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Beyond good and evil, make way toward the wasteland.

Agricultural Revolution 3.0
(Research project)

Outline

[:en]Small circulation/ecosystem, a small revolution
Space changing organically

A research project on agriculture, biotechnology and a new garden city.
This was held in multiple forms; research, installation and conversation.
Columbia University and University of Cambridge cooperated in the research and farmers, Wired, OMA NY, and more intellectual participated in the conference.
In the center of Shonai, Yamagata prefecture, with a long history of agriculture and a landscape of satoyama, we established a place growing organically.

[:ja]Small circulation/ecosystem, a small revolution
Space changing organically

A research project on agriculture, biotechnology and a new garden city.
This was held in multiple forms; research, installation and conversation.
Columbia University and University of Cambridge cooperated in the research and farmers, Wired, OMA NY, and more intellectual participated in the conference.
In the center of Shonai, Yamagata prefecture, with a long history of agriculture and a landscape of satoyama, we established a place growing organically.

小さな循環/生態、小さな革命 | 有機的に変化する(場所ならぬ)場

農業とバイオテクノロジー、そして新しい田園都市に関する、リサーチ・プロジェクト。
リサーチ、インスタレーション、カンバセーションと、複数の形態に渡って行われました。
リサーチではケンブリッジ大学やコロンビア大学、カンファレンスでは専業農家やWired、OMA NYなどが参加。
農耕の歴史が深く、里山的風景が広がる山形県庄内の中心地で、有機的な場を展開しました。

 

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Research
and
Drawing

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Through interview to domestic and overseas laboratories and researchers and companies developing new materials, we designed the definition. Based on thorough research and collected actual materials, we drew a design.
Not in the macroscopic/comprehensive/destructive city model but in a sequence of small cycles at a low perspective, we try a new model of revolution.

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Through interview to domestic and overseas laboratories and researchers and companies developing new materials, we designed the definition. Based on thorough research and collected actual materials, we drew a design.
Not in the macroscopic/comprehensive/destructive city model but in a sequence of small cycles at a low perspective, we try a new model of revolution.

国内外の研究機関や研究者、実際に新素材を開発する企業へのインタビューなどを通して、定義の設計を行います。
徹底したリサーチ、集めた実素材をもとに、設計図※を描いていきます。
巨視的/俯瞰的/破壊的な都市像からではなく、低い視点にある、小さな循環の連続の中に、新しい革命のモデルを試行します。

 

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Living
Research

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Space changing organically

The transforming space
We established a space organically changing correspondingly to research.
In this installation, furniture, clothe, lamp, food, materials which grow during session, and open sourced small agricultural machine were showcased as if it is from theatre or cinema. This work gave the visitors physical experience to travel around the thoughts.

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Space changing organically

The transforming space
We established a space organically changing correspondingly to research.
In this installation, furniture, clothe, lamp, food, materials which grow during session, and open sourced small agricultural machine were showcased as if it is from theatre or cinema. This work gave the visitors physical experience to travel around the thoughts.

変容する場

リサーチと連動し変化する、有機的な空間を設置。
農業廃棄物や構造タンパク質をもとにした、新しい素材の家具や衣服、照明、食べ物、期間中に生成される新素材、オープンソースの農業用マシンと小型農場を、セットのように配置。思考と身体を伴った体感ができる場を作ります。

 

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Living
Research
Conversation

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We held conference at the transformed installation space. Local farmers and various guests from Spiber Inc. which locates in Tsuruoka City and develops recombinant protein materials, OMA NY, Wired, 21st Century Museum of Contemporary Art, Kanazawa, and more discussed the possibilities of agricultural cities and the future direction in front of the local people.

 

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We held conference at the transformed installation space. Local farmers and various guests from Spiber Inc. which locates in Tsuruoka City and develops recombinant protein materials, OMA NY, Wired, 21st Century Museum of Contemporary Art, Kanazawa, and more discussed the possibilities of agricultural cities and the future direction in front of the local people.

会場一部を変形し、カンファレンスを実施。 地元を拠点とする専業農家や、新素材を開発するSpiber、食と都市を研究するOMA NY、Wired、21世紀美術館などのゲストが、農業都市の可能性や、その未来の是非を、住む人々の前で議論しました。

 

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Selected Q&A

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Q. Where was it held?

A. It was held in Tsuruoka city, Yamagata prefecture in Tohoku (northeast) area in Japan. Tsuruoka art forum that was used as a venue is Kunst Halle used mainly to live in.

