ヴィジュアルで伝える力 - Power Of Visualization
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松井小巻 LA地区同窓会・年次総会 2016年11月5日(土)
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ヴィジュアルで伝える力 - Power Of Visualization
- 9. 事例１ Degree of Visibility by Ashley Hunt
- 16. あえて見せないことで伝える。
- 17. 事例２ オノヨウコのカットピース Yoko Ono’s Cut Piece
- 20. 1964: 東京 1964: 京都 1965: ニューヨーク 1966: ロンドンで２回
- 22. Theatre Le Ranelagh: Paris, France 2003
- 23. “I had always wanted to produce work without ego in it. I was thinking of this motif more and more, and the result was Cut Piece. ” “Instead of giving the audience what the artist chooses to give, the artist gives what the audience chooses to take.” “Cut Piece is about freeing yourself from yourself”
- 24. コンセプトを シンプルな形に昇華
- 28. 次の作品
- 29. 子供 フェミニズ ム 移民 貧困
Editor's Notes
- これまで約２０ヶ所で上映。ロサンゼルスダウンタウンの日系アメリカ博物館でDVD販売。世界各地での映画祭でも上映、NHKのジャパンプライズでセミファイナル。３年ほど前に大阪外大及び、阪大の同窓会の皆様にもご覧いただきました。 また昨年、本日参加していらしゃる水越さんにご協力いただき、日系雑誌のラララにも掲載していただきました。アメリカにいると人種だとか、差別だとかいうことに敏感になりますよね。日本人や日系人でいること自体がマイノリティですから。収容所時代ということがあったということを、次の時代の子供に伝えて、ことが大事。
- ラッキーガール。授業が聴講できる。子供のデイケア代も半額ほど、出ることになった。
- スタンフォーどの精神。恐れずにまず、何でもやってみよう。起業家がうまれる土壌。そして新しい時代を切り開こう。起業家向けのビジネスクラスが２００以上。。
- ビジネススクールの石碑。恐れずにまず、何でもやってみよう。そして新しい時代を切り開こう。 Social Changeとというコンセプトがキャンパスにあふれている気がする。
- 社会批判をしている。どんな社会批判をしているか。His current project, Degrees of Visibility, is a large body of landscape photographs from throughout the fifty U.S. states and territories, documenting spaces in which prisons sit from publicly available points of view — looking at how prisons are presented and camouflaged within our everyday perception, forming a part of an aesthetics of mass incarceration（大量投獄）. Questioning the limits of what a photograph can, by itself, describe, each image is titled by the number of people who are imprisoned within the landscape but are concealed from the camera’s lens, sometimes accompanied by a document or object that offers an additional description of the space. The images focus less upon what each prison looks like and more upon how they are made visible to or concealed from the public, sitting among different forms of land use, economic and political geographies, and the histories of control and rebellion they conceal.
- 社会批判をしている。どんな社会批判をしているか。His current project, Degrees of Visibility, is a large body of landscape photographs from throughout the fifty U.S. states and territories, documenting spaces in which prisons sit from publicly available points of view — looking at how prisons are presented and camouflaged within our everyday perception, forming a part of an aesthetics of mass incarceration（大量投獄）. Questioning the limits of what a photograph can, by itself, describe, each image is titled by the number of people who are imprisoned within the landscape but are concealed from the camera’s lens, sometimes accompanied by a document or object that offers an additional description of the space. The images focus less upon what each prison looks like and more upon how they are made visible to or concealed from the public, sitting among different forms of land use, economic and political geographies, and the histories of control and rebellion they conceal.
- 社会批判をしている。どんな社会批判をしているか。His current project, Degrees of Visibility, is a large body of landscape photographs from throughout the fifty U.S. states and territories, documenting spaces in which prisons sit from publicly available points of view — looking at how prisons are presented and camouflaged within our everyday perception, forming a part of an aesthetics of mass incarceration（大量投獄）. Questioning the limits of what a photograph can, by itself, describe, each image is titled by the number of people who are imprisoned within the landscape but are concealed from the camera’s lens, sometimes accompanied by a document or object that offers an additional description of the space. The images focus less upon what each prison looks like and more upon how they are made visible to or concealed from the public, sitting among different forms of land use, economic and political geographies, and the histories of control and rebellion they conceal. http://www.newyorker.com/culture/culture-desk/confronting-americas-shameful-mass-incarceration-with-performance-art
- 社会批判をしている。どんな社会批判をしているか。His current project, Degrees of Visibility, is a large body of landscape photographs from throughout the fifty U.S. states and territories, documenting spaces in which prisons sit from publicly available points of view — looking at how prisons are presented and camouflaged within our everyday perception, forming a part of an aesthetics of mass incarceration（大量投獄）. Questioning the limits of what a photograph can, by itself, describe, each image is titled by the number of people who are imprisoned within the landscape but are concealed from the camera’s lens, sometimes accompanied by a document or object that offers an additional description of the space. The images focus less upon what each prison looks like and more upon how they are made visible to or concealed from the public, sitting among different forms of land use, economic and political geographies, and the histories of control and rebellion they conceal.
