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Beyond Homogeneity


  I was in charge of the exhibition design for two photographers, Kosuke Okahara and Paolo Pereglin, among the venues of the international photography exhibition KYOTOGRAPHIE held in Kyoto. The exhibition was held at the Horikawa Oike Gallery in Kyoto City. This building, which is shared with @KUA, a gallery of Kyoto City University of Arts, is a generic building like a so-called community center, composed of white, homogeneous spaces.

  Okahara's photographs are of the daily lives of women who repeatedly self-mutilate under the theme of Ibasyo. This is an expression of the women's lack of place in society, and we decided to use it as the concept for the exhibition composition.

  First, five rooms were prepared for each of the five women, and four of them were placed at 45-degree angles. By making the gaps between the rooms dark and complicating the lines of flow, visitors lose their sense of direction each time they pass through a room, and furthermore, the darkness causes the entire exhibition room to lose its size. Although the disorientation of not knowing one's place when there is a discrepancy between the map in one's head and one's experience is different from their feeling of being out of place in the photographs, we thought that we could share the same feeling of anxiety about losing one's place.

  I also thought that if a homogeneous experience becomes excessive due to the repetition of rooms of the same size and shape in a building such as a community center, which can be found anywhere, the generic space would be inverted and reborn as the individuality of the place. It is not the individuality within this building, but that which is created by an awareness of the outside of this place. The continuity of the homogeneity of the interior and the labyrinthine nature of the exhibition erase one's sense of place and extend one's awareness to the outside of the building. The aim of this exhibition was not to fit within the confines of a small exhibition space, but to create an experience that would make visitors aware of the expansive sense of place that can be created by using the building's own sense of place to further explore the building itself.

  In Paolo Pereglin's exhibition room, we designed a display stand for a collection of his past works. The book was not the main attraction in this exhibition, but rather a supplemental exhibit to introduce the artist. The book was a sheet of paper folded like a bellows. We were asked to create a display stand that would extend this to the entire exhibition room and allow visitors to experience it as a single sheet of paper. Therefore, we thought of a display stand in which the support of the paper and the support of the shelf are united by a single pillar, and the pillar is continuous with the bellows. The slender, slender column is supported by a concrete foundation at its foot, and the boards are caught by silver tape wrapped around the column and stand leaning against the wall.   When one notices the simple yet somehow unstable way in which the object stands, one is likely to take a peek at the backside of the board and try to uncover the mystery. On the back side, silver tape glitters as if it is waiting for the visitor to peek through. I thought it would be possible to intrigue people's interest by creating a gap in the structure and giving it a blank space, rather than a safe and solid way to stand. The artist's highly finished work was used to adjust the center of gravity of the entire exhibition by contrasting it with a non-supporting display stand. In addition, Ibasyo's exhibit was designed primarily in places that are not visible, as if to lead visitors on a search for a trick. This is common to Ibasyo's exhibition design, which hopes to make visitors not only experience the exhibition and immerse themselves in the work, but also turn their attention to the outside.


  京都で行われた国際写真展KYOTOGRAPHIEの会場のうち、岡原功祐とPaolo Pereglinの二人のフォトグラファーの展示デザインを担当した。場所は京都市内にある堀川御池ギャラリーで行われた。この建物は@KUAという京都市立芸大のギャラリーと共有しているが、いわゆる公民館のようなジェネリックな建物であり、白くて均質な空間で構成されている。






  Paolo Pereglinの展示室では、過去に作られた作品集の展示台をデザインした。作品集は今回の展示ではメインのものではなく、あくまで作家を紹介するための補助的な展示物であったが、とても良い作品集だったので、こちらにも興味を持ってもらうためにはどうしたら良いかと考えるところから始まった。この作品集は、蛇腹状に一枚の紙が折りたたまれている。これを展示室全体にまで広げ、一枚の紙として体験できるような展示台を求められた。そこで、紙を支えることと棚を支えることを一本の柱で一体化し、蛇腹と共に柱が連続する展示台を考えた。この細長い華奢な柱は、足元のコンクリートの基礎に支えられており、板は柱に巻きついたシルバーのテープに引っかかり、壁に寄り掛かるようにして立っている。モノが立つという状態がシンプルに表現されつつもどこか不安定な立ち方に気づいた時、人は板の裏側を覗き、その謎を暴こうとするだろう。裏側ではシルバーのテープが覗く人を待っていたかのようにキラリと光っている。安全で強固な立ち方ではなく、構造に隙をつくり余白をあたえることで人の興味をそそることが出来ないかと考えた。作家の作る作品の完成度の高さを利用して、自立しない展示台を対比させることで展示全体の重心を調節した作品である。さらに、からくり探しに誘導するように、見えない場所を主としてデザインすること。それはIbasyoの展示デザインにも共通しており、展示を体験し作品に没入するだけでない外側への意識を向けさせることを期待している。

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