February 6, 2011 § 1 Comment
Ei Wada (和田 永様, *1987), a Japanese media-musician, is becoming a regular appearance at new media festivals outside of Japan. He appeared in Linz (Austria) and performed at the 2010 ISEA Ruhrgebiet, where he won the Nam Jun Paik Award. Wada exhibits a keen interest in the physical workings of outdated technology and how it can be turned into a creative tool. A prototype for a proactive media archaeology.
The”Braun Tube Jazz Band“, presented during the recent Transmediale Media Festival in Berlin this February, is an assembly of several classic Braun tubes (short for: Television), which are short-circuited by Wada through his body. All tubes are connected to his body, his feet serving as a grounding for the circuit to function. Probably everyone knows the sizzling feeling at the fingertips, when you approach a classical TV screen. Wada exploits this everyday phenomenon for his music. The electric/magnetic field is the source to produce sounds by using two screens as antennas and interfering with his hand in the field of the other tubes. Each tube is variously tuned to a different timbre or octave, related to a umber of effects panels and the usual audio-distortion equipment. For anyone sitting in front of the speakers during the second part, this resulted in quite unpleasant low-pitched noise, while for others further in the auditorium the spectrum was much wider. Image became Sound and vice versa.
Before closing his performance, Wada advised the audience on the proper uses of television. Like McLuhan once philosophized that a TV screen could also be used as a light source for someone reading a book, Wada said that it’s better to hit the screen than watch it. We agree: Hit it. Here. Now. Every day. がんばって、ね。新音楽を見つけるよう。
September 17, 2007 § Leave a comment
Hana Usui, a Tokyo-born and Berlin-based artist, has been learning the strenuous task of calligraphy the hard way. Starting in her childhood and becoming master student of Undo Inamura at the age of 14, she became acquainted with the aesthetic conventions of one of Japan’s most elaborate arts at an early age. In 1998 she graduated from Waseda University in Tokyo with a Thesis on The Influence of Avantgardist Calligraphy and Wester-American Art.
Since those days her skill as painter has prompted her to explore the ways in which the paper reacts to the ink and brush. As in many Japanese arts, from carpentry to lacquer ware, developping and exploring the limits of the material has been a traditional concern brought to fruition.
The recently opened exhibition “Negative” at Galerie Oko proves once again, how Usui’s knowlegde of washi （和紙) interacts with the aesthetic conventions of calligraphy and contemporary art. At the same time her works are reminiscent of the late Action Painting by Jackson Pollock. The crucial difference is that her paintings lack, despite their measure, any pretensions of aggressiveness. They seem to be suspended in midair, softly attached to the wall, as if a frame could keep their motion from spreading. But as the video shows, these pictures (especially “Untitled, No. 1”) are to be perceived in motion. It’s motion come material, where the paper softly answers every call of the brush, every drop of the ink with a bend and a tilt in all directions. The impression is an extremely forceful one (concerning the motions) and a fragile one (concerning the material).
As every artist spreads the boundaries of his given medium, Hana Usui’s fascination with the flexibility and responsiveness of paper, is revealed especially by her stylistic inversion of a negative, black background. The use of alternative tools, e.g. screwdrivers, and the combination of oil colour and black ink illustrates her search for new ways of making the surface talk. Since your flat screen won’t reveal any of the intimacy of colour, material, or the flying birds, see for yourself at Schroederstrasse 12, Berlin, Germany.