陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL (2021), successive public activations during 2020 and 2021, is a visual narration of distorted definitions and the cause – information transmission, and has chosen the tag “minority” as the focus of the work.
YAMAN chose Oni as a metaphor for distorted definition, which connects to his own roots, culture, and career.
Oni ranged between good and evil (sharing the complexity and variation of human traits) and became distorted by the majority into purely an evil character. YAMAN finds this story an analogy of the distorted definition of the minority. A similar fate of perception may have distorted the Greek “Daemon”.
As the original Oni ranged between good and evil, distortions in information transmission itself can be plotted between good and evil. But what we see when we consider minority issues is someone’s intentions and benefits; the same impression we get when we think about Oni and Daemon being distorted by the winners of the time and official history to trace the storyline they want.
An additional essential element in this work is that time has ingrained distortions: a possibility that the distorted thing has forgotten the fact that they have been distorted. Myth becomes nightmare, villain transforms into hero, distortion evolves into common belief.
Oni is a consistent loser, the eternal minority, the ultimate other. Therefore, Oni cannot be specified. It can be said that what cannot be specified is the concept, Oni. The ingrained distortions have been repeated. In the social media era, we see our distorted selves reflected in the mirror. Can we still say it is someone else’s viewpoint?
陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL
Wood, Bamboo, Susuki, Moss, Gold, Acrylic, Fiber reinforced plastics, Polyamide, Projector, Mirror polarized projector and GUCCI shoes
©YAMAN
2021
Artist: YAMAN
Sculptor of Oni: Myokei Matsumoto/ 松本明慶
Animation: Tezuka Productions/ 手塚プロダクション
– KYOTO PRESENTATION
Venue: Hiunkaku, Nishi Hongwanji/ 飛雲閣, 西本願寺
Plant Arrangement
Reijiro Izumi
Scenic Design
Daisuke Narui
Masahiro Inoue, KOGADO
Ryunsuke Okui
Masaya Kushino
Art Transit Co., Ltd.
Zenbei Ikeuchi Landscape Constraction Co., Ltd.
Qanta Shimizu, Bassdrum
Ryosuke Izumida, Bassdrum
Masataka Kimura, Tasko
Tatsuo Hayashi, Tasko
Kohei Kudo, Tasko
Ryohei Nagase
Megumi Yoshida, anno lab
Shinshi Co., Ltd.
Showtex Co., Ltd.
The Blender Foundation
Koyo Orient Japan Co., Ltd.
Photographer
Junya Watanabe
Filmmaker/Editor
Yoshihiro Inada
Shunsuke Watanabe
Shinsuke Tanba
Yoshihiro Ogura
Lighting
Keita Ito
Hajime Saito
– TOKYO PRESENTATION
Venue: Shibuya Crossing / 渋谷スクランブル交差点
Photographer
Junya Watanabe
Filmmaker/Editor
Yoshihiro Inada
Shunsuke Watanabe
Shinsuke Tanba
Yoshihiro Ogura
– PARIS PRESENTATION
Venue: Théâtre Édouard VII/ エドワード7世劇場
Filmmaker/Editor
Yoshihiro Inada
Jameson Pepper
– LOS ANGELES PRESENTATION
Venue: The Kill Bill Church/ キルビル・チャーチ
American Cement Building/ アメリカン・セメント・ビルディング
Filmmaker/Editor
Yoshihiro Inada
Alyssa Brocato
Special Thanks to
Alex Kumph, Cinematographer
Alfredo Williams, Photographer
Anna Kato
Casey McShane, Director of Events, Chateau Marmont
Christine Kantner, Gus Creative
Dany Jucaud
Eva Gunz, GNZ Spaces
Jean-Francois
Mio Harada
Mitsumasa Maruhira
Monica Orozco, Photographer
Oscar Tiné
Pascal Legros, Directeur, Théâtre Édouard VII
Professor Yo Ishigaki, University of Electro-Communications
Steven Petrarca Events
Tine Brissiau
Tiné Sylvie
Tyler-Marie Evans, Cinematographer
Ray Suzuki
Victor Livi
Michelangelo Bendandi, Q/ Commissioning Editor, Project Lead
