【RMCA | 一件作品】Absent 缺席
缺席
Absent
Redtory Museum of Contemporary Art (RMCA)
Another Cinema Hall6, RMCA
正在红专厂当代艺术馆（RMCA）呈现
RMCA 六号馆另外影院
Hiraki Sawa'svideos contain psychological landscapes, unexpected worlds and the interweavingof domestic and imaginary spaces. Populated with animals, inanimate objects,hybrids and people, his characters search for their 'place' in the universes ofmemory, displacement and migration he has created.
Absent is a video work by Hiraki Sawa that was initially shown as aninstallation at the Wind on Mount Rokko Chapel designed by Tadao Ando inJapan. There, it was composed of a circular projection screen with two gramophonehorns that provided stereo sound. But, wherever it is shown, this work exploresthe subliminal, the idea of things moving at the edge and beyond the wall ofour perception; it presents an intimate, fictive space populated by a fantasticparade of surreal pseudo-domestic “creatures”—a perambulatory tea kettle, adancing cup, a flying spoon—all of them traveling between spaces and locationsthat are difficult to define.
Sawa's video other installations are also comprised ofintimate observations sited in transitory landscapes. In these, familiarsurroundings are inhabited by strangely poetic forms, such as trees sproutingfrom tables or clocks endowed with legs. While his works are often shot inspecific locations – Noto, Ishinomaki, his London apartment, the Australianoutback – he extracts elements from these particular wild or domesticlandscapes and translates them into “non-places" of his own, creating in theprocess a form of personal cosmology. He considers each new work as a hub,rather in the same way that airports are hubs for transit, and connects themwith each other through leitmotifs of sculptural and painterly objects. Theviewer is free to travel through them at will, to wherever he or she maydesire.
Sawa combines animation, lighting, composition andediting to position his work in a territory midway between sculpture andpainting. His approach to the moving image – and to editing in particular –relates to the Russian film director Andrei Tarkovsky's idea of “sculpting intime” in that it is non-linear, with different points of view and layers ofmeaning brought together in sequences of images that are multifaceted, almostlike sculptural objects. When installing his work, however, he draws on morepainterly concerns, composing and filling spaces with images and objects tocreate various densities and rhythms akin to brush strokes on a canvas. Heconstantly tries to push the boundary of what moving images installed in spacecan do by exploring the unique sense of time and place they can create.
泽拓的影像作品包括精神层面的景观、意想不到的世界，以及住宅空间与想象交融之境。他的作品中有动物、无生命物件、混合物和人，这些角色在艺术家创造的有关记忆、替代和迁移的世界里探寻各自的“位置”。
《缺席》是泽拓的影像作品，最初是在日本安藤忠雄设计的“风之教堂”中作为装置作品展示。在那里，作品由一个圆形投影屏幕和两个留声机喇叭组成，带立体声音效。但是，无论作品在何处展示，作品都在探讨潜意识，即事物在边界移动并超越我们感知围蔽的观念。作品展示了一个私密的、虚构的空间，梦幻般的冒充家用的“生物”游弋其中——漫步的茶壶，跳舞的杯子，飞动的勺子—— 都在难以定义的空间和位置之间漫游。
泽拓的影像装置，是对转瞬即逝的景观的细致观察。作品中，熟悉的环境里充满奇异的诗意形式，例如从桌上长出的树、生出双腿的时钟。作品经常拍摄于特定的地点——意大利诺托、日本石卷市、他的伦敦公寓，澳大利亚内陆地区——从这些特殊的户外或室内景观中提取元素，将它们转化成他自己的“无处”，进行反映其个人宇宙观的形式创造。他认为每一件新作品都是一个枢纽，不仅仅是象机场那样的运输枢纽，而是通过雕塑和绘画对象的主题将它们彼此联结起来。观众可以随心所欲地游走其中，无论他或她心想何处。
泽拓把动画、灯光、构图和编辑结合在一起，将作品定位在雕塑和绘画之间。他对运动图像——特别是剪辑——的处理方式与俄罗斯电影导演安德烈·塔可夫斯基的“时间雕刻”概念有关，是非线性的，是将不同的视点和多层意义汇集到多面向的图像序列中，类似于雕塑物。然而，在安置作品时，他关注更多的绘画性，将图像和物件进行组合并填充到空间里，创建不同的密度和节奏，类似画布上的笔触。通过探索图像能够创造出的独特的时空感，不断地推展于空间安置动态图像的边界。
Hiraki Sawa
Absent
Video/sound installation｜2018
泽拓
缺席
录像／声音装置｜2018
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红专厂当代艺术馆 | RMCA
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