B.O.D.Y. - the second skin (2023)


https://www.researchcatalogue.net/profile/show-exposition?exposition=2273782

<-

closeness and distance 


 

 

Closeness ...

 

 

 

near and far

 

 

 

... and distance

 

 

 

visible or invisible

 

 

 

perceptible 

 

 

 

inaudible or audible 

 

 

 

tangible or intangible

 

 

 

 

 

– B.O.D.Y. - the second skin



 

What is 'embodiment' for us?

– Performativity in the art

On Subjectivity and Objectivity

These works are 'in fact'. - on artifact

We cannot explore “This is a work of art,” but we can explore “What is a work of art?”

o.T. (2023)

Writing in Artistic research Untitled*o.T. (2023):

Reference

Nanay, Bence, “Aesthetics As Philosophy of Perception“, Oxford: OUP, 2016

Wollheim, Richard, "Art and its objects“–an introduction to Aesthetics, Harper&Raw, 1968, USA, Cambridge: CUP, 1980

 

 

 

The question for "What is air?" Whether a (characteristic) collective of the elementary particles or. What is 'atmosphere'?


Can you explain the questions in my work to your child?


Please show your art work and start to talk with your child.

– About what perceive your child in your art work.

There are many types of learning to draw.
look at objects and draw
draw landscapes and spaces
draw the movement
draw a memory motif


There are also many techniques.
depiction
geometry
material
symbolization
abstraction
realism

coding


There are also many tools for drawing, including computers.

Werk Liste/Work list:


The text Black x (2023), Transformative Processes (2022)
, Mixed Media Installation: Text, Black box, Image (Token: Digital photography, Black&White, double exposure), Fairy lights
Please smile, spiritual CO2 (2023), Spatial installation: Image (Token*), Steel Super Mirror

The poem B.O.D.Y. - the second skin in Braille (2023)
Unikat/Unicum


*The digital signature on the token is recognised internationally that is my digital work (Werk) signature. (I studied the sculpture in Fine Arts.)

Why did the painter Duchamp put a signature on his object “Fountain”?
Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt".

I deal with the questions between objectivity and subjectivity of biological change, growth and aging as well as the concepts of environment and time. – a work from an ecological perspective, but from the 21st century today. My artistic approach questions the emotional state of being. - an exploration of subjective objectivity


– for the topic of 'self' in terms of

I-Aruiwa “Wabi Sabi (侘び寂び)“ aesthetics  in Analogue photography and the poem by Dogen (道元)

Post-Conceptual art in the post-photographic era

Green x

The important point in these two works is the behaviour of viewing an art object (or experience of an artwork).

I am exploring “score” in music (including the writing form of John Cage’s score), which refers to the technology of representing “score” in the realm of embodiment in the performing arts. How will our behavior including communication (in choreography) change through technology (divices, systems) and our ownness in the music world (the Western musical score)?


Chorography in the Japanese Tradition, Dance-Chroeography (body and mind) is the centre for the music composition in the performning arts, but in the Western performing arts, the composer's concept is the center of the choreography.

In the Japanese Tradition, Choreographer is the position of the music composer in performing arts. From this aspect, the Western composer can Dance-Play in the Japanese Tradition. So, I gave the workshop to the western music composers. One was Antonis Anissgos in the presentation of deflection – Rasen-jo no Jikan at the Kyoto Art Centre, he performed also.

It was a great subject in this collaboration with Antonis Anissegos in the improvisation between Dance and Music. What is an 'interaction' between Dance and Music?

These two works, "Transformative Processes" and "Please smile, spiritual OC2" are a deconstruction of the artistic "act" of viewing an two dimensional image in a frame. Thereby the important is not image itself, so this is not a photography work, but rather a post-conceptual work. – What is an 'Art object'?

*Note that the climate changed significantly before the Industrial Revolution. These changes were natural; current climate change is largely anthropogenic.

Minimalism in art is without materiality, but it means not the same as 'geistig' (spiritual) in German.

There is no space to interpret.

