三原 聡一郎

The Blank to Overcome

source: fileorgbr

Abstract:
Parte do projeto “blank” que o artista tem criado desde 2011, “The Blank to Overcome” utiliza bombas de ar, circuito de controle de fonte de energia, água, solução, glicerina, etanol e eletricidade para produzir bolhas no ar. O tema de “vazios” denota um espaço para um “questionamento” não resolvido através das perspectivas para se pensar o presente após o tsunami de 11 de março de 2011: como as bolhas estão sempre se deslocando como um aglomerado gigante, quase sem massa ou estrutura e o enfrentamento disso; e o quadro desde a modernidade que prescreveu à sociedade, os “envolvidos” e os “outros”. Certamente, surgirão debates a partir dessa obra.
Biography:
Nascido em 1980 em Tóquio, ele apresenta sistemas que focam no som como arte. Desde 2011, tem criado um projeto em torno de espaços vazios investigando a relação entre tecnologia e vazios que fazem a sociedade existir. Atualmente, Soichiro Mihara reside na SymbioticA, Austrália, para estudar biotecnologia.
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source: fileorgbr

Abstract:
Part of the ”blank” project that the artist has been creating since 2011, “The Blank to Overcome” utilizes air pumps, power supply control circuitry, water, solution, glycerin, ethanol and electricity to produce bubbles in the air. The theme of ”blanks” denotes a space for an unsolved ”inquiry” through the perspectives for thinking about the post-3.11 present: how the bubbles are always shifting as a giant cluster, almost without mass or structure, and the facing up to this; and the framework since modernity that has prescribed society, and the ”involved” or the ”other”. From this work debate will surely emerge.
Biography:
Born in 1980 in Tokyo, he presents systems that center on sound as artworks. Since 2011, he has been creating a project themed around blank spaces investigating the relationship between technology and blanks that brings society into existence. Currently, Soichiro Mihara is residing at SymbioticA in Australia in order to examine biotechnology.
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source:mhrsjp
これまで開かれたシステムをアートとして目指し提示してきました。

定まった対象よりも、今そこで生々しく出現するプロセスを共有することに興味があります。現在、困難な状況に直面している母国に対して日本人である自分からのメッセージでも有ります。常に変わり続ける世界を直視することが、今、必要なのではないかと思っております。

311当時僕は、東日本から離れた場所で暮らしていて、物理的な被害は自分、そして周りにもありませんでした。しかし1000km以上離れた私の住んでいる町にもかすかに非日常的風景が起こり、メディアからは惨状と奇妙な日本の状況が朧げに見えてきました。多くのことが分かり、そしてオブラートに包まれました。色々なことを調べていくうちに、失った多くの印象は「空虚」ではなく「空白」に近いと感じました。この事故を通じて日本を俯瞰してみると、信じていたものが流されていったのではなく、安易な答えがあると信じこんでいた様に思えました。確固たる答えが失われたのではなく、未だ空白に満たされた命題の答案欄が残されているのではないか？と感じてきました。さらに、この広範な問い自体が常に変化し、それは超え続けなくてはならない、そんな気がしたのです。

私はテクノロジーを使い、表現します。しかし常に批判的にあり続けようと思います。
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source: mhrsjp

I have presented open system as art for a while.

I have interested in sharing process which is ongoing at the place, rather than static object. This is the message for my country facing unprecedented epoch from I as japanese. I feel it important to confront what is hapenning as it is.

At 311, I lived in a city far away from disastered area. It seem nothing changed at that time, but I can feel a few vague scenery from my living area and tons of severe information from media. I got our country’s situation gradually and most of them are hard to understand for me. but on the other hand, many of important topic have masked. the impression of these disaster and connected many layer of problem is first, void for me, but changed blank. Ofcourse we lost a ton. but I don’t think japan also lost the right answer for society. I think many of the people trust easy myth without facing up reality. the lost space seem blank for un-snswered question for me. and this question is changing even now. that what I think after the disaster.

I use technology for my art piece, but always conscious about technology itself.