COOL was born in hope of becoming a bridge to let the art lovers all over the world inspire each other, link together as one, and create a new future in arts. The main contents consist of interviews of both New York-based and international artists and creators, special feature articles, art reports from around the world, reviews and column series. We contribute to the cultural exchange through arts and to the development of the art industry so that people in the world can enjoy arts casually and New York and major cities in the world can connect through the media COOL.
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DIESEL DENIM GALLERY ART EXHIBITION "Glazed Paradise"
by Mark Jenkins & Miho Kinomura
2008.5.24 (SAT)-2008.8.15(FRI) @ DIESEL DENIM GALLERY AOYAMA
Concept:
The installation is an exercise that invites the audience to actively investigate and in some ways participate in a frozen
hyperreality.
Artist : Mark Jenkins & Miho Kinomura
Curator : STUDIO D.O.G.INC
Mark Jenkins Bio
Mark Jenkins is an American installation artist who uses packing tape to create sculptures that he installs in urban and natural environments as well as indoor environments including cafeterias, high school lockers, toilets, and art galleries. His work has shown in major international cities including NYC, LA, London, Sao Paulo and Bethlehem. This is his first visit to Japan. www.xmarkjenkisx.com
Miho Kinomura Bio
Miho Kinomura is a Creative Director and Film Director, who currently divides her time between creative studio in Los Angeles and Tokyo.
She began her career working as a fashion designer in Japan, before moving to New York where she set up her production company STUDIO D.O.G INC Alongside producing and directing numerous fashion related advertisements for clients including Shiseido, Parco and Swarovski, Beams
She will direct the making film of Mark Jenkins as a collaboration with Mark for this gallery.
www.studiodoginc.com
Curator Bio
Established at New York in 1990, as a production company which is a profession of fashion industry.
Miho Kinomura is the representative of the STUDIO D.O.G. INC (www.studiodoginc.com), located in Los Angeles, which collaborates with outstanding creators across the board. In her activities, she has expanded her portfolio by using global networking in fashion brand advertising, commercial film, music video, designing catalogs and website.
Miho used Vincent Gallo for the advertisement of Parco, Japanese department store. This was the first time for Vincent who came out in Japanese commercial film and Miho created the fad of Vincent Gallo in Japan.
In a Parco gallery, it was in the news that Miho created the collaboration among a worldwide photographer, Ellen Von Unwerth's exhibition and commercial film. In the BEAMS 30th anniversary advertisement “Tokyo Style Clash Hot or Not ”, (http://www.showstudio.com/projects/tokyostyleclash/) Miho, representative of STUDIO D.O.G.INC,and Kensui Arao,
a creative partner, collaborated with creative group “SHOW STUDIO” (www.showstudio.com) led by UK charismatic photographer, Nick Knight, and they were awarded the bronze medal in the “Clio Award” Innovative Media Apparel Fashion category. www.studiodoginc.com
About DIESEL DENIM GALLERY
Only existing in Tokyo and New York, DIESEL DENIM GALLERY is a store where denims are displayed as art works, providing creative shopping experiences. It also supports young artists actively, by holding art exhibitions in the store.
In this unique creative space, you can also enjoy DIESEL DENIM GALLERY Collection, which are the most prestigious items of Diesel. Since 2001, these rare items are released only in limited numbers every season, and they are placed as “wearable art”.
Moreover, at DIESEL DENIM GALLERY AOYAMA, there will be the store installations and art exhibitions featuring different artists each time on the 1st and 2nd floor. On the 1st floor, the interior will have a complete new look twice a year by an art installation. On the 2nd floor, which is known as gallery floor, there will be art exhibitions four times a year, and will be selling limited T-shirts that’s designed by the artist and his/her actual artwork.
Enjoy its unique innovation and originality that are evident around this new Diesel’s art space.
