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from the future

Series of White Painting

Outline

As a minimal architecture

White Painting series was conducted in various regions/places and sometimes as much as 100 people’s kisses were impressed on a canvas.
White Painting is a collective term for the series and originally each work (canvas) has its own names of the participated peopleーsometimes it is the names of 100 people, 20 people, or three or four people in a family.


*appendix
1. Icons in a cycle of society
2. Opticality and technology / Invisible objects themselves


1. Icons in a cycle of society
Icon and paintings were surely in a cycle of lives and society once. The way people come in contact with this format is quite similar to the way they do with an icon. Meanwhile, the difference of this series from the icons is that in a White Painting nothing is depictedーor different images appear in the background when people face to it (and it is not God but other individual people). White Painting is a hardware/platforms without an image.

 


White Painting

This attempt was accepted by many regions and people. (In parallel with the general “reality” of a big unit/scale and division at the global level, there exists actually the fact like this too.)

 

 

───“Jabaley, Hrick, Eanfrith, Maaike, Andrew, Abel, Makohejiri, Cody, Miles, Stewvie, Barney, Craig, Meredith, Philip, Sandy, Darryl, Ernest, Hadley, Toby, William, Mick, Nigel, Pat, Desmond, Emmanuel, Giles, Adrain, Alfie, Natasha, Shelly, Beyeler, Mably, Theo, Aleiudo, Faneca, Saalmon, Cadelo, Kacelnik, Biriani, Shapely, Faree, Cawly, Sailer, Dansel, Ghidini, Bhola,Nachtigall, Moby, Claridge, Ullsten, Claris, Sabel, Babbit, Bianki, Talley, Alex, Danieli, Gaylor, Yeack, Johnny, Merry, Urick, Lochoner, Yhency, Hagan, Sablon, Kebin, Michael, Henry, Yura, Faille, Yulsman, Robinson, Eca, William, Blasco, Terry, Penny, Leo, Slevin, Lorry, Seems, Maanen, Reibey, Yuile, Ravi, Belmont, Lally, Rebecca, Sandra, Emily, Angelica, Cristel, James, Kacy, Rachel, Sam, Terry, Helly, Steve”

Size: 915x915mm

 

───“Danniel, Sofi, Alexsandre, Rebecca, Jess, Lundell, Georg, Matte, Hanna, Paul, Yousef, Casaline, Natalia, Henley, Agness, Dasun, Jillian, V.T, Zach, Laurence, Hendry, Ansel, Sammantha, Curbera, Kea, Ronald, Wally, Ashleigh, Albertan, Ken, Merritt, Pascal, Tasha, Launa, V., Anthony, Jenny, Samuel, Loo family,Venn, Heather, Richard, Max, Dinorah, Catherine, Mckaen, Klasen, Lyden, Sammy, Charlotte, Mackey, Loyola, Gaedel, Vicky, Aaron, Kris, Cathy, Monica, Natasha, Jimmel, Melany, Vince, Lee, Jamie, Stephanie, Brianna, Witte, Stacy, Hi, Yuta, Ken, Julia, Germany Vale, Danne, Juelle, Dickson, Odemar, Kley, G., Max, Nancy, Ricard, Horrobin, Rodmy, Kris, Sally, Peter, Julien, Erick, Austin, Kale, Paul, Sharry, Jim, Pascal, Oddsson, Carrie, Meary, Benny”

