondence.

I'm interested in the way combining image and sound creates something more than the two original elements. It can be a physical and immediate correspondence or clash between the two senses. There's also a different relationship to television and the cinema made possible by using images as an improvising musician works with sound.

http://www.scopac.org/  

 

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Kevin Jones

“Project Beaufort Scale” is a video installation of an ice cube melting in Tokyo controlled by information related to the current weather in New Orleans. Specifically, the data sets correspond to the wind speed which will control the duration, speed and direction of the video.

 

To me, the ice cube melting (video) relates to the natural and man-made disaster that devastated New Orleans during and after Katrina.  By networking this video to wind data captured by a weather station in New Orleans, two locations will be connected visually and temporally. Like the dérive, or drift, defined by the situationists, which could have no end, this video could loop endlessly bringing into questing the laws of thermodynamics, entropy and dislocation

 

 

 

 
 

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David Thomas

http://youarehere.org.uk


 
 

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Ben Woodeson

Ben will disorientate the location of the gallery space by changing its polaric positioning through the use of multiple electro-magnets

 


 

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Catherine Clover

I am interested in the idea of dislocation: much of my work concerns location/dislocation/relocation and sense of place. I make sound works - field/phonographic recordings that I use either separately or as part of experimental moving image work. The source material is landscape in its broadest sense – urban, rural, wilderness – and natural systems and processes. Marginal/abandoned ground in urban. The recordings focus on commonly overlooked or even psychologically ‘inaudible’ sounds, - sounds that evoke a sense of place and are frequently noticed only by visitors. I have found that sound is a powerful tool for making sense of a different set of cultural values. There are some samples on my site www.ciclover.com

In Dislocate Catherine presents two sound works of cicada and bird song, recorded in several different countries.

 


 

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Sara Heitlinger

An audio tour merging Tokyo and Jerusalem. As you walk through the streets of Tokyo, you listen to a lost lover who wanders through the fruit and vegetable market in Jerusalem.

http://theprivatecollection.org.uk/

Recordings


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Dune & Devil

 www.dune-n-devil.com
 



 

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Lori Amor

 

My work is about communication, manipulation and archival aspects of information. For the past two years my work has involved the use of different types of boxes, electronics and various sculpture techniques with research involving ways of recording and documenting the information. The projects usually take the form of installations, involving elements of craft and performance. The installations are strongly driven by concept but the process of using appropriate materials to bring physical form to those concepts is a very important factor in their creation. (More information about past and current projects can be found on my website http://www.loriamor.com/)