Installation view of 'CHAOSMOS' @ CAPSULE Gallery, Tokyo

    Installation view of solo exhibition 'CHAOSMOS' at CAPSULE Gallery, Tokyo. 

    February 22 - March 22, 2020.








    Exhibited Works (excerpt)


    Video Feedback Configuration No.15 Mirrored 1 (2019)


    video processors, video monitor, cables, wood, stainless steel, 

    real-time generating video


    Trans-flux No.4 Square (2019)


    plexiglass, video monitor with media player,

    video data / 60min loop



    Trans-flux No.1 (2019)


    plexiglass, video monitor with media player,

    video data / 60min loop



    Video Feedback Configuration No.14 Composite 2 (2018)

    180x70x40cm (flexible)

    video processor, video mixer, video monitor, cables, wood, stainless stell, 

    real-time generating video


    Video Feedback Configuration No.15 Composite 1 (2018)

    160x160x40cm (flexible)

    video processor, video mixer, video monitor, cables, wood, stainless stell, 

    real-time generating video


    Video Feedback Configuration No.12 White Cube (2017)


    video processsors, video monitor, cables, wood

    real-time generating video


    Video Feedback Configuration No.11 White Cube (2017)


    video processsors, video monitor, cables, wood

    real-time generating video


    Video Feedback Configuration No.5 White Box (2015)


    video proessors, video mixer, video monitor, cables, wood

    real-time generating video


    Tangled TV No. 8 (2019)


    TV, cables, light bulb


    Video Feedback Auto-generated Piece No.40 - Still 01 Small (2012)


    lambda print mounted on aluminium composite panel



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    Upcoming: solo show 'CHAOSMOS / カオスモス' at CAPSULE Gallery, Tokyo

      CHAOSMOS  / カオスモス


      Masayuki Kawai / 河合 政之

      2020年2月22日(土) - 3月22日(日) 
      Feb. 22 (Sat) - Mar. 22 (Sun), 2020

      東京都世田谷区池尻2-7-12 B1F
      B1F 2-7-12 Ikejiri, Setagaya-ku, Tokyo, Japan

      開廊 : 土・日12:00-19:00 | 休廊: 月- 金
      Open only Sat and Sun 12:00 - 19:00 | closed on Mon-Fri

      オープニングレセプション:2/22 18:30 - 20:30
      Opening Reception: 2/22 18:30 - 20:30


      Installation view at ART BASEL Hong Kong 2018. Courtesy of MORI YU GALLERY.


      Trans-flux No4 Square, 2019, plexiglass, video monitor with media player, video data/60min. Courtesy of MORI YU GALLERY.

      哲学的で独創的な作風が、ART BASEL Hong Kong 2018 や TAIPEI DANGDAI 2020 など、海外を中心に高い評価を受けているヴィデオ・アーティスト、河合政之の個展。当展覧会では、カオスとコスモスの融合を意味する《カオスモス》というテーマのもと、近年河合が取り組んできたアナログな映像機材を用いた〈ヴィデオ・フィードバック〉による作品シリーズを展示します。



      Video Feedback Configuration No.10 Mirrored 1, 2019, video processors, video monitor, cables, stainless steel, wood. Courtesy of MORI YU GALLERY.


      Masayuki Kawai creates video works in a unique and philosophical style that is gaining reputation abroad in such settings as ART BASEL Hong Kong 2018 and TAIPEI DANGDAI 2020 in recent years. In this solo exhibition, under the theme of CHAOSMOS - the fusion of chaos and cosmos - we exhibit an exemplary series of his works that use ‘video feedback’ created by analog devices. 


      Kawai, also a theorist, understands the ‘analog’ as the essence of video which is subject to every chance and change, opposing it to the digital which formulaically utilizes signal while excluding noise. Each of Kawai’s works, by using analog circuits, is a kind of living system, changing infinitely and never repeating an instant. They elicit the pleasure of eternally mutating images that appear as cosmos in the finite world yet are open to infinite chaos: chaosmos. 


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      Statement on new works for Taipei Dangdai 2020

        Press release via MORI YU GALLERY with a statement on new works for Taipei Dangdai 2020. 


        PDF version:





        Video Feedback Configuration no.10 Mirrored 1

        wood, stainless steel, video processors, video monitor, cables















        Trans -flux no.4 Square

        plexiglass, video monitor with media player











        Tangled Ball no.3

        cables, adaptors







        Reflexion on Infinity


        Infinity is not elsewhere. It is here: in the rotation of the galaxy; in the cyclical emergence and extinction of life; in human sense and thought; in quantum’s play. 


        But infinity is not a fixed entity. Boundaryless, it is open to every chance and event. All-embracing, it yet spirals between chaos and cosmos. 


