Tuesday, November 27, 2007

Late Interview with Takamine Tadasu

YS: Could you tell me about your practice.

Tadasu: That’s a big question to ask. Um.

YS: Okay, tell me how you feel about the Flying Circus Project so far.

Tadasu: Great organisation. I mean, I can’t imagine how difficult it was to organise this kind of thing. And well, I’m always questioning who in Japan can realise this kind of same thing; it’s not really easy, especially the purpose for this particular example, really not clear. The project is the future, not for the now… the now… making networks or giving hint of for the future that is more important and also more difficult. So it’s this kind of thing is very … I’ve never ever done.

YS: Have you made close contacts with any of the other artists?

Tadasu: Well yeah a lot of friends. These two guys here (Ka Fai and Chee Wai) and Mich.

YS: I’ve noticed a lot of your artwork involves the human body and nudity. Is that a deliberate choice?

Tadasu: Well um… those um sexual ones, those images come naturally maybe but I didn’t know exactly why those are there in particular images came up in my mind for me. Art… if I recreate something, it’s an action, to going down to very deep part of my thought. It’s an action to me to be very own, very core. Of me. Then on the process to reach there; I’m always passed by. This filter of, um, sex. Sexual stuff. So it’s very natural to come those things appearing in the piece.

YS: You were telling me about the time you were censored.

Tadasu: Yes, sometimes… actually, a particular time when that piece I showed in Singapore – [Kimura-San, a video/performance lecture in which Tadasu gives his paralysed friend a hand job] - the video version of the work was invited to show in Yokohama museum. And then I don’t know why, but they banned it afterwards. By themselves. Because of the there was some excuse y them – well that it’s not really clear what reason was there. Because our law for censorship is still vague. Not clear. So yeah. You sometimes can show our nudity and sometimes not.

YS: How did you feel?

Tadasu: Well I was very excited about this show because I never thought that piece would be invited to a public museum in Japan. But I think, it has happened, so I was very glad for that. And I went to his space, my friend who is handicapped, and we were thinking of doing something at the opening party.

When it was banned, I asked the museum if I could still do something with him at the opening. So we went together and we did performance at the opening. He and me like, kind of say, we danced together.

YS: How did you dance together?

Tadasu: I tried to be him. So I imitate his action and we attached our bodies. And I moved something so I was… I tried to be him. But it isn’t a very good word that we got (consults Japanese-English translation dictionary) Oh no… I don’t have the word for that. Like a ghost… When a ghost comes to your body then, you become he ghost.

YS: Possession.

Tadasu: Yes. Like that.

Yeah. So there were plenty of people there. So after the performance I explained the work, about the history, what was happened with the piece at the museum. And then the Director of the museum - when I talked, during my talk, he left because he didn’t really didn’t want to have a responsibility for the history. And then I noticed, in the museums of Japan, the Director is not really directing the stuff. That people behind him, how do you say, the administrator or somebody, who is more protective to the government, so those people are controlling, are directing the direction of the museum. That’s the fact in Japan.

YS: It’s the fact everywhere.

Tadasu: Everywhere.

Did I already talk about the Flying Circus Project? Like as I say in our round-table talk, it’s about the searching, the process, for a new meaning for success. And then yeah there’s this… to get success is very important for everybody. And then so for those visual artists, we have to forget about the Venice Biennale or Documenta anymore. Then yeah, for the filmmakers, Hollywood and all those international festivals who have big power.

We have to change the value. We have to find kind of a really more a tiny value as important value. As more… rather than those existing values.

Because I noticed that how Flying Circus organised this kind of unusual program is not to get success as we know, as we knew; to try and define a kind of new because we cannot succeed through this program. We don’t know what is success in our meeting right now we have. We own the process to think about it.

Maybe that’s it.

1 comment:

l4ur3n7 said...

Takamine Guitar ? :)