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AREA | - . ' 

works does not lend itself to an easy and immediate 
decoding, but rather to a cryptoanatysis. as happens with 
the events and objects the initial objective of which has 
not been communication. 

The artist gives account, on many opportunities, of this 
process. it is common to hear that the creator is not 
interested in what happens to the receptions of his 
works, since he searches for expressive forms and not 
communicational contacts. !n a word, since he tries to 
pul together significant objects, rather than messages 
conveying information. 

if we remit ourselves to natural tongues, we shail 
observe that the communicational and the significative 
qualities are joined together in them, as happens with 
numerous semiotic systems. However, by constituting a 
synthesis of image and sound, video is a paradigmatic 
example: through it, art signifies. A traditiona! sculoture 
of painting are charged with meaning. Can it be inferred 
from this that they communicate with us? Doudtlessiy 
not. But the case of video is singular: in it we meet with 
odjects, conjunctions of unforeseen events, scenes which 
are filled with meaning or alternativety open to all meanings. 
When a semiotic structure is open to ail meanings, the 
result can be apparent nonsense. These real figures of 
“accumulation” manage to constitute, sometimes, 
cryptograms tor whoever is unfamiliar with the code of 
this or that creator. In the —frequent-- case of an artist 
wno toys with the technica! possibilities of his electronic 
equipment, the resulting mutticlicity of effects and 
nuances is fused with the iconic objects presented on the 
screen, adding to the entire representation an ambiguity 
belonging to the accumulation of effects, which is added 
to Mat which is already contained naturally in every image. 
We may, therefore, operatorially distinguish two large 
areas of realization for video-art: the communicational 
and the signdicant. 

To the former would correspond the works whose 
privileged function is the transmission of one or various 
messages. as from the structure which the medium 
normally operates with: testimonial or documentary 
video, based on iconic rhetoric, which is practiced by 
Latin American and some European artists. 

To the signiticat order would belong the works of 
formalist video, where the technical processing Is 
privileged, where what acquires relevance is the esthetic 
development of the presented images. be it on ther own 
of in-conjunction with sound: works in which 2 symbolic 
rhetoric flourisnes and which distinguish the proauction of 
a large number of United States artists. 

Of course, just as the iconic and the symbolical are not “- 

mutually exclusive, the samme happens with the 2 

communicational and the significative. 

Jorge Glusberg as 

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Toshio Matsumoto makes a film Funeral of Roses in which he uses a 
TV event of “magnetic scramble”. 

Katsuhiro Yamaguchi and Yoshiaki Tono voroduce a video event at - 
held at Sogetsu Kaikan. ; 

Kohei Ando and Rikuro Miyai make films using video. 
Takahiko Iimura and Keigo Yamamoto start making video. 

At EXPO'70 in Osaka, many experimental works in audio-visual 
disvlays including video were presented. 

Takahiko Iimura’s live event Inside/Outside using CCTV and 
telebeam at Asahi Lecture Hall. 

Katsuhiro Yamaguchi makes his first videotape Arua et Luce at 
Gallery Videobelisco in Rome. 

Woman and Yukihisa Isobe's Video Documents on Phoenix House 

were exhibited. 

Toshio Matsumoto completes his video work Metastasis using data 
color system. With Autonomy and Expansion comoleted the follow- 
ing year, the 3 works were shown at Sogetsu Kaikan in June 1972. 

VIDEO EARTH was organized by Ko Nakajima. 

The first video show in Japan “do-it-yourself-kit” VIDEO COMMUNI- 
CATION organized by Michael Goldberg and several Japanese artists 

was held at Sony Building. The particinants of the show formed 

a group called VIDEO HIROBA. The initial members were:Katsuhiro 
Yamaguchi, Toshio Matsumoto, Fujiko Nakaya, Hakudo Kobayashi, 

Nobuhiro. Kawanaka, Yoshiaki Tono, Tetsuo Matsushita, Michitaka 
Nakahara, Rikuro Miyai, Masao Komura, Sakumi Hagiwara, Keigo 

Yamamoto, and Shoko MatsuShita. 

