Redtory Museum of Contemporary Art (RMCA) 
Another Cinema Hall6, RMCA 

  RMCA 六号馆另外影院

Hiraki Sawa'svideos contain psychological landscapes, unexpected worlds and the interweavingof domestic and imaginary spaces. Populated with animals, inanimate objects,hybrids and people, his characters search for their 'place' in the universes ofmemory, displacement and migration he has created.

Absent is a video work by Hiraki Sawa that was initially shown as aninstallation at the Wind on Mount Rokko Chapel designed by Tadao Ando inJapan. There, it was composed of a circular projection screen with two gramophonehorns that provided stereo sound. But, wherever it is shown, this work exploresthe subliminal, the idea of things moving at the edge and beyond the wall ofour perception; it presents an intimate, fictive space populated by a fantasticparade of surreal pseudo-domestic “creatures”—a perambulatory tea kettle, adancing cup, a flying spoon—all of them traveling between spaces and locationsthat are difficult to define.

Sawa's video other installations are also comprised ofintimate observations sited in transitory landscapes. In these, familiarsurroundings are inhabited by strangely poetic forms, such as trees sproutingfrom tables or clocks endowed with legs. While his works are often shot inspecific locations – Noto, Ishinomaki, his London apartment, the Australianoutback – he extracts elements from these particular wild or domesticlandscapes and translates them into “non-places" of his own, creating in theprocess a form of personal cosmology. He considers each new work as a hub,rather in the same way that airports are hubs for transit, and connects themwith each other through leitmotifs of sculptural and painterly objects. Theviewer is free to travel through them at will, to wherever he or she maydesire.

Sawa combines animation, lighting, composition andediting to position his work in a territory midway between sculpture andpainting. His approach to the moving image – and to editing in particular –relates to the Russian film director Andrei Tarkovsky's idea of “sculpting intime” in that it is non-linear, with different points of view and layers ofmeaning brought together in sequences of images that are multifaceted, almostlike sculptural objects. When installing his work, however, he draws on morepainterly concerns, composing and filling spaces with images and objects tocreate various densities and rhythms akin to brush strokes on a canvas. Heconstantly tries to push the boundary of what moving images installed in spacecan do by exploring the unique sense of time and place they can create.


《缺席》是泽拓的影像作品,最初是在日本安藤忠雄设计的“风之教堂”中作为装置作品展示。在那里,作品由一个圆形投影屏幕和两个留声机喇叭组成,带立体声音效。但是,无论作品在何处展示,作品都在探讨潜意识,即事物在边界移动并超越我们感知围蔽的观念。作品展示了一个私密的、虚构的空间,梦幻般的冒充家用的“生物”游弋其中——漫步的茶壶,跳舞的杯子,飞动的勺子—— 都在难以定义的空间和位置之间漫游。



Hiraki Sawa
Video/sound installation|2018