"Glazed Paradise"
Artist: Mark Jenkins Miho Kinomura
Date: 2008.5.24 (SAT)-2008.8.15(FRI)
Venue: DIESEL DENIM GALLERY AOYAMA 2F
Address: 6-3-3, Minami Aoyama, Minato-Ku, Tokyo
Tel: 81-3-6418-5323
Hours: 1F STORE 11:00〜20:00
2F GALLERY 13:00〜20:00
Holidays: Non-regular holiday
Host: DIESEL JAPAN
WEB：www.diesel.co.jp/denimgallery
Curator: STUDIO D.O.G.INC
PR
■■■COOL Vol.15 Spring Issue Contents■■■
☆Special feature Interview with Chris Jordan
☆Special report MAKING A HOME @ Japan Society
☆Dia: Beacon Part2
☆A Sight of Cross-Cultural City vol.01
"European Design Culture 2007" - from Tokyo
☆Tokyo bar
☆INDIE NEXT GENERATION 2
☆Attention！What's your "ECO" ? - The nomadic "decob"
☆The Worldwide Art Views
Asian Contemporary Art Fair (NY)
New Design High School "Rooftop Legend" (NY)
Exposition d’illustration HAZUKI SEKINE (Switzerland)
Rules to follow and pills to swallow (Switzerland)
「 I Have A Dream - 我有一个梦想」Nam Hyojun (Shanghai)
ECO@ASIANIZM (Japan)
☆Look! Look! Art Books
☆Galleries of The World – Clockwork gallery (Berlin)
☆Chinese Art Now Vol. 4 「Beijing 798 Art District」
☆The Diary of a Nomadic Artist Vol. 1 「Berlin: City of Artists」
☆Film Freaks Scene 9 「Movie Magazine Scene Around The World」
☆Toronto Art Report #6 「Art Capital City Toronto」
☆Random Music Access Track 7 「2008 Music Projections」
☆NY Style #4 「Current Trends – The American Traditional」
☆Special report MAKING A HOME @ Japan Society
☆Dia: Beacon Part2
☆A Sight of Cross-Cultural City vol.01
"European Design Culture 2007" - from Tokyo
☆Tokyo bar
☆INDIE NEXT GENERATION 2
☆Attention！What's your "ECO" ? - The nomadic "decob"
☆The Worldwide Art Views
Asian Contemporary Art Fair (NY)
New Design High School "Rooftop Legend" (NY)
Exposition d’illustration HAZUKI SEKINE (Switzerland)
Rules to follow and pills to swallow (Switzerland)
「 I Have A Dream - 我有一个梦想」Nam Hyojun (Shanghai)
ECO@ASIANIZM (Japan)
☆Look! Look! Art Books
☆Galleries of The World – Clockwork gallery (Berlin)
☆Chinese Art Now Vol. 4 「Beijing 798 Art District」
☆The Diary of a Nomadic Artist Vol. 1 「Berlin: City of Artists」
☆Film Freaks Scene 9 「Movie Magazine Scene Around The World」
☆Toronto Art Report #6 「Art Capital City Toronto」
☆Random Music Access Track 7 「2008 Music Projections」
☆NY Style #4 「Current Trends – The American Traditional」
Yuki Matsuzaki is an actor, who performed as "Nozaki", a junior technician, in the movie "Letters from Iwo Jima." He came to the United States to show that he is a strong actor who can perform internationally. He is working toward his dream yet he struggles with his natural positive character.
--- The opening of roller coaster American life ---
Matsuzaki showed his serious acting on a big screen. Actually he started to learn acting at 7 years old. He belonged to the acting group for children "LABO", that his mother ran for 11 years, and performed in a comedy program for children. He came to the United States to learn acting in a famous school. Although he made for Virginia, but schools rejected him because of lacking the qualification for applying to them. Even though he moved in New York next step. Something happened and his entire fortune was stolen and he was out of money. After the incident he performed on the streets in and around Times Square station and got little money for his life for a while.
“I couldn't speak English fluently because I was new to the United States. So I was dancing and singing in Japanese.”
His life in New York didn't assure him a place to sleep. He visited Pennsylvania to join the screen test of a movie, Black Ninja. Matsuzaki finely got a semi-central player by winning out of 600 people.
“I never feel nervous on any screen test and it might be thanks to the experience of a street performance dancer.”
After that Matsuzaki move to his basement in Hollywood, the capital of movies, and willingly continued to act as an actor. He performed in Community Theater and joined independent movies. His debut in a mainstream movie, Last Samurai in which Tom Cruise performed the leading role, as one of constituted authorities in 2003.
--- Performing as Nozaki junior technician in “Letters from Iwo Jima” ---
The casting of the movie Letters from Iwo Jima, directed by Clint Eastwood, was settled on a certain day suddenly.
