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[11.04.15 - 30.04.15] Masashi Enchigo - Japan

"What is a ‘community’ and how does my art connect with a community’s memories?
I work site-specifically. In spaces and places, I create installations that last only for an instant or projects that are related to people who live in the places and, consequently, to its history. I then return the art objects that I have borrowed for the work to their owners or share my vision with them".


Massashi Echigo fra Japan


Name: Masashi Echigo

Nationality: Japan

Homeland: France

Town: Paris

Age: 33

How long are you resident? From 11th of April until the end of April.

Have you been in Trondheim before? No.

Do you wish to get in touch with somebody in Trondheim? Yes.

Is it something you look forward to…? To see Nordic people and meet the culture.

About you work

Discipline: Visual art

Technique: depend on the place and project.

Statement:

What is a ‘community’ and how does my art connect with a community’s memories?

I work site-specifically. In spaces and places, I create installations that last only for an instant or projects that are related to people who live in the places and, consequently, to its history. I then return the art objects that I have borrowed for the work to their owners or share my vision with them. In the end, all that remains is the viewer’s and the object or space lenders’ memories and impressions of the work and of myself.

Plans for your residency?

How can I, as an ‘outsider’, and my work engage with the complex interaction of memory, architecture, object and landscape with communities being involved?

I am interested in a process of endless “commitment” with the outside world. The work produced by this process cannot remain my solo creation. I believe that each architectural construction, object and landscape has the singular capacity to evoke fragments of experience more than any narrative story. The research of Jonathan, the protagonist of Liev Schreiber’s film Everything is Illuminated is very inspiring to me in that context. Methodically collected and conserved throughout his life, the small things that once belonged to each member of his family are arranged on the walls of his room, creating a complex and heterogeneous archive of memory. The narration, fragmented along a path delineated by a comb, a photograph or a leftover vegetable, can be reconstructed by the observer based on his/her own personal experiences. It is no accident that the film, like the experimental novel by Jonathan Safran Foer on which it is based, revolves around Jonathan’s voyage to reconstruct the last pieces of the puzzle of his family’s life; a voyage that, traditionally the symbol of research and the collection of experiences, only objects can (partly) contain and reveal.

As an outsider, who comes from outside of the city of Vilnius, I will find myself undertaking a similar voyage in my development as an artist after graduating with a degree in architecture in Japan. This is demonstrated by a markedly nomadic attitude that has led me over the past years to live or pass lengthy periods of time in numerous European cities. Each experience in each place is collected and represented in individual installations spatially and emotionally tied to their context. Each installation, even if conceived of singularly, necessarily engages in a dialogue with the others, constructing a unique narrative landscape in evolution that is evidence of my voyage. Like the storyboard for a film, it allows for an unfolding of the important events in the relationship between me and the history, inhabitants, culture, dominant issues and objects of my host site.

 

 

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Redaktør: Kristina C. Karlsen, daglig leder LKV i Trondheim. Tlf. (47) 73 51 35 15, mobil (47) 472 72 977, epost: lademoen@online.no