PREMISE
>日本語
[the following text was originally written in December 2010, and has been slightly revised a few times to date (September 2020)]
“I NEGATE HUMANITY AND REVIEW ANTHROPOCENTRISM THEN TRUE ANTI-ART APPEARS”
My works spreading out various styles* such as drawing, collage, painting, printing, sculpture, video, installation and photograph have been/ will have been principally made on the basis of the following concepts/definitions** (7 and 8 haven't been executed yet, are still future destinations):
- Disorganization of traditional value of pan-language system.
- Interposition/interference of ‘eroticism’ to 1.
- Applying ‘indeterminacy/contingency’ to 1 and 2.
- Elimination of direct physicality, and reconstruction/extension of indirect physicality in actions of 1, 2 and 3.
- Observation and fundamental re-examination of societal institution through 1, 2, 3 and 4.
- Negation of humanity derived from 1, 2, 3, 4 and 5.
- As result of 6, discovery of unfound value toward X (we can assign any word or concept whose meaning expresses thing which is excluded from ever-existing humanity to x).
- X (the class of all x) conclusively exists as true Anti-Art thing.
Stated differently, these are intended to strip off/deconstructively negate values which are in social institutions (defined as classes of language issues), and institutional coverups (defined as classes of non-language issues which consist of eroticism and violence et cetera). I define the above two subjects as the mankind's innate matters. Thus the negations have aims to deny the existing value of humanity. That is, eventually the review of Anthropocentrism.
Now the works via this way of conceptual setting and expression, can be linked to various contexts of contemporary art in terms of on-and-after-‘modernism’***, but they are created as works which have new criticism through my inner nihilism, with strict processes which would throw out the contexts to further relativizing. The processes completing with bringing in indeterminacy of automatism, random digits, and the foregoing physical elimination/extension, are due to skepticism toward trivial personal aesthetic decision.
*various styles - in addition, I have music activities as solo in experimental music, and also have international collaborated works, which have been distinguished from visual works. See
here.
**definitions - the above definition 1. and 2. can switch the order applying/being applied each other. And there are (rarely) cases that they either or both don’t compose an axis to be applied by the other. Besides, either exists only itself as an axis to be applied by the other definitions 3. and 4., not 1. or 2..
***modernism - however, I think that Japanese people have never experienced modernism. That is, there is no post-modernism, that means there is no longer other modernism-related ideologies in Japan except the economic development. If rational modernization is the condition of Contemporary Art, Japan can never realize it. It's ironically Japan's exclusive historical characteristic, and cultural (also political) illness that should be resolved urgently. In a way, the anarchic variations of form of my expression have come from the reason as no-axis on historical, national (this doesn’t mean building patriotism that I hate), and aesthetic context, but they have been done by my rationality. Therefore, the term ‘modernism’ here indicates the following two meanings: firstly, it is thing which includes History of Contemporary Art that The Western World has led. Secondly, it is Japanese artists' individual goals to strive for building relation to Western Contemporary Art (if the system still has been exclusively handled by them) or rebuild alternative perspectives on the basis of rationalism, as they have done rationally. Nonetheless, then the axis given by it will become the correct objective to accurately be stripped out/deconstructively negated by myself. Stated differently, things that I have done by making works, is to start experiencing modernism over again individually and personally, to relativize it without the following shame; works by artists in irrational Japan, who make works based on aesthetics after post-modernism of overseas, are merely shameful imitations. Through those process, my anarchic nihilism in my expression will be given The Official History.
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WORKS
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2022
CLAIM
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2021
153 Years
Bipolar Tangency
BLACK CORRECTION (with cultural suicides, social scatology, educational feces, expressionistic ejaculation, and you) 37 - 42
Self-denial Practice (physical) 44 - 45
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2020
Quantum Flesh
BLACK CORRECTION (with cultural suicides, social scatology, educational feces, expressionistic ejaculation, and you) 27 - 36
Self-denial Practice (physical) 42 - 43
Postcard Work (Collaboration Without Permission) 1 - 21
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2019
Room Aroused (version)
Optic Scissure 19 - 25
Study for Bipolar Tangency
Self-denial Practice (physical) 41
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2018
Room Aroused
Sex Document 1989
movie data for Sex Document 1989
Alchemy (sex)
Optic Scissure 3 - 15
Ethical Split 2 - 3
National Portrait
Self-denial Practice (physical) 39 - 40
Self-denial Practice (ideal) 6 - 8
Hanged Grammar XIII - XVI
BLACK CORRECTION (with cultural suicides, social scatology, educational feces, expressionistic ejaculation, and you) 12 - 26
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2017
Blood Drawing
Self-denial Practice (physical) 34 - 38
Self-denial Practice (ideal) 2 - 5
Hanged Grammar IX - XII
BLACK CORRECTION (with cultural suicides, social scatology, educational feces, expressionistic ejaculation, and you) 1 - 11
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2016
Blood Drawing
Ethical Split 1
Self-denial Practice (ideal) 1
Self-denial Practice (physical) 14 - 33
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2015
Untranslatable
Terrible Events
Hanged Grammar VIII
Self-denial Practice (physical) 1 - 13
Study for Ethical Split
Optic Scissure 1 - 2
Studies
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2014
Grammatical Luxation - A Porn 1 - 7
Studies
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2013
Multinegation (irreflexive) 1 - 6
Painted Negativity 10 - 20
Studies
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2012
Painted Negativity 5 - 9
AXIOM/ process 2
Untitled
Studies
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2011
Painted Negativity 1 - 3
Money Experimentation (The Permutation Keeps the Intercept?)
Texual Demeant
AXIOM/ process 1
288 Points Squares Delta
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2010
Hanged Grammar I - VII
Untitled B&W Drawing 1 - 3
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2009
Texts (Text_2 to f)
Sickly Error Text
Paradoxical Foregrounding Of Work And Artifice That Are Existing Behind
500 Sheets Into a Mass
497 Times Same Acts Containing Tiny Differences
Roman Collage
Untitled Collage
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2008
Writing
Text_0 / Text_1
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2006 - 2007
Study for Collage
Study for Drawing
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