“A part, Nozaki junior technician whom I would perform came into the director, Clint Eastwood's favor and he cast me this part just 2 weeks before filming the movie. And they just gave me the acting script 2 days before starting filming.”
Matsuzaki had to join this movie without the details of the movie and devoted himself into the making of his part. His enthusiasm in making his part was remarkable. He was so stoic that he changed his diet to perfect his character.
“To be Nozaki, I created some pictures. One is a clothing store where Nozaki worked and another picture is Nozaki's family's picture. I listed up details of his life, how he spent his life after he was born. Moreover, I wanted to experience what was to live in foodless society. So I tried to spend 5 weeks almost without eating foods. Curiously I never felt hungry after passing this trial for one week and then I was fine without eating anything after passing 2 weeks. Although I didn't eat anything, I was so fine that nobody noticed I never ate anything. Even though I actually got sometime qualm, I totally sympathized mind-set of peoples in wartime.”
He imagined an actual cave and listened to a CD that included sounds of air –raids. He sat on the floor of his bathroom, while he stayed in the hotel, to act the scene of a cave in the movie.
“I could forget the memories of imagining of cave after I visualized and experienced the mood of it. My style is not acting by remembering the actions but acting by following natural habits through experiences in past time.”
Matsuzaki's passion for acting was inscribed in the director, Clint Eastwood's memories. There is a story that Clint Eastwood suggested to continuously add Nozaki junior technician scenes. Matsuzki returns to the memories of a director, Clint Eastwood and the mood of filming this movie at the time when they filmed it.
“Actually the director, Eastwood almost didn't rehearse. His style was very unique and he completed any scene just in one take. ”
The filming seemed to follow his policy "Acting is most brilliant for the first take. I was never directed any direction by the director. We started to perform at once after a short explaining of each scene. The more pressures we felt, the more the director believed in our abilities at acting. But it was very comfortable."
Matsuzaki said, “I want to compete with native American actors on the same stage in the future.”
“If viewers who watched my acting in English couldn't figure out this actor is Japanese, it means I am doing my best (I win to myself). ”
--------------------
Yuki Matsuzaki
Interview by Yuka Kawaguchi, Photo by Yoshihiro Makino
--- The opening of roller coaster American life ---
Matsuzaki showed his serious acting on a big screen. Actually he started to learn acting at 7 years old. He belonged to the acting group for children "LABO", that his mother ran for 11 years, and performed in a comedy program for children. He came to the United States to learn acting in a famous school. Although he made for Virginia, but schools rejected him because of lacking the qualification for applying to them. Even though he moved in New York next step. Something happened and his entire fortune was stolen and he was out of money. After the incident he performed on the streets in and around Times Square station and got little money for his life for a while.
“I couldn't speak English fluently because I was new to the United States. So I was dancing and singing in Japanese.”
His life in New York didn't assure him a place to sleep. He visited Pennsylvania to join the screen test of a movie, Black Ninja. Matsuzaki finely got a semi-central player by winning out of 600 people.
“I never feel nervous on any screen test and it might be thanks to the experience of a street performance dancer.”
After that Matsuzaki move to his basement in Hollywood, the capital of movies, and willingly continued to act as an actor. He performed in Community Theater and joined independent movies. His debut in a mainstream movie, Last Samurai in which Tom Cruise performed the leading role, as one of constituted authorities in 2003.
--- Performing as Nozaki junior technician in “Letters from Iwo Jima” ---
The casting of the movie Letters from Iwo Jima, directed by Clint Eastwood, was settled on a certain day suddenly.
“A part, Nozaki junior technician whom I would perform came into the director, Clint Eastwood's favor and he cast me this part just 2 weeks before filming the movie. And they just gave me the acting script 2 days before starting filming.”
Matsuzaki had to join this movie without the details of the movie and devoted himself into the making of his part. His enthusiasm in making his part was remarkable. He was so stoic that he changed his diet to perfect his character.
“To be Nozaki, I created some pictures. One is a clothing store where Nozaki worked and another picture is Nozaki's family's picture. I listed up details of his life, how he spent his life after he was born. Moreover, I wanted to experience what was to live in foodless society. So I tried to spend 5 weeks almost without eating foods. Curiously I never felt hungry after passing this trial for one week and then I was fine without eating anything after passing 2 weeks. Although I didn't eat anything, I was so fine that nobody noticed I never ate anything. Even though I actually got sometime qualm, I totally sympathized mind-set of peoples in wartime.”
