|video, Japanese, Chinese (Minnan dialect), 14 minuites.@Weekly Mansion
Project, room 502. Weekly-Mansion Kibabotan West in Part 40, Tokyo, 1998.
It was in the summer of 1997, the place was called Chong wu town, a coastal
village in Fujian Province in mainland China. By the time the Chinese government
did not support contemporary art, even they suppressing it.
407 is the number of the room where I was staying as a resident artist.
The room was located in the building of stone company which was the host
of this private residency of art. We, 5 Japanese artists had to be checked
several times by security officers coming to the room in the midnights.
Through the window of the room 407, I was shooting video, looking into
the shallow beach every morning and day.
By the marginal capacity of digital X100 zoom focus, the figures on the
shallow beach became silhouettes, I was gazing the silhouettes which focus
were always on and off in a certain rhythm. The figures were simplified
into male/female, young/old and so on, but the relationships became something
significant in movements. I was absorbed in guessing the relationships
between figures; That big one and that small one might be a father and
a son? And they are passing by. So they arenft. Then I found a couple drew
each other magnetically. The group of small ones must be after school boys,
and that big one must be the ringleader of a gang of street urchins. Who
is that lonesome white figure reflecting morning sun walking on the wet
beach like a mirror, and where he is heading to? Suddenly my ears catch
the sound around the room 407. Radio from busy room with a mother scolding
kids, horns from the streets, birds sing, kids shout, firecracker explodingcbut
no sounds from the shallow beach. gHey!h I call the figures and they never
turn to look at me. At the marginal capacity of receptacle, self/other,
here/there are blending each other with the harmony of disharmony of unrelated
sounds around my room 407.