VIDEO EARTH produces a video event in collaboration with Allen Jones. 
Nobuhiro Kawanaka's audience participation video event Plavback 3 at 
Mozart Salon in Shinjuku. , 

Keigo Yamamoto'’s video show Confirmation by Doing at Gallery 16 in Kyoto 
Hitoshi Nomura’s photo series of the lémm film of the images of himself 
seen through a surveillance monitor shown at ACTIVE WE Exhibition in Ky 
Morihiro Wada's video show at Tamura Gallery, in which he related the e 
taped on a beach with a space in the gallery enclosed with metal sheets 
VIDEO WEEK "Open Retina-Grab Your Image” held by VIDEO HIROBA in colla~ 
boration with American Center. A Video Ficnic and a Video Day in Shinj 
with public participation. Also, a Video Symposium was held with Arthu 
Ginsberg, Mitsuru Kataoka, John Witney, Ben Konno, Jiro Takamatsu, Taek 
Tomioka Yusuke Nakahara as pennelists. 

Nobuhiro Kawanaka shows his video work at CATASTROPHE ART EXHIBITION in 
Milano and Tokvo. 

Kumi Yoshimoto'’s video display of the process of rotation of her rotati: 
sculnture at Kanagawa Prefectural Gallery. 

couver. Tapes by VIDEO HIROBA members were shown. 

Symposium with Entzensberger and 4 Japanese artists was held at Asahi 
Lecture Hall. Kawanaka directs CCTV with multiple monitors and Telebear 

ays : 










Kosai Hori's video show at Tamura Gallery. 2 separate spaces were 
connected by VTR circuits and the articulation of information was 
demonstrated by decomposition and composition. 

Video research project Methods of Using Video as a Means of Community 
Participation in Urban Renewal, commissioned by Economic Planning Agency, 
was conducted by Yamagucni (collaboration: Nakaya, Kawanaka, Kobayashi, 
Shoko Matsusnita, Kazuko Enomoto). . 
Noge area in Yokohama was chosen and video interviews of local people and 
multi-level feedback were tried. ; 
Fumio Takamizawa's video work showing the process of multiplying the act 
and recording (2 tapes shot in a studio were reshot in the gallery and 

$0 on) was exhibited at IMPLEMENTATION AND EXECUTION. 

Hakudo Kobayashi's video event HELLO VIDEO at workshoo MAG. His Lapse 
Communication Series deals with the accumulation of gestures by partici- 
pants, in which he explores the arbitrariness of memory with humor. 

VIDEO EARTH makes a video document of the campaign of Senate candidate 
Akiyuki. Nosaka. 

Nobuhiro Kawanaka's Playback 5 performed at Espace Giraux, using 8 monitor 
delay system. Performance of an actress was overlapoed with audience by 

Sakumi Hagiwara used the same system and showed his media transformation 
piece First in Question. 

Research team of VIDEO HIROBA produced a series of videotapes for a 
Community Center of an electric company in Niigata. 

Etsuro Kawamura's video show Image On at Tamura Gallery. Using a panto- 
mime, he experimented with the discrepancy of language and gesture and 

the images were displayed on 3 monitors. 

AMERICAN VIDEO SHOW at American Center. John Reiley and Rudi Stern show 
their tapes and give lectures. 

AT EQUIVALENT CINEMA '73 In Kyoto, the works by Keigo Yamamoto (video 
communication game of viewer seeing the image on a monitor and imitating), 
Etsuro Kawamura (the discrepancy of the identification by different 
viewers of the same image), and Fujiko Nakaya (Ride the Wind and Draw a Line 
- an ecological video sculpture of spiders in natural and artificial envi~ 
ronments) were exhibited. 

Videotapes by VIDEO HIROBA members were shown at International Film Festival 
Pessaro, Italy. 

Fumio Takamizawa's video show at Tokiwa Gallery. Through his video perfor- 
mance of multiple recording, he objectifies the structure of the recording 

At COMPUTER ART EXHIBITION, Katsuhiro Yamaguchi, Hakudo Kobayashi, and Rikuro 
Miyai exhibit the works made with scanimate. The first part of an informa- 
tion project Old Peoples' Wisdom-Cultural DNA by Fujiko Nakaya in collabora- 
tion with Kobayashi, Kawanaka and Morioka was exhibited. 

