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