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<nettime> krystian woznicki
Krystian Woznicki on Mon, 14 Jul 1997 09:36:28 +0200 (MET DST)


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<nettime> krystian woznicki


FOR IMMEDIATE RELEASE  
Opening of a pirate radio station in Tokio (28. 06.1997)
contact FUKUSHIMA teruhiko at p-house
tel: 81(0)3-5458-3359
fax: 81(0)3-5458-4469


XP is a legal, alternative FM station aiming its broadcasting at the
general public using an FM transmitter.

In the current, fast changing new media environment, where networked media
and digital broadcasting are gaining ground, we are forced to scrutinize
our own view of the media and determine our position in relation to the
media.

The traditional media landscape has been shaped by the concepts of mass
marketing and mass broadcasting, while a looser media landscape is taking
shape, unfettered by restrictions of distance and time. We are in the
process of mastering a new way to walk, a new conduct, feeling our way
along the contours of a new media chart that is being shaped as we move
along.

Since we could neither see ourselves swallowing the vacuous promise  of
utopia heralded by the multimedia gurus, nor join in the complacent
struggle proclaimed by underground revolutionaries, what we acutely
desired was a non-mass/non underground=alternative path. We wanted our
own, cute, vibrant and vital medium that would be rooted firmly in
everyday reality, while achieving maximum effect with minimal resources.

That is how XP was born, and we hope it will be like the crocus, that omen
of spring which makes people aware of the invigorating breeze that the
season brings.


The XP radio waves are broadcast with a simple, off-the-shelf FM
transmitter. The reception range is within a circle of 100 metres from the
studio in Ebisu (Tokyo). Within this cute broadcasting area, we will weave
together  Internet access, the art gallery space and events in the
adjoining cafe, into a broad media landscape not available from the
ordinary grass-roots media.

The studio located in the 'cafe guest' is equiped with a professional
system fit to produce high-quality programs, based around a 12-channel
mixer. Program management and productuion is in the hands of the
production team, supported by professional staff from the multimedia
production company KAUNTAR Inc., in orderto guarantee high level quality
control, while maintaining the flexibility of an alternative medium.

The studio sits next to the cafe, which will enable dining and drinking
guests to join live in the program. Programs will bring a lot of live
material, using the many events organised on site, conveying the raw
atmosphere of the place.

The adjoining P-HOUSE gallery is also alive with exhibitions and other
events, which will be used as program material.
This setting enables us, for instance, to mix into a single 'event
' program a reception going on in the cafe, performances and symposia in
the gallery, and live broadcasting from the studio and Internet acces from
the cafe.

Cafe guest's network and know-how of the Ebisu area, P-HOUSE gallery's
network and know-how of events, and KAUNTAR inc.'s multimedia network and
know-how will be rolled into one to
bring you the wide media landscape that is XP.


What follows  is an introduction written by Fumio Nanjo for the exhibition
opening  (28.06.1997) of "nyoro" at p-house. 
for further info:
contact KINOSHITA sayaka at p-house
tel: 81(0)3-5458-3359
fax: 81(0)3-5458-4469

  "`E" The theme of the Nyoro exhibition is time. Time appears in the
phenomena. There is truth in the phenomena-I think. The eleven nominaited
artists have full of spirits. Sayaka Kinoshita (23) and  Shinobu Eto (24)
of P-HOUSE selected them. They were not just picked at random, but were
selected on the basis of the research of 40 young artists. Therefore, this
is a comprehensive field-study. Three of them are still students, two of
them are recent graduates and the rest are all in their 20's.

