I demonstrated Mobile Projection performance at Koganecho, Yokohama in May and June 2024. In this performance, I carried a mobile battery on my back and took a video projector in my hand to project recorded images of myself with life-size onto buildings and structures on the street. The premiere performance was done around Kagurazaka, Tokyo in Hors Pistes Tokyo 2015 as a participating event. It started from the space Bunmei in Iidabashi and took 30 minutes by walk to Institute France Tokyo.
Kentaro Taki and the other protagonists were on the projection images except for the first three performances. However, this time in Yokohama, I returned to the starting point where I projected an image of only myself who played to climb, jump, and run for 30 minutes.
"Come and Go"(2015)left, "V-climbing Highl Lines"(2015)right
The idea of this performance originally came from my desire to have a live video performance that was movable and improvised. For example, in ancestor experimental filmmaker pieces, Taka Iimura grabbed a film projector and moved around to project images on the walls and on the audiences as his film performance White Calligraphy(1967). Nobuo Yamanaka took a film projector out to the outside as Projecting the River Image Film on the River (1971). Those influenced me a lot.
Usually, film or video performances in the room have limited movement because of the power supply or video input length, which was a problem. So, I always think about how it is possible to express something with the free movement of a projector. One day a high-performance mobile battery which was a handy one, was rolled out for necessary evacuation after a 3.11 earthquake disaster. This mobile battery contains a battery for motorcycles, it can convert charged power as 100V output, and that cost is low to charge mobile phones and laptop PC and get it easier than before. I found that I could use a 20W table projector for 30-40 minutes ca., and this made me hit upon the idea of mobile projection right away.
Instrument of Mobile Projection
In the premiere performance in Kagurazaka, I made a 3-minute video with my acting just climbing up or running to the sides and put that footage into a laptop computer to play it as a loop. More than 10 people were announced at the gathering point, and also with the audience who passed thereby happenings, I, Kentaro TAKI started to move around to project video images on the facade of shops and walls without any rehearsal, sometimes I projected images on someone's back and I have done 30 minutes long pedestrian performance.
I learned later that when ancient Japan imported European iron-made magic lantern from the Netherlands and Belgium in the Edo era, some Japanese man created an original wooden magic lantern called Furo, and demonstrated it as an Edo Utsuchie projection theater play at nighttime. Edo Utsushie’s birthplace was Kagurazaka. Because of the customizing lighter and its gimmick of slides of the projector, the play of Edo Utsushie was developed differently and uniquely from Fantasmagoria, the Western magic lantern show. My idea was also just about downsized and mobility of both video projector and battery, and it brought me to hit upon the idea to go out and project human image on the wall. I felt some kind of fate that I did my premiere mobile projection performance in Kagurazaka which was the birthplace of Edo Utsushie.
In Shibuya’s version, I collaborated with Sayuri Iimori, a contemporary dancer, and her performance in front of circle shaped screen in the UPLINK factory was shot by a fixed camera, and broadcasted through live streaming to the outside which Taki projected that image on the street wall. And, those outside projections were shot to deliver to the project on the screen in the theater room where Iimori danced. In this little complicated structure, the audience in the theater watched both live performances and broadcasted projection images on the street as a film screening, audience on the street watched Iimori’s activities on the building facade and the physical projectionists' movement at the same time.So, this performance provided two different appreciative experiments.
Performance in Kyoto, left, in Surabaya, middle, in Shikinejima, right
Except version in Kyoto and Surabaya, In Clearmont-Ferrand, Taipei, and Shikinejima, I projected images of not only me but also other performers and mixed several people trying to climb up on the buildings and the walls. (I used a car battery connected to a car as a power supply in Clermont-Ferrand) For Yokohama’s performance, I prepared not a looped video source but a 30-minute video source where I acted to climb or to move horizontally way, which was shot by the camera set on the ceiling for the same duration as the performance on the street. So, in several scenes where I seemed to be tired and took a rest, I was really exhausted by acting in that shooting.
