中野 岳

 

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Live Recording

Performance with Viviana Gulli
"Try Out III" within the exhibition Expanded Media, at Kunstbezirk
2017

 

relevant works

» Microbaelle
» Distance you make

 

 


Homoludens, by Gaku Nakano and Keita Ueda(2010). This was a performance where audiences filmed video and saw our acting only through the viewing surface of video cameras. It was performed in the situation, so that audiences would deaden their senses and we could treat its document video as same as the actual performance there.

 


Cinema Beauty Salon, by Gaku Nakano and Keita Ueda(2009). The approach of this performance was similar to Homoludens ; we tried to do a two-dimensional performance like of actors in movies i.e. viewers attended it while looking at performers only in mirrors in front of them

See the video:
Video 3'21''- you tube

 

 

 

digital painting for poster

At the performance, hereat we were neither dancers nor actors. Just we dealt with play where we enjoyed desensitizing us to whereabouts of consciousness among the real and a trimmed one with a video camera and its live image. Audiences were also filmed and observed directly or indirectly through a monitor at the same time while they watched the live image and recognized that all they acted was filmed. Because of that situation, we expected they could share feelings in which we were spatially or physically confused about our stance on the performance in terms of something ritual and one depending on a bare phenomenon.

 このパフォーマンスはStuttgarter Filmwinterという二十年以上に渡って開催されてきた映像際の一環で行われた。私たちは映像際のモットー「ただの良い嘘」を手がかりに着想し、パフォーマンスとその記録映像の問題に言及した。

 このパフォーマンスは、鑑賞者にカメラを向け、彼らの姿や振る舞いが全て記録される様子をモニター越しに確認できる状態で行った。そして私たちは、その設置された映像へのアプローチ(モニター越しの鑑賞者との接触、カメラアングルの移動、映し出される範囲の確認作業など)によって、鑑賞する立場とパフォーマンスをする立場の境界を曖昧にした。こうして鑑賞者に対し、カメラのフレーミングによって行動が操作されている事実を強調し、通常では記録されることのないフレームの外側が「パフォーマンスという現象」の価値であることを示した。

 


Live Aufnahme, document video 13'32''

The performance event took place at an exhibition as a part of the film festival 300. Stuttgarter Filmwinter (18.-22.Jan.2017). To get ideas for that, we were therefore focusing on films or the motto of this festival("only good lies"), and subsequently dealt with a matter of two-dimensionality of documentary video of performance.

Today there is no doubt of the convenience of video, and it is used under assumption of already understanding disadvantages of it. Also artistically in expressing something to many and unspecified persons. However the relationship between our physically feeling at the performance site, which should be given priority over its documentary video, and two-dimensionality there, which is achieved for aesthetic documentation, makes documenting by video camera complicated. We therefore remained hesitant to simply discriminate our acting at the site from its documentation. The bottom line seemed to be that we actually didn't want to tolerate the inconsistency that performace, which is carried out to document itself, often happens unintentionally. It is likely to be caused by: If we realized difference in filming to document something and to create a filmic work, or even if we ignored editing of video, objects and videographers cannot avoid expressivity because of the viewpoint of video cameras. And therefore documentation, which equally gives all people the reality or an objective perspective at the site, would not be born. Nothing to it, that is reasonable only if the act could gain meaning through being performed at limited places or situations. Actually we should have refused to document our performances by video, because extemporaneity at the site has been of the central value to them, it could reduce the meaning of extemporaneity. Moreover, documentary video of performance is: in other words, two dimensions where e.g. the manipulated facts and bare, pure lies, or good lies and bad fibs are synonymously mixed. Basically it ultimately could not be a medium that properly informs us the truth with the exception that it can prove the fact that we were there. If that will be defined from the pessimistic standpoint, explaining our attempt with some photos here also might be just explanation that we were in the photos. Therefore we got an idea of achieving performance close to its documentation paradoxically, and tried to coordinate them in the true sense through, not documenting nothing, but spending time where we mentioned possibilities, that “just naturally being as always” could generate nothing, while that was documented.

 


View of performace