Ryota Yagi x Teita Iwabuchi Conversation About "Time Travel"
Interview : Takuya Irie (SETENV) Text: Akiko Inoue Photo: Masamasa Nishino
The largest solo exhibition of contemporary artist Ryota Yagi, who uses a variety of expression methods, from works using sound to objects, videos, installations, and interactive works, will be held at the Kanagawa Prefectural Hall Gallery. be done. The "Art Complex" series, which began in 2007 at the gallery's special exhibition venue, has realized a number of innovative collaborations by experimentally connecting various genres of expression centered on contemporary art. It's here. This time, with Ryota Yagi's exhibition "Science/Fiction" as the stage, a live performance entitled "Time Travel" will be performed by Ryota Yagi, Teita Iwabuchi, and Shuta Hasunuma. Mr. Yagi, who is an artist himself, will manipulate the images live, and it will be a once-in-a-lifetime opportunity for the images, Mr. Iwabuchi's real body, and Mr. Hasunuma's music to intertwine.
On the first day of full-scale rehearsals in November, we interviewed Ryota Yagi and Teita Iwabuchi about this work.
Beginning of the project
- First of all, please tell us about the concept and origin of this project.
Yagi: It was my approach at first.
One of my works is called Lento – Presto, in which the surrounding environment changes according to the lengthening and shortening of time. I wanted to do
Ryota Yagi 《Lento – Presto》 2008
Yagi: For example, when you play a sound slowly, the pitch goes down, and when you play it fast, the pitch goes up. In "Lento – Presto", I expressed that in the video work, but when I made that work, I went through the process of shooting → editing speed → exporting again. But now, the technology of the equipment has improved, and it has become possible to edit in real time, so I thought that I could do something with physical expression in a live performance, so I approached Mr. Iwabuchi. For example, by using technology to control gravity and time when jumping down, I thought that it would be possible to do things that could not be done with a real body.
- So it was just the right timing.
Yagi: After consulting with Art Complex, the direction was decided relatively smoothly.
ー How did Mr. Iwabuchi react to Mr. Yagi's approach?
Iwabuchi: After receiving the offer, I visited Mr. Yagi's atelier in Kyoto and asked him about his ideas. I thought I might find some interesting ideas. The sense of time can be stretched and shrunk using video technology, but basically it is not possible with the real body. However, I think that there is a sense that time passes slowly, or, conversely, ``Today was a very short day,'' or ``This year is really fast.'' So, I made this piece while thinking about how I feel on a daily basis, what Yagi-san is expressing in his videos, how my body can relate to it, and how I can approach it. I feel like I'm going to be able to do it.
About the collaboration of the three
- Today is the first day of training for both of you, so I think you've been communicating by email and phone so far, but do you have any feelings at this stage?
Yagi: When Mr. Iwabuchi came to my atelier and showed me his works on video, I was very impressed by the way Mr. Iwabuchi handled his body and his movements that seemed to stretch out time. So I made a sudden request and was immediately allowed to shoot the first material on the wooden deck in front of the atelier. There were many exchanges of data after editing the material and the material taken at the Kenmin Hall Gallery later. Rather than keeping in close contact, we only sent a few words of email, then we confirmed the concept with each other, or submitted a 200-character statement of our enthusiasm for this performance ( * Published in the November 14, 2014 issue of KANAGAWA ARTS PRESS . I think the most ideal thing would be for each of us to have our own area, have separate responsibilities, and be able to work professionally together, rather than having the feeling that two people are working together to create a single piece of work. So, including Mr. Hasunuma, who is in charge of the music, this team is very easy to balance that way.
From the documentary video of "conditions" (composition and choreography: Teita Iwabuchi / music: Shuta Hasunuma / performers: Teita Iwabuchi and Kaho Kogure)
Iwabuchi: Collaborative work sometimes requires time to get on the foundation, but this project, including the concept, feels like the three of us can run side by side. Yagi-san is based in Kyoto, and I'm active in Tokyo and Yokohama, but I don't mind the distance at all.
I'm in charge of a real human being, so I think it's the softest part of the work. So, what I'm worried about now is how I can interact with the body in the film, what kind of relationship I can show, and how it will affect what has already been established and recorded. It's a part of whether you can give and receive.
ー During the rehearsals, you're going to try to move while thinking about those things. And Mr. Hasunuma's music is added to it, but you both have experience working with him, right? With that in mind, please tell us what you think about this music.
Yagi: When manipulating time, I don't think the image will change much, even if the image is still or moving, and the impression you receive will not change much, but the sound is still. Then it becomes silent, and the impression changes considerably depending on the speed of time, such as getting higher or lower. In that sense, the existence of "sound" is an essential element in this work. When it comes to how to compose it, I have no choice but to ask Mr. Hasunuma. Mr. Hasunuma responds flexibly even when I say something unreasonable, and sometimes goes on unreasonable adventures, so in that sense I can trust him. I can't predict it yet, but I'm thinking of playing the music that Mr. Hasunuma made or the sounds that Mr. Hasunuma suggested, and mixing and shrinking them. That's why I'm really looking forward to seeing how many things will come out as a sound expression.
- Mr. Iwabuchi, in October 2014, Mr. Hasunuma just commissioned the music for your performance work "conditions", right?