VIDEO INFORMATION CENTER equipped with portable system starts its operation 
by taping peetry readings, theatres, concerts, art events, dances and others. 
Their tape collection exceeds 100 at present. 

Hakudo Kobayashi's Hello Tabacco show, recordings of more than 200 heavy 

Sakumi Hagiwara introduces the tapes by Joan Jonas and John Stergeon at 
Tenjosajikikan Video Theatre. 

Tatsuya Watanabe's video performance Climax No.2 at Tokiwa Gallery. The 
drawings executed by 6 performers were accumulated one after another. 

Video show TOKYO-NEN YORK VIDEO EXPRESS produced by Shigeko Kubota with 
VIDEO HIROBA and UNDERGROUND CENTER at Tenjosajikikan. 30 American tapes 
as well as the tapes and performances of 15 VIDEO HIROBA members including 
Mako Idemitsu, Kyoko Michishita, and Shuntaro Tanigawa were presented. 
Toshio Matsumoto attends the International Video Conference OPEN CIRCUIT 
held at the Museum of Modern Art in New York, and gives a talk on Video Art 
in Japan. 

At the CONTEMPORARY ART '73~'74 held at Art Core Gallery in Kyoto, Shoji 
Matsumoto's video image feedback viece using a stopwatch was exhibited. 

VIDEO EXPRESS No.l, VIDEO HIROBA magazine, was published. 

Masayuki Takahashi's video show at Nirenoki Gallery. His concern is the - 
special confrontation of the difference of media through parallel placement 
of real objects, photos, graphic reproductions, video, etc. 

Video group CITY & LUDENS is formed and they hold 7 video shows named 










ji ji i i layed 
Renji Tajima's video show at Runami Gallery. 2 devided spaces were re 

by aa ceca The position of camera was displaced slightly during the 
7 days, demonstraiting the multilateral focus. 
VIDEO KYOTO 1974 at Gallery Signum. Works by HIROBA members and the artists 

of Kyoto/Osaka area were shown. 
Video Art Section was newly introduced to the LITH INTERNATIONAL CONTEMPORAR} 

ART EXHIBITION. The works by Katsuhiro Yamaguchi, Fujiko Nakaya, Shigeko 
Kubota, Hakudo Kobayashi, Keigo Yamamoto, Shoji Matsumoto, Masao Komura, 

Morihiro Wada were exhibited. ; : ; 
At Kyoto American Center, a videotape by Mako Idemitsu Sam Are You Listening 
was shown in connection with a lecture by Yoshiaki Tono on Sam Francis an 

Contemporary Art. 
Event by Kishio Suga was taped by VIDEO INFORMATION CENTER. All of his 

events since then are taped by VIC. 

GUERRILLA TELEVISION by Raindance Corporation and Michael Shamberg 
(translated by Fujiko Nakaya) was published by Bijutsu-Shuppan-Sha, | 
VIDEO COMMUNICATION SHOW at Art Core Gallery. Shigehide Yonezu $s ge 
a quest into the nature of gunk s eye aas: a out everyday 
1 towards the screen from insice was § - 

Soe cine FESTIVAL produced by asin HIROBA, video participation game event 

joyed by children and general public. : 
fe cpeeecde NEW MUSIC MEDIA in Karuizawa, a contemporary Music Festival, 
video show was held as well as color video relay of the concert. 
Shoji Kaneko's video document of the Festival of Suwa Shrine was shown as 
a part of his LIBERATE THE FIELD show. 
At the 14TH ST. JUDE INVITATIONAL VIDEO SHON (U. of Santa Clara), works of 
VIDEO HIROBA members were shown. 
Shoji Matsumoto'’s exhibition at Art Core Gallery. The walls were covered 
floor to ceiling by Silkscreens of stopwatch. In his work, video is used 
to create a particular time and space free from the daily environment. 

