Janet Cardiff & George Bures Miller Exhibition
This event has ended.
This exhibition presents representative sound and video installations by artist duo Janet Cardiff & George Bures Miller, who are known for their evocative aural and visual environments that liberate audiences from humdrum visual experiences.
Janet Cardiff (b. 1957) and George Bures Miller (b. 1960) are Canadian artists who are based in Grindrod, British Columbia and Berlin, Germany. This exhibition presents two major works by them.
"The Forty-Part Motet" (2001) is a 40-track audio installation played through 40 speakers. The speakers are placed in a way that allows viewers to listen to different voices and experience different combinations as they progress through the work. Gradually, as they immerse themselves in the environment, 40 choir voices come together to present a harmony, liberating them from a dull visual experience. This piece was successfully exhibited at various venues in Europe and the US, and is being presented for the first time in Japan.
"Night Canoeing" (2004) is a video piece presented in a pitch-black room, inviting audiences to be part of the holistic sensory experience of going down a river with a spotlight. The piece creates an intimate feeling of being in the same boat, as well as the mysterious intensity of seeing other travelers pass by within the darkness. Utilizing technology, Cardiff and Miller successfully create an emotional world that sharpens our senses.
[Image: "Night Canoeing" (video still) (2004) Mixed media installation]
From 2009-02-24 To 2009-05-17
Monday - Saturday 11:00-20:00 (last entry 19:30), Sunday 11:00-19:00 (last entry 18:30), Closed on March 18th (Wed).
In the heart of Ginza an exhibition transports visitors to a choral heaven.
"The Forty-Part Motet" truly is an immersive experience, and one from which emerges a new understanding and appreciation for the synergy of vocal performance.
The review above refers to a harmony of parts "liberating them from a dull visual experience". And this it does. Engaging, interactive and surprising in equal measure.
However the second work in this exhibition, "Night Canoeing", is without doubt an example of a dull visual experience. Reading the review and hooked by phrases such as "holistic sensory experience", "intimate feeling" and "mysterious intensity" it was disappointing to witness something which by definition could not be holistic. A deadened room without airflow, soporifically warm and with seats lined up in front of a small screen does nothing to connect one to the feeling of floating down the river depicted on screen. The small screen on only one wall of the room, handheld video, selectively zoomed and panned, an oversharpened and bright crisp image. There is no immersion, no intimacy, no sense of depth and certainly no nocturnal mystery or intensity here.
Had this work been presented as a full-sized projection on 3 or 4 walls, what is claimed in the review may well have been possible and a powerful immersive work could have resulted. But as it stands, this is little more than what one might film while on a canoeing holiday and watch on TV at home.
「The Forty-Part Motet 40 声のモテット」：