| dc.date.accessioned | 2017-12-12T07:25:39Z | |
| dc.date.available | 2017-12-12T07:25:39Z | |
| dc.date.issued | 2017 | |
| dc.identifier.uri | http://hdl.handle.net/2077/54658 | |
| dc.language.iso | eng | sv |
| dc.subject | Design | sv |
| dc.subject | choreography | sv |
| dc.subject | performance | sv |
| dc.subject | objects | sv |
| dc.title | ACTING THINGS VI - Spatial Canvas | sv |
| dc.type.svep | artistic work | |
| dc.contributor.creator | Seng, Judith | |
| art.typeOfWork | Performance, object, installation, Sound, Video, | sv |
| art.relation.publishedIn | July 13th till Aug 13th 2017, Kyoto Art Center, Japan Exhibition: “The point in front is not the point in front is not” | sv |
| art.description.workIncluded | Textile object, spatial installation, sound, performers, video | sv |
| art.description.project | ACTING THINGS VI - Spatial Canvas is the sixth in a series of experiments that explore processes of production as socio-material choreography. During an artist residency at Villa Kamogawa in Kyoto in 2016, I was researching traditional Japanese tea ceremony as a practice that elevates activities of daily life into the ceremonic realm in order to open up new perspectives. I was interested in the carefully choreographed interplay between people, objects and spatial structures, that seem to merge into one social, material and performative matter. With the installation ACTING THINGS VI - Spatial Canvas I am exploring processes of space - making as continuous negotiations between human bodies, social interactions and material structures and how they are mutually influencing and shaping each other. Rather than a static or flexible spatial structure, the installation provides a material, spatial and temporal grid to navigate and at the same time display these continuous negotiations of space-making caused by different activities. Like flowing spatial sketches of moving bodies and social interactions, different shapes of spaces are constructed and deconstructed, explored and shaped, made and used or observed by the visitors. Materialized and acoustic traces of interactions become scores to initiate new interactions that again create material and acoustic traces that initiate... In addition, especially curated activations of the installation took place: - A kind of tea ceremony hosted by chai artist Mai Ueda. - A kind of collaborative sound ceremony initiated by Judith Seng.
For ACTING THINGS VI - Spatial Canvas, neither an object nor a production process was designed. Rather, the installation consisted of a three-dimensional screen or canvas embedded in an acoustic and spatial grid. This structuring of space and time was intended to initiate and support the production of the object by facilitating a spontaneous interaction of people and material. For four weeks, the object was repeatedly recreated by visitors to the Kyoto Art Center in partially curated situations. From the negotiations between human bodies, social interactions and material structures, an ongoing design, manufacturing and deconstruction process emerged: Material and acoustic traces became impulses for new interactions and their traces and merged into a sea of infinite variations of socio-material forms and spaces. Like three-dimensional, never-finished drawings, material structures were explored and shaped, used, and created, constructed, and deconstructed by interacting bodies. The materialized structures of the installation invited to interact with alone and together and by doing so provided scores for choreographies of social interactions that enable to spent time together in a shared space. Objects, material structures and social interactions were set in continuous motion and thus evaded a clear orientation and intention of the social choreography. Do we initiate production processes to produce objects or do we rather create social structures through them? Will future production processes rather produce, initiate and moderate social processes instead of material objects?
Year: 2017
Project team: Mariejke Kruijssen, Elena Steffan, Petra Popangelova
Exhibition: The point in front is not the point in front is not. Judith Seng and Yusuke Taninaka.
Dates: July 13th till Aug 13th, 2017
Hosted by: Kyoto Art Center, Japan
Curatorial Organisation: HAPS
supported by: Goethe-Institut Villa Kamogawa, JaDe-Stiftung, Kvadrat textiles
Images: Kim Song Gi
Video: Yoshitaka Shimada, Studio Judith Seng
Video editing: Elena Steffan | sv |
| art.description.summary | The exhibition “The Point In Front Is Not The Point In Front Is Not” at Kyoto Art Center in Japan features works of our alumna Judith Seng and Yusuke Taninaka, both currently based in Berlin, and reflects on the relationship between performance and sculpture.
Both Seng and Taninaka create structures in which space, material, and the body interact. Sculpture, installations, and movements of the body are not separate, but, as a whole, indicate a process or a relationship, which makes possible compositions in which they can be seen as performative.
Seng is inspired by the Japanese tea ceremony she experienced in Kyoto, seeing its ceremonial nature as choreography, while Taninaka, always moving between the domains of sculpture and performance, intends to make relationships occur as "duration."
This exhibition shows two approaches by two artists with different cultural backgrounds and experiences, aiming to open a space of dialogue and reflection. | sv |
| art.description.supportedBy | Yusuke Taninaka,
Kyoto Art Center,
HAPS (Higashiyama Artist Placement Service),
Villa Kamogawa Goethe-Institut Kyoto | sv |
| art.relation.uri | http://haps-kyoto.com/en/the_point_in_front/ | sv |