FILM MEDIA IN TAMURA '75 presents a special video week. Videotapes and 
performances by 7 artists including the artists from Kansai area were shown. 
Mitsunori Kurashige's video event at Tokiwa Gallery. The artist sat in 
front of a monitor showing himself and the electro-magnetic waves of his 
body sensored by the instrument wrapped around his arm was transformed into 
visual display graphs. 

VIDEO INDEX SERIES by Shoji Kaneko starts. 

ART & VIDEO EXHIBITION held at Art Core Gallery in Kyoto. 

of organizing this unique exhibition was feedback to the public during the 
exhibition. ro 

Kyoji Takubo's event A Story.-Which Ends When a Bottle of Bourbon Is Emptied 
was taped at Maki Gallery. At the end Of the tape, the artist 1s rolling on 
the floor stoned. 

VIDEO EARTH conducts its first VIDEO LIFE SHOP. In August they hold a videc 
summer school in Chiba seashore. 

Katsuhiro Yamaguchi and Keigo Yamamoto participate in the 13TH BIENNALE OF 
SAN PAULO and Yamaguchi receives Grand Prix. On his way back, he stops at 

Fujiko Nakaya starts her project The Revival of Regional Life and Culture, 
experiments on communication in community developments. 

Sakumi Hagiwara's print show Passing Through, in which he experiments with 
the transformation of images through different media like still photo, film, 
VTR, Xerox, etc. 

Morihiro Wada and Tetsuya Watanabe'’s video performances at KYOTO BIENNALE. 
using 3 vortapacks and 20 monitors. In August they hold the 2nd summer 
school in Nagano. 

Takahiko Iimura's video show. He explores the relationship of the observer 
and the observed in the context of language structure. 
Videotapes of the events by Naoyoshi Hikosaka and Kyoji Takubo at Paris 
Biennale were shown. 

At JAPAN TODAY (Yokohama Citizens Gallery), Shimamoto and Fujiko Nakaya's 
video works were exhibited. 










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Kenji Togami shows his tape of himself contending with a coil spring 

to which he is contracted. 

ITALIAN AND JAPANESE ART EXHIBITION sponsored by Italian Cultural Center 
on the theme of "Time". Videotape of Pagoda of Brahma by Tatsuo Ikeda was 

Katsuhiro Yamaguchi's exhibition VIDEORAMA at Minami Gallery. He created 
several environmental works by incorporating mirrors with the images 

created by video synthesizer and further combining them with multi-monitor 

VIDEO INFORMATION CENTER installs a cable system in their appartment build- 
ing, and starts a cablecast of 1 hour program each evening from their studio 

