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Takuro Tamayama “Anything will Slip Off / If Cut Diagonally”
Anomaly
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Takuro Tamayama
With a minimum of handling, ‘Anything will Slip Off / If Cut Diagonally’ deftly substitutes art for the gravity regulating the configuration and behavior of things in the real world. While giving viewers a sort of déjà-vu feeling, Takuro Tamayama creates circumstances that definitely could not occur in a world dominated by Newtonian dynamics, and by means of extremely analog methodology.
For example, the floor is rotated 90 degrees to the position of the wall, and spaghetti (naturally?) slips off the plate placed (hung?) there (which is “correct,” the behavior of the plate, or that of the spaghetti?).
A wall warped in an unexpected direction, drooping; a “floor” lamp abruptly jutting forth from it; a “horizon” drawn at an angle differing from that of the “horizon” of the gallery floor; water solidified inside a glass…
This exhibition embodies little dynamic disparities from normality in objects and utilizes huge lighting devices to present “space that is nowhere.” At first glance, this space looks like cyberspace. Nevertheless, the visions conjured up by the striking illumination reminiscent of a scene from movies directed by Mario Bava or Dario Argento(*1) are made by entirely analog means, and therefore deliver a real experience.
Similarly, the space generated by Tamayama has a bizarre character that recalls a landscape in someone’s dream, the absurdities of an episode of The Twilight Zone(*2), or a dystopia portrayed in a science fiction movie.
Is a rose red in utter darkness? Is a rose red even when no one is looking at it? These questions ask whether color is a perception or an inherent quality of the object. If it is the latter, then the rose is always red. But if perception alone is the very presentation of the world per se, then the rose is not red(*3).
Suggestive of such theoretical questions, this exhibition simultaneously confronts viewers with the unsettling possibility that they cannot share their perceptions, and also may not be seeing the same colors and, by extension, the same scenery, as others.
With a composition refined to the ultimate degree, the space contains aberrations like those in a weird dream. When viewers enter it, they play the role of symbolizing these aberrations (along with their own gut feelings). (The rose is red as long as the viewer is present, and the “dynamics of here” are mistaken.)
In a space filled with light that makes ordinary vision unreliable, one work uses three mirrors that are merely smooth surfaces with a circular shape and call to mind human heads. They reflect an image of the actual space reversed right-and-left, and produce the oxymoronic image of “flat depth”.
When flesh-and-blood viewers enter the installation space, their reflections appear from time to time in the mirrors, such that the viewers end up viewing themselves within the work. Creating this sort of nested structure and attendant aberrations, Tamayama easily brushes aside the values of virtual space and builds in the gallery an unfamiliar (≒ unheimlich) cosmos that is accompanied by actual objects and real experience throughout.
For example, the floor is rotated 90 degrees to the position of the wall, and spaghetti (naturally?) slips off the plate placed (hung?) there (which is “correct,” the behavior of the plate, or that of the spaghetti?).
A wall warped in an unexpected direction, drooping; a “floor” lamp abruptly jutting forth from it; a “horizon” drawn at an angle differing from that of the “horizon” of the gallery floor; water solidified inside a glass…
This exhibition embodies little dynamic disparities from normality in objects and utilizes huge lighting devices to present “space that is nowhere.” At first glance, this space looks like cyberspace. Nevertheless, the visions conjured up by the striking illumination reminiscent of a scene from movies directed by Mario Bava or Dario Argento(*1) are made by entirely analog means, and therefore deliver a real experience.
Similarly, the space generated by Tamayama has a bizarre character that recalls a landscape in someone’s dream, the absurdities of an episode of The Twilight Zone(*2), or a dystopia portrayed in a science fiction movie.
Is a rose red in utter darkness? Is a rose red even when no one is looking at it? These questions ask whether color is a perception or an inherent quality of the object. If it is the latter, then the rose is always red. But if perception alone is the very presentation of the world per se, then the rose is not red(*3).
Suggestive of such theoretical questions, this exhibition simultaneously confronts viewers with the unsettling possibility that they cannot share their perceptions, and also may not be seeing the same colors and, by extension, the same scenery, as others.
With a composition refined to the ultimate degree, the space contains aberrations like those in a weird dream. When viewers enter it, they play the role of symbolizing these aberrations (along with their own gut feelings). (The rose is red as long as the viewer is present, and the “dynamics of here” are mistaken.)
In a space filled with light that makes ordinary vision unreliable, one work uses three mirrors that are merely smooth surfaces with a circular shape and call to mind human heads. They reflect an image of the actual space reversed right-and-left, and produce the oxymoronic image of “flat depth”.
When flesh-and-blood viewers enter the installation space, their reflections appear from time to time in the mirrors, such that the viewers end up viewing themselves within the work. Creating this sort of nested structure and attendant aberrations, Tamayama easily brushes aside the values of virtual space and builds in the gallery an unfamiliar (≒ unheimlich) cosmos that is accompanied by actual objects and real experience throughout.
Schedule | Jul 17 (Sat) 2021-Sep 4 (Sat) 2021 Opening Hours Information
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| Fee | Free | ||||||
| Website | http://anomalytokyo.com/en/exhibition/takuro_tamayama/ | ||||||
| Venue | Anomaly http://anomalytokyo.com/en/top/ | ||||||
| Location | 4F Terrada Art Complex, 1-33-10 Higashi Shinagawa, Shinagawa-ku, Tokyo 140-0002 | ||||||
| Access | 9 minute walk from exit B at Tennozu Isle Station on the Rinkai line, 10 minute walk from the South exit of Tennozu Isle Station on the Tokyo Monorail line, 9 minute walk from the North exit of Shimbamba Station on the Keikyu line. | ||||||
| Phone | 03-6433-2988 | ||||||
| Related images | Click on the image to enlarge it |
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