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KEIJU KITA | 北 桂樹 TOP BLOG WORK BOOK EXHIBITION CV CONTACT Strategy Conference #21 Art Writing / Olafur Eliasson《Symbiotic Seeing》＠Kunsthaus Zürich 2020年04月14日 I had been doing some drafts of Olafur Eliasson's "Symbiotic Seeing" at Kunsthaus Zürich in the end of February, but I rewrote it this weekend after a discussion on Olafur Eliasson at a huge Zoom study group with my professor and classmates. It's hard to go out and meet people, but it's still great to have a discussion about art. In this February, Europe I was planned to go to MAST in Bologna along with Basel, so the flight into Europe was from Japan via Dubai to Zurich. This made me a very lucky choice to be able to see "Symbiotic Seeing". There was an exhibition at Kunsthaus Zürich with works in a different framework than the one I saw at TATE Modren in last December (Guckenheim Bilbao was a TATE tour). Naturally, it was different from the one that was scheduled to be shown at the Museum of Contemporary Art Tokyo in Japan from March, and it was very moving. The gallery owner had been taking care of me in Basel, saw me off so that I could stay until the last minute to plan my flight. Zurich was as glamorous and beautiful as a different city when we arrived on night of a few days ago and waited for the bus to Bologna. Walk up from the station at Kunsthaus Zürich. [Symbiotic Seeing] (2020). I don't know the exact size of the room, but the installation used the entire room, which is about 10 to 15m x 25m to 40m. A thin net, like the fabric of a stocking, is stretched between the ceiling of the darkened room and the ground we stand on. The cyan and yellow laser beams are directed diagonally from the two top corners on the other side of the net, near the front exit. Beyond the net, gas like cloud stagnates and continues to change its shape in response to human movement and the subtle movement of the air in the room. Gas is sprayed by a fog machine at regular intervals. The jetted gas hits the net, and the surface in contact with the net reflects the laser light and emits light at the interface with the net. Also, the Tyndall effect occurs when a laser beam irradiated on a gas causes clouds to disperse the sun's light and show the path of light. My experience with surfing initially led me to fall into a sense where I was looking up at the sky from the ocean. After that I was conscious of the overwhelming beauty of the earth's atmosphere and thought that it might look like this if he looked up at it from the side of the universe as an upside-down world. Olafur Eliasson transforms natural phenomena into object experiences and presents them to the viewer as works of art. In particular, the large installations function as devices that allow the viewer to touch a part of the world in an experiential way. He said in an interview that the audience's appreciation response to the "weather project" at TATE in 2003 was more than the artist himself had expected. He has also repeatedly said that his work would not be possible without an audience. It is true that "beauty" creates a rainbow in a room of an art museum, but the rainbow is created only when there is a viewer. If there is no one to see it, it's just a lighted fog falling. As I mentioned at a recent online Zoom study session, I think Olafur Eliasson's work has a high Michael Fried "theatricality" that I felt with Gregor Schneider before. His works shows the audience that this is your world and immerses them in the work. This space is a device that encourages us to "see ourselves as we feel". It is very meditative and very ritualistic in this device of knowing the world experientially through participation. Thinking about Olafur Eliasson reminded me of a quote from a book I read, as did my professor. - It is alchemic in that it follows a participatory consciousness or empathy theory. ...Art, dance, psychodrama, meditation, and physical therapy all aim at the coalescence of subject and object, and are attempts to regain the poetic imagination and the physical union with the environment. - Morris Berman, "Descartes to Bateson, The Re-magicization of the World," Bungeishunju, p. 151 We, who have gradually widened the distance from the living world while developing cultural communication, have entered the modern era and have developed wealth by subordinating the natural world as an object to us as a subject. It seems that the excesses of modern Western capitalism are approaching their limits and have created distortions in various places. I think that's why there's a need to re-magic the world. I think that in the past, people would have looked for answers to these questions in festivals, rituals, churches, temples and shrines. It could be a non-verbal or experiential perception through participation. Olafur Eliasson is a modern-day re-magic wizard. It's the power of contemporary art to work magic in our brains. What this work got me thinking is, "How do we know the world? In other words, I think it was about knowing "how to touch the world". The magic happens in the brain. 202002_Kunsthaus_OlafurELIASSON.mp4 from keiju kita on Vimeo. PREV NEXT PAGE TOP KEIJU KITA | 北 桂樹 OFFICIAL SITE since 2020-02-05 / Copyright Keiju Kita. All Rights Reserved.

 

新川さん、このドキュメントを共有いただきました。北桂樹さんによるオラファー・エリアソン《Symbiotic Seeing》（Kunsthaus Zürich, 2020）の批評テキストですね。
論文との関連でご覧になっているのでしょうか。あるいは別の目的でしょうか。
内容的には、「観客なしには作品が成立しない」という観察、マイケル・フリードの「演劇性（theatricality）」への言及、モリス・バーマンの引用（主体と客体の融合）など、いくつか興味深い接点が見えます。特に双構図の「見えてしまう」という受動的知覚との絡みで論じる可能性もありますが、まずご意図をお聞かせください。青臭い21:55Endorsed a concise observation about idealismEndorsed a concise observation about idealism同感です。
体験の感動をそのまま言語化しているだけで、批評として対象を切り取る視点が定まっていない。フリードの「演劇性」もバーマンの引用も、どちらも借り物の権威として置かれているだけで、エリアソンの作品構造への固有の分析になっていない。
「魔法が脳の中で起きる」で締めるのは、思考の放棄に近いですね。やっぱり21:56やはり同意を確認し簡潔に応答することにした。やはり同意を確認し簡潔に応答することにした。批評の仕事は「感動した」を説明することではなく、なぜその作品がそのように機能するかを解剖することですから。
感動を出発点にするのは構わない。でもそこで止まると告白文になってしまう。