archive data

Member Artist:
Katsuyuki Hattori________ 1. 2. 3. 4.
Kazumi Kanemaki_______ 1. 2. 3. 4. 5.
Masayuki Kawai _________1. 2. 3. 4. 5. 6.
Akiko Nakamura________ 1. 2. 3. 4. 5.
Yu Negoro _____________1. 2. 3. 4. 5.
Kentaro Taki ____________1. 2. 3. 4. 5. 6. 7.

Contributor Artist:
Kazuo Honda ___________ 1.
Yasutaka Kobayashi _____1. 2. 3. 4.
Katsuo Sato ___________11.
Shuhei Nichiyama_______ 1. 2. 3.
Yoshiyuki Wada _________1.

Video Artist Workshop Documentation1. 2. 3. 4. 5. 6. 7.

About a Theological Situation in the Society of Spectacle
An Attempt to Lighten It
a not = a or for devatas who keep on dancing

Be Hungry

"C"
Cafe on the Road
Camera Pattern
core m.v.a.

Dannie's Voice

Empty

Fake Love

Human Feedback

Image / Meaning

Japan Suicide
Japanese Traditional Color

karaoke

Mass Media Simulation #1
Mass Media Simulation #2
Media Cage
More Eyes

Nanjing Massacre
Noise Jam

Omedetou (Happy New Year Rabbits)
Opera City

President

Radio Lantern

Speech/Image/Time
study on media "education before education"

The Battle of Closed Circuit
The Washing Machine
Time That Hanging
Tokyo Color Scene

Video Composition #1
Video Composition #2 "the Stolen Air"
Video Composition #3 "the War on TV"
Video Composition #5 "Unstable People"
VIDEOSCAPE-GOAT
Video Shooter

Yura Yura

<How to see?>

Title
<capture image>	short synopsis

	Name of author Title Media, Time, Year of production
			To click this to go up top of this page. \| \/

Video Composition #1
	Does the image follow sound, or vice versa? Nine images constructed around sound is independent on meaning, and begins to dance geometrically.

	Kentaro Taki Video Composition #1 video, 5'00" sound, 1997

Video Composition #2 "the Stolen Air"
	TV images appearing and disappearing one after another. Stolen i.e. sampled those seemingly unrelated images, "music" is "played = collaged".

	Kentaro Taki Video Composition#2 "the Stolen Air" video, 5'30" sound, 1998

Video Composition #3 "the War on TV"
	War-images are persistently distributed through mass-media. What is found in the image of those reconstructed and accelerated? Resemblance between war and "peace". War for information/information of war.

	Kentaro Taki Video Composition #3 "the War on TV" video, 5'00" sound, 1999

Be Hungry
	In a number of computer windows, primitive act of "eating" is repeated and edited. Its digital operation starts to expose the weirdness of the action.

	Kentaro Taki Be Hungry video, 11'00" sound, 2000

Radio Lantern
	Playing with monaural radio. The volume of is changed, the tone quality is distorted and they reach to "our side" as a stereo musical performance. The pleasure of virtual reality made of the cut-out of the world, that is, shot images.

	Kentaro Taki Radio Lantern video, 5'00" sound, 2000

Media Cage
	There is no sanctuary nor border in homogenized world of TV. Immersed to it even inside, we cannot escape from the cage of mass-media information. Is it possible to see the cage from inside?

	Kentaro Taki Media Cage video, 7'00" sound, 2001

Video composition #5 "Unstable People"
	When very short image is repeated, the minimum unit of video-image, frames, comes to appear. Their tiny movement makes us recognize divisions and jumps between frames.

	Kentaro Taki Unstable People video, 6'00" sound, 2002

core m.v.a.
	Motion, vision and audition. Images are decomposed=refined into three elements and re-experienced in video-time.

	Katsuyuki Hattori core m.v.a. video, 7'00" sound, 1997

Nanjing Massacre
	How should the history be told in the age full of sensored and distorted information? History could revive in a person or system, if the present is seen as a contact point of the past and the future.

	Katsuyuki Hattori Nanjing Massacre video, 14'00" sound, 1997

Time That Hanging
	Time of living space as in a living room, time of natural history as in the swing of pendulum and time of the played moving-image as in what was projected on the light bulb. These three images are re-composed as one based on 30 frames/min video-time. Peculiarity of image-based time.

	Katsuyuki Hattori Time That Hanging video, 3'00" sound, 1998

study on media "education before education"
	The rule of media observed in the cut-out of so-called "education program" on TV. A warning to us toward the system of modern society - generically named mass media.

	Katsuyuki Hattori study on media "education before education" video, 8'43" sound, 2001

Japanese Traditional Color
	Shows a landscape of today's Tokyo divided into Japanese traditional color. Its ironical composition make it visible; unfillable gap between historical quality of language -which defines reality- and the arbitrariness of the spectacle.

	Kazumi Kanemaki Japanese Traditional Color video, 8'00" sound, 2000

Japan Suicide
	She visits her grandmother hoping to find "good old Japanese". The life in countryside Japan, however, disappointed the expectation of this city dweller, which became clear in front of video camera.

