You see the view from nowhere


Film installation
07min 20sec

第23回 文化庁メディア芸術祭 アート部門 審査委員会推薦作品
23rd JAPAN MEDIA ARTS FESTIVAL. Art Division. Jury Selections






An old brick house I used to live is situated in East London, where it has been handed over among Japanese for decades. Some remains as a fragment of physical object, some remains as a memory in my mind and also with whom shared experiences at the house.

In this work, physical elements of the house had been captured through a perception of 3D scanner. The technology records surfaces of physical environment, and often used as an indexical objective evidence or spatial recognition ability for machines. There is no light that human perceives, but a surface of substances, the other aspects are replaced as void.

The view which orbits around the centre of the device as a focal point, seems close to objective perspective, leaving a personal subjective standpoint. However, considering its motivations of the work to capture something at a particular place and time, the representation itself cannot be completely objective. Also would it be possible to achieve an absolute objectivity by deploying a sense of machine?

On both sides of the spectrum, subjectivity and objectivity, although leaving a personal subjectivity and the way of seeing by keeping  a distance to the self allows one’s objective observation, it still includes the initial stand point and also the one’s self. The further the position goes towards objectivity, the more it simplifies and minimises the initial subjectivity. It cannot be converted into an absolute objectivity in exploration of the whole world including imaginative reflections such as utopias.

The machine as the other sees all the tangible entities as unanimated and frozen in time. From the nowhere, how would my subjective perspective that sees the future be seen.

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佐藤壮馬は、自らの位置を確認するような作品を作り続けてきた。それはベッヒャー夫妻が確立したタイポロジーを応用して自分の生まれた土地の住宅によって試行している最初期の作品からも明らかだろう。その後も、自己と観察対象との距離感を、常に大切にしてきた。 近年、自らが居住する空間と自己との関係を題材に動画作品を制作している。その二者の関係性を観察する視点が、神ならぬ身である作者自身であることの畏れを作品に挿入されるフラッシュ光が表している。


ARTISTS' FAIR KYOTO 2021 カタログより抜粋

Expressions in awe of God

Soma Sato creates works that seem to confirm his current position. This is obvious from his early works that experiment with housings in the land in which he was born, referring to Bernd and Hilla Becher’s typologies. He has always put value into the distance between himself and target of observation. In recent years, he has created video art that focus on the relationship between the space that he lives in and himself. The flashlights that appear the work shows that awe, the viewpoint observing the relationship of the two, is the undivine creator himself. The formation of his work that seemed to foresee the with-coronavirus age, may have been brought on by his awe towards God.

Extracted from ARTISTS' FAIR KYOTO 2021 catalogue