Performances represent a time when I share something of this world. They are proof of what is mine alone in a world that is 99.9% possessed by the other. During performances, I am drawn far away from the territory that I call my own, which ironically forces me to confront who I am. Installations, by virtue of their different temporal conditions, create an opportunity for me to scrutinize my performances and reconsider my own subjective experiences of time from the perspective of other people.

When I am designing a performance, I outline the goals of the action and various obstructions that will make its achievement more difficult. For example, in my “Pull and Raise” series, in which structures are pulled and raised up by ropes, I always choose or build structures that are too big for me to raise alone. In my “Songs While Bound,” a group of musicians performs the national anthem while attached to one another by ropes that interfere with their playing of instruments.

For these goals and rules, “weight” and “gravity” are important factors. The heavier something is, the harder it is to move, thereby requiring more energy. The structures in “Pull and Raise” are designed so that it is immediately clear that more than a handful of people will be required to achieve the goal of raising them. Bystanders are thus inspired to help with the action. The mass of the structure itself is thus a kind of trigger. In “Songs While Bound,” the restricting factor is instead competing centers of gravity. The more performers there are, the more their bodies work against one another, resulting in a jagged and fragmented musical performance. Both series are meant to express the social tensions and their resolutions that we experience at an everyday level as individuals and groups.

What makes the structures hard to move is not only their weight but also friction, namely that of the ground on which they are situated. Friction also impacts the force of gravity. If the force of pulling on ropes exceeds that of friction, the structure will lift away from the ground. Once the center of gravity is above the ground, the structure gains a “potential energy” that makes it want to drop. As the structure raises even further and then goes into a freefall, that potential energy becomes “kinetic energy,” and in turn “destructive energy” when the structure smashes into the ground, as well as “sonic energy” in the form of the sound of the structure’s impact and breaking apart. The overall amount of energy is thus constant within a single performance due to the law of “the conversation of energy.”

Alas, it is impossible to preserve the energy created within a performance and move it to another site—to a gallery or museum, for example. Instead, for exhibitions, I transport the actual structure to the gallery and position it at an angle with ropes attached to express the force of pulling and potential energy, accompanied by videos, photographs, and audio of the performance. My hope is that the lost energy from the performance is transformed into something new by way of an installation that suggests the structures’ heaviness and gravity and which reproduces the scenery and sounds of the performance.

The distance between the performance site and the installation site makes clear that it is impossible to experience the same event the same way between the two. However, similar to Robert Smithson’s ideas about “Site/Nonsite,” performance-related installations are not simply objective copies of the raw experiences of the live performance. Participants in a performance and viewers of an installation experience the same event (the same heaviness and sounds) at different speeds, in different places, and at different times. It’s a matter of differing perspectives, rather than a hierarchy between direct subjective experience and distant objective experience. “Do we occupy the same world?” one asks. “Yes, I believe we do.” My goal is to create an environment that bridges that gap and creates a channel for multiple subjectivities to interact across space and time.



 パフォーマンスを設計するとき私は行為のゴールと、その達成を困難にするルールを設けます。例えば構造体をロープで引っぱり動かす作品「Pull and Raise」で、その構造体は一人では動かせないサイズでなければなりません。国歌を3、4人で演奏する作品「Songs While Bound」で、その演奏者たちはお互いにロープで縛られます。

 これらのゴールとルールには「重さ」と「重心」が影響します。重さとは物の動かしにくさのことであり、重い物ほど動かすにはより多くのエネルギーが必要です。「Pull and Raise」の構造体の重さこそが、少人数ではゴールを達成できないことを明らかにし、構造体をなかなか動かせない様子を見かねたパフォーマンスの傍観者を参加者へと変えるトリガーとなります。重心は、一つの物のなかだけでなく、距離が離れた二つの物と物の間にも想定できます。「Songs While Bound」でロープで繋がれた演奏者たちの重心はお互いの力関係によって移動し、演奏者が増えれば増えるほど複雑化する重心移動は、途切れ途切れの国歌となって現れます。それらのパフォーマンスは、集団と個人の間で私たちが日常的に抱えているカタルシスやジレンマのジェスチャーとなるのです。



 パフォーマンスの場/インスタレーションの場の隔たりは、私たちが同じ出来事を全く同じように体験することは出来ないという不可能性を明らかにします。とは言え、(Robert SmithsonのSite/Nonsitesがそうであったように)パフォーマンスが生の体験で、インスタレーションはそれを客観的に再現したコピーというわけでもありません。パフォーマンス参加者とインスタレーション鑑賞者は、別々の時間と場所で、同じ出来事(同じ重さと音)を異なる速度で体験する、主観/客観ではなく主観∞主観のような、視点がねじれた関係だと仮定します。遠い距離を繋ぐ、そのねじれたトンネルを通じて、私たちの無数の主観は交差し「私たちは同じ世界にいるのか?」という疑問と「同じ世界にいるはずだ」という確信は循環するのです。