in the building. 7p. 2 3a. 
Katsuhiro Yamaguchi attends VII INTERNATIONAL OPEN ENCOUNTER ON VIDEO in e Lt fe tr FAT ST am 
Barcelona and gives a talk on video encounter by means of "Renku” to open es ety it) Le 
up new circuit of communication. ft FF it e FA ER 
Video Section for public events is introduced to the 13TH JAPANESE CONTEM- : , 
PORARY ART EXHIBITION. Keigo Yamamoto receives a prize. jet fe s& TuAYY.—VEHHABZE 
Takuji Azechi shows his drawings on metal sheets as well as a videotape of 
the act of drawing. S 4b — &f SHR, MHtKEHE 
Mako Idemitsu video show using multi-channeled video system. The structure 
of communication with the frankness particular to video is explored. = we 4 = ou ADREARTE 
WOMAN & VIDEO group is formed and women's tapes are shown at their monthly Fai Uy A aA fF HER, PY TM TAPS 77 ARRARE 
Steve Moore's video show at American Center. FS x {¥ F BRR PEFR 
Katsuhiro Yamaguchi's drawing show at Ao Gallery - an experiment of live 
media circulation through combined color photocopy, video, and polaroid 3] {e. —BGKtAM, AaAR(ESSS 
Don Druick and Canadian Video Show at Image Forum. Minoru Yoshida's Video HH Arte ae #y te 
Live-Edit "Gourmet of the Space" was also shown. ‘ ue a Me aL CT ATER, RAKE 
ART TODAY '77 The Structure of Seeing (Commissioner: Yoshiaki Tono) was held § a 
at Seibu Art Museum. The entire crocess from the planning to the realiza- " EA aA 
tion of works by 5 participating artists was videotaped by Shotaro Uchiyama a eee 
and Tama Art University AV House and feedback public during the exhibition. k iy Ff i ..° FRR 
TOKYO-SAPPORO VIDEO EXPRESS organized by Minoru Takeyama and Katsuhiro . ee ,7 
Yamaguchi. Video symposium with Yamaguchi and Kyoko Michishita as pannel- ce A oily ABR AF 4 THR, SEBMHAKADRE 
ists. At MAKI SPACE VIDEO IN TOKYO, 8 artists and 1 group show their work. : oo 
At 12-hour event '77 SEPTEMBER ALL NIGHT, organized by a young artists group Sass sh Peds e Gy te sf aes 
called HOT PRESS, video works were shown along with film and synthesizer. oa PbweP DOA BUR IF IK, RM ISAAK oR Bi 
Asuka Kunimatsu's silkscreen show VTR MONTAGE - a montage of images from : Nes Specitip tase 
a monitor. | Nw FRO tS ED EP A*ER, SRSHS RA 
At JAPAN-U.S. CONTEMPORARY ART EXHIBITION organized by Nobuo Yamaguchi do. = 
and Steve Moore, a videotape by Tsuneo Nakai was shown. : - — BR EPA AYP e—e—Yayv- HY I—-RE 
VIDEO KUNST AUS DEUTCHLAND UND JAPAN held at Fukui Prefectural Art Museum. : 
Symposium with Yusuke Nakahara, Katsuhiro Yamaguchi, Nobuhiro Kawanaka as rh aw a LF TER 
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PAN CONCEPTUALS '78 video show at Tamura Gallery. Participation from 
Australia, New Zealand, U.S., Canada and Japan. rm (fr re BRS (ESE 
VIDEO EARTH experiments with the jOining of video, film and children's 
picture books. Also the first trial of frame by frame video at their } os tear ¢ Ab teh pat 
seminar for video animation. LU O Me a CT TIER, RRAEER 
Hakudo Kobayashi starts his one year community video project commissioned sods 
by the City of Kunitachi. aa ni ££ <£ ET TIER 
Keigo Yamamoto's Video Show at Muramatsu Gallery. His theme is the “a ; 
visualization of "ma", such as the time lapse between the perception of = WwW fr = tt = at HR 

an act and the act of imitating what is perceived. 

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_ The formation of VIDEO HIROBA ~ 
~ September 1971: No alternative video activity 
in Japan apart from the relatively isolated pro~. 
jects of Takahiko limura and Keigo Yamamoto,. 
until Michael Shamberg visits Tokyo and leaves: 
several copies of Radica/ Software in the hands. - 

Of interested artists. 

November 1971: Michael Goldberg of Inter- 
media, Vancouver, comes to Tokyo and Stays . 

four months, showing ‘tapes from Canada and 

promating his idea for video communication and. 
frea exchanga of video through a decentralized. 

global network. 

February 1972: Video Communication do-it- © 
-yourself-xit, the first video exhibition In Japan, . 
organized by Michael. Goldberg, Katsuhiro: : 

Yamaguchi and Fujiko Nakaya, at the Sony 
showroom in Ginza. Eighteen people made their 

first. tapes. with - Bortapaks; Goldberg = ac-. 
companied each person on his first day of taping » 
tO give technical assistance. Five five events. . 

using feedback and time-delay were presented, 
<eigo Yamamoto’s video show Confirmation by 

| Doing at Gallery 16 in Tokyo, | | 
March 1972: Participants from Video Com- — 
munication officially form VID EO HIROBA with - 
whe aim of expanding the possibilities of video~. 
tape anc video communication. The structure of 

the organization was discussed but no consen- 

_ SUS reached. We decided to [et it evolve. The: 

basic idea was to keep itopen. foe 
April 1972: Video research on Niigata City and 

on Mito City by Yamaguchi in collaboration with 

Nakaya, Kawanaka, Kobayashi, i Bee ta 
May 1972: VIDEO H!tROBA and the Asagaya 

School of Arts document Woodstockholm, a 

“ICK Ccncart staged in order to raise funds to - 

June 1973: Hakudo Kobayashi’s video event 

Sand Minamata Victims to the Stockholm En- 

vironmental Conference. Edited tape was sent. 
tothe People’s Forumin Stockholm. i | 

