NIKE 公式オンラインストア

NUMER.00

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On the day before the Numer.00 conference, I went to have a look at the exhibition. When entering the exhibition place, suddenly, there was a huge blast in the courtyard where altough students were enjoying doing sketches and chatting. Taking a look toward the blast, a huge game board in more than 10 meters square came into sight. Touch panels are installed on both sides of the board and pointing each point located equally on each panel, shooting sound and missile ring out. This piece is “Rekyll” by Octo Type, Denmark.


The concept of the piece is to have people virtually experience whether one’s natural voice can be transmitted under bombing in the street. Though it has a deep meaning, visitors were simply crazy over ringing the sound by touching panels. Entering the lecture hall with the roaring sound on my back, numbers of works, most of them were video pieces, were exhibited. The hall itself had a solemn atmosphere surrounded by old wall paintings and sculptures. Inside the hall, those works exhibited within monitors and computers were merged well with the solemn atmosphere and I got a feeling that electronic devices were becoming usual in our minds.

What I was most interested in for its way to exhibit was the CAVE exhibition. CAVE is the system that allows visitors to feel strongly the feeling of virtual reality using synchronized CG. A collection of the past excellent works (such as ‘Worldskin’ where users experienced tour the city under the Bosnia War as a tourist) was exhibited on the CAVE. CAVE was partitioned with thick black curtains and it attracted visitors curiosity more. (It might be because many people were making a long line.)

“Instrument A Gonds” by Jacopo Baboni Schilingi which was exhibited in another room at the bottom of the hall was outstanding for its atmosphere as if it was there since before. A bronze statue of a woman was installed at the center of the theater-like hall. By turning its face, back and legs down, it started speaking through the crevices. Each part had invisible sensors and the piece fit excellently into the space as a bronze statue.

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Fernando Trocca
MoMA STORE