Warehouse TERRADA to Hold TERRADA ART AWARD 2023 Finalist Exhibition from January 10th (Wed), 2024

Mitsuo Kim

On a metal display stand equipped with a heat source, I will exhibit an installation of a red canoe made of wax that slowly melts and collapses over time, along with two-dimensional works also made of wax. Since last year, I have been seeing a lot of news about the war in Ukraine. Seeing images of fathers going to the war and their wives and children fleeing the country reminded me of the stories of my mother and grandparents. This is not a story which I am unfamiliar with. This time, the melting red canoe is not only a sinking canoe, a parting, or an ideological divide, but also a departure for a new world, and a hope for peace and tranquility. It will be an exhibition that shows what continues while encompassing fragility and contradiction.

Yuma Tomiyasu

I have been interested in the shift in perspective, such as switching between one’s own perspective and that of others. It could be a transcendent being’s viewpoint, or it could be a ghost’s one. Or it may be the multiple overlapping gazes of the self that transcend dimensions. The viewpoint of dreaming is not captured by the eyes, but we recognize that we indeed see it. Such shifting between multiple perspectives induces a strange sensation of going back and forth between dimensions and makes us aware of the instability of its foundation.
The structure of a magic mirror means that when it is not visible from one side, it is visible from the other side. The monitoring camera in the room set in this installation should also show the viewers outside the room, but it will not show the viewers at a time when they can see the monitor. In this work, the programming of the lighting forces the visible objects to shift, thereby shaking up the concept of seeing and being seen.

Yuki Harada

I myself don’t go anywhere. I myself am always there, waiting for me to return, like a shadow―this is part of the script for this “shadowing” series.
In the past, Japanese emigrants who moved to various parts of the world have created transnational cultures represented by “pidgin languages” in contact with other cultures and languages. The process they experienced will be replayed through “voice overlap” by shadowing as language learning and “emotion overlap” by having my own facial expressions tracked by a digital human.
We have a nature that makes us return to “ourselves” no matter where we go, and yet we are compelled to move forward. I would like to express this distorted yet powerful progress through the installation.

Satoshi Murakami

“I’m just a stage prop. I don’t have any lines or anything.”
I dreamed that was talking to me on the stage. She was put on stage without being told what was going on, had no idea what she was supposed to do, and seemed to be in trouble. I felt that there was a kind of universal form of that permeated from the era of the industrial revolution to the present day.
Around the same time, I knew that my grandfather, who was suffering from dementia, thought the coat hangers in the hallway was a person. I thought about the possibility that it was not really a coat hanger, but something else, and that only a person who has grown old and become a “cognitive general” would be able to recognize its existence. When giving form to these experiences as an artwork, I had an epiphany that I might also be able to consider the issue of “outline” in drawing at the same time. By extension, it may be possible to overcome the binary opposition between fiction and non-fiction, memory and fabrication.

yang02

The future is perhaps distant, but surprisingly near. There was a rumor going around that there were actual pieces of “ART” left somewhere that people had long since forgotten how to make with their own hands or see in person. One day, several curious apparatuses discover some “ART” wrapped in blue sheets in a back part of a warehouse. But even looking at the “ART,” they could not understand the “ART”. What value could these things possibly have? At least, it seemed impossible to explain with the languages or the logics of the people of this time period. Therefore, they began to try to understand the “ART” by imitating human behaviors related to the “ART” in the past, such as drawing, installing, and seeing them.

Support: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture Operation