First of all, there were poster graphic works with numbers from 1 to 14, lining up from the entrance sequentially. For this exhibition, Shun Kawakami gave each number to the members, and made the whole works “null” by multiplying zero. All graphics at the venue included the accurate concept connecting to each number, from Akira Osawa’s piece of which himself “1” multiplied infinite zero to +39’s work which implied “14” members of null.

Themes such as incomplete, falling, losing, coming into being, a boundary, disappearance, virtual, etc were present. Sometimes a number showed the connection to the next number. The exhibit was complete looking at all 14 works as a whole, while each work was also individually formed with strong originality. These 14 works as the second null* collection were on sale at the opening day.

I really didn’t notice until I was conscious of the concept of null* that Japanese original materials like Pachinko (pinball game) graphics, Japanese map and cherry blossoms appeared on these works in a novel and fresh way that wasn’t just “Japanese”. It was such a natural and conceptual aesthetic sense not dependent on visual impact, familiar with us Japanese, yet nothing that we have ever seen. As Shun Kawakami said at the interview, it is really interesting to know how these senses are reflected in other lands, and that is the reason we want to keep our eyes on the International projects null* will develop from now.

Moreover, this exhibition also had two interactive works reacting to a camera, exhibited at “ELECTRICAL FANTASISTA” in Yokohama.

One of them was “Atmosphere (decomposition)” by +39. This is a piece “which dissolves dimensions of vacancy and is transmitted by way of a camera. Spatial awareness is expressed in the form of the extraction of a changed part’s colors.” Unfortunately, I have no idea at all about the details of the program, but in short, this is a piece that reacts to a space projected through a camera, and that dots are coming out from the moving part of the space. I sometimes moved my fingers hard in front of the camera trying to reach its maximal value, other times I felt to be found as just the piece reacts to my movement far away where nobody would usually notice. It emphasizes movement of the space and actions we usually are not aware of.

Another one was “Factoral Dots” by Takashi Kamada (.spfdesign). Compared with the above piece reacting to the space, this piece has dots detecting environmental sounds and forming visuals. “Adding sound (+) erases dots (-), then the phenomenon itself becomes a deed that forms figures (+). This is an example that null’s concept “-=+” is embodied.” If you clap your hand, or shout, the visuals are formed at random to the sounds. Sometimes fickle like a creature, it kept dancing to the BGM at SOSO during the session, adding a delightful crispy movement in the space.

SHIFT cover on March issue by null*, which was updated before starting the exhibition, continued counting down during the session. Regarding the end of the exhibition as “0” destination, the cover also presented the concept of “x0”, and the whole exhibition was complete with reaching “0”. Each part of the poster works was seen in the dots forming the letters, and the cover was working as both the preview and review of the exhibition.

A significant concept and the connection between the minimal look and deep content made people stop and imagine. Not just the works talk to us in one way, but it is required and naturally brought out our active thinking and action. The more you find out, the more you enjoy. The more you chew it, the better taste you get. That was their graphics and the exhibition.

null* in Sapporo Collection: “x0”
Date: March 11th – 31st, 2006
Open: 11:00 -21:00
Place: SOSO Cafe
Address: 1F Sansei Bld., South 1 West 13 Chuo-ku, Sapporo
Tel: +81 (0)11 280 2240
Supported by PRINT’EM
https://www.shift.jp.org/soso/