The main purpose of this mobile performance was to hybrid image of the body and urban space. What made me feel it so interesting was the physical transportation of the author with a projector and battery on his back, at the same time, various superhuman-like movements of his body double in projection video by climbing unusual high places and getting into physically non-intrudable space and he has also physical fatigue. The body double of the protagonist has been always the eternal theme of moving images since cinema was invented. Before the cinema, they say that people loved phantasmagoria, a magic lantern show that visualized famous people who were not able to be there, or a spirit rapping show with the dead person. After my death, someone can project the image of Kentaro Taki climbing up the building somewhere in the future. The body double lives longer than the original in this media society. Same as the first performance in Kagurazaka, even in Yokohama, my main and best audience was children. They stuck to me in the front line, and they were glad and shouted to look at where the body double climbed. Someone told me that this performance was similar to the story of Pied Piper. The audience didn’t know where they would be guided, they had no specific goal, so it looked like Pied Piper’s
Performance on the street of Clermont-Ferrand(photo: La Montagne)
During this performance, I had a lot of things to do. I had to change the image size of the projection by an adjustor, to focus the image, and to consider where to project and how to move to the next spot by inspecting the structure and the color of buildings. Because the pre-recorded video source had an upper and a downside and showed the figure’s head came to the upper side. So when I projected him on a pillar, the ceiling of the train bridge, or a temporal partition wall for example, I tried to adjust it just like he seemed to climb up/down on them, by changing the angle of the projector itself, tilted it, and sometimes I had to re-hold it to be turned image in 180 degrees smoothly. As body-double of me really existed and he moved with his will freely to go various places, I made an effort to manipulate the projector. Also pre-recorded video also sounded like shortness of breath when I acted, and during recording, I could not know where my image would be projected. (The sound was from a parametric speaker and reflected on the wall to the audience.) So, when I projected that image in my performance, I added my shout to direct that he might fail to climb up with obstacle objects around him and his projected area.
The funniest moments of this performance were when I projected and moved an image of my body double on somewhere usually nobody paid any attention, however audience looked upon and gazed at such a place because of the projection. There are so many unexpected and encountered objects and structures in our urban space, such as the concrete structures of the high-leveled train lines, the outdoor unit of air conditioners, ducts, electric pole, equipment for traffic and construction, and their signs with numbers... Once the body double of the artist was projected on these usually ignored objects and structures, people see the projected person and unseen objects at the same time. At this moment, my mind was simulating the intention of projecting otherself, and I felt that I could combine myself with walls and buildings. Thus, the author controlled his body double image as a puppet or the projected object, The urban surface guided the author, there was no clear border between them but a certain gameplay relation. This performance started as the assignment of how we could get out from the frame of video/ moving image of the electric image as our ancestors, experimental and structural film pioneers deviated which I mentioned above.
Essentially film needs a dark room and moving images after video’s invention had been basically on display inside of the room. On the other hand, many modernized tools and technologies as smartphones or digital signage don’t need darkness anymore but we still cannot escape from the frame of flat squares except by touching them, even in the era we can take them away from the room to the outside it. Thus, we are entering a time in “we shut ourselves even we are outside”.
As well as these issues on the regulation of media and field, it was another situation when we had to be blocked and in a kind of house arrest during years of pandemic, which concerned with the idea of my performance. It was why I reconsidered doing this performance again, that I felt my desire to be liberated from life by just facing the virtual world of the web, with connecting cables all the time, to jump out to the real public space after getting better of the COVID-19 situation. That action was to correspond to the questions of how to identify myself out there, how to face urban elements, and whether I could disclose myself there. This performance was for me a kind of unplugged and improvisational piece of video artwork, which was totally different from my other single-channel video pieces.
We had about 30 audiences for the first time, and more than 60 for the second time in Yokohama, this time. During my performance, you can take your position wherever you like, you can see my body double by projection or physical author who works and operates so hard in front of you. You can go to see other exhibitions on the way to it, or it is another sweet occasion that you become an On-the-Road watcher and are left from other audience groups. Since I didn’t expect so many audiences I could have, but it was great thankful that the staff of KAMC guided them not to get off the car road or not to be interrupted by the other transportation concerning safety. The audience tried to follow the performer for 30 minutes (or even gave up doing it), and they could share an appreciation of physical movement and spatial transfer, which were different from the cinema by sitting and the museum by guided walking. Also, we had some coincidental audience who just passed by me, they immediately shot mobile phones to understand what appeared suddenly and what was going on in their daily space.
When I had the premiere mobile performance in Kagurazaka, I was 42 years old, and this time I was 50 years old. It was much harder physically to act for half an hour shooting alone upon greenback than the same time span to demonstrate it on the street in front of the audience. However, I’d like to have another chance to do it while my physical condition is being OK.
