開催終了Travis, being lighted
詳細
2005年09月27日 10:25 更新
Travis, being lighted / 小泉伸司 / 2005.09.24 - 10.08
小泉伸司の新作『Travis, being lighted』は、作家独自の方法で撮影された映像をメインとしたインスタレーションです。小泉は、映写技師としての活動を利用して、映写窓に投影される様々な映像を静止画、動画の両方で撮影し続けています。どちらの場合も、映像の焦点は映写窓そのものにあてられているため、観るものの意識は、映写窓のガラス上に刻まれた小さくて細い、微かな傷跡や、汚れやくすみ、そしてときには、その上を這い回る小さな生きものたちのシルエットに向けられます。映写窓を通り抜け、スクリーン上に物語や事件を映し出すはずの光は、小泉の映像のなかでは、キラキラときらめく小さな傷や事物の周囲を、ただボンヤリとした色や光の塊となって漂っていくばかりです。物語や事件という、いわば生の営みそのものとでもいうべきものの、とらえどころのなさやはかなさ。小泉の作品の揺らめく光は、静かにその事実を呟きます。
生のはかなさと、屹然と立ちはだかる現実。その対比は、小泉の新作のタイトルからもうかがうことができます。"Travis, being lighted"。トラヴィスというのは、マーチン・スコセッシ監督の映画『タクシー・ドライヴァー』でロバート・デニーロが演じた主人公の名前です。光と影が、悪と正義が複雑に行き来するその映像からの引用は、彼の作品の一部にその映像を投影した映写窓があるからだけではありません。生と現実が、現実と理想が、記憶と現実が、それぞれの立場を密かに入れ替え決して定まることがないということ。何よりもそれは、小泉が表現しようとしたことを端的に物語っているからなのです。
Shinji Koizumi’s most recent work, “Travis, being lighted,” is an installation that mainly consists of film and photo images that were captured through the artist’s own unique method. Taking advantage of his background as a projectionist, he has continued to take still and motion pictures of various images that are reflected on the projection window. In both mediums, the images he captures focus on the projection window itself; thus, the minds of the viewers are directed toward the small, thin and minute scars, as well as the stains and dark spots, that have been made on the glass of the projection window. At times, the viewers’ eyes are also turned toward the silhouettes of small creatures that crawl on that glass. In Koizumi’s films and photos, the light, which is suppose to pierce through the projection window before then extending to the screen in order to project stories and recorded events, merely drifts about the glittering small scars and objects as vague colors and a mass of light. The light that wavers in Koizumi’s work evokes the evasive and transient natures that are generally contained in stories and events, representing the activities of life.
The transient nature of life and the realities of the world that arise and stand in our way—such themes can also be found in the title of his new work, “Travis, being lighted.” “Travis” is the name of the main character played by Robert De Niro in the movie “Taxi Driver,” which was directed by Martin Scorsese. In some of Koizumi’s works, he utilizes scenes from this movie by casting their reflections on the projection window. But he does not merely incorporate the film’s use of light and shadows, or the forces of good and evil that intricately appear and disappear throughout the movie. Rather, Koizumi is implying that paired elements, such as life and reality, the ideal and the real, and memory and reality, are always stealthily switching their positions, and they are never in a fixed position. This most plainly indicates what Koizumi is aiming to express.
小泉伸司の新作『Travis, being lighted』は、作家独自の方法で撮影された映像をメインとしたインスタレーションです。小泉は、映写技師としての活動を利用して、映写窓に投影される様々な映像を静止画、動画の両方で撮影し続けています。どちらの場合も、映像の焦点は映写窓そのものにあてられているため、観るものの意識は、映写窓のガラス上に刻まれた小さくて細い、微かな傷跡や、汚れやくすみ、そしてときには、その上を這い回る小さな生きものたちのシルエットに向けられます。映写窓を通り抜け、スクリーン上に物語や事件を映し出すはずの光は、小泉の映像のなかでは、キラキラときらめく小さな傷や事物の周囲を、ただボンヤリとした色や光の塊となって漂っていくばかりです。物語や事件という、いわば生の営みそのものとでもいうべきものの、とらえどころのなさやはかなさ。小泉の作品の揺らめく光は、静かにその事実を呟きます。
生のはかなさと、屹然と立ちはだかる現実。その対比は、小泉の新作のタイトルからもうかがうことができます。"Travis, being lighted"。トラヴィスというのは、マーチン・スコセッシ監督の映画『タクシー・ドライヴァー』でロバート・デニーロが演じた主人公の名前です。光と影が、悪と正義が複雑に行き来するその映像からの引用は、彼の作品の一部にその映像を投影した映写窓があるからだけではありません。生と現実が、現実と理想が、記憶と現実が、それぞれの立場を密かに入れ替え決して定まることがないということ。何よりもそれは、小泉が表現しようとしたことを端的に物語っているからなのです。
Shinji Koizumi’s most recent work, “Travis, being lighted,” is an installation that mainly consists of film and photo images that were captured through the artist’s own unique method. Taking advantage of his background as a projectionist, he has continued to take still and motion pictures of various images that are reflected on the projection window. In both mediums, the images he captures focus on the projection window itself; thus, the minds of the viewers are directed toward the small, thin and minute scars, as well as the stains and dark spots, that have been made on the glass of the projection window. At times, the viewers’ eyes are also turned toward the silhouettes of small creatures that crawl on that glass. In Koizumi’s films and photos, the light, which is suppose to pierce through the projection window before then extending to the screen in order to project stories and recorded events, merely drifts about the glittering small scars and objects as vague colors and a mass of light. The light that wavers in Koizumi’s work evokes the evasive and transient natures that are generally contained in stories and events, representing the activities of life.
The transient nature of life and the realities of the world that arise and stand in our way—such themes can also be found in the title of his new work, “Travis, being lighted.” “Travis” is the name of the main character played by Robert De Niro in the movie “Taxi Driver,” which was directed by Martin Scorsese. In some of Koizumi’s works, he utilizes scenes from this movie by casting their reflections on the projection window. But he does not merely incorporate the film’s use of light and shadows, or the forces of good and evil that intricately appear and disappear throughout the movie. Rather, Koizumi is implying that paired elements, such as life and reality, the ideal and the real, and memory and reality, are always stealthily switching their positions, and they are never in a fixed position. This most plainly indicates what Koizumi is aiming to express.
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