from the future
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
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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.
[:ja]
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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[:ja]
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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from the future
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A viewpoint of a complete stranger
“from the future” started by inviting a man from overseas who has no prior knowledge of the series of events in Fukushima.
This is a video artwork filmed based on the imaginary story written and pictures taken there. Texts written by the visitor in broken English is shown in the video.
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A viewpoint of a complete stranger
“from the future” started by inviting a man from overseas who has no prior knowledge of the series of events in Fukushima.
This is a video artwork filmed based on the imaginary story written and pictures taken there. Texts written by the visitor in broken English is shown in the video.
完全な他者からの視点
映像作品「from the future」は、無人の福島へ、一連の情報がない人物を海外から招き、巡ることから始まりました。
そこで書かれた想像の物語、そして撮影された写真をもとに、その物語に沿って、再度撮影した作品です。
時折誤った英語で書かれた、旅行者のテキストが載った映像が流れます。
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Invisible objects/information shut-off
In a place where “at first glance, there are nobody and nothing seems special”, we do not know “when and what has happened there”.
Thus it is “a viewpoint of a complete stranger” and depends on the viewpoints of others.
The visitor was a young man from Cambodia who was introduced by friends by chance. Starting with a sentence that “this place resembles Phnom Penh after the Khmer Rouge” written while traveling in an unmanned area in Fukushima, the film goes back and forth between the scenes of Fukushima and Cambodia. The film was exhibited in 3ch.
The detailed information is here.
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Invisible objects/information shut-off
In a place where “at first glance, there are nobody and nothing seems special”, we do not know “when and what has happened there”.
Thus it is “a viewpoint of a complete stranger” and depends on the viewpoints of others.
The visitor was a young man from Cambodia who was introduced by friends by chance. Starting with a sentence that “this place resembles Phnom Penh after the Khmer Rouge” written while traveling in an unmanned area in Fukushima, the film goes back and forth between the scenes of Fukushima and Cambodia. The film was exhibited in 3ch.
The detailed information is here.
見えない物質/情報の遮断
“無人で、一見目に見えてはなにも変わらないような場所”は、「ここでいつ、何が起きたのか」は分かりません。
それゆえ、なにも情報がない人物の視点は、「完全な他者の視点」であり、この作品の大部分は、他者の視点に委ねられています。
友人を介して偶然出会い、訪れた人物はカンボジアの青年でした。福島の無人の区域の道中で、彼の描いた物語にある「この場所はクメールルージュ後のプノンペンと似ている」という一文を契機に、映像は、福島と、カンボジアのシーンを行き来します。映像は3chで展示。
詳細はこちら
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Special installation
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In 2014, as a closing event of this exhibition, we had an installation in collaboration with contemporary musician Terry Riley.
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In 2014, as a closing event of this exhibition, we had an installation in collaboration with contemporary musician Terry Riley.
また2014年には、本作展示のクロージングイベントとして、現代音楽家 Terry Rileyとのインスタレーションを行いました。
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Selected Q&A
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Q. What is the meaning of the title?
A. In Fukushima with no people, the visitor has no idea whether the area has been in the state since yesterday or 50 years ago. This work tried pseudo visualization of “the future” that nobody remembers what happened in the area, which we cannot say that will never happen in the future. Therefore, his point of view is a “perspective from one future = from the future”.
Q. Were the all texts written in the same place?
A. The order of the film and the scenes are constructed based on the story note written by the stranger. It starts from Fukushima, and then Phnom Penh, and after that, the scenes of Fukushima and Phnom Penh appears alternatively.
When he traveled around Fukushima, the stranger visited far away from a nuclear power plant which was a starting point. This reminded us of a clear fact that the land is not clearly separated but it is connected as long as it is contiguous.
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Q. タイトルの意味は？
A.「無人の場所」は、情報を知らないものにとっては、その状態が、昨日からのものなのか、50年前からのものなのか、いつからのものなのかは分かりません。その視点は構造的には、〈場所の記憶・情報が忘れ去られてしまった土地の(不特定の)未来からの視点〉であるといえ、本作は、その擬似的な可視化を試みたものでした。彼の目線は「ある未来からの視点= from the future」でもあるのです。
本作は、“情報の遮断”や”不可視”といったキーワードが根底にあります。
Q. 全部同じ場所ですか？
A. 上述の通り、物語の手記に従って、映像の順序、シーンは構成されています。
冒頭の福島から始まり、プノンペン、福島、プノンペン…と、交互にロケーションが現れます。
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