Kentaro TAKI’s Corresponding Cityscape was exhibited as a project in Koganecho Bazaar 2024, happening at the same time as Yokohama Triennale 2024 from March to June 2024. The piece projected human images on several windows of buildings, appealing by waving their hands to the audience and pedestrians on the street with several windows in a town.
The previous work, Redevelopment Pool (2023) was created on a whim after a house in front of the artist's studio in Koganecho was suddenly demolished at the end of 2023, and the studio window, which the house had blocked until then, became visible for the first time from the road next to the train tracks.
Redevelopment Pool was with putting tracing paper on the inside of the east-facing window on the second floor of Hatsune Terrace, where the studio is located, and using a projector from inside the room, repeatedly projecting images of a woman swimming in the pool. The projection ran to pedestrians walking along the road under the elevated Keikyu Line from 4:30 pm to 9:30 pm.
The footage used for this piece was filmed at the end of the summer of 2020, with contemporary dancer Sayuri Iimori swimming in an outdoor pool, however, it had been left unused as the exhibition was canceled due to the pandemic. The author remembered that footage, then he edited it for three minutes and projected it on the window, filling the room with water and making it appear like Iimori was swimming like a fish in an aquarium. I began projecting the video guerilla-style in mid-November, when the house was demolished, and the lot was cleared. It caught the eye of Sai Jun, a staff member of the Koganecho Area Management Center. It was included in the Koganecho special exhibition "Homo-Tentrium" in December, where it was screened until the end of January 2024.
In 2024, Koganecho Area Management Center called for proposals for the Koganecho Bazaar, which will be held in conjunction with the Yokohama Triennale 2024, and I submitted two proposals in response. One was version 2 of Drowning Skull, a video object as the screen made of recycled home appliances and IT equipment, which was held under the elevated Keikyu Line in 2023, and the other plan was Corresponding Cityscape, which can be viewed at night projection with windows in the area, and the latter was selected.
drawing for installation
The plan was to use the windows of shops, private homes, and businesses between Hinodecho station and Koganecho station so that the work could be viewed from the elevated train tracks. Negotiations began in February, and we looked for landowners who would provide us with windows. I walked around the area, recorded the best locations, and recorded the scenery seen from inside the Keikyu Line train, and determined about 15 candidate locations. Of these, with the cooperation of Koganecho Area Management Center and Step 3, finally, 11 locations were selected for projection and installation. The selection criteria were locations that could be seen from the street and inside the building and rooms that were not in use at night. This was because, as in the previous work, if there was an obstruction in front of the window, the work could not be seen, and we wanted the work to be seen not by art visitors but by chance visitors who happened to pass by.
In fact, we ended up installing one location in the living room of a private home, but because the fluorescent lights in the room would drown out the light from the projector, we had them install curtains from the ceiling only in the area where the projection was not possible. This meant that the work and the private life could coexist in one room. The other 11 locations were windows on the 4th and 5th floor of an electronics company's warehouse, three windows on the 2nd floor of a kindergarten, the 5th floor of a corporate building that has been turned into the Area Management Center's artist goods shop, a window in a workshop managed by the same center, a 2nd-floor window of STEP 3, the glass surfaces of a gallery exhibition room, the 3rd-floor balcony area of an apartment building, a 5th-floor window of the corporate building, a 5th-floor classroom window of a nearby high school, and a private home window on the 8th floor of an apartment building.
Depending on the location, the image was projected or shown on a monitor, but in a location where it was difficult to project the image onto the windows (such as the Takahashi Building), a silhouette of a person's upper body was made out of wooden boards, with hands physically moved using a motor mechanism, and lighting from behind made the shadow continue to wave its hands.
Life-size figures are projected onto each window, appearing one at a time, or in some cases multiple times, waving to the viewer outside, making gestures as if calling out, and in some cases dancing or throwing balls, before disappearing from the screen. Actors were recruited from the neighborhood to play these characters, and 16 people took part in the three-day shoot. Combined with footage of Iimori Sayuri that had already been shot, a total of 17 people performed in front of the camera: artists based in Koganecho, artists in residence (from Ukraine, Philippines, Taiwan, Turkey, and Korea), Koganecho Bazaar 2024 director Shingo Yamano, and residents.
