The artwork genres listed in the entry guidelines for the Art Division are interactive art, media installations, video works, video installations, graphic art (illustrations, pho- tographs, computer graphics, etc.), internet art, media performances, etc. Video works run the gamut from documentary to animation, while media art presents expressions through new technologies and pursues their ideation. The form and technology of works are limitless. Given that the derivation of art is said to be the Latin word for technology, on reflection, the works in the Art Division presenting technology and devices are art that three-dimensionally emerge from methods of limitless expression. In fact, in this festival I was able to encounter many works possessing this power.However, this time I felt anew that such works are extremely subtle and present a technical issue to the viewer as to just how accurately one can understand them based on online video recordings and data. While advancements in media allow the collection of nearly 2,000 pieces from almost 100 countries, perhaps out- standing works contemplating the nature of media itself are not fully communicated due to their progressive- ness. Above all, pursuing the bare expression of the work and the concept of media may result in something beyond the conventional concept of the work of art.The artist creates art for him or herself and can only wonder whether it will resonate with the viewer. It is not as if the artwork is good if there are many admirers, and it is somewhat suspect to say that a piece is excellent because an expert says so. That is exactly what history has taught us. Art is not a sport, and there are no intrin- sic relative merits.Everything is a mystery, and that is why there is art. There are various time differences in the tremulousness of the empathy that is communicating something from me to another. I would like to consider the extended meaning of media art, including all the time differences and discrepancies of light, air, era, particles, gravity, magic, and divine power. Assessments in art festivals like this one are ideal opportunities to connect with oth- ers, and at the same time they suggest the limitations of contemporary media.
Born in 1972 in Tokyo, ISHIDA is a painter and film artist. He most commonly uses a technique of drawn animation in which he draws lines in the space and shoots images of them one frame at a time. By interposing multiplying lines, moving points, and other mobile elements, his installations change the quality of the space. He received the Most Promising Young Talent Prize of the Gotoh Commemorative Culture Award in 2007. He is an associate professor at Tama Art University. His recent major exhibitions include MOT Collection Silent Narrator: On Plural Stories Special Feature: Takashi Ishida (Museum of Contemporary Art Tokyo, 2011), Double Vision: Contemporary Art from Japan (Moscow Museum of Modern Art, 2012), Distilling Senses: A Journey through Art and Technology in Asian Contemporary Art (Hong Kong Art Centre, Hong Kong, 2013), and BILLOWING LIGHT: ISHIDA Takashi (Solo Exhibition, Yokohama Museum of Art / Okinawa Prefectural Museum & Art Museum, 2015).
Back division top