June 1972: Many HIROBA. members partici- 

| pate in Vancouver, B.C. artist, Terry Reid’s Re- 

cyc/e atthe Tokiwa Gallery, Tokyo. 

September 1972: Hakudo Kobayashi’s video. ? 

 Tono. | 

features of Video Week were (1) a video picnic 
organized by Mitsutoshi-Hanaga to acquaint. 
new people with portapaks, (2) a street event - 
- Ofganized by. Rikuro- Miyai on Earthday in. 
_ Shinjuku, (3) a video symposium on New Mediz. 
with Art Ginsberg, Mitsuru Kataoka, Ben Konno, | 
Yusuke Nakahara, Jiro Takamatsu, Taeko. 

Tomioka, and John Whitney as. panellists : 

Organized by Masao Komura, Tetsuo Matsushita, . 

Michitaka Nakahara, Fujiko Nakaya, Yoshiaki 

November 1972: A video. symposium by 
Yoshiaki Tono and his Students at the Tama 
University of Arts, a | 

December 1972: Taki Blues Singer of the New 

Era Social Club, Vancouver, comes to Tokyo as | 

part of a video exchange program. 
January 1973: Nakaya participates 
Matix International - Video .Conference - in 

Vancouver, organized by Michael Goldberg. 

March 1973: Yamaguchi's proposal! (collabora- 
Nakaya, Kawanaka, Kobayashi, Shoko - 

Matsushita, Kazuko Enomoto) to study: the — 
'. effects of video communication on urban prob- 


lems and develop practicable methods for 

community participation is funded by the . 
government's Economic: Planning Agency. A 
district in Yokohama City was chosen as a model 
~~ Case. The district was divided into five sections, 

each of which underwent a. process of self- 
examination through repeated taped interviews 
and viewing sessions. The five districts were 
_then interfaced at a larger meeting. “Looking at 
video, | become confused about What | really 
want” was. People’s reaction. We considered 

_ this a step forward. tn general response was | 

quite positive. The community clearly needs to 
be more informed before any genuinely con- 

-Structive action can proceed ; but to me an even 

“more important discovery was that they ex- 
pressed a need for imagination and expertise as 
well, HIROBA’s community work is supported 
_ by Total. Media, a think-tank whi. 
professional advice and evaluation. A com- 
mittee made up of two urban designers, a 

regional sociologist, a social psychologist;. an 

-. anthropologist, two local. consultants. and. 
- HIROBA staff worked on this project. 7 

April 1973: David DiFrancesco of Video 
Grease visits Tokyo. HIROBA views Scanimate | 

Hello Video, at Workshop MAG. Tokyo. Heime 

Davidovich visits Tokyo. Video. viewing and 
- Ppatticipation in Kobayashi’s event, Nam June. 

Paik visits Tokyo,. Many interesting raps with 
HIROBA members, ‘esa 8 

in the. 

ch provides. 

on setting up viewing stations to facilitate ex- 
change and distribution of artists’ work. Only 
— very localized closed circuit cable TV facilities 
are available at present, and we have no outlet 
except for ad hoc showings and events held by 
individual artists. _ 

- Projects of VIDEO HIROBA -_, 

Tomoko Fujii, a dancer-choreographer. relates . 
physically demanding objects and environments 

to the human body in her dance events. In 

Stones, she picks up large stones one by one, >> 
eight tons altogether, placing them alternately — | 

| _ Tomoko Fujii; Stones; 1972° 

On two conveyor belts, Because the belts. differ 
_ in length the stones drop at different intervals at: 

the foot of a wall. Finally the wali cracks and a- 

light shines through, Her interest is darkness and 
light, and the use of the body to its physical — 

limits. . | 
_ Sakumi Hagiwara, an underground filmmaker 
and essayist, uses video to record time. He 
recorded 20 minutes of a mountain with clouds 
moving in to obscure it until it disappeared 
completely and then gradually reappeared as 

the wind lifted the Clouds away: time becomes > 
Meta-time. In live events. Hagiwara explores 