Size: 1700x1700mm

───“Juliette, Sandra, Mitch, Wills, Gillies, Ergas, Asheron, James, Lilly, Thomas. P, Elias, Sofia, Victoria, Mackay, Jamin, Amelius, Prince, Cathy, Valerie, Keiny, Peter, Dona, Sam, Zaret, Christina, Laurencie, Owel, James, Kairy , Frances, Thom, Sugay, Marien, Kinbary, Kalen, Morry, Callen, Mut, Elen, Bruno, Peter, Daele, Clara, Benjamin, Charlotte, Michael, Ryan, Ina, Diego, Javia, Candelas, Robin, Rucaro, Daniel, Rumi, Benney, Sarah, Emily, Jack, Peter, Kevin, Safiya, Trisha, Eric, Danielle, Paul, Floyd, Alexis, Carlos, Nydia, Samantha, Daniela, Michael, Dom, Matt, Todd, Ava, Cailin, Melissa, Kirby, Alexandra, William, McGuiness, Liliana, Francisco, Daniel, Patricia, Anna, Dalia, Ricardo, Diana, Maribel, Barbara, Gabriela, Cristel, Kenia, Lorenzo, Gladys, Alberto, Carlos”

Size: 450x450mm


Archive

This series was conducted in the US, Mexico, Taiwan, Italy, and Spain and the number of participants was over 600. Even the canvas on which almost 100 people had impressed kisses remained surprisingly white. And in a public space, the canvas interfered with people as a highly mobile, small structure/space.

 


Private room

In a house, a White Painting for a family. (Owned by a collector)


 

The figure above /
Drawing of structures

2. Opticality and technology / Invisible objects themselves
That "this work is blank" is only the result of visual perception and indeed it is not that there is nothing.
This is not the story of an invisible (written) process but seen from the viewpoints of biotechnology, IHT (In Human-Technology) and nanotechnology this painting is clearly a material object itself.

 


Excerpted from discussion

Excerpted from the introduction of “Shiseido Gallery 1/2 Century later.”

“The canvas in the exhibit has no trace of paint or ink on it; however, it is impressed with the kisses of about 100 people. This work, which consists of asking randomly selected people around town to plant a kiss on the canvas, is being carried out in the USA, Mexico, and Taiwan, and the total kiss count has exceeded 600, with as many as 50 people participating on busy days.(*November 2017)”


“This attempt looks contrast to big units or a division at a global scale such as nations, religions, races, organizations and so on ― for example, the situations including Brexit, border walls, refugee problems, etc. ― and enables us to feel a great potential of the revival of connection/globalization in a different form which comes into existence only in a small unit. It is also possible to look for the similarities to today’s social media such as YouTube and Instagram.

However the biggest feature of this work is that, besides the contemporary aspect like this, it can be interpreted in many ways connecting closely to the history of western art history.
For example, the scenery of this action is very similar to the kissing act to the icons (paintings in which Crist, the Holy Mother and others are depicted) seen in Christianity and Russian Orthodox. However, nothing is painted here and there is no one object to be worshiped.”


“It also approaches to the relationship between paintings and viewers. What kind of the experience is that to be exposed to paintings? It is also possible to see these kisses as brushstrokes as in action paintings. Or it is an artwork that is not completed only with the canvas as a medium but is in a network.

Changing the point of view, this two-dimensional work is the assembly of DNA, cells etc. Although it cannot be seen clearly now, it can be said that this is also an archive of people. In the exhibition, besides one of the works in this series, the film shot in each place and pictures were exhibited. The film was shown in the iPhone which had been used for the actual shooting.

In the first space, there was the installation destructed and broken apart, and in the space behind on a diagonal line, there was this work. This composition can be said to show a will to overcome the problems in this half a century, regenerate and combine them into one different form.”



A documentary film of the series held in Los Angeles, the US.
People were asked what love is after they kissed on the canvas.

Director of photography / Editor
Megan Clark
Sound technician / Designer
Kylie Lacour


Selected Q&A

Q. Why does not it have lipstick marks?
A. We asked people to kiss the canvas after they wiped their lips regardless of gender. A lot of people kissed on the canvas yet it remined white surprisingly.

Q. How did you speak to people?
A. There were considerable theatrical/visual elements in the instructions to people. We believe this also reflects the [technique] of the film.

from the future

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.



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.

Special installation


In 2014, as a closing event of this exhibition, we had an installation in collaboration with contemporary musician Terry Riley.

 

 


Selected Q&A

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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