Q. Why is it “3.0”? / Can I see the research and interview?
A. You can see the details of the concept and text from here, and a part of the interview here.

Q. To what extent are you involved?
A. We conducted research, defined the conference, constructed the project (what to do in the conference) and decided details.

Q. What is described in the design drawings in the picture?
A. In this exhibition, the blueprint of the practices in the project was shown. In these drawings, the sceneries which are not quite different from now. In “Model Room”, a set of four drawings, a calm lifestyle and a room surrounded by clothes and furniture made from new materials were drawn with delicate lines. Most of the furniture and clothes drawn here are made from the new materials we actually found through our research. In the drawings, we can also see olives which were important as an oil crop from ancient times, rubber trees regarded as a new material for Europeans after processing, as well as motifs on agricultural myths.
These show a peaceful future different from technology dystopia. The “model” minutely carved on a copper plate rises faintly behind the reflection of copper.

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Q. どこで行われたのでしょうか?
A. 日本の東北地方にある、山形県鶴岡市で行われました。会場となった鶴岡アートフォーラムは、主に住む方々が使用するクンスト・ハレでした。

Q. なぜ3.0なのでしょうか? / リサーチ、インタビューを見ることは可能ですか?
A. コンセプトの詳細や、テキストはこちらから、インタビューなどは、一部こちらから見ることができます。

Q. どこまで関わっているのでしょうか。
A. リサーチ、定義付け、プロジェクトの組み立て(どういったことを行うか)、ディテールまでを決めます。

Q. 画像の設計図には何が描かれていますか?
A. “ー本展で展示されているのは、それらの試みの設計図となったドローイングです。このドローイングには、大きくはいまと変化がない風景が描かれています。4枚組の“Model Room”には、新素材でできた衣類や家具に囲まれた、快適で穏やかな生活・部屋が、繊細な線で描かれています。ここで描かれた家具や衣服などの多くは、リサーチを経て実際に集められた新素材のものであり、また古代から油糧作物として重要であったオリーブや、後世ヨーロッパにとっては加工によって新素材として捉えられたゴムの木の他、農耕神話に関するモチーフが見られます。
これらはテクノロジー・デストピアとは異なった、穏やかな未来ともいえるでしょう。銅板に細密に彫られた「モデル」は、銅の反射の向こう側に、うっすらと立ち上がるのです。”
(※1/2 Centuly later 展示資料より引用)

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Outline

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Materialization of a fiction / To make the image of technology the foreground

ーTo make the image of science and technology the foreground.
“Beyond good and evil, make way toward the wast land.” is a sculpture work made for the exhibition “1/2 Century later”. The work reproduced a pure white room in the final scenes of Stanley Kubrick’s 1968 film 2001: A Space Odyssey and made it go through the process of destruction.
Within a large glass case are dust-covered chairs, a bed, cabinets, chipped marble pillars, oil painting, and other weathered items which appear to be from an old forgotten room.

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Materialization of a fiction / To make the image of technology the foreground

ーTo make the image of science and technology the foreground.
“Beyond good and evil, make way toward the wast land.” is a sculpture work made for the exhibition “1/2 Century later”. The work reproduced a pure white room in the final scenes of Stanley Kubrick’s 1968 film 2001: A Space Odyssey and made it go through the process of destruction.
Within a large glass case are dust-covered chairs, a bed, cabinets, chipped marble pillars, oil painting, and other weathered items which appear to be from an old forgotten room.

フィクションの実在化 / テクノロジーのイメージを前景化するー

科学、テクノロジーのイメージを、前景化するー
「Beyond good and evil, make way toward the wast land.」は、「1/2 Centuly later」に際して作られた、映画『2001年宇宙の旅』(スタンリー・キューブリック、1968年)のラストシーンに登場する、真っ白な部屋を原寸大で再現し、破壊/風化のプロセスを経た彫刻作品です。
ガラスケースの中に、塵が積もった椅子、ベッド、キャビネット、欠けた大理石の柱、油絵などが風化した状態で収められています。

 

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This room appears in the movie as a room “prepared by the monolith (an advanced computer which guides humans) for the next step in human evolution”.
What we tried was to converting the image that have symbolized technology since 1970s into the foreground completely.

