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

     

    PDF version: http://masayukikawai.com/download/TPDDrelease.pdf

     

     

     

     

    Video Feedback Configuration no.10 Mirrored 1

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

    1260x635x403mm

    2019

     

     

     

     

     

     

     

     

     

     

     

     

    Trans -flux no.4 Square

    plexiglass, video monitor with media player

    992x992x140mm

    2019

     

     

     

     

     

     

     

     

    Tangled Ball no.3

    cables, adaptors

    350x350x350mm

    2019

     

     

     

     

    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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