An artist is On Kawara “Each work reads as a modular unit conforming to an organized structure, a display tactic ostensibly meant to affirm the Date Paintings' connection to Minimalism“ – UNCOMMON KNOWLEDGE: THE ART OF ON KAWARA

Actually, oxygen is O2. Therefore, is it possible to explore the separatinon of CO2 from C? C is Carbon.
Carbon atoms comprise a nucleus of neutrons and six protons surrounded by six electrons. Quantum mechanics dictates that the first two electrons occupy the inner atomic orbital, while the remaing four electrons have wavefunctions that only half-fill the second standard and three second pricipal orbitals.

Note: It is possible to explore the theories, even if it (art) is not Western art (or not in the Western art category).

Practical exploring

Theoretical exploring

Dreams of the ego ”I” represent own unconscious fear or desire for fusion and integration with own humanity and spirituality.


The question for 'humanity' in fine arts

Post-conceptual art in post-photographic era

This work is not a picture to be put in a frame and admired. Please look at the image in the mirror.

Imagination towards the coexistence with nature from the aspect of the 21st century and the state of human society and its civilization.

Please smile, spiritual CO2 (2023)


Please smile, spiritual CO2 (2023), this work consists of three three-part collages on canvas, each dimension is 30 x 40 cm, that is the notation for the performance.

These three-part visual works will be interpreted through a performative act of touching and be performed with the voices of three performers in the exhibition.


Three performers:
C=Blind performer
O=Performer without visual impairment
O=Performer without visual impairment

Communication
Occasion
Occurring

C: Collage with the poem B.O.D.Y. - the second skin in Braille will be read slowly, speedy, like a staccato, pianissimo, forte, fortissimo (dynamic in music)
O: Interactive with the voice act towards C
O: Improvised happening with the voice act towards C and O




The original idea of three drawings pencil on paper, 2023 (coding idea and notation on the canvas for the collage is the musical scour. Braille is still at the starting point of. I keep the original concept and explore the possibility of development in Braille. For example, semiotics in Braille.)
This piece will be performed in the installation. The audience is participatory in the installation (as a whole of this work). Participatory work is when the audience can get in and out of the space (in the installation) anytime freely.
The original drawing "Please smile, spiritual CO2" is the original blueprint of the whole of this piece including the idea of the installation.

The highlight of this work is the question about current art and consumption of "I want more and more'' The installation is made of reflective materials. It is so-called "social criticism'' and "social phenomenon".  Performers perform with their backs to the audience and facing the installation. The audience watches the reflection, including themselves (atmosphere).

For a dance-theatre play (Contemporary Noh (能)); for dance (choreography/improvisation) and music (improvisation)
From the Japanese traditional Fine Arts site, it is an advanced Goze (瞽女) piece (a lyric and music composition for blind women (performers) in terms of Zeami (世阿弥)’s aesthetics. – Japanese National Culture Treasure

This work participatory performance in the installation is a site-specific work and is an environmental work in which the atmosphere changes depending on the location.

Responding to Thinking with Climate Coloniality: Climate & Colonialism Reading Group, Paul Mellon Centre (in writing)

The unbearable heaviness of climate coloniality

 

The Unbearable Heaviness of Climate Coloniality (Video of the 2022 AAG conference)

How Civilization Has Tricked Us All | Dr. Lyla June Johnston


 

Lyla June - Mamwlad Official Video

Support the Self-Defense of Indigenous Women

Artist talk:

I deal with the topic of my artistic research on creativity

Zufall-Performance by Erika Matsunami, Pfefferberg Galerie, Berlin, 1999:

 

I performed with a Japanese student from the Japanese Department of the Free University of Berlin who was performing in Berlin. The duration of the improvised performance was approx. 30-40 minutes.

Video cameras (with microphones) were installed in two rooms of the gallery and two monitors (with speakers) were placed on tables outside the gallery.
During this performance, the audience looks at the two monitors. (transcript/Übertragung)


I made two large dice out of a collage of newspapers and magazines. (the collage of recent social topics)

Me and another performer each wrote 6 topics on a piece of paper.

When the performance started, we exchanged the 6 topics of papers and put them on the floor.

Roll the dice by each performer, hold the collage of numbers up to the video, pick up the paper on the floor, and read out the topic. And then we improvised on the topic.
The highlight of this work is the new awareness created by the performer's movements and the topic displayed on two monitors, which are both coincidental. The performers inside the room have no idea of the reaction outside.
This performance was very well received, and after the performance was over, the audience came up to me and asked me to sell both collage dices him/them. (They wanted to have (hold) my art object as a collection. It was not requisite of the performance, it was an art object. Different between the goods and an art object.)