Iwabuchi: I worked with Mr. Hasunuma on "conditions" and the fashion show of Miya Nishio's fashion brand "Form on Words". During the fashion show, I felt that my body was easily knocked out, and it was the same with Shuta Hasunuma Philharmonic Orchestra, but I had the impression that the music was easy to reach people. On the other hand, on the other hand, in "conditions" recently, I was presented with a work that put a lot of work and burden on me, so I thought that depending on where I emphasized strongly, I would come up with a very different work. I'm excited to anticipate that "Time Travel" this time will surely present something that will give me a strong inspiration, rather than something that's easy to get along with.
ー Toshi Ichiyanagi, general art director of Kanagawa Prefectural Hall, said that an art complex is an “experimental place”, and I think that the organizers have expectations of that as well. In that sense as well, in the context of the "Art Complex" series , I would like to ask you to tell us a little more about the meaning of your co-starring this time.
Yagi: Mr. Iwabuchi and I were born in 1980, and Mr. Hasunuma was born in 1982, so we are of the same generation. I feel that there is a part that can be understood. In terms of production style, I was in Kyoto, Mr. Iwabuchi was in Kanto, and Mr. Hasunuma was in New York. We are active in a certain genre, but it seems like it would be an interesting co-starring in that the three of us are doing crossover activities while sticking out from the center of the genre. right.
ー How about Mr. Iwabuchi? About the expression in the gallery and the collaboration with Mr. Yagi and Mr. Hasunuma.
Iwabuchi: I personally don't have the feeling of "Collaboration!" Rather than looking forward to the framework, there is a feeling that we are interested in each other's expressions and naturally gather to work towards production, and I feel that it will have a very good influence not only on this time but also on our future activities. is doing The feeling that we are gathering for what we should do now is very comfortable, and it feels very inevitable.
ー After all, the feeling that you are searching for something like "a way of openness" from the form of creation, including the sense of distance between everyone's exchanges, is itself an experiment, and how far you can take it until the main performance. It is also a challenge. While various elements are occurring in a guerrilla manner, the feeling of being able to proceed indifferently is very reliable. I can't wait to see how it will change in the future practice.
Yagi: I think there is a possibility that things will change completely. I'm really looking forward to it because I think it's possible that what we're talking about in the rehearsal room will suddenly take shape.
What you can feel only at the live performance site
Iwabuchi: It's a bit off topic, but when it comes to art, music, and performance, I think that in the sense that it doesn't come to fruition without you, my stance is a little different from the two of you. . When creating and exhibiting works of art or composing music, there are times when the artist is not at the site where the work is displayed or performed, and there are times when the music is delivered to people who listen to CDs at home. prize. In my case, on the contrary, I am on site, and if the customer doesn't come, it won't work. In that sense, I'm really looking forward to the fact that the two of us will be involved in the live scene this time. Preliminary work can be done at each place, but this "time travel" work cannot be seen unless you come to the Kanagawa Kenmin Hall Gallery on Tuesday, December 23rd (holiday). right.
- Moreover, this time it's only one performance, so it really only appears as a one-time experience.
Iwabuchi: If people who don't usually watch performing arts can enjoy the joy of going there and seeing it from a different angle, then I think that's what makes it truly an art complex.
Yagi: I believe that there is something strong about the body. For example, we live in an era where information can be sent as far as you want, even if your body is only here, and that's why I feel that the value of watching live performances is steadily increasing. Back in the days when riding horses was the fastest way to move around, that value might have been the same. In that sense, I hope many people will come to see it.
- I want you to actually experience it on the spot and feel something. In addition to what you just talked about, please let us know if there is anything you would like to convey to the audience who will come to see this project.
Yagi: Going back to what Mr. Iwabuchi was talking about at the beginning, in the discussion of subjective time and objective time, there is a difference between measurable time like the time in the video and your own biological clock. One of the things I want to do this time is to see how much I can mess up the unquantifiable subjective sense of time. I think it's great.
Iwabuchi: I would also like to express things like the reversal of measurable time and subjective time, or the scattering of time. As Mr. Yagi just said, how to get there depends on the rehearsals from now on, so I would like to pursue it until the actual performance. I think it would be really funny if that happened.
ー Lastly, I would like to add a word about the future flow of Art Complex 2014 "Time Travel". In addition to the performance, we are planning an after talk with Kei Hirakura, who specializes in art theory, on Saturday, December 27th. In fact, the entire process of rehearsal → open rehearsal → performance → after-talk is the whole Art Complex 2014 this time, and I would like to conclude the conversation by adding that it is "time travel". thank you very much.
Event details
▶ Ryota Yagi Exhibition “Science/Fiction”
2014.12.21 (Sun)-2014.1.17 (Sat)
Kanagawa Prefectural Hall Gallery
▶Art Complex 2014 "Time Travel"
2014.12.23 (Tue/Holiday) 19:00 Open 19:30 Start
Kanagawa Prefectural Hall Gallery
* Public rehearsal (free, no reservation required, late entry/exit possible)
2014.11.30 (Sun) 14:00 – 15:30 (tentative)
steep slope studio hall
* After Talk (Available with exhibition ticket, no reservation required)
We will discuss the relationship between physical expression and art while looking back on this performance with images.
2014.12.27 (Sat) 14:00
Kanagawa Prefectural Hall Gallery
Cast: Kei Hirakura (Yokohama National University), Teita Iwabuchi, Ryota Yagi, and others