        Masayuki Kawai’s video installation works, having the fundamentals of video as their motifs, are philosophical rather than technological. They don’t represent, but rather reflect, infinity. They are micro-‘chaosmos’; that is, they are direct presentations of the here-and-now infinite in which we take part, perhaps without knowing. 


        From among the basic principles of video, Kawai has extracted the elements which constitute infinity: ‘feedback’ and ‘the analog’. With feedback, video – which Kawai calls electronic sight – is connected to the viewer’s desire as the data incessantly recurs. This recurrent flow of data-desire forms ‘the analog’, incorporating accidents and uncertainties such as heat or emotion, and endlessly deviating. 


        In the series Video Feedback Configuration (2012-), closed circuits constituted by analog video machines and their connecting cables create free-running data which generates and mutates a psychedelic visuality in real time. Without any input of source imagery (camera shots or computer graphics), video becomes autopoietic life as cosmos open to chaos. 


        In the new series Trans-flux (2019-), abstract and vivid images made by video feedback perpetually flow and transform within colored plexiglass frames. In these pieces, Kawai explores the concept of translucency, as representing the characteristic of data which is open to the infinite while being as phenomena in and through the world — fusing chaos and cosmos. The recurring, deviating images hover between non-meaning and revelation, eluding the digital binary of meaningful/meaningless. 


        Kawai’s artworks crystallize the infinitude of video feedback into simple but mesmerising forms. They lead viewers to inexhaustible pleasure. And they would have us seek beyond human intention or inspiration and glimpse the lavish world of data: ‘the given without givenness’. Thus, we may realize that we need not transcend our current entanglement in the Real to encounter innumerable wonders. 



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        Upcoming: TAIPEI DANGDAI 2020



          Masayuki Kawai will participate in TAIPEI DANGDAI 2020 Art Fair via MORI YU GALLERY. 


          TAIPEI DANGDAI 2020


          Booth of MORI YU GALLERY (Booth no: B09)


          Taipei Nangang Exhibition Center, Hall 1 (4th Floor)
          No. 1, Jingmao 2nd Road, Nangang District, Taipei City


          Date / Time:
          VIP Preview (invitation only)
          2pm-5pm, Thursday, 16 January 


          Vernissage (by invitation or advance ticket)
          5pm-9pm, Thursday, 16 January 


          Public Opening 
          11am-6pm, Friday, 17 January 
          11am-6pm, Saturday, 18 January 
          11am-5:30pm, Sunday, 19 January 

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          Upcoming: 「Out of Frame」飯村隆彦&河合政之展 "Out of Frame" by Takahiko Iimura & Masayuki Kawai @ MORI YU GALLERY Kyoto



            *English information is below.


            飯村隆彦 / 河合政之
            「Out of Frame」




            2019年7月13日(土)- 9月1日

            アーティスト・トーク: 7月13日(土)15:30-17:00
            オープニング・レセプション: 7月13日(土)17:00-19:00


            MORI YU GALLERY
            open: Wed - Sun / 12:00-19:00 
            月・火、7/27, 8/11-20は休廊いたします。


            飯村隆彦 著 『映像アートの原点 1960年代』 (水声社、2016)
            河合政之 著 『リフレクション ヴィデオ・アートの実践的美学』(水声社、2018)




            Out of Frame



            飯村のヴィデオ映像作品《CAMERA, MONITOR, FRAME》(1976)は、同書の中で河合が分析の中心に据えた作品である。ナラティヴや表象の要素を極力排し、カメラ、モニター、飯村自身、そして最低限のテクストと何も映っていない画面だけで構成されるミニマルな映像。その中で、見る/見られる視線・欲望が、内在と超越を貫いて循環する構造が、あらわにされる。ヴィデオ映像特有のフィードバック的な構造の中に観客を巻き込み、主観と客観をつなぐフレームを超えて視線と欲望が運動するメディア的な様相の会得へと、見る者を導く。

            《A CHAIR》(1970)は、おそらく日本で最初のヴィデオ・テープ化された芸術作品である。フィルム映写機から発せられる光によって、椅子の背後でその影が明滅する。《A CHAIR》は、飯村自身がその日本への最初の紹介者の一人である、ジョセフ・コスースの《One and Three Chairs》(1965)を参照している。

