adrianのブログ

チェックと日本の現代美術界についての感想

Ryoji Ikeda in Birmingham

2009年11月26日


Quite by chance I discovered that there was to be a presentation of datamatics (2.0) by Ryoji Ikeda, organised by Birmingham’s Ikon Gallery this week. I was visiting this small but leading gallery in England a couple of weeks ago and came across a listening post with electronic noise by the multi-media Japanese artist. Sounded like cut-up samples of Thom Yorke’s “The Eraser” without the tunes – great! I had missed his big recent show at MoT in Tokyo, and this was a chance to catch up. So I got on a train down from Manchester for the evening.

Birmingham has not got the best cultural reputation in Britain, but it has established itself as an important centre of contemporary and avant-guard music in recent years. The audio-visual film was to be presented in the cavernous, old industrial style CBSO Centre. What was going to be interesting was the crowd. Who would actually show for this? “Hip” and “Birmingham” are not two words that usually mix, so it was encouraging to see a room full of ageing jazz musos, fancy haircut art students, and intellectual types with scruffy jackets and old school adidas. A cool crowd.

The impeccable white/digital packaging of Ikeda’s work, as well as the concert notes that blather on tastefully about mathematics and beauty, had led me to think that this might be a quiet, introspective evening of synthesised bleeps, murmurs, and heartbeats. Polite Japan. Not so. I was totally unprepared for the violent electronic audio assault of datamatics in its full new version, in which sequences of his data generated digital images beat out a hostile and vast mechanical soundtrack. The rhythms are either brutal and machine-gun like, or they give way to massive, impenetrable walls of infinite white noise, all generated through the precise programming and sequencing. Some of it is distant galaxies making their sounds heard across space and time; some of it is earsplitting inner noise right inside your skull. Above all, it is LOUD. It is also not a million miles away from contemporary electro, veering from banging Art of Noise to a thousand beats per minute Drum ‘n’ Bass, via occasional respites of Eno like spatial atmospherics. I had left aside the earplugs that were offered, and it was thus a forty five minute noise trip at the limits of bearable sound, building to a series of massive cacaphonous climaxes. Quite brilliant, along with the incessant spatial and/or emergent electronic visualisations filling the screen.

I was interested in reactions. Japanese art and culture in the West – especially in a country as close to ignorant about Japan today as the UK – has only a couple of boxes in which it is classified. One is the inevitable obsession with kawaii pop culture, perhaps with a perverse sexualised spin à la Murakami and Nara. The second is the still persisting image of Japan as some kind of unworldly techno-futurist utopia. Ikeda obviously fits into the latter marketing box perfectly, but it was good to see that his most famous work is in fact a piece of aggressive and uncomfortable electronic noise that does indeed try to push all limits of data processing and visualisation. The side-effects are what we hear as sounds: pure and inhuman noises that actually vocalise the other side of that clean technological process. Not ghosts; but quite angry machines. There is a lot of dissonance in Japan, too, apparently. Apart from a couple of clueless Americans who decided to shout in conversation the entire way through the show, the audience seems quite dumbstruck by what they’d saw. It certainly wasn’t Zen, and there wasn’t a koto or bubbling waterfall to be heard all night. The best one line of review I heard after the show was one super keen art student who just kept repeating one word over and over to his friends: “Wicked!”.

ADRIAN FAVELL
http://www.adrianfavell.com

みんなからのコメント

トラックバック

この記事のトラックバックURL

cheap louboutin shoes
Ryoji Ikeda in Birmingham
投稿元 : cheap louboutin shoes / 2013年06月06日19:55

プロフィール

adrian

カレンダー

2017/11

10月 < > 12月

S M T W T F S
      1 2 3 4
5 6 7 8 9 10 11
12 13 14 15 16 17 18
19 20 21 22 23 24 25
26 27 28 29 30    

最近のエントリー

17/02/26 20:29
Radicalism in the Wilderness
16/06/02 14:50
Kyun-Chome on a LTERNATE f UTURES
16/01/04 02:56
Sheep
15/02/07 23:39
Raiji Kuroda on aLTERNATE fUTURES
14/09/15 16:37
100 More Momoshimas
14/08/04 03:27
Islands For Life
14/07/03 04:18
aLTERNATE fUTURES...... My New Blog
14/01/26 11:24
Horses
13/12/09 02:00
Yukinori Yanagi
13/09/25 21:28
Theory of Tempelhof

最近のコメント

12/10/20 08:41
shotaro
10年代の終戦
12/09/25 15:05
Mario A / 亜 真里男
Documenta 13
12/02/18 22:13
eitoeiko
東京の10日 (1+2)
11/08/03 15:52
ozgaka
田中 敦子
11/03/19 19:48
天野あゆ子
曽根裕
10/09/15 11:07
Mario A / 亜 真里男
松井えり菜
10/08/24 16:26
Ginginho
六本木クロッシングレヴ...
10/07/19 22:29
Motus Fort
Roppongi Crossing 2010
10/05/19 12:43
Ginginho
Beat Kitano à Paris
10/05/06 23:25
Owl
Asada Crossing

ヒット数

  • 本日: 116 hits
  • 累計: 4003 hits
  • ※過去30日の累計を
    表示いたします。

QRコード