Jp
— ruins : the remains of human-made architecture —
“subassemblies” is an audiovisual concert which pursues the relationship between nature and human-made through a perspective of architectural scale.
Main sources of this piece are 3d data captured by laser scanning, and filmed footages at human-made architecture, ruins and nature, and those are distorted and reconstructed into each modules as subassemblies to create renewed timeline with layers of order and disorder while exposing force of both nature and art.
Ruins, nature-invaded buildings and architectures in disrepair are superimposed and rebuild dynamically, and those unusualities rendered in multi-layered depth extends the perception of floating not only between nature and human-made, but also between abstract and concrete phenomena through its transition, destruction and renaturation. The motions such as cancellation of physical law, hybrid of natural and artificial components, and transposition of entropy and negentropy enhance those unusualities.
Japanese artist, Ryoichi Kurokawa composes in sound and light, using analog and digitally generated materials to create time-bending audiovisual installations, video screenings, audio recordings and performances that melt multi-channel image and sound into one entity, existing in continual evolution.
Kurokawa has always looked to nature for inspiration, exploring the realizations that emerge when our lived, observed physical realities meet electronically interpreted realities. He began experimenting with synaesthesia in audiovisual installations in the 1990s, overlapping senses of sound, sight and touch in installation and performance. His inquisitive style lead him to integrate scientific research on matter, time and the nature of the universe into his work—recently collaborating directly with astrophysicists on work informed by stellar formations, for ad/ab Atom, an installation of booming drones and static paired with multiple flickering screens – an abstract journey through the microverse, fed by nano-scientific data, images and code. His recent elementum series of digital and natural prints reorganizes life, death and (re)birth using the “oshibana” flower-pressing method. For over a decade, Kurokawa has shown his groundbreaking work in solo and group exhibitions at galleries and museums around the world and at esteemed international festivals. A self-taught artist and musician, he’s collaborated with musicians Ryuchi Sakamoto, Haruomi Hosono and Yukihiro Takahashi of Yellow Magic Orchestra as well as techno artists Aoki Takamasa and Yoshihiro Hanno.
