[Nichijou / off-the-record exhibition linked project] Shinya Aota × Ryota Yagi cross interview

【日常/オフレコ展連動企画】 青田 真也 × 八木 良太 クロスインタビュー

Text by: akiko inoue Photography by: Masanobu Nishino

Cross-interview by artists participating in the "Daily / Off-Record" exhibition held at KAAT Kanagawa Arts Theater Naka Studio from Saturday, January 11, 2014 to Thursday, 1.30. This time, the exhibition was triggered by two artists, Shinya Aota, an artist who scrapes the surface of everything and transforms it into an art work, and Ryota Yagi, who is highly evaluated for his installations that make full use of sound and images. We asked each other what they were interested in.


■ Question from Ryota Yagi to Shinya Aota

Ryota Yagi (Y): I would like to ask Mr. Aota if he has a sense of making a work as one of the print expressions.

Shinya Aota (A): I'm not so conscious of it. However, it is often said that it looks like a print. I think it's important for me to use the ones that are made in large quantities or the ones that have a well-established image.

Y: That's one of the characteristics of prints, isn't it?

A: That's right. When I was little, I really liked character things and collected them, and I still like them quite a bit.

Y: So do you have a lot of figures in your house?

A: No, that's not the case, but there are times when I quote and use that kind of image.

Y: In Mr. Aota's work, the words "image" and "surface" are very impressive. What do you think about "contents"? The part other than the surface of the carved object.

A: I'm also interested in that. I can't put it into words at all yet, but I like the feeling of being sloppy. That's where I'm doing it with a sense of myself ... Previously, there was a special feature on Ghibli in the art notebook, but there was a statement that "Ghibli has a feeling of being sloppy", which is a little different from the part that my work has. Maybe, but I'm attracted to Nausicaa's god warriors and that kind of sloppy feeling.

Y: I think you can understand the image you are saying. A feeling of delori. There are two layers running in parallel in Mr. Aota, the surface is relatively conceptual, and the inside is a very dull and sensuous form.

A: Well, there are both ... However, when creating a work, the part of making it sensuously continues, and how to show it and what kind of things to bring may change depending on the place.

Y: When I make a work, I'm looking forward to discovering something that surprises me. Does Mr. Aota have any fun to discover by scraping?

A: It's a fairly simple task, so pain is pain (laughs).

Y: Well, the change itself doesn't appear suddenly, but gradually.

A: That's right. However, the work is similar to a marathon, and there are moments when it feels good even though it's tough (laughs). For example, when you work part-time on an assembly line and you can work without thinking, it is similar to experiencing a very strange feeling.

Y: Hmm, what do you say, not runners high ...

A: lol


Y: But I think Mr. Aota is using his body. You're still scraping the grand piano that you plan to exhibit at the off-record exhibition. Some kind of drug in the brain comes out ... I understand very well. That's when I cut cardboard. If you do art, you will get more cardboard. We don't collect used paper, so we cut it all together on the day of burning garbage. By the way, at home, I call it "chopping wood", but I just cut the cardboard into a small size with a utility knife, stack it up and put it in a garbage bag. When I'm doing that work, I'm pretty absorbed in it, and I'm doing it without thinking about anything.

A: Do you feel that way when you're working?

Y: I don't have that kind of desire when I'm working on it. Like "chopping wood", I think it's beautiful to just act without thinking about anything. Driving is similar in the sense that you drive without thinking about anything.

A: Ah, sure. I also ride my bicycle when I think about something.

Y: Yeah yeah. In my case, there are places where physicality is not tied to the work, and when I say "I'm going to make a work", I often do shopping or drawing on a computer.

A: Do you have any ideas for shopping?

Y: There are two types, one is for shopping and the other is for searching for materials. I used to talk about going to home improvement stores, but I've been doing it since I was little. .. When you look at things in a miscellaneous space like a home improvement store, you may come up with ideas.

A: Where do you get the records that are often used in Mr. Yagi's work?

Y: It's a used record shop in Kyoto. I just pull out the record, take out the contents, and check the color of the label. Then, when I go home, I classify it as a material, like a jacket for a jacket and a record for a record. Also, when I listen to the record, there is something like "Oh, it was such a good song!" As for how to search for records, my eyes are completely looking for materials, so I watched it as if the color of the label was more than if it was worth it ...

