OUTLINE

水を注ぐ_take1RL1030

 

 

ギャラリーである古く美しいタウンハウス内で撮影された新作の映像インスタレーションを展示します。展示予定のギャラリーは築何年のアメリカ様式の古いタウンハウスで、そのリビングスペースには2枚の大きな鏡があります。その2枚の鏡をスクリーンに変えて、その部屋で撮影された映像をその鏡を通して映し出します。現実の同じ空間で撮影された映像は、一見、鏡に映るただの室内のドキュメンタリーのようにみえますが、規則的な動きを持って映し出される2つの室内風景は徐々に変化をしてゆきます。この作品では編集時に起こるエラーやエフェクトの不具合などをあえて残し、増幅させ、2つの規則的に動くイメージを分断し、ズラし 、混同させて、その途切れ途切れの映像を再びつなぎ合わせています。不協和音を発生させながら存在しているこの新しい映像インスタレーションは、わたしのこれまでの平面的で絵画的なアプローチからより空間的で映画的なアプローチへと広がりをみせるものになっています。(プレスリリースより 文:小瀬村真美)

 

In her new eponymous video installation, Mami Kosemura sought to create a mysterious and unrealistic atmosphere, while using a real structure as its basis. This structure is the main salon of the Dillon + Lee townhouse, where Kosemura spent the summer. The artist wanted to abide by two self-induced rules: first to make the content of her video and the installation be of the same place. The second rule was to introduce movement, but one that is simple and rhythmic, as in a pendulum. In the installation, two mirrors in the main salon are turned into projection screens to display the videos shot in the room. The video shows the space of the salon, as a mirror would reflect it, but Kosemura's alternative version depicts the interior sliding horizontally from left to right, and right to left at regular intervals. Kosemura has decided to incorporate the errors that happens inevitably during a video editing process to further disorient the viewer.  (Written by Diana Lee, Dillon + Lee)

 

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It’s also slightly unsettling to feel that I was walking through someone’s personal home (initially merely a feeling, but later confirmed when I was allowed upstairs to use their bathroom). This is all to say that my experience leading up to my encounter with the exhibition Pendulum by Japanese artist Mami Kosemura, may have played a role in my responses to it. I can’t be sure. But once inside I felt that the piece took me by the hand and twirled me around, and it took me an untold length of time standing at the center of what felt like a visual vortex until I felt the room right itself again and I could understand where I was.

(Written by Seph Rodney, "An Unsettling Room and Feeling Like You Belong" on Hyperallergic  http://hyperallergic.com/342809/mami-kosemura-pendulum/)

 

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For this exhibition, Kosemura integrated actual history and fantasy to explore the function of subjective memory within a priori structures such as physical architecture, or social norms such as souvenir-collecting. In this way, Pendulum, as an installation, transcended the room in which the video was displayed, by implicating features of the entire townhouse and even the history
of New York City. Kosemura responded to her environment with both microand macroscopic focus, as a living and multi-dimensional location for her site-specific work. In so doing, she brought attention to the notion of constant change and whether a still life can ever truly be “still.”

(Written by Jeniffer Field, "Pendulum" on Art Asia Pacific  http://artasiapacific.com/Magazine/WebExclusives/Pendulum)