Beyond good and evil, make way toward the wasteland.
Agricultural Revolution 3.0
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.
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.
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.
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.
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.
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.
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
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.
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.