            使用目的を失った椅子、写真とテクストからなる《One and Three Chairs》(1965)は、当時世界的に最先端であったコンセプチュアル・アートの代表的作品である。この作品に対する映像芸術による応答と見ることができる飯村の《A CHAIR》では、椅子本体とその影が光の中で明滅する様が淡々と映し出される。洞窟の影のように背後で明滅する椅子の影は、対象(椅子本体)のインデックスという役割を与えられながらも、リズミカルにフリッカーする時間の中で純粋な出来事としてあらわれ、物語性を許容しない。過去の記憶や無目的な椅子と切断されつつ、次第にその間隙に豊潤なる非=意味の世界が見えてくる。コスースの作品に対して、飯村の作品では椅子の影を作り出すのがフィルム(映画)の投影である。フィルムの作り出す光学的な光と影は、物理的な光の有無(ポジ/ネガ)であるが、一方ヴィデオに撮影されたそれは、光と影のどちらも同じく電子的な〈データ(河合による概念)〉の結果である。つまり、飯村の作品はメディアとしての映画とヴィデオの差異を初めて明確に意識し、顕在化させた芸術作品といえる。

            今回の展覧会では、飯村が同作品をインスタレーションとして50年近くを経て再解釈した新作《A Chair and the Projected》(2019)も展示される。



            河合の新作《Trans-flux》(2019)は、彼が続けてきた《Video Feedback》シリーズの新しい展開である。半透明のフレームの中に浮いているモニターの中で、ヴィヴィッドで抽象的なパターンが流れ続けている。その映像は、アナログな映像機器をイレギュラーに接続し、電子データを自動的に暴走させることによって作り出されている。この作品は、透明(transparent)と不透明(opaque)の間に位置する、〈半透明(translucent)〉というコンセプトを提示するものである。〈半透明(translucent)〉は、超越と内在の間を接続/切断するデータの特性を表している。循環しながら逸脱し続けるヴィデオ・フィードバックの映像は、それを意味として、あるいは啓示として受け取ろうとするような、見る者の試みをつねにすり抜けていく。そしてさらにそうした映像が、半透明なフレームによって接続/切断されることにより、二重にデータ/メディアとして、つまり偽=オブジェクト(quasi-object)として顕現するのである。河合の《Trans-flux》は〈データ〉をメディアの本質と捉えると同時に、そのデータとしてのメディアが、二項媒介的な関係性から成り立つものではなく、むしろ非=意味を生産し続ける、豊穣な「間」にこそ見出せるのではないかと我々に問いかけている。


            Takahiko IIMURA Masayuki KAWAI
            “Out of Frame”




            July 13th (Sat) - September 1st (Sun)

            Artist Talk: 13th July, 15:30-17:00
            Opening Reception: 13th July, 17:00-19:00


            MORI YU GALLERY
            4-19 Rengezo-cho Shogoin Sakyo-ku Kyoto  606-8357
            open: Wed - Sun / 12:00-19:00 
            closed on Monday, Tuesday and National holidays, Jul 27, Aug 11-20




            Out of Frame

            MORI YU GALLERY Kyoto is pleased to present two persons show, Out of Frame, by internationally reputable artists, Takahiko Iimura (b.1937) and Masayuki Kawai (b.1972) from July 13th to September 1st. 

            The exhibition is based on their thoughts on the aesthetic theories exchanged between them for more than 20 years, which have strengthened he works of both artists with aesthetic intensity. 

            Camera, Monitor, Frame (1976) is the central work of Iimura’s experiments in the 70’s on the conceptualism of video art. Kawai elucidates in his recent book its video-specific structure of feedback, which takes in spectators’ gazes and desires to look/be looked at, breaks out of its own frame that bridges subjectivity and objectivity, and then alternate between transcendence and immanence. 

            Iimura’s A Chair (1970) is probably the first video-taped work in Japan, meanwhile a significant response to Joseph Kosuth’s One and Three Chairs (1965) made by video art. In this work, Iimura uses film projection to flicker the shadow of a chair shot by a video camera. Although the shadow functions as the chair’s index, its constant flickering suspends it from any narrative and brings about a fertile non-meaningness. 

            For this exhibition, IImura has revised and restructured this work after almost half a century since its birth, as an installation piece A Chair and the Projected (2019). 

            According to Kawai’s aesthetic theory, video is neither a tool for information/communication nor independent object such as representation or text. He claims that there exists nothing but the continuity of an act: which he calls as ’data’. Data is not immanent and physical, but that does not make it transcendent and theological either; in other words data belongs to neither logical assertion nor theological revelation. In terms of Kawai’s concept of “feedback”, it collects a variety of indefinite factors, connects and disconnects immanence and transcendence and continues to deviate within the infinitely diverse circulation loop. Kawai applies this data feedback theory to every aspect in the world where data interpenetrates both the organic and the inorganic. 

            Kawai’s latest series Trans-flux (2019) shows a new direction that he took from his iconic Video Feedback series. In these pieces, he explores the concept of ‘translucent’, which represents the characteristic of data as a connector/ disconnector between immanence and transcendence. In the translucent color plexiglass frames, abstract and vivid images made by analog free-running electronic data perpetually flow and transform; hence the data / media manifests itself as a quasi-object, which never ceases to generate the non-meaningness in between. 


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