13th Art Division Critiques


What I was especially aware of were: whether the work makes creative connections traversing one media we have never seen before; how we evaluate works that are unknown and even undifferentiated; and if they cannot be viewed through the prism of our existing concept of values. In the latter case, we juries have to ask ourselves questions if viewers can read the possibilities that can arouse new forms of consciousness, interpretation, or human relationship, even though the artists themselves are sometimes not aware of. In the interactive and installation genres, several trends were observed: performance types of installation that require the presence of bodies; analog nonlinear phenomena; relationships between virtual and real space; and challenging environmental or biological science by humorous criticism. All can be said to weigh heavier on the process where phenomena break out and develop by establishing a distance from pre-established harmony. In such circumstances, I focused on works that open up encounters with foreign elements or new phases by making connections with a virtual system, or connecting and sharing them with more than one system.

Media Art Curator
Born in Kyoto. Director of Media Arts Consortium Organizing Office. Speciallyassigned professor at Tokyo Zokei University, guest professor at Tama Art University, lecturer at International Academy of Medi a Arts and Sciences IAMAS. Cross-media study of the creative relationship between the information environment and art; exhibitions and projects at Canon Art Lab 1990-2001, NTT InterCommunication Center ICC, 2004-2010 and elsewhere. Major projects include Amodal Suspension Yamaguchi Center for Art and Media, polarm Yamaguchi Center for Art and Media, MobLab Executive Committee member, open nature ICC, and Mission G: sensing the earth ICC. Jury in many competitions including Prix Ars Electronica.