While filming these in late February, I negotiated with the landowner about installing the video work on the windows and then edited the work after returning home. Because the windows were all different in position and width, I had to edit the footage into 11 different types of footage, such as full-body shots, bust shots, and waist shots, all of which were directed and edited differently. The kindergarten had five windows that could be used for full-size projection, but since I couldn't pull the projector back far enough from the windows, I projected the image onto three windows of the center. Because it was a Christian kindergarten, the composition of the three images coincidentally turned out to resemble an altarpiece.
shooting set
installation system
This time, the projections were installed in private homes, educational institutions, and company spaces, rather than in galleries or exhibition spaces, so the staff could not turn the power on and off, and all the power was controlled by a timer.
Since the images would be difficult to see due to the sunlight if the sun did not go down, the time was set to 5:30pm when the exhibition started, but even an hour later, they were still faint and difficult to see just before the end. Even so, on cloudy days, they were visible from 5:30pm, which confirmed once again that outdoor exhibitions are dependent on the weather. When the sunset started, the city's buildings and structures were still visible, and the figures that appeared were combined with the projections on the windows, which I liked. When it was completely dark, it would look like just a screen or display, but as the sun went down, the city and the images merged and looked great.
During the exhibition period of Corresponding Cityscape, people involved told me that during such twilight hours, the audience would wave back at the footage of the protagonists waving. So, I myself tried to watch the audience from behind several times and was surprised to see some people really waving back to the window projections.
This composition was referred to Jochen Goertz's To Call until Exhaustion (Rufen bis zur Erschöpfung 1972), a video piece from the early period. In this work, Goertz himself stands on a hill and calls out to the camera (the viewer) for 20 minutes, saying "Hello." In the end, he shouts out to us in such agony that he almost loses his voice, but unfortunately, 30 years have passed since I saw this work in the early 2000s, and I was no longer able to respond to Goertz on the monitor. It was not able anyone to respond to recorded footage even at the time of production.
In Corresponding Cityscape, I traced the part of the performance record of Goertz’s work that attempts one-way communication again by questioning it. Although they do not speak, the figures in the windows all call out and wave to the audience outside the windows. Unlike advertisements on displays or screens, because my piece was projected on the windows, the audience or passersby on the street reacted differently from when they watched signboards. However, in this piece, where it seemed that protagonists were actually “being there” inside the building, some of the viewers on the street reflexively waved back.
Even though the concept may be different, I think that the appeal from inside the screen that Goertz was unable to achieve has been overcome after about 50 years. The production of such pseudo-presence of figures, like telepresence, is also a common theme in my recent works. The matter of "inside/outside" of the screen, which early video artists such as Goertz questioned, has now developed into a problem of the gap between illusion and physical space, and the fake and the real.
The audience could get a map above to follow projections.
This installation piece was inspired by a scene I saw on the news of residents of an apartment block in Northern Italy, where the city was under lockdown due to the COVID-19 pandemic, going out onto their balconies to talk to each other and playing music while maintaining a distance. The pandemic has temporarily deprived us of direct communication. Even in this situation, the way people somehow encouraged and enjoyed themselves with their neighbors made me feel the fundamental sociality of humans, rather than being isolated and avoiding others and made me feel the potential of cities. At the time of production, I was reading British social anthropologist Tim Ingold's “Correspondences” (2020) and I chose the title for my piece as Corresponding Cityscape. This is not simply about communication between people, but is it the urban system that is making us respond in a real way? In the book, Ingold also notices the issue that we are only interacting and not responding in a real way.
During the three-month exhibition period of Corresponding Cityscape, I had a performance piece, Mobile Projection, twice as a response to the city. Combined with the window projections, I believe this was an opportunity to open up the issues mentioned above to the public and encourage them to think about them.
Due to the long period of the exhibition, I had stopped paying attention to where he had installed projections at the end of the exhibition, and there were several times when I was walking down an alleyway on my way home after finishing work in the studio in the evening, and I happened to look up and unexpectedly faced the protagonists waving at me in the window of a building, which surprised me so much. (or maybe I'm just forgetful...) I think that this contrivance of accidentally encountering art in the city will continue to be effective for a while.