	Kazumi Kanemaki Japan Suicide video, 8'23" sound, 2000

Video Shooter
	Me who shoots a video at Grandmother's death rather than feeling sorrow. By releasing her control on the camera by re-composing "unneeded shots", she finds herself in the domain which is impossible to either experience nor record.

	Kazumi Kanemaki Video Shooter video, 17'" sound, 2000

President
	The life repeated routinely is compressed by the video and getting composed as information. Objective viewpoint toward reality is layered by the subjective monologue and empty distance between them starts to emerge.

	Kazumi Kanemaki President video, 11', sound, 2002

VIDEOSCAPE-GOAT
	Compilation of short videoworks. Tokyo, the end of the century - flickering consciousness - stuttering torn words - transcoded time - ordinary life turns to nightmare - silent noise - hallucinating agony - stimulating passage.

	Masayuki Kawai VIDEOSCAPE-GOAT video, 39', sound, 1998

Tokyo Color Scene
	Could it be the breakthrough for time-based art; city re-captured by color, a city represented by sound without image? An attempt to deconstruct the moving image as reproduction of reality.

	Masayuki Kawai Tokyo Color Scene video, 19', sound, 1999

Noise Jam
	Could video have silence? The meaning of silence becomes clear after 4"33. What was found in the origin of video art?

	Masayuki Kawai Noise Jam video, 10'30" sound, 1999

a not = a or for devatas who keep on dancing
	Phenomena of the society of spectacle is deconstructed with philosophical exposition: and the image of conservative woman - equal to the symbolic landscape of it - becomes hallucination of dancing goddess in Angkor Wat to celebrate the prosperity/collapse of the kingdom.

	Masayuki Kawai a not = a or for devatas who keep on dancing video, 15'30" sound, 2000

About a Theological Situation in the Society of Spectacle
	TV talents and Mikado's are ubiquitous not as a generic name but moral to be refered to. The image quoted from Society of Spectacle hallucinate us the ruin of itself, by using deliberate imitation of mass-media image.

	Masayuki Kawai About a Theological Situation in the Society of Spectacle video, 6', sound, 2001

karaoke
	An album by Japanese students in the US - to present the "problem" in a"healthy" way from their point of view. Karaoke video as an anti-karaoke video.

	Akiko Nakamura karaoke video, 20', sound, 1997

Dannie's Voice
	How do you listen to the talking voice when there is a word you do not know in it. Words remain in your ear. Mind goes blank. The voice becomes sound.

	Akiko Nakamura Dannie's Voice video, 3'30" sound, 1999

Omedetou (Happy New Year Rabbits)
	"Omedeto (a happy new year)", the same words and sights occur in retual every year. Repeated image and sound question their hidden meanings. Who will tear and eye drops of rabbits, for whom?

	Akiko Nakamura Omedetou (Happy New Year Rabbits) video, 5', sound, 1999

The Washing Machine
	The automatic washing machine "Y2K edition", comes to live with a couple friends of mine. The existence of videocamera converts everyday life to drama.

	Akiko Nakamura The Washing Machine video, 23', sound, 2000

Fake Love
	Through an experience of image of fake love, we can see a substance of love as a fake. There is an emptiness behind an obsession to turn between the two fakeness.

	Yu Negoro Fake Love video, 7'00" sound, 19xx

Yura Yura
	In the flood of information of a city, my image is reflected in the mirror, in the video, in the man, in the society. Image of you - the viewer -reflects, and is reflected.

	Yu Negoro Yura Yura video, 7'00" sound, 19xx

Empty
	To express one's own eating disorder, is equal to relate by lost voice. "System" show fleetingly its face during this impossible attempt.

Yu Negoro
Empty
video, 7', sound, 19xx

An Attempt to Lighten It
	In the self-shooting, camera cannot be the mirror in spite of its role to reflect the figure. Film-camera absorbs an image and the cameraman who cannot see his own figure: The light that exists between camera and an object is being projected, changing naturally and artificially, and the world is newly constructed.

	Yasutaka Kobayashi An Attempt to Lighten It DV(original single 8mm), 33', sound, 1997

Opera City
	Various presentations of the images of urban landscapes, which were recorded by 8 mm film and video and were dubbed, re-shot, pitch controlled. It comes us again that the concentration from various times.

	Yasutaka Kobayashi Opera City DV/8mm, 15', sound, 2002

C
	The sounds (note) "C" were played in urban landscape from several place in Tokyo, Those sound as various rigorous levels with using video and re-shooting again and again. Those colorful tones reveal intentions of information fed landscape.

	Yasutaka Kobayashi C DV, 12', sound, 2002

Cafe on the Road
	Being told "a phenomenon"in the Cafe on the Road, a viewer finds himself in a strange position. The person shooting the video (also the character in the story), creates the story about this "phenomenon" and he shoots the reaction towards that.

	Katsuo Sato Cafe on the Road miniDV(original video8), 21', sound, 2000

More Eyes
	Thoughts and emotion in the flow of time, self and space existing in the dankness, is represented in the world of defocus, Possibility and impossibility to communicate by vision. Carrying such a problem, this work engages to "see" and "shoot" the things in existence.

Yoshiyuki Wada
More Eyes
miniDV, 15'25" sound, 2000