[ Image ]
Model of the room from the final scene of the film
2001: A Space Odyssey by Stanley Kubrick.
Exhibit at LACMA

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劇中でこの部屋は、「モノリス(≒人類を導く高度なコンピューター)が人類を進化させるために用意」した部屋として登場します。
私たちが試行したのは、1970年代以降テクノロジー観を象徴してきたイメージを、完全に前景とすることでした。

[ Image ]
Model of the room from the final scene of the film
2001: A Space Odyssey by Stanley Kubrick.
Exhibit at LACMA

 

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Process

 

 

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Clothes and the center of the artwork were made originally and for some parts furniture made in the 18th century and real marble stone were used.
The room was set in a studio that shoots special effect films and was burned. Then it was divided to pats, recorded and recomposed.

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Clothes and the center of the artwork were made originally and for some parts furniture made in the 18th century and real marble stone were used.
The room was set in a studio that shoots special effect films and was burned. Then it was divided to pats, recorded and recomposed.

中央部や布は制作し、一部は18世紀に作られた家具、大理石を使用。
特撮などを撮影する空間でセットを組み上げ燃焼し、ユニットごとに分割して記録し、再度組み立てます。

 

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From rediscovery of history to a constructive place

In the exhibition 1/2 Century later., this work was exhibited in a place opposite to the White Painting where the monolith was originally located.
The detailed information is here.

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From rediscovery of history to a constructive place

In the exhibition 1/2 Century Later, this work was exhibited in a place opposite to the White Painting where the monolith was originally located.
The detailed information is here.

歴史の再発掘から、建設的な場所へ

1/2 Century later.では、(本来モノリスが位置する場所に置かれた)White Paintingと対置して展示されました。
展覧会の詳細はこちら

 

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[:en]Selected Q&A [:ja]Selected Q&A
過去の展示資料より一部抜粋[:]

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Q. What is the meaning of the title “Beyond good and evil, make way toward the waste land.”?
A. We do not have a clear-cut answer, but Friedrich Wilhelm Nietzsche, a philosopher in Germany, wrote “Beyond Good and Evil (the original title: Jenseits von Gut und Böse)” after “us Spoke Zarathustra (the original title: Also sprach Zarathustra)”.

Q. How did you make the set?
A. The center of the artwork and clothes were made originally by us. We partly used furniture made in the 18th century. We used real materials for the set, such as real marble stone.

Q. How did you burn it?
A. We set it in a studio that shoots special effect films and burned it. (The black and white picture in a distributed print was taken at that time.) After that, we divided it per unit, brought them back and recomposed them in a show space.

Q. Why is it covered with glass?
A. In the scenes of the white room in “2001: A Space Odyssey”, we can see the sequences such as a reflection of a character in a glass of spacesuit and a transition to old man’s view after the character sees himself through a glass. Here we can see the “transition from 2D to 3D (≒ transition of dimensions)”. It can be said that the glass in our artworks quoted the technique from the film.

Q. Why is some back area superficial?
A. According to “2001: A Space Odyssey” by Sir Arthur Charles Clarke, a white room made by monolith is superficial; the shelves cannot open and the bath does not have water. We can say that our artwork reproduces that situation and also emphasizes the fact that it is a film set.

Q. Is the oil painting the real thing?
A. Yes, it was made for our artwork. We used classical linen cloth rather than chemical fiber.

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Q.題名「Beyond good and evil, make way to ward the waste land. 」の意味はなんでしょうか?
A. 作品の題名を直訳すると、「善悪を超えて、なお荒野を歩く」というものとなります。
フリードリヒ・ニーチェは、「ツァラトゥストラはかく語りき」(独: Also sprach Zarathustra 英: Thus Spoke Zarathustra)のあと、「善悪の彼岸」(独: Jenseits von Gutund Böse 英: Beyond Good and Evil)を著しています。

Q. どうやってセットを作ったのですか?
A. 中央部や布部はオリジナルで制作しています。一部は18世紀に作られた家具を使用しています。

Q. どうやって燃やし、保管したのでしょうか? 
A. 特撮などを撮影する場所でセットを組み、燃焼しています。そのあとユニットごとに分割して記録し、再度組み立てています。
保管もユニットごとに行っています。

Q. なぜガラス張りなのでしょうか?
A. 劇中の前後のシーンでは、宇宙服のガラスに自身が反射するシーケンスや、鏡越しに老いた自身を見たあと、老いた老人そのものの視点に切り替わるシーケンスなど、「2Dから3Dへの移行(≒次元の移行)」を読み取ることができます。

Q. 一部がハリボテなのはなぜですか?
A. アーサー・C・クラークの『2001年宇宙の旅』原作によると、このモノリスが作った真っ白な部屋は、家具は棚は開かず、水も出ないなど、徹底して表面のみを模ったものとして描かれています。

Q. 油絵は本物ですか?
A. 古典的な麻布を使用した技法で描いています。

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