26th November 2015
venue: Zarch Collaboratives, Golden Mile Tower, Singapore
project : Future of Imagination 10
シンガポールでも、ビー玉を使ったが、別の作品。袋の中に入れたビー玉と鈴、オレンジ、くるみ。それらを取り出し、山岡は一眼見るだけで、Yes, No, Maybe, Absolute, に分け、前、後ろ、左、右の4方向に投げる。実際は、別に違いはない。恣意的な判断に基づいている。社会で私たちが様々な理由で選別されているが、それらは、結果的にはそのようなものにすぎないと考える。努力はなされているが、運にすぎない場合は多い。そもそも、どんな環境に生まれ、どの性別を持ち、どの外見になるかは、本人には選べやしない。
以下は Jane M Shishidoによる優れた洞察力のテキスト。イベントでは、writing performanceというワークショップもあり、彼女はその講師を勤めた。
The Japanese artist Sakiko Yamaoka’s More Desires on the Floor addressed the elusive nature of love. The performance, which recalled the minimalist gestures and musicality of Fluxus, began with Yamaoka delicately dragging a small wooded stool across the floor, turning it gently to create a slightly different sound each time. After setting the stool upright, Yamaoka placed a bag containing marbles, small bouncing balls, oranges, walnuts, and bells on top of the stool. Carefully drawing out one object at a time, Yamaoka would examine it, judge it and then throw it so that it rolled, bounced, or fell to the floor. Sometimes the audience was able to catch the larger objects, particularly the oranges. Each time she threw an object, Yamaoka would classify it according to its desirability: yes (the object was thrown forward), no (the object was thrown backward), maybe (the object was thrown to the left), absolutely (the object was thrown to the right). Yamaoka, who is known for her spare performances such as her 2012 Targeting Zigzag in Tokyo which involved her walking in a zigzag line across a plaza, kept the action very simple here, allowing the materials to create the performance, with the various objects creating different effects as they bounced and rolled along the floor. Much of the performance could be found in the sounds generated by the objects—bells sound different than marbles, which in turn sound different than oranges or walnuts. In rejecting some objects and accepting others, Yamaoka made obvious how arbitrary love—and desire can actually be. What is it that draws you to one object and not another? How does desire work, and what part does the object play in fulfilling, or not fulfilling that desire? Yamoaka’s lovely and elegant performance asked all those questions and more through the simplest of actions.