池田亮司
이케다 료지
Редзи Икеда

source: bfreccocolog-nifty

日本の電子音楽分野の第一人者として、世界中から注目されている作曲家／アーティスト、池田亮司。絶えず人間の感覚能力とテクノロジーの臨界点に挑むような、洗練された彼の作品やパフォーマンスの数々は、今や音楽だけでなく建築、映像、ダンスといった表現ジャンルを超えて、幅広く大きな影響を与えています。

色々と難しい事を言う人がいるかもしれませんが、池田さんのこの作品は至極単純です。この空間に居たいか居たくないかだけです。私は家にこういう空間があって、海を見てボーっとする様にボーっとしたいと思いました。自然が満喫できる空間の地下にぜひ黒と白の部屋が欲しいですね。自分にとっては良い瞑想が出来そうです。建築家というか空間設計としても活躍して欲しいですし、ぜひ依頼してみたいです。
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source: pedestrianagenda

El japonés Ryoji Ikeda se pasó una semana sentado en una mesa en una de las inmensas salas de LABoral Centro de Arte y Creación Industrial (Gijón, Asturias) viendo como se instalaba una de sus últimas obras: Datamatics.

Basado en códigos númericos invisibles y que nos rodean a diario, como ordenadores o más complicados como el ADN del genoma humano, Ikeda compone todo un mundo de sensaciones visuales.

Es dificil explicar las sensaciones que produce disfrutar de esta obra in situ, y que estará en Laboral hasta Enero de 2013 y en la que imágen y sonido se funden, haciendo que el espectador se encuentre sumido en un futuro que ya no parece tan lejano.

Como curiosidad, decir que se puede caminar sobre la gigantesca pantalla (ideal para los niños) que se ha colocado en el suelo y sobre el que 5 proyectores suspendidos proyectan códigos al más puro estilo Matrix.

Debido a que la sala está practicamente a oscuras hemos elegido como imagen una de sus obras anteriores pero que se asemeja a Datamatics. También proponemos un vídeo con el que hacerse una pequeña idea

En la web de Laboral hay información más concreta de esta obra de Ryoji Ikeda.

The Japanese Ryoji Ikeda spent a week sitting at a table in one of the huge rooms at LABoral Art and Industrial Creation (Gijón, Asturias – Spain) watching how one of his last works, Datamatics, was installed.
Ryoji Ikeda`s Datamatics is based on numerical and invisible codes that are around us every day, such as computers or more complicated ones as the human DNA. With this, Ikeda made ​​a world of visual sensations.

It is difficult to explain the sensations it produces to enjoy this work in situ, which will be at LABoral Art and Industrial Creation facilities until January 2013 and, in which, image and sound are merged, making the viewer to get lost in a future that no longer seems so far away.

As a curiosity, you can walk on the giant screen (ideal for children) that was placed on the ground with 5 suspended projectors that project Matrix-style codes.

Because the room is almost dark image we have chosen as one of his earlier works but looks like Datamatics. We also propose a video with which readers can get an idea of the work.

At LABoral Art and Industrial Creation´s Web you can get more details of of Ryoji Ikeda´s work.
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source: artasiapacific

Paris-based Ryoji Ikeda is a leading Japanese electronic-music composer and visual artist who produces music albums, sound and video installations, and composes music for theater performances and other artists’ projects internationally. His interdisciplinary career includes collaboration with Berlin-based artist Carsten Nicolai, experimental performance group Dumb Type and Japanese architect Toyo Ito. He has explored the intricacies of sound’s fundamental nature through his music and in this exhibition at the Museum of Contemporary Art, Tokyo (MOT), Ikeda switches gears and views numbers and mathematics through a similar micro lens. “Ryoji Ikeda: +/– [the infinite between 0 and 1]” is his first large-scale solo show in Japan, with two floors of the MOT transformed into black-and-white spaces full of numbers and electronic noise.

The ground floor, covered with black sound-absorbent carpet, was devoted to four works from Ikeda’s “Datamatics” series (2006– ), the artist’s recent body of work based on mathematical conundrums such as the concept of infinity. The transcendental (p) [n˚1-a] (2007–09) is a sculptural work consisting of a one-meter-square cube with a silver panel on its top surface. The panel has the mathematical value of pi, beginning with 3.1415 and continuing on, meticulously etched in tiny grids on the surface for a seemingly infinite number of places. The motif of a seemingly infinite array of tiny digits appears again in data.film [n˚1-a] (2007), a massive light-box showing a ten-meter-long strip of 35mm film printed with a vast amount of numbers arranged in a grid. In both works, the numbers are incredibly small and viewers have to get very close to the work in order to be able to recognize them. Seeing only the numbers within one’s field of vision instilled in audiences a sense of immersion within a micro-cosmos comprised solely of numeric digits.

Data.matrix [n˚1-10] (2006–09) consists of ten black-and-white video projections on a wall set to an original soundtrack of electric sounds. Each projection shows sequences Ikeda originally created for his audiovisual concert datamatrix [ver. 2.0] (2007) held in cities including Paris, Tokyo and Barcelona. One video shows a three-dimensional matrix grid with dots, giving viewers the impression of moving through intergalactic space in a video game, while another shows black blocks continuously scrolling horizontally like barcodes. The speed at which the images change makes it impossible to identify them.

In contrast, the lower floor of the museum was covered with white carpet, and visitors were asked to take off their shoes before entering and viewing a sound installation matrix [5ch version] (2009), consisting of five huge super-directional speakers. The sonic sine waves they emit change in pitch as you walk among them, changing your physical relation to the waves and the soundscape Ikeda devised.

Just as Ikeda reduces sound to its fundamental elements, he handles his visuals pixel by pixel to construct the images in his work. In the case of his show at the MOT, a single number functions as a single pixel and a vast amount of these pixels/numbers constitute a work. In this manner, Ikeda creates extreme environments that challenge one’s perception of hearing and viewing. Seeing “+/-,” an endless flow of data, imparts the dubious feeling of living in a fully digitized reality.