This is my gallery debut in Berlin after I graduated from the Berlin University of the Arts.


On the art object Zufall - two collage dices

Each square dice object was approximately 30cm in size.
Each side consisted of 1 to 6 dots and a collage of newspapers and magazines.
Roll this dice object on the floor and hold it up to the video camera.

The coincidence of the performance by two performers was projected on two monitors outside the gallery.

This image was the "painting" of this performance in the socio-political context. Thereby two monitors outside the galler were the frames of these "collaged painting", which consisted of the social images in 1999.

Each performer wrote on a piece of paper the topics related to the subjects on sides from 1 to 6 of this cube and exchanged them.


Keywords: 2-channel videos, performance, happening, improvisation, Zufall, transcript, choreography,


This form of work progressed until around 2012.

"Notation" and spatial aesthetics, digital and computer systems were progressed until around 2022. Recently, additionally, explore from the aspect of the Philosophy of Language and Aesthetics (in terms of cognitive neuroscience, and the exploration of transversal aesthetics since 2016). (Ethics and Aesthetics in the contemporary art)

 

I worked until 2010 (–2012), and after that, I worked with the second phase until 2020 (–2022),(During the corona pandemic 2020–2022: https://www.researchcatalogue.net/view/1722487/1722488)


Now, Untitled*o.T. (2023) lays in the third phase.

The concept of traditional Japanese art incorporates everything and does not exclude anything, that is a natural. However, there is the case of metabolism in the system.

That is different asl the Western traditional art of 'purness' as an ideology.  In the Western old thinking, what remains after all impurities have been removed is the essence. – What is 'essentiality'?

(As an artist, I am working in the fifth phase. All artists are like me, also Giacometti was so because art is a life-work ("oeuvre") and a contribution.)


Untitled*Circular algorithm

Thereby, there is an idea draft "Näher und Entfernung", which I would like to implement as a music composition.– Post-Xenakis

The Phillips Pavilion, implemented by Xenakis, was substantial in contrast to the Bauhaus's penguin pool in London Zoo.
It was a world exhibition pavilion designed by the Le Corbusier office for the 1958 Expo in Brussels.

 

The London Bauhaus Designed a Socialist Utopia for Penguins

In 1934, the London Zoo unveiled a Bauhaus-influenced penguin pool, designed by Berthold Lubetkin.

As a 'new' design so-called Socialist Utopia, was manipulated by Socialists. This was a political policy that was universalizing and colonizing the world.
Penguins at London Zoo became ill due to this newly designed environment.



Regarding my artistic research on this subject, it was a proposal which I submitted for the Lab Program at the Bauhaus Foundation for 2021 in 2020.

In 2021, I attended the workshops and symposiums (associated the researchers at the Harvard University, USA) by the Bauhaus Foundation and the conference by the European Society for Aesthetics. My proposal as on 'universality' in relation to Bauhaus universality, What is 'universality?'
It was about the fact that the equation from negative atmospheric pressure is not an error, that was the question on the topic of 'German idealism'.

In other words, the Bauhaus is a "negative world heritage site" and it was an art research method for how to study it.

I learned many from participating in the symposiums by the Bauhaus Foundation. I am grateful and thankful for the Bauhaus Foundation. It was very fulfilling research presentations and possibility of the discussions.

These historical issues covered not only urban development for capitalism in 20th century, but also state formation, social systems, and nuclear weapons. The atomic bombings of Hiroshima and Nagasaki, the Cold War after 1945,  the development of Schalter in architecture towards the nuclear war. These were the 'reality' in the 20th century.



Untitled*Synapse

 

 

Note:  irregular verbs

There are many irregular verbs that don’t follow the normal rules.

 

lay lays laid laid laying

lie lies lay lain lying

 

read reads read/red read/red reading

put puts put put puting

 

       
         

Note: Dogen道元　禅 (Zen) Zazen (座禅) is UNESCO registreted Japanese culture heritage, in Europe, there is an exchange with Assisi and Eiheiji (永平寺) in Italy. There is a very small Sekitei (石庭) in a historical building in Assisi (not in a tourist hot spot).

