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

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 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
Soundtrack: Shinichi Osawa/大沢伸一
Animation: Tezuka Productions/手塚プロダクション


KYOTO
Venue
Hiunkaku, Nishi Hongwanji/飛雲閣, 西本願寺

Plant Arrangement
Reijiro Izumi

Scenic Design
Masahiro Inoue, KOGADO
Art Transit Co., Ltd.
Ryunsuke Okui
Masaya Kushino
Daisuke Narui

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.
Zenbei Ikeuchi Landscape Constraction Co., Ltd.

Photographer 
Junya Watanabe

Filmmaker/Editor
Yoshihiro Inada
Shunsuke Watanabe
Shinsuke Tanba
Yoshihiro Ogura

Lighting
Keita Ito
Hajime Saito


TOKYO
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
Venue
Théâtre Édouard VII/エドワード7世劇場

Filmmaker/Editor
Yoshihiro Inada
Jameson Pepper

Los Angeles
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
Professor Yo Ishigaki, University of Electro-Communications
Pascal Legros, Directeur, Théâtre Édouard VII
Christine Kantner, Gus Creative
Casey McShane, Director of Events, Chateau Marmont
Steven Petrarca Events
Tyler-Marie Evans, Cinematographer
Alex Kumph, Cinematographer

Alfredo Williams, Photographer
Monica Orozco, Photographer
Eva Gunz, GNZ Spaces 
Oscar Tiné
Victor Livi
Dany Jucaud
Jean-Francois
Tiné Sylvie
Tine Brissiau
Ray Suzuki
Mitsumasa Maruhira
Anna Kato
Mio Harada

Frieze L.A.
Chateau Marmont

Commonwealth and Council Gallery

Project Lead: Michelangelo Bendandi, Q/ Commissioning Editor