A: Lol! At that time, do you watch this record for the purpose of what you do at the record shop?

Y: Oh, that was the shopping I just made. Don't go to the record shop to think about it

A: There is a purpose.

Y: Yeah. However, when I go shopping thinkingfully, the idea itself rarely comes up. That's when I'm cutting cardboard, when I'm driving, when I'm talking to people, or when I'm doing something that has nothing to do with it. I came up with something like "...". Shopping is a necessary task, but at that time nothing is produced ...

A: I see.

Y: How do you get the materials used in your work?

A: I often get it. I got about three carved bears (laughs). But once I made it into a work, I don't want to do the same work.


Y: Should I always use a different motif?

A: That's right. It's a work, so after all it gets tedious.

Y: Are there any criteria for choosing materials, such as a detergent bottle or a bear?

A: Simply, the icon is solid. Also, as I said earlier, there is of course whether it is better to take it with the senses or not. As an aside, detergent bottles are sold as products, so they are made extremely well. My friends who went abroad bought a lot of them, and I bought them myself, so they gathered a lot.

Y: Do you have any resistance to making works with what you get from people?

A: Oh, it's okay at all.

Y: I think it depends on the person, but when Mr. Kim was exhibiting at the Yokohama Museum of Art, a material box in front of the art museum said, "If there is something that could be used to create a work, please put it in." Was placed. But you said that you didn't get what you wanted at all. What we thought would suit Mr. Kim is completely different for him. In other words, even if I try to do the same thing, I understand the rules of the person, but I feel like I can't be the person myself. That's why I think that Mr. Aota himself is a strict judge when it comes to making judgments in that area.

A: Oh, that might be the case.

Y: You said that you are announcing a new work to cut a grand piano this time. Where did the motif of the piano come from?

A: As the first opportunity, it was decided that the venue would be the KAAT Kanagawa Arts Theater (Note: This is a special exhibition of the Kanagawa Kenmin Hall Gallery, but it overlapped with the renovation work of the building, so this time the venue will be the KAAT Kanagawa Arts Theater. When I saw the photos in the studio, I was just thinking about planning. The first reason was that I had a piano in the theater space, but I thought it would be unavoidable to bring something else there, and then I couldn't imagine what it would be like. I thought it was interesting.

Y: You can't actually play the sound until just before the exhibition starts, right?

A: I can't. .. .. Lol But honestly, although I made a plan myself, there were some places where I was reluctant. There are also things that are difficult in terms of work and budget ...


Y: But I feel like I can do something better if I don't feel like it. I feel that it is very important in production to be able to accept things that are sensuously resistant. I feel that people can make things that are better made with the feeling of "Well, let's try it." The act of choosing a motif also gives birth to something like one's own writer, but I think that if you continue to do so, it will not spread.

A: That's right, that's right! So when I said to Mr. Nakano (Note: Kanagawa Kenmin Hall Gallery Curator, Mr. Hitoshi Nakano), he said "I want to use the piano", and he said "Let's do it!", So I simply finished making it. There may be a problem with the storage location later, but for example, if Kei Ichiyanagi, who is also the general art director of the Kenmin Hall, plays it, I would be happy with that. When I reconsidered the idea that the piano motif might involve various people in that way, I thought I'd do my best this time.

■ Question from Shinya Aota to Ryota Yagi

A: Next time, I would like to ask Mr. Yagi, but Mr. Yagi talked about something like the concept of the work, "a beautiful thing as a thing."

Y: That's right. Even if sound is involved, it is often the first thing that is created as a visual image, so I don't think I'm a musician in that respect. So, for example, even in a work that uses a turntable to make a potter's wheel (《Portamento》 2006), that image is burned first. It all starts with the fact that there is pottery in the center of the record and it would be interesting to see the process of making it. To be honest, I don't have any concept at that time, but I think it's the right way to think about what was created later. Creating a path from the beginning is the same as not being able to escape from the path, so in order to be able to respond flexibly to changes as much as possible, it is better to move your hands. surely. If you move your hand, something unexpected happens and it can flow there. On the contrary, if I make a plan, I feel that I have to approach that ideal.