*The Rinzai sect (臨済宗) considers zazen (座禅) as a means to reach enlightenment, and during the process, they meditate on and devise ideas/koans公案 (Koan zen 公案禅), but the Soto sect (曹洞宗)  simply meditates silently facing a wall without seeking any purpose or meaning from zazen (座禅). The training is ”Shikantaza"(只管打座). In contrast to the Rinzai sect's "Kanzen"看話禅, the Soto sect (曹洞宗) calls it "Mokushozen” (黙照禅).

 "Please smile, spiritual CO2" (2023), performance in the installation consists of a logic

I << III >> I'


With this I would like to explain MA (間) and minimalism in the Japanese tradition, which does not consist of interpretations but rather in fact. This piece is about a “world” and its facets in space, time and body.

“Correspondence” means something completely different than Heidegger’s.


- Natural light and space and its speed and our perceptions in relation to the environment.


Visible and invisible natural phenomenon -> Nature is opened by Nature.

 

Point in Time (2013), Part 2: Performative Open System

Márcio Carvalho

The memory of his grandmother (indigenous knowledge)

Point in Time (2013)

Part 2: Performative Open System

Three parts C-O-O notation

The work "Please smile, spiritual CO2" (2023) is dedicated to John Cage and his thought in "The Future of Music – Credo“ by  John Cage, 1937.

Artistic research

Point in Time (2013)

Working hypothesis

https://www.researchcatalogue.net/view/59807/79532

Arbeitshypothese von Erika Matsunami, Artistic research Point in Time (2013):

 

 

„EINE VIELFALT DER ARTIKULATIONSRÄUME“ ist die Herangehensweise der Repräsentation mit den Werken der Künstler.

 

 

Ich führe im Folgenden ein Zitat aus dem Aufsatz „The Future of Music – Credo“ (1937) von John Cage an, da ich glaube, dass seine Gedanken zur „Semiotik und Semantik“ nicht nur in der Musik, sondern auch in der Bildenden Kunst gelten. (-> Klang-Kunst)

 

 

„I BELIEVE THAT THE USE OF NOISE

 

Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at 50 m.p.h. Static between the stations. Rain. We want to capture and control these sounds, to use them, not as sound effects, but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of anyone's imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.

 

TO MAKE MUSIC

 

If this word, music, is sacred and reserved for eighteenth- and nineteenth-century instruments, we can substitute a more meaningful term: organization of sound.“

 

(„The Future of Music – Credo“ von  John Cage, 1937)

From John Cage: Documentary Monographs in Modern Art, edited by Richard Kostelanetz. Praeger Publishers, 1970. Scanned and re-formatted by Eluna.)

A topic in the study of art, 'What is an art object?'.

My task as an artist is to transform everyday events that we don't notice into philosophical considerations (the philosophical term) using the visualization methods of everyday situations.

In this performance Zufall, the philosophical term is 'transcript'.

A characteristic of my work is that artistic activity becomes imaginary through events that occur within the contingency of space.

Writing in Artistic research Untitled*o.T. (2023):

Reference

Nanay, Bence, “Aesthetics As Philosophy of Perception“, Oxford: OUP, 2016

Wollheim, Richard, "Art and its objects“–an introduction to Aesthetics, Harper&Raw, 1968, USA, Cambridge: CUP, 1980

 

 

 

What does the composer's work(s) tell us?

Theoretical exploring


Generally, who is the (art academic and academic) recognised as a composer, is in the context of the study of (Western) music internationally.

These composers explore the music composition in terms of renaissance but in the context of feminism. In other words, all of them in post-war are 'feminist', even if they are genetically masculine. This is an artistic gender identity.


In Germany, since Bauhaus, women artists studied more masculinity in this Western fine arts context.

I call it the exhange of the artistic gender idenitity. – Women's third gender, sexual liberation, social advancement and leadership in post-war towards Gender equality as social status

However, social problems in the state and family system are very complex.


My research addresses on the topic of the evolution of cultural identity in the context of artistic identity.

