group show
curated by Kio Griffith + Bryan Ida
George Billis Gallery – 2716 S La Cienega Blvd, Los Angeles, CA 90034
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featuring:
Asae Soya
Akihiro Yasugi
Nobuki Mizumoto
Naohiko Onodera
Sakiko Ohba
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“Between manmade and machine made, there are virtues that must be compared to the disadvantages in order to consider what materials are most conducive to the making process and how technology can influence our object making research environments. The importance of distinguishing between the making of a tool and the making of an interface is either performing a specific physical task or producing an interactive environment capable of facilitating a performance that can manifest many forms – the use of the technological body and mind, and the technology of machines.“This philosophy of dominating the material world is portentous. It replaces material knowledge, that is, knowledge that is derived from interacting with and learning the material properties of the physical world, with a fictitious imaginary assumption as to how things are made. Of course, this is ironic because the more we move away from interacting with the tactile, tangible, physical world, the less capable we will become of knowing and mastering ‘tacit knowledge’ and disengage from the natural, sustainable, co-generative and cooperative harmonious way.”These five contemporary artists from Japan investigate the mediation between user and physical materials through scale, color, accuracy and context, transposing the macro to the micro and injecting it vice versa – adapting the sense of touch to feel scalar shifts that the body cannot accomplish on its own – upscaling of human strength tho handle hard materials and downscaling of the human touch sense to dial in and sensitively feel the materials. The title, “Bullet (p)roof • artificial interference,” is an analogy of how the world has become a progressively designed dogma under a blue sky of global security that cannot guarantee our livelihood or well being in an overcapacitated informational labyrinth.”- Kio Griffith, curator
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“Between manmade and machine made, there are virtues that must be compared to the disadvantages in order to consider what materials are most conducive to the making process and how technology can influence our object making research environments. The importance of distinguishing between the making of a tool and the making of an interface is either performing a specific physical task or producing an interactive environment capable of facilitating a performance that can manifest many forms – the use of the technological body and mind, and the technology of machines.“This philosophy of dominating the material world is portentous. It replaces material knowledge, that is, knowledge that is derived from interacting with and learning the material properties of the physical world, with a fictitious imaginary assumption as to how things are made. Of course, this is ironic because the more we move away from interacting with the tactile, tangible, physical world, the less capable we will become of knowing and mastering ‘tacit knowledge’ and disengage from the natural, sustainable, co-generative and cooperative harmonious way.”These five contemporary artists from Japan investigate the mediation between user and physical materials through scale, color, accuracy and context, transposing the macro to the micro and injecting it vice versa – adapting the sense of touch to feel scalar shifts that the body cannot accomplish on its own – upscaling of human strength tho handle hard materials and downscaling of the human touch sense to dial in and sensitively feel the materials. The title, “Bullet (p)roof • artificial interference,” is an analogy of how the world has become a progressively designed dogma under a blue sky of global security that cannot guarantee our livelihood or well being in an overcapacitated informational labyrinth.”- Kio Griffith, curator
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