A: It's a new work to be exhibited at this off-record exhibition, and it seems to be a slide of a flexi disc (Note: an extremely thin record board developed by a manufacturer called SAIP in France), but Mr. Yagi's work is a thing. I think it's very beautiful, and I think it's really cool that it's a slide in the first place.

Flexi disc
Flexi disc

Y: It's a matter of choice because it has the beauty of the thing itself. It's just what and what to combine, isn't it actually a lot of work?

A: I think that Mr. Yagi's story is a little linked to my story, but you can see his great commitment.

Y: It's a difficult question for me to say why slides are good because ordinary video projectors can't be used.

A: The tape work (Note: "sound sphere" 2011) is also very beautiful, isn't it?

resize_soundsphere (2011)
《Soundsphere》 2011 Ryota Yagi

Y: That doesn't mean that I created the shape, but the sphere is a sphere, isn't it? I don't think you can tell the difference between two bowling balls. When it comes to the question of whether it can be perceived as beautiful, I feel that it doesn't make much sense unless it is tied to the actions that are being taken. Earlier, simply saying that visuals are good means that the finished product is based on this kind of mechanism, and this shape is beautiful, so I will compete only with the shape without such functionality. I think it's probably impossible.

A: Somehow, I feel like I'm really connected ...

Y: Maybe it's a design-like editing perspective? For example, it's a matter of how to show the space and how much margin is taken in.
For example, even in a work that uses an umbrella handle (Note: << rainyday music >> 2005), the umbrella handle is not very special, but it looks very beautiful.

Rainy day music2005 W: 30mm / D: 150mm / H: 1315mmUmbrera / Headphone / MP3 Player
《Rainy day music》 2005 Ryota Yagi

A: That's why it looks like that in connection with how the work is made.

Y: Well, I'm quite careful about the final finishing part. For example, how the player looks at the ball device, and how many millimeters of the wooden frame other than the aluminum that sticks out at the edge. Isn't framed very important when making a work? If anything, I'm more concerned about the forehead than the contents, and it's better to think about how thick the frame is and how deep it is, rather than making the work itself. It's fun, and I think I like directing and editing it rather than the work itself. I think it is based on what I have studied.

■ Finally, do you have a message for the customers who come to see the off-record exhibition?

Y: That's very difficult, isn't it? Of course, I want a lot of people to watch it ... but it may be for political or economic reasons ... When I was asked if the artist was making it because he wanted to see the work, I don't think so.

A: Lol!

Y : From the perspective of the organizer, mobilizing the exhibition is very important, isn't it? But aren't there very few writers who want people to come to see them? I'm very embarrassed to see what I made even for acquaintances ...

A: But that feeling is amazing.

Y: That's why even if people say "I'm sorry I couldn't go to see the exhibition", they say "OK, OK". So, I can't say "Why didn't you come to see me?" That habit, even though I get angry when I get rid of the drinking party ...


A: But I'm about half and half. Well, I feel embarrassed, but the first thing I want to see is ...

Y: That's right. That's why I wanted people to be happy with me ...

A: That's right.

Y: So, I think it's still a long way from the fact that the society within me hasn't expanded beyond that.

A: But as Mr. Yagi said earlier, "Please come to the exhibition" is something to say ... (laughs)

Y: But after all, I have a desire to show something interesting because I do it, and of course I also want to come, see, and be pleased. As for the customers who come to the exhibition, I would like them to come to the exhibition and think about something in the light of their own lives. I don't think art is useless. I think it can be useful in everyday life. However, I feel like art that I can't use it well unless I think about it properly. So, I think it's more important to think more than the person who made what it was after seeing the exhibition, rather than just having fun watching it or going home at that moment. That's why art is studying.

A: Besides the exhibition, there seems to be a lot of reading, music, and performances, so I'm looking forward to that as well. Also, it seems that a good catalog can be made ... I hope you enjoy such things as a set.

Y: The catalog is supposed to remain, but the exhibition will not be seen anymore after the exhibition, so in that sense, I hope you don't miss the fact that you can see an interesting exhibition.

"Daily / Off-Record" Exhibition ■
Date: January 11th (Sat) -January 30th (Thursday), 2014 10: 00-18: 00
Venue: KAAT Kanagawa Arts Theater Medium Studio

Related articles