The study of lisning (Schule des Hörens) under Prof. Dr Martin Supper, Faculty of Music, UdK Berlin

 

Klang (Sonic) Materiality research by two composers

 

- A composition by Iannis Xenakis (Representation: Loudspeakers)

Xenaikis served 'Tuzumi 鼓" in this composition. -> Atonality

It was similar to John Cage's.  He did not serve the sound of the  Japanese Traditional Instrument as a symbolic representation in his composition.


- A composition (Gagaku) by Karlheinz Stockhausen, Deutschlandfunk Kultur (Representation: Concert)

Stockhausen's method was a method of German 'Transformation' which I called an imitation, and his composition was in terms of his image of natural elements (such as natural symbole of fire, water, air, earth, light and so on). That is so-called 'esotherisch*' in German. It was Stochausen's style of free-Jazz image of a 'Neue Musik'.

 

*Was versteht man unter Esoterik?

Von der Wortbedeutung her wird unter Esoterik (griechisch έσωτερικός = innerlich) „geheimes“ oder „verborgenes“ Wissen verstanden, das nur Eingeweihten zugänglich ist oder nur von einem Expertenkreis verstanden werden kann.

For me, Xenakis's was a wonder and a nature (a natural), that was in the context of Japanese Traditional Art.
As a result, a connotation was constructed in his compositions. It was not a phenomenon in his composition.
The difference between Cage and Xenakis is that Xenakis does not place as much emphasis on the meaning of instrumental scales as Cage did. In other words, Xenakis was not a composer in the Western Music world (did not study the music composition.).
You must be able to play at least Johann Sebastian Bach's composition with some kind of Western instrument (interpretation), if you want to study the Western music composition at the University of Fine arts. (Even if it is a sound engineer in Germany, he/she is required to take the entrance exam.)
(Not only I learned/studied the Japanese Traditional Insturment, also I studied the classic piano (including the solfege) and Jazz piano in Japan.)



What is 'tonality'?

On  'Atonality'

Atonality in its broadest sense is music that lacks a tonal center, or key. Atonality, in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another.[2] More narrowly, the term atonality describes music that does not conform to the system of tonal hierarchies that characterized European classical music between the seventeenth and nineteenth centuries.[3] "The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, as well as by the occurrence of familiar pitch combinations in unfamiliar environments".[1]

https://en.wikipedia.org/wiki/Atonality



Music in the 21st century and on the topic of 'tonality':

Why is the Western music so ideological and xenophobic historically?

'Naturalism' in the centre of Europe was ideological in the term of metaphysics.

The understanding of 'nature' in fine arts lay esotericism*.

*Somewhat crudely, esotericism can be described as a Western form of spirituality that stresses the importance of the individual effort to gain spiritual knowledge, or gnosis, whereby man is confronted with the divine aspect of existence.



In this context, it is not wrong with Max Eastley and Joseph Nechvatal in my artistic research. On the topic of randomness: Both works of art with the insturments (musical body by Max Eastley and computer (programming) and help of robotic arm by Joseph Nechvatal) are authentic interdiciprinaliy of visual art and music (composition) in the 21st century.

Thereby what is an essentical work of art?

"Ereignis" throrugh the Tonality by Max Eastley (physical nature) and the Programming language by Joseph Nechvatal (virtual nature). From my research aspect, both works of art are at the level of Kyoto prize. In other words, these are our (humans) capacity of the study of fine arts and humanites in the 21st century.

According to Bence Nanay's account on semi-formalism:


Hasselblad Foundation and University of Arts in Sweden, their post-doc research program in photography is in terms of virtual reality.
This study is nesserity as well as in film today.


A session at the BSA conference in 2023 (held by the University of Oxford) was the theoretical presentations in regards to Bence Nanay's account semi-formalism from my research aspect, which gave me an idea of exploration methodologically. Therefore, my practical explorations were "Näher und Entfernung" and "Synapse".

Untitled*Circular algorithm

Untitled*Synapse


Thereby, "Transformative Processes" is an important work as a starting point of.

B.O.D.Y. - the second skin (2023)

-> Subjective Objectivity

Untitled*a.o.i. - lasting memories

B.O.D.Y. - the second skin

The themes of postwar feminism in the 21st century were masculinity (active rather than passive) and leadership (advancement in society).
In the 21st century, neuroscience and molecular biology will intervene. In the study of art, I explore a practical shift in 20th century post-war feminism from a 21st century perspective.