He imagined an actual cave and listened to a CD that included sounds of air –raids. He sat on the floor of his bathroom, while he stayed in the hotel, to act the scene of a cave in the movie.
“I could forget the memories of imagining of cave after I visualized and experienced the mood of it. My style is not acting by remembering the actions but acting by following natural habits through experiences in past time.”
Matsuzaki's passion for acting was inscribed in the director, Clint Eastwood's memories. There is a story that Clint Eastwood suggested to continuously add Nozaki junior technician scenes. Matsuzki returns to the memories of a director, Clint Eastwood and the mood of filming this movie at the time when they filmed it.
“Actually the director, Eastwood almost didn't rehearse. His style was very unique and he completed any scene just in one take. ”
The filming seemed to follow his policy "Acting is most brilliant for the first take. I was never directed any direction by the director. We started to perform at once after a short explaining of each scene. The more pressures we felt, the more the director believed in our abilities at acting. But it was very comfortable."
Matsuzaki said, “I want to compete with native American actors on the same stage in the future.”
“If viewers who watched my acting in English couldn't figure out this actor is Japanese, it means I am doing my best (I win to myself). ”
--------------------
Yuki Matsuzaki
Interview by Yuka Kawaguchi, Photo by Yoshihiro Makino
As one of the pioneers in the video arts, Bill Viola has been highly recognized internationally. Since 1970, he has been making video arts and had numerous successful exhibitions in Europe as well as in the United States. He has worked closely with his wife and partner Kira Perov since the late 70s. The themes of most of his works, which draw people into their worlds, are the principles of human beings, “birth” and “death.” He admits that he received much influence by Japanese tradition and culture when he spent several years in Japan in the 80’s. From October 14, for the first time in Asia, a large-scale retrospective exhibition has been held at the MORI ART MUSEUM in Roppongi, Tokyo. COOL got a chance to interview Viola at the studio in Long Beach, California, where now he is based. Viola speaks about his life before video arts and what his artistic activities should be.
COOL: What was your childhood like?
BILL VIOLA: I grew up in Queens, New York. There were so many kids of various ethnic backgrounds in that concentrated area, and we always had so many people to be with and play with. It was an incredible American mix, so diverse and wonderful. I didn't have any real experience with nature while growing up, though. My biggest memory which influenced my work was going to the beach in the summertime because I had never seen that kind of big sky and empty space in New York. That made a big impression on me.
C: How did you get involved in art?
B: My mom encouraged me to draw when I was 3, so I started to draw pictures of houses, boats, and people from my mind. My parents and the rest of the family, aunts and uncles and so on, were always very interested in whatever I was drawing. Then, on the very first day of kindergarten, I made a finger painting of a tornado. When the teacher saw my picture, she held it up in front of the whole class to see. Of course I felt very embarrassed because I was shy (laughs). But from that point on, that began to happen quite frequently through all grades whenever I would draw pictures.
C: Who are the biggest influences for you?
B: That's a tough question… Probably, Nam June Paik gave me the most encouragement, confidence and opportunity. He recommended me for the different grants and encouraged me to have exhibitions. I would say I was more influenced by his total life as an artist, rather than any specific works. The other person who was very influential to me was David Tudor, one of the great avant-garde musicians of the 20th century. I first met him in 1973 at a music workshop because at the time I was studying electronic music as well as visual art. I worked with him for 8 years doing performances. Though Tudor was very quiet and didn't talk so much, he was a very, very special man with strong inner being. And that was how he was teaching us, through presence. He taught me a lot about sound and space, and that greatly influenced my video making.
C: In what moment do you feel pleasure as an artist?
B: When I go to sleep (laughs)! I mean, for me, making art is not pleasant. There are moments when it is, but most of time it involves struggling with something unknown. When I go to bed every night in the middle of a project, I lie awake feeling very tense, thinking about what I did wrong or what I should do better. So, unlike making tables where you know when you are done, my artwork is never finished in a way. It's a lot of hard work and I never really feel satisfied. We are all, by nature, incomplete, and the artist knows a special part of that incompleteness. You make works not because you know the answer, but because of a question. You make works to fill the empty space that you feel.