“how reality changes. through the action of 
Physical media.” He Shoots an original in both. 
16 mm and video: ré-shoots the film Original 

with video ; re-shoots that.from amonitor with . 4. 

the 16 mm camera; makes a Videotape of that 
and so on. They are Shown simultaneously. on 
eight monitors, in conjunction with further re- 
shooting: media becomes metamedia, Hagi- | 

wara is “experimenting to find a video grammar.” 
Eizaburo Hara, a photographer, tapes himself 
dancing (in real life he is always. taking other 
People’s pictures) dressed in: female costume 
(he is always dressed in male clothes, though: 
not quite. conventionally) with a globe-on his | 
head. re ee a 

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event at Metace 72, Sony Building. Morihiro! July 1973: Two video events, Nobuhiro. -- 
Viada's one man show Hollowing of concept by .. Kawanaka’s Playback. No.’ §. and Sakumi 
conception: the use of video as a medium for -Hagiwara’s First in Question, at Espace Giraux, 
Ciscovering plasma-language, at the Tamura Tokyo, 70 
Gallery, Tokyo, HIROBA’s tape Participation in | August 1973: Software production fora com-. 
Communication and Information at the Ameri- munity TV station in Niigata. (Yamaguchi, 
c2an Centar in Seoul, South Korea.. Video: _ Kawanaka, Kobayashi, Matsushita, Nakaya.). 
“35earch on the Shinagawa district by Yama- ‘Presently, VIDEO HIROBA is maintained by 
H-cMt and Tokvo Zokei University students. five active members: Yamaguchi, Kawanaka, 
<s!g9 Yamamoto’s tape exhibition at Image 72, Kobayashi, Matsushita, and myself. HIROBA‘s 
Kycto Municipal Museum, .. . main functions are (1) to serve as an equipment 
October 1972: HIROBA’s second collective - access center ~ we rent out Portapaks for a S 
. Show Video Week at the American Center, ~ 1,000 yen ($3.80) per day to our registered — 4 am a Sele Sec akate 
Tokyo. » Twenty-vight. Japanese artists. (in- | members. (2) To actasa projectteaminsupport ‘eins ae 
Cluding Abe, limura, Kubota and Tsuno from the — of community activities and social integration. 
U.S.) Participated, Art Ginsberg of Video Free — In the context -of art we produce tapes and | 
America and Mitsur; Kataoka of the Dixon Video _ events individually or in collaboration with . 
Lab showed tares By 30 American artists, Other — People in other media. Some of US ara working 

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__ Nobuhiro Kawanaka, Playback No 1, 1972 - 

Nobuhiro Kawanaka, an underground. film- 
_ Maker, has created five live video environments, 

a's = : “eu Pe? 

i _ zs op Sina : oe ae ee oe hie a ee an ieee —S rN Oe cee he. cae ok 
ear wi . Be Be ath MRE AS Lt taete ra, Ska S ae - ge he eae a ee . canis 

“his Pleybeck series. Other works by. him use 
“syideo asa personal language, like a diary. . 

Kewanaka does not record what he finds — he - 

iets video discover his everyday life. 
‘Hakudo Kobayashi, an event. artist, 

i Smoker series (recording 200 heavy smokers). 

‘ “His street events probe the deviation of reality... 
: “from intention. ~/ntersection is a simultaneous .. 

recording by two portapaks going in opposite 

“directions around an intersection, crossing at = 

one point and meeting eae: at me. ‘starting. 
. point. | 

t ddao to document computer art, but now wants 

_'to:channel computer. output directly into video... 
While Scanimate offers interesting possibilities, =~. 

: itis too all-purpose for this artist’s very personal 
aims. He says of his work that “It's like making a 
“new musical instrument. 

