Saturday 7 January 2017

ZOO@kyoto experiment 2016111111121113



いつからか私たちはこの場所から距離を置き始めて、意味として扱いはじめたのか
声が音から意味にかわったように、あるいは体が物から私にかわったように
意味のフレームが移動する時に最も快楽をえられるようになった
その時点で世界は必要な意味だけ抜き取られ、ゴミ箱に捨てられるようになった
ゴミ箱に捨てるという意味になっていればいい
ゴミ箱の中にもどちらにせよ人工の自然が生成される

ここに空のりんごがある
空のりんごを二つに割ると
そこには空のりんごの断面がある
それをさらに二つに割ると
また空のりんごの断面がある
そこには常に面によって閉ざされ
空のりんごの中身はいつまでたっても見ることができない

記号の反乱はそのまま意味の氾濫につながる


When human started putting between themselves and this piece and treating it as if had meaning.
It`s like they started making sense of the voice that used to be just sound. 
Or like the body that used to be just a thing  became “me”.
Pleasure becomes something that you can feel out when the frame of meaning moves, even if you don`t move.
At that point, indispensable meaning is taken out of the world, and thrown into the garbage.
It`s enough if the act is tantamount to throwing in the garbage.
In any case, artificial nature will be generated in the garbage.

There is an empty apple.
When you cut the empty apple in two,
you see a cross-section of the empty apple.
If you cut in half again,
you see another cross-section of the empty apple.
Since the inside is always hidden behind cross-sections,
you can never really see the inside of the empty apple.

The revolt of symbols will lead straight to the overflow of meaning.








































official photo by Takuya Matsumi and all Anonymous



ZOO

11/11 to 11/13
Kyoto Art Center

Original text: Manuela Infante

Direction: Chiharu Shinoda

Dramaturge, translation: Kako Kishimoto

Art direction: Kazuki Takakura

VR direction: God Scorpion

Lighting design: Ryoya Fudetani

Cast: Kan Fukuhara, Mika Masada, Yamuna Bambi Valenta, Doji Shigeyama

Sound: Bunsho Nishikawa

Production coordinator: Eri Shibata
Stage manager: Shuji Hamamura

Supported by the Saison Foundation

Produced and Presented by Kyoto Experiment