C: How and where do you get ideas from?
B: I never really had a problem getting ideas. You see these books right there on the bookshelf? I have whole piles of notebooks filled with ideas. I know that I'm only going to make a small percentage of all the things that flow through me. The problem is the making of them. I have to decide which one is the right one to make at this time. You can think of an incredible thing in your mind, but you have to act in a physical world. If you don't act, you die. The whole question of quality is about the intention of action.
C: What do you want the audience to think or feel by seeing your work?
B: I don't care, as long as it is their own idea or feeling. Today, we are so used to being manipulated by the mass media that we automatically give our minds and conscious awareness to any image or enticement that comes along. For an audience member to think on their own requires a tremendous effort because they are normally never asked to do so. If people are only given coca-cola to drink and then one day someone gives them pure spring water to drink, they won't like the taste. The accommodation to avant-garde art in the 20th century was about acquiring a new taste. It takes a long time, as we have seen. People's perceiving minds normally are not open and clear. The mirror has become cloudy and dusty. The inner image has become suppressed or forgotten. In the age of experts people don't feel empowered enough to have confidence in their own ideas and opinions. They want me to explain my work to them. But whatever the personal connection you have with my work is 100% true and real. Whatever you think the work is, then that is what it is. There is no right or wrong in Art.
C: Why do you often choose to use “birth” and “death” as themes for your works?
B: Because these are the two basic principles of human existence. In 1988, Kira and I had our first child. I was there holding him when he was born. It was an experience that changed my life. I felt like I'd just seen a miracle. And in 1991, when my mother died, I was holding her hand at her bedside. That experience was even more shocking and difficult. Once I experienced "birth" and "death" only 3 years apart, I no longer could consider making just a static image nor allow myself to make something that was only nice to look at. After these experiences, I had to make something meaningful in terms of these profound mysteries of human life, both beautiful and disturbing.
C: How do you want the audience to accept the fact of "death" ?
B: What's important is not to take "death" as a negative thing. Obviously it is sad and tragic, but it's part of the natural cycle and one of the deepest teachings of human experience.
C: Why do you use slow motion in your videos frequently?
B: In the natural world, human beings can live for 70 or 80 years, while flies live for only a few days. All living beings have very different perceptions of time frames and time scales. There are so many things happening in our lives that are too fast or too slow for us to perceive. For example, if you are in a car accident you may only consciously realize what happened after it's over. You reflect and reconstruct what had happened in your mind afterwards. Using slow motion allows me to extend the time frame of an event while it is happening so that people can reflect and experience it in a deeper way.
C: Do you think that the development of the technology has helped you expand your ways of expression?
B: Absolutely. When I chose this medium in 1970, its technology was much different than what it is today. I've been lucky. As a young person, I was completely convinced that media technology would become a new global art form. Even when I was young and starting out, before this current media explosion, I had a strong feeling that I would be doing this for the rest of my life.
C: Out of numerous exhibitions you’ve had, which one is the most memorable for you?
B: Well… I have so many favorites… Perhaps my first major solo exhibition at The Museum of Modern Art in New York in 1979 when I was 28. That was a big step.
C: How about the opera “Tristan and Isolde” in Paris in the spring of 2005?
B: That was also very special. It was an exciting project of collaboration with Esa Pekka Salonen, conductor of the LA Philharmonic, theater director Peter Sellars and Richard Wagner's incredible music. I made 4 hours of video projections for it. This project will come back to Los Angeles at "Disney Hall" in April next year, and then move to Lincoln center in New York in May.
C: How did your 1-year-and-a-half-long stay in Japan affect your work?
B: Well, I became a "gaijin," a foreigner, when I arrived in Japan, but most importantly I learned that despite differences of race, culture, and language, we are all the same inside. It was also a big revelation for me to find out that advanced technologies and ancient traditions coexist in Japanese culture and they continue to the present.
C: Why did you pick the title “Hatsuyume” for the title of your exhibition in Japan?
B: Well actually Kira came up with that. It is the title of an important videotape piece called "Hatsu-Yume," which we made while we were in Japan. But I didn't want people to focus on this "Hatsu-Yume" piece too much. As the Japanese title implies, we wanted the whole exhibition to be more of an idea of "First Dream."