- 社会批判をしている。どんな社会批判をしているか。His current project, Degrees of Visibility, is a large body of landscape photographs from throughout the fifty U.S. states and territories, documenting spaces in which prisons sit from publicly available points of view — looking at how prisons are presented and camouflaged within our everyday perception, forming a part of an aesthetics of mass incarceration（大量投獄）. Questioning the limits of what a photograph can, by itself, describe, each image is titled by the number of people who are imprisoned within the landscape but are concealed from the camera’s lens, sometimes accompanied by a document or object that offers an additional description of the space. The images focus less upon what each prison looks like and more upon how they are made visible to or concealed from the public, sitting among different forms of land use, economic and political geographies, and the histories of control and rebellion they conceal.
- 社会批判をしている。どんな社会批判をしているか。His current project, Degrees of Visibility, is a large body of landscape photographs from throughout the fifty U.S. states and territories, documenting spaces in which prisons sit from publicly available points of view — looking at how prisons are presented and camouflaged within our everyday perception, forming a part of an aesthetics of mass incarceration（大量投獄）. Questioning the limits of what a photograph can, by itself, describe, each image is titled by the number of people who are imprisoned within the landscape but are concealed from the camera’s lens, sometimes accompanied by a document or object that offers an additional description of the space. The images focus less upon what each prison looks like and more upon how they are made visible to or concealed from the public, sitting among different forms of land use, economic and political geographies, and the histories of control and rebellion they conceal. http://www.newyorker.com/culture/culture-desk/confronting-americas-shameful-mass-incarceration-with-performance-art
- SHOW & TELLだけではない。わかっていても、それぞれのインパクトのある写真で学ぶと違う。
- デザインとアートを混同しているためです。デザインとアートの間には、決定的な違いあります。それこそ”Design solves a problem, art is expression”（デザインとは問題解決であり、アートとは自己表現である。）というものです。 ここから言えることは、Why?をBecauseで説明出来なければ、それは明らかにデザインではないということなのです。何となく、個人的に好きだから、感覚で、といった理由を述べた時点でそれはアート（自己表現）であり、デザイン（問題解決）ではありません。それは言い換えると、問題と向き合い、それを解決する中で生まれたモノのみがデザインであるということでもあります。では一体どういった要素や原則を元に、デザイナー達はロジックを組み立てるのでしょうか。
- (Lyn) Before NYC, Ono had previously performed the piece twice in Japan where—with the exception of one man who wielded the scissors as if intending to stab her—audiences proved reticent and respectful. London: Performed with Anthony Cox (American Filmmaker and Partner at the time) more of a collaboration than a solo piece
- Yoko Ono was at the age of 70.
- Thirty – nine years after her first performance of the work, she told Reuters News Agency that she did it “against ageism, against racism, against sexism, and against violence.”高齢者差別、年齢主義、暴力、性差別、人種差別
- About the piece Yoko Ono says: “In the 1960s I did it out of anger.” As if taking all the violence of the world upon her. But of her last performance in 2003, Yoko Ono says :”Following the political changes through the year after 9/11, I felt terribly vulnerable — like the most delicate wind could bring me tears, (…) Cut Piece is my hope for world peace.”
- INTENTIONALITY: -her intentions (change between 1960’s and 2003 reenactment) -her body in the way others read her intentions (feminism? Her body and outward identities? -other performer’s intentions (jorge artajo: LGBT VISUALITY performance; man under pink dress, face covered → commentary on gender and sexuality) Originally performed in the 1960’s out of anger; she was internalizing the violence in the world. 2003 performance was instead a hope for world peace; she did it as a way to give positivity to the violence in the world--she added a portion of asking people to not only take the piece of fabric home as a souvenir, but also to give the piece of fabric to another person as a gift. In a recent interview, she says that in her 1960’s performances she sees innocence, but in the 2003 performance she sees someone who went through a shocking life. ------------------------- [[Has stage instructions, using “he/him”; what kind of freedom does this allow for? How would it be different is people just watched her performance, then decided to reenact?]]
- 31さいでなくなったキースヘリングの作品。
- ゲリラガールズ。
- 現在も模索中
- 結論。アートで社会を変える？考えを促すきっかけになったり。人の心心に訴える。ちょっと優しい気持ちに成る。何かしようという気持ちに成る。何かを見る目が変わる。そういう効果がある。