Yoichi Ochiai

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落合陽一写真展「裸性と身体性」

Nakedness and Materiality

落合陽一写真展「裸性と身体性」のキービジュアル

Artist Statement

「服を着ているよりも裸でいる方が大抵の場合は美しく見える.これがヌードを撮り出して最初に気がついたことだった.僕は普段は風景やスナップをライカで切り取っていくことばかりだからポートレートはほとんど撮らない.過去の個展を見返しても,人をメインで撮っていることは滅多にない.そんなわけで,自分が人間を撮影しようと思い立つこと自体が奇跡的なんだけれど,人の形に興味を持って,人の持つ普遍性を探そうと考えるあたり,ウィズコロナで弱った何かか,新たに獲得した何かなんだろう」ヌードを撮り始めてしばらく経ったある日のnoteに落合陽一は上記のように記している.

落合陽一は計算機自然の観察,芸術と技術の反復,研究と制作による実践を続けながら思考の旅路を歩んでいる.その中でデジタルネイチャーにおける公と私の関係性,民藝と霊性,農耕文化と狩猟文化などの観点を培ってきた.2020年から続くポストコロナの世界でも身体や祝祭,共生や相互理解についての思考や環境負荷・移動と文明についても思考を続けている.裸性と身体性,祝祭性とコンヴィヴィアリティ,ポストコロナの社会で定在遊牧民化した我々にとっての変化した価値観はなんだろうか.その中で自分が気になっているのはなんだろうか? そのモチーフは?

 この問いを繰り返してきた.そして直感があった.ヌードを撮ることだ.理由はわからないが直感があった.人生の旅路は直感の中で点と点を繋ぐ作業に似ている.今でいうとDJだ.理由はないが直感がある.毎年直感に従って日常の行為を定め,それが言葉へ変化しながらテーマを探る.

昨年の自分にすれば直感はヌードポートレートを撮影し続けることで,点と点を繋ぐ過去のコンセプトは定在遊牧民,そして未来に向けた思考としては農耕文化と狩猟文化の差の中でカーボンニュートラルや持続可能性について考えることだ.直感の理由を探る過程は文脈の復習でもあり自己との対話でもある.

巣篭もりする人類に見られるための服が必要だろうか.これは定在遊牧民なのか,デジタルヤドカリなのかは指し示す問題は近かったとしてもファッションの上では大きな違いを持つ問題である.裸と衣服を着た状態を分けるものは公私,ハレとケ,陰陽などさまざまな対比の中にあると思う.裸の持つ自然は文化によって定義や距離が異なるが纏う状態と脱ぐ状態に区別がない文化はほとんどない.ゆえに自然な状態である裸性には作品化した際になんらかの寓意が宿る.その寓意はポストコロナにおいて変化しただろうか,そして寓意のない純粋な美しさのようなものは身体性をもつメディア表現として表現していくことは可能だろうか.

そういった思考を続けながら,対話的にヌードを撮り続けた.ただその人についてのコンテクストを探しながら光を探し,光を見つけ,シャッターを切り,試行錯誤を繰り返す.光を使って肌を叩き,透かし,反射を描いていく.その日常を続けながら,思考の旅路を続けると世界の姿もまた違って見えるのである.

結果,定在遊牧民から始める計算機自然における狩猟採集の意味を探る中で,農耕以前,縄文・木の文化・超人性,歓喜天・ナムジュンパイク・両面宿儺などの多くのコンセプトを拾い集めることができた.公と私で分け,裸を特別なものとしている社会から違う場所に踏み出してみれば何か違ったことが見えるかもしれない.裸性と身体性の連載はこれからも続けていくと思うけれど,この展覧会はある意味での中間報告のようなものである.今改めて連載と展示に関わった全てのスタッフとモデルさんに感謝したい.

The naked is usually more beautiful than the clothed. This was the first thing I noticed when I started shooting nudes. I rarely take portraits because I usually take only landscapes and snapshots with my Leica. Looking back at my past solo exhibitions, I rarely photograph people as the main subject. It is a surprise that I even thought of photographing human beings, but I am interested in the human form and try to find the ubiquity of human beings, which is probably something that was weakened or newly acquired in Post-Covid19. In the above, he writes as follows.

Yoichi Ochiai continues his journey of thought through observation of digital nature, iteration of art and technology, and practice through research and production. In the Post-Covid19 world of 2020, he continues to explore the relationship between the public and private in digital nature, folk art and spirituality, and agricultural and hunting cultures, as well as thinking about the physical body, festivals, coexistence, intercommunity, environmental impact, transportation, and civilization. Nakedness and materiality, festivity and conviviality, what are the changed values for those of us who have become stationary nomads in the Post-Covid19 society? What is it that I care about in this context? What arises from this motif?

 I have repeatedly asked this question. Then I had a intuition. To shoot Nudes. I don't know why, but I had a intuition. The journey of life is akin to connecting the dots within the intuition. Now I'm becoming a DJ. I don't have a reason, but I always have an intuition. Every year, I follow my intuition to define my daily acts and explore themes as they transform into words.

For me last year, the intuition was to continue taking nude portraits, the past concept of connecting the dots was that of stationary nomads, and the thought for the future was to think about carbon neutrality and sustainability in the difference between farming and hunting cultures. The process of exploring the reasons for intuition is both a review of context and a dialogue with the self.

Do nesting humans need clothes to be seen? Whether this is a stationary nomad or a digital hermit crab is a matter of great difference in fashion, even if the issues involved are close. What separates the naked from the clothed state can be found in various contrasts, such as public and private, hare and ke, yin and yang, and so on. The nature of nudity is defined and distanced differently in different cultures, but there are few cultures that do not distinguish between the state of being clothed and the state of being undressed. Therefore, nudity, which is a natural state, has some kind of allegory when it is made into a work of art. Has this allegory changed in the Post-Covid19, and is it possible to express a kind of pure beauty without allegory as a media expression with physicality?

While continuing to think in this way, I continued to photograph nudes in an interactive manner. I just looked for light, found light, released the shutter, and repeated the process of trial and error while searching for context about the person. The light is used to strike the skin, to watermark it, and to depict reflections. As we continue our daily routine and continue our journey of thought, we see the world in a different light.

As a result, in exploring the meaning of hunting and gathering in computational nature, starting with the sedentary nomads, I was able to pick up many concepts such as pre-agricultural, Jomon, wood culture, superhumanity, joyous heaven, Nam June Paik, and double-sided Sukuna. If we step out of a society that divides the public and private, and that treats nudity as something special, we might see something different. I will continue to write a series of articles on nudity and physicality, but this exhibition is in a sense an interim report. I would like to thank once again all the staff and models involved in the series and exhibition.

Date
-
Venue
Shinjuku Kitamura Camera 6F Space Lucida
Time
10:00~21:00
Price
Free Admission
Artist
Yoichi Ochiai
Models :
Akiyama / Kurumi Narazaki / Rei Tsubaki
Kinbakushi : Arisue Go
Organizer
Emohaus inc.
Others
機材提供・技術協力:株式会社セイビ堂(LED vision)
Web Site
https://www.kitamuracamera.jp/ja/event/yoichi_ochiai_photo_exhibition_20220416