Chikara Matsumoto (29) customizes his snowboard into art. In another
words,his works is all snowboard shaped. He dreams of flat image. He
communicates with monsters in his mind. A little wooden spatula of cupped
ice-cream is linked to a snowboard. There follows a tiger and then a wolf.
The wolf is eating a man. It is Outsider's art.
 Kouhei Saito (24)  is an image collector. He collects images of various
things like porn, Manga, master piecies, old photographs, machines,
flowers, numbers, cars and so on, and then he makes collages of them. His
seven-year collection is kept in a big scrapbook. He asks children to hold
up a piece of calligraphy saying "Terayama"-he is referring to "Terayama
Shuuji"-a Japanese poet and playwright whose surname(Shuji) may be
translated as {AT} meaning calligraphy. In another piece, a cuddly toy called
Minnie is torn into two. The title is "Damian Hurst/Mike Kelley"-this is
weired. But some understand. Then smile.
Daizaburo Sakamoto (21) presents performance art. He traveled from Tokyo
to Okinawa by moped. On route he met youngsters and made a record of their
voices. He scratched it and then make a record from it. The record becomes
work of art along with the photos he took during his journey.
Unfortunately' he could not complete his journey -he ran out of money at
Fukuoka. He also asked primary school band to play a drum and fife and he
presents a scrateh of this record. Hip hop, B-boys, contemporary Dada, its
all there. He runs through the time.
 Yuichi Enomoto (21) draws horses. Why horses? Because thoroughbreds are
beautiful? He puts sketches and oil paintings of horses on a marble
mantelpiece. A miniature horse stands on a cigarettes sticking out of the
wall; looks cute. This is an example of differentiation. Yuichi collects
Koara-No-March-Cookie (Biscuits with koala bear pictures) specifically
selecting those koalas with eyebrows. This becomes a presentation of
happiness since they are believed to bring luele. He puts posters of a
politician into a panel and covers the face with plaster-very much
artistic. Unlimited imagination is the importance. It does not matter if
they are works of art or not, but what matters is the fact that he has a
flexible viewpoint and ample ideas and he knows how to live with them.
 Tsuchiya Takaaki (24) made a home with a truck. It was his graduation
work. He makes a globe out of stained glass; a study in miniature. He puts
pop art and rubbish together. He picks up rubbish. He puts a bone, a
tricycle and a gas-cooker together. He claims that there is no difference
between the useful and the useless. All the belongings of the homeless
people,a drum can and an old television set on the scrapyard, can change
into something meaningful. A skeleton of stained glass and rubbish is the
symbol of his free thoughts.
  Hidenori Hino (26) refers to cartoons-Japanese Manga as well as overseas
cartoons. This year, he plans to deform established icons. A paper is
burnt and holed. Is this a rebirth of Decalcomania? A leg coming out of a
head, a darkness implies introspective imagery and a sketch of Samurai can
be seen on the background. {AT} Is this his obsession? Everything is
expreimental, and everything is adventure. You can live through it and you
live your own reality .    
 {AT}  Ryuichi Kawai (21) buries a cardboard box in the ground and lets it rot.
He builds a house with it. To live in a house is a everyone's dream,
three-bed roomed detached house. The house grows mildewed and contines to
decay. Home no longer has a meaning.  Family collapses? It is not unusual
any more. Every family is in danger of breaking down. We can not ignore
it. New buds are growing on the roof. It presents rebirth as if it starts
again from scratch. Let's try again in order to gain happiness. This side
of a vinyl plastic hothouse is safe and germless. However, nobody knows
the truth.
 Chinatsu Ban (23) respects words. Words create images and then the images
create the from. The forms become' characters. Her new character is called
"Munyun". It is soft, shapeless, breakble but alive. It flickers its
eyelids and shakes its body, just like a real pet. "Munyun" comes with a
video tape which introduces its neighbourhood,the paths in her town where
"Munyun" walks and her everyday life. There is a similarity to the Barbie
doll and yet "Munyun" is really there. There is no difference between
reality and imagination. Today,the word "cute" hardly differs from word
"scary". "Munyun" is cute but scary.
 Tomoo Gokita (26) paints in oils. He draws a mysterious dweller living in
his bedroom. A silhouette of a robot in red and black seems to be familiar
to us from the cartoon film "Naushika". His theme is coexistence with
others. Does the coexistence exist? Who is the other person? Is he myself?
Who am I? This is an insoluble question. When we find alienness in
ourselves, we wonder if this is a symptom of the dissociation of
personality from today's society.
 Hatsue Muraki (18) makes a dressing room. Behind the curtain, the room is
covered with photographs of her friends, herboyfriend, people she has met,
animals and herself. All the eyes on the photos are cut out and flickering
red lights are installed instead. Her dress is hung on the outside wall. A
number of eyes are watching when you are changing in the room. This is
spooky and scary. There is no sweetness in it. It is surrealistic. We are
scared of ourselves. We are surrounded by monsters. We ourselves might be
monsters though.
 Ryotaro Nohara (23) uses an electric fan. He takes the blades off and
puts fluorescent beaded ones instead. He switches on the fan. An
illuminated circle appears in the dark. We do not care about the
technology, but we care about the mechanism that the fan with fluorescent
beaded blades repeatedly rotate by itself. A doll made of beads is staring
at it. Here is another monster. It suits "fin de cicle".

At the moment we live in depressing times after the booms of the 80s.
Yet,this is normal because life is not always "fiesta". Yet it is not
always dark. There are plenty of things we can do and there are plenty of
things we can question. Unknown are things to be scared. Since we only can
live our lives at our own time. The past and knowledge belong to somebody
else.
Life is always full of adventures. Everything should be fresh and scary.
We hold a vast wilderness in ourselves, but there is the "Terra Incognita"
in front of us. By travelling  bravely and searching through it in a
positive manner, we can find our way. Probably the theme of the exhibition
should be "Self" rather than "Time" after all.
FUMIYO NANJO, 1997.5.19 Venice  


UPCOMING EVENTS INCLUDE


A PERFORMANCE BY >>L O W  P O W E R S<< hajime tachibana's brand new unit.
29.08.1997. Open 18:30, Start 19:00

for further info:
contact  p-house
tel: 81(0)3-5458-3359
fax: 81(0)3-5458-4469 


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