そのような夕暮れ時の時間に、《応答する都市》では展示期間中、関係者から手を振っている映像に対して、観客が手を振り返していたと話してくれたことがあった。それで作者も何度か物陰から観客を眺めていたところ、本当に歯を振り返す人がいて驚いた。 この構成は伝統的なヴィデオ作品の一つである、ドイツのアーティスト、ヨッヘン・ゲルツ《限界まで叫ぶ Rufen bis zur Erschöpfung 》 (1972)を参考にしている。同作では、作者ゲルツが丘の上にたち、カメラ(視聴者)に向かって、20分間、「ハーロー」と呼び掛けてくる。最終的には声は枯れるほどにどに苦しそうにこちらに叫んで呼びかけるが、残念ながら私がこの作品を見た2000年代初頭にすでに、30年の歳月が経っており、画面に対して返答することはできなかった。制作当時すら録画された映像に返答することはできない。 この作品のパフォーマンスの記録が一方通行のコミュニケーションを図ろうとする部分を、《応答する都市》では再度問う形でトレースしてみた。声こそ出ないが、窓の中の人物たちは皆、窓の外の聴衆に対して、呼びかけ、手を振る様子をずっと見せていく。広告を流すディスプレイやスクリーンと違って、窓に映されていることから、観客や路上の通行人は看板をみるように反応しなかった。しかし疑似的にその建物室内に本当に人が存在するように見えた本作では、路上の鑑賞者の一部が反射的に手を振り返したと思われる。コンセプトは異なるのだろうが、ゲルツが果たせなかった画面内部からのアピールは、およそ50年後に乗り越えられたのではないか。テレプレゼンスのようなこうした人物の疑似的な存在感の演出はこのところの拙作の共通したテーマでもある。 ゲルツのように初期のヴィデオ作家たちが疑問視した画面の「内/外」の問題は、いまや虚像と実空間や、フェイクとリアルのはざまの問題に発展してきている。
Artist’s Unknown-Self-Night Watch Kentaro TAKI text for exhibition E-Night Watch, 2023, Koganecho Bazzarr 2023
The title of E-Night Watch came from Night Watch(1642) by a Dutch painter, Rembrandt, a painting of a matchlock vigilante. His piece symbolizes the Dutch golden age after its independence and was offered by the captain of Matchlock Vigilante for their portrait. This piece tells us about the daytime scene, however was considered that was a night scene about the time when the group was sent out, because of its faded color and title. Actually, vigilantes had fewer chances to dispatch when the painting was finished. We can find it as the ambiguity of today’s society, that the aggression to beat the bad ones, but fades away as a relic when the time of peace comes. The question is what is our safety myth, and how much we cost for it. So taking over for neighborhood watch in mid-century, I exhibit this time to focus on the safety and the aggression of the security camera, a technology for self-defending, which is installed in every single house and company building.
In the U.K., it is estimated that over 6,000,000 security cameras are working, and 2,000,000 of them were settled after the London Olympics in 2012(i). Following London, the number of camera settings in other cities are increasing, and more than 5,000,000 of them are working in Japan(ii). Looking at the effect of the measures, the number of crimes was downed to half after the security camera setting. Every time we have international and festival-like events such as summits, Olympics, and world expos, to keep cities symbolically safe, the negative elements, crimes, poverty, and other unclean images are excluded as the town’s noises. So what is, and for whom, the clean image, safety, and security of the city? On the other hand, when security power goes by too much, it is suspicious that the security regarding civilians must be protected as potential crimes. In 2021, JR East train company decided that they would detect a person’s criminal record by using a security camera(iii). However, they stopped this plan finally because of the viewpoint of human rights and social agreement. The original plan was to collate a database of the police station and criminal records of people passing by, and to check their activities and who would be potential criminals. This sounds like such a Sci-Fi story is now realized by existing technology, which means we have to consider the moral inclination of the technology more than before.
And now, these stories remind me of a noise canceler type headphone as well known in the audio technology field. This headphone seals up listeners’ ears by cups shutting out sounds from outside, and it has a microphone inside, which checks sound waves of noises and immediately generates antiphase sound waves to mute noises from outside. The sound is shaking airwaves, so if we could add opposite shaking air movements to kill them. Thus technologically it’s possible to make artificial silence inside of headphone, and a listener just can listen to sounds from a music player.
This realization of artificial silence may be connected to the execution of social exclusivity by using any technology today. Making mosquito tones to let young people move out from the front of convenience stores, the eviction of homeless people from parks and public places by settling objects called “Exclusion Art”, these examples adapt the negative affordance which people instinctively get out from certain places without any human executioner. This tendency is now enforced with IT technology, and happening here and there, which can be named Noise Canceler Culture. This culture can kill noise not only in advance but also includes cancellation culture kills sooner something becomes an inconvenient issue by the mass media and the populace.