Toshio Matsumoto, Metastasis, 1972 

Toshio Matsumoto, a filmmaker, hes made 
‘three films using an electro-color-video process. 
This system (Data Color System) allows for 
delicate color control. Matsumoto -is now 
_ working on computer-controlled video using 
black and white videotape as the input source. 
He is also working with Shuya Abe who is 

_ designing a new computer-video system. | 

“Shoko Matsushita, an underground film- 

~ maker, employs the delay effect of the EE system 
- (especially prominent in Akai machines and 

considered a defective property) in a creative | 


‘way. The particular intensity of Matsushita’s 

work is due to its material economy, a zooming | 
in and out technique and this exposure- a “ 

ment-delay effect. 

Fujiko Nakaya, a fog - sculptor -and: staff 
member of E.A.T. TOKYO, is interested in using. 
video to encourage social! interaction. Her first 
project (with Kobayashi) was an experiment in 
communication. among the supporters” of - 
Minamata they protested by means. of. 

sit-ins in front of the Chisso Building. Arother 

concern is the integration of old people with 

society, technology, and children, through a : 

Fujiko Nakaya, Supporters of Minamate Victims, 1972 

‘series of tapes on primitive technology, 
has - JF rr 3 
several on-going projects; one is called Lapse | 
- Communication, and the other is his Heavy — 

“Masao: ena: a so mnnuter artist, has eed oS 

; trimming a tree or standing an egg... 

video data-bank of (1) their ideas on recycling, 
(2). their wisdom and experience, (3) their 
‘hopes forthe future. Nakaya is also making a 
such as 

-Fujiko sakeve How to Stand t an Fog. 1873 © 

Katsuhiro Yamaguchi, -an eaviioninentat 
sculptor, has organized a number of community 

Katsuhiro Yemeguchi, fat, 1972 > 

ning processes. His basic-concern is to find “a 

meeting ground for social needs with video asa. | 

medium.” His next project, still in the conceptual 

stage, is a video caravan to visit the countries of” 

each ping-pong player participating in the 

Yokohama Assembly. There will be no national - 

-or ideological boundaries — China, Formosa, 

-. North and South Korea are all participating. The 
‘and — 
‘families of the players will be shown simul- ~~ 
ane on-a multi-screen at the Assembly. ~ 

social backgrounds, training sessions, 

Katsuhiro Yamaguchi Water and Light 1972 — 

= “His ‘art tapes include Weter and Light. Tokyo 

360° and &at.. The latter was conceived as 

homage’ to. Velasquez’ portrait of the Spanish 
royal family called Las Meninas, in which the 
artist included himself working at his easel end _ 
- portrayed the king and queen watching himself, 
.Yamaguchi's. event £at employs video to_ 
structure a situation based on a similar complex 
_of relationships between observer and observed. - 

Keigo Yamamoto, a conceptual artist and art 

_over the past four years. 
space, not by abstract measurements like one 
_. meter or two meters, but by physical measure- 
ments like one foot-pace or the height of one’s 

teacher at a professional high school, has been 

pursuing one theme, “Confirmation by Doing,” 

“itis a confirmation of 

body.” His tapes are a record of “exploring and 

confirming the space we live in by walking {ts . 
~ perimeter with one’s own feet, or by such evel 
day acts as digging ahole.””. 

projects and is now -developing methods. of. ~e 
oovideo research applicable to various social plan- = 

* Keigo Yamamoto, Confirmation by Doing No 4,1971 

“Other members of VIDEO HIROBA include 
- Shuya Abe, Kohei Ando, Dabudabo, Deigosei- - 
-ghingeka, Seiichi Fujii, [chiro Hagiwara, Makio 

- Hasegawa, Kinji Hayashi, 
“Hiroyuki-Ito, Tetsuo Matsushita, Isso Miura, 
-Rikuro Miyai, Shigeki Nagai, Michitaka Nake- 
-hara, Takashi Nakajima, Sachie Nishikawa, Ma- 
koto Okamoto, Satomi Suehiro, Keiichi Tan- 
-aami, and Morihiro Wada. 

~Miyabi Ichikawa, |