C: Messages to your fans in Japan, please !
B: Please keep looking, keep seeing, keep feeling, and keep growing. Don't see obstacles. Only see openings!
--------------------
Bill Viola
COOL: What was your childhood like?
BILL VIOLA: I grew up in Queens, New York. There were so many kids of various ethnic backgrounds in that concentrated area, and we always had so many people to be with and play with. It was an incredible American mix, so diverse and wonderful. I didn't have any real experience with nature while growing up, though. My biggest memory which influenced my work was going to the beach in the summertime because I had never seen that kind of big sky and empty space in New York. That made a big impression on me.
C: How did you get involved in art?
B: My mom encouraged me to draw when I was 3, so I started to draw pictures of houses, boats, and people from my mind. My parents and the rest of the family, aunts and uncles and so on, were always very interested in whatever I was drawing. Then, on the very first day of kindergarten, I made a finger painting of a tornado. When the teacher saw my picture, she held it up in front of the whole class to see. Of course I felt very embarrassed because I was shy (laughs). But from that point on, that began to happen quite frequently through all grades whenever I would draw pictures.
C: Who are the biggest influences for you?
B: That's a tough question… Probably, Nam June Paik gave me the most encouragement, confidence and opportunity. He recommended me for the different grants and encouraged me to have exhibitions. I would say I was more influenced by his total life as an artist, rather than any specific works. The other person who was very influential to me was David Tudor, one of the great avant-garde musicians of the 20th century. I first met him in 1973 at a music workshop because at the time I was studying electronic music as well as visual art. I worked with him for 8 years doing performances. Though Tudor was very quiet and didn't talk so much, he was a very, very special man with strong inner being. And that was how he was teaching us, through presence. He taught me a lot about sound and space, and that greatly influenced my video making.
C: In what moment do you feel pleasure as an artist?
B: When I go to sleep (laughs)! I mean, for me, making art is not pleasant. There are moments when it is, but most of time it involves struggling with something unknown. When I go to bed every night in the middle of a project, I lie awake feeling very tense, thinking about what I did wrong or what I should do better. So, unlike making tables where you know when you are done, my artwork is never finished in a way. It's a lot of hard work and I never really feel satisfied. We are all, by nature, incomplete, and the artist knows a special part of that incompleteness. You make works not because you know the answer, but because of a question. You make works to fill the empty space that you feel.
C: How and where do you get ideas from?
B: I never really had a problem getting ideas. You see these books right there on the bookshelf? I have whole piles of notebooks filled with ideas. I know that I'm only going to make a small percentage of all the things that flow through me. The problem is the making of them. I have to decide which one is the right one to make at this time. You can think of an incredible thing in your mind, but you have to act in a physical world. If you don't act, you die. The whole question of quality is about the intention of action.
C: What do you want the audience to think or feel by seeing your work?
B: I don't care, as long as it is their own idea or feeling. Today, we are so used to being manipulated by the mass media that we automatically give our minds and conscious awareness to any image or enticement that comes along. For an audience member to think on their own requires a tremendous effort because they are normally never asked to do so. If people are only given coca-cola to drink and then one day someone gives them pure spring water to drink, they won't like the taste. The accommodation to avant-garde art in the 20th century was about acquiring a new taste. It takes a long time, as we have seen. People's perceiving minds normally are not open and clear. The mirror has become cloudy and dusty. The inner image has become suppressed or forgotten. In the age of experts people don't feel empowered enough to have confidence in their own ideas and opinions. They want me to explain my work to them. But whatever the personal connection you have with my work is 100% true and real. Whatever you think the work is, then that is what it is. There is no right or wrong in Art.
C: Why do you often choose to use “birth” and “death” as themes for your works?
B: Because these are the two basic principles of human existence. In 1988, Kira and I had our first child. I was there holding him when he was born. It was an experience that changed my life. I felt like I'd just seen a miracle. And in 1991, when my mother died, I was holding her hand at her bedside. That experience was even more shocking and difficult. Once I experienced "birth" and "death" only 3 years apart, I no longer could consider making just a static image nor allow myself to make something that was only nice to look at. After these experiences, I had to make something meaningful in terms of these profound mysteries of human life, both beautiful and disturbing.