Behind crimes, terrorism, and any other critical behavior in our lives, several social unstable such as poverty, and discrimination can be a trigger for them. So it is not the essential solution to cancel superficial noises without exploring radical factors. Polics must be for investigation and solve them, however, we’ve never seen it to confront them, unfortunately. If technology affordance could realize a city without crime, it must mean less peace like a paper doll without any substance. Giving cases as cream without fat, caffeine-less coffee, and nonalcohol beer, Slavoj Žižek pointed out that these exist to get rid of the negative essence which is denied by accident, and indicate that things in virtual reality become real existence in the real world. This simulacra without any reference issue seems the mega-superficial world illustrated in the film Matrix(1999). For the city without crime, also for the disease-free society, the non-casualty-war, and the painless life, without any obstacles and crises, “is it worth living in and surviving?”, that is the question of Žižek.
E-Night Watch, exhibition, Koganecho Bazzarr 2023
Standing on the diversity of the world, it is not simply cut out negative substance but is needed to return to the primitive viewpoint to include noise. I think it is worth it to plan how to keep our city's security not to definite noise outsiders and potential crimes rather than to get rid of them easily, if we try to do unstable praxis to bet. Our basic instinct was designed for surviving with denial of the other (erasing noises) from viewpoints of biology and psychology for sure. So when we think about it We have to face the aggression and the bellicosity inside of us, for our self secures. This controversy, without any exclusion of the others, that is to say recognizing the others in our insides for our survival, has been spoken about in the field of philosophy for a long long time.
By the way, it doesn’t have any connection to such a huge historical issue, I, Taki in 2000, noticed the property of video which is an eye machine, and I created a self-visual-identification structure for the audience to look at themselves when they see my artwork. By adopting analog video technology, I express to show ”the others may see me like this,” or “to see activity how to see itself” by using temporary media which is different from a mirror. After that, I moved to imagine a figure with camera-head, because the camera technologically simulates the function of the eyes of the human body. With fantasizing such an imagination, it was about the time when I was wandering a city a night, I found that many video systems with camera-monitor are already installed everywhere in the city. Security cameras, when I saw them, I had an urge to accomplish an unfinished figure only has a head and an eye and is hanging down from the building. Then I started my project to give bodies for the machine only to see in the city.
It’s actually places began in the city, S, fall 2021. It was a part of interventional art projects in the urban space, I counted how many security cameras were set and where to be in the city named S, and I reacted for them to one-way watch pedestrians and inhabitants for 24 hours a day. It was to keep a balance of seeing, so I intently act as while the security camera watches us, we may watch them. That’s why their boy plate was made with a reflecting material to show how security cameras see us. In the phase of researching this project, I temporarily put a mirror plate under a security camera and took photos and videos of it. Just the beginning of it, the S-city policeman stopped me to ask what was going on. On suss of Minor Offensive Act on my action, but after two-time hearings and confiscation of physical evidence as mirror plates, I was not sued for any crime and the policemen returned the plates finally. In the visual evidence from the security cameras, still images were extracted, which showed Taki moved from one camera to the next. It was unexpected art documentation by cops, the law enforcers.
To stand on a viewpoint of the controlling society by double phases as information way and physical way, surveillance methods that the authority watches the nations, becomes now old school, the much worse and serious situation we have, may be mutual surveillance among civilizations and users through utilizing convenient services caused by people’s unconscious self-regulation and limitation to act in public space while the surveillance camera unconsciously may watch them(iv). This situation is almost caricature-like, which is no more about panopticon, a group of people may be watched, but synopticon. A person can be watched by many and unspecified eyes by technology.
Thus, for consideration of keeping security for one’s community, our discussion doesn’t finish talking about just whether to set security cameras or to save priority of our privacies. Adopting IT services, a cheap cost technological trick for the solution to get rid of superficial noise, has an apprehensive to conceal deeping and consideration for the problem. In my show here, I made the situation that the audience sees art but them to be seen by art. I know this is a kind of paranoid way for you. Also in my collage series, every character has a camera eye on their head, which are black hollow hole that may not see anything and may be not watched by anyone.
After all, when you get out from this show to the outside of town, if you could find any unfinished object only with its head and eye in Koganecho, and feel the impulse to finish it, it might be that your awareness was evoked. It is my secret wish which is nobody knows an artist's story.