C: How do you want the audience to accept the fact of "death" ?
B: What's important is not to take "death" as a negative thing. Obviously it is sad and tragic, but it's part of the natural cycle and one of the deepest teachings of human experience.
C: Why do you use slow motion in your videos frequently?
B: In the natural world, human beings can live for 70 or 80 years, while flies live for only a few days. All living beings have very different perceptions of time frames and time scales. There are so many things happening in our lives that are too fast or too slow for us to perceive. For example, if you are in a car accident you may only consciously realize what happened after it's over. You reflect and reconstruct what had happened in your mind afterwards. Using slow motion allows me to extend the time frame of an event while it is happening so that people can reflect and experience it in a deeper way.
C: Do you think that the development of the technology has helped you expand your ways of expression?
B: Absolutely. When I chose this medium in 1970, its technology was much different than what it is today. I've been lucky. As a young person, I was completely convinced that media technology would become a new global art form. Even when I was young and starting out, before this current media explosion, I had a strong feeling that I would be doing this for the rest of my life.
C: Out of numerous exhibitions you’ve had, which one is the most memorable for you?
B: Well… I have so many favorites… Perhaps my first major solo exhibition at The Museum of Modern Art in New York in 1979 when I was 28. That was a big step.
C: How about the opera “Tristan and Isolde” in Paris in the spring of 2005?
B: That was also very special. It was an exciting project of collaboration with Esa Pekka Salonen, conductor of the LA Philharmonic, theater director Peter Sellars and Richard Wagner's incredible music. I made 4 hours of video projections for it. This project will come back to Los Angeles at "Disney Hall" in April next year, and then move to Lincoln center in New York in May.
C: How did your 1-year-and-a-half-long stay in Japan affect your work?
B: Well, I became a "gaijin," a foreigner, when I arrived in Japan, but most importantly I learned that despite differences of race, culture, and language, we are all the same inside. It was also a big revelation for me to find out that advanced technologies and ancient traditions coexist in Japanese culture and they continue to the present.
C: Why did you pick the title “Hatsuyume” for the title of your exhibition in Japan?
B: Well actually Kira came up with that. It is the title of an important videotape piece called "Hatsu-Yume," which we made while we were in Japan. But I didn't want people to focus on this "Hatsu-Yume" piece too much. As the Japanese title implies, we wanted the whole exhibition to be more of an idea of "First Dream."
C: Messages to your fans in Japan, please !
B: Please keep looking, keep seeing, keep feeling, and keep growing. Don't see obstacles. Only see openings!
--------------------
Bill Viola
Agora Gallery has been sponsoring an annual juried exhibition since it's establishment in 1984. The competition is a distinguished, juried museum-curated international art event featuring awards and participation in a group exhibition. The Gallery introduces the selected artists to the New York art scene through an exhibition, the Internet and through pro-active promotion.
The competition will open in February of 2008 to all visual artists 18 years or older working in any media with the exception of video art, film and performance art.
The exhibition will take place in Agora Gallery, Chelsea , New York City.
Juror
Manon Slome, chief curator of the Chelsea Art Museum, New York. Manon Slome is an independent curator and art consultant in New York . During her six year tenure at the Guggenheim Museum in New York , she curated Africa: The Art of a Continent and China: 5000 Years . She also curated The Art of the Motorcycle at the Guggenheim's space in Bilbao , Spain . Formerly the Helena Rubinstein Curatorial Fellow at the Whitney Museum of American Art, Manon has produced numerous collections and independent gallery shows in New York , London and Hong Kong .
Awards
Awards valued at Thirty Eight Thousand dollars ($38,000) will be distributed as follows:
Exhibition - 15-20 Artists will participate in a collective exhibition at Agora Gallery 530 West 25th Street , Chelsea , New York City
Cash - $1000 will be awarded to three (3) artists each receiving $500, $ 300 & $200 respectively
Internet Promotion - Six (6) artists will be awarded placement of 6 images on www.Art-Mine.com for a period of one year
Review by an art critic - One (1) artist will be awarded a one-page review with two (2) color images in ARTisSpectrum Magazine
Calendar
February 7th - Competition opens
March 7, 2008 - Submission deadline
April 15th - Results announced
http://www.Agora-Gallery.com/2008
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