mafmadmaf's work
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        在 2020 年春天，作者收到瀚和 Hubart 的邀請，為越後妻有大地藝術祭 2020 夏季的 CHINA HOUSE 計畫「中国ハウスプロジェクト」展覽「風の記憶」貢獻一件作品，於奴奈川小學校區展出。
在這之前，因為 FUJIROCK 的關係，作者曾先後四次前往新瀉並參觀過 2018 年的越後妻有大地藝術祭。當時，他和朋友在八月的烈日下步行幾個小時，穿過大片的稻田和河川經過若干地域性個作品，如磯邊行久的《河川到哪去》、《信濃川過去的流經位置比現在高25公尺~漂浮在空中的信濃川的軌跡》，一直到內海昭子的《為了無數失去之窗》。夏末的太陽威力不減，感覺連小鳥和昆蟲都在逃避它的直視，耳中能聽到的只有足下石礫的摩擦和自己的呼吸，微風吹過，稻田發出的嗓音至今言猶在耳。
作者回憶起那個夏天在越後妻有的稻田邊行走的畫面，思考疫情籠罩下的的春天時，似乎在期待危機過去之後的一次重新出發。他使用擅長的模組合成器音樂，配合其在越後妻有旅途中的影像和一些文字。
作品影像 ✴︎ YouTube / Bilibili         In the spring of 2020, the artist was invited by Hubart to contribute a work to The Memory of the Wind, an exhibition at CHINA HOUSE for the Echigo-Tsumari Art Triennale 2020 Summer.
Before that, through his involvement with Fuji Rock Festival, he had already traveled to Niigata four times and visited the 2018 Echigo-Tsumari Art Triennale. During that summer, under the scorching August sun, he and his friends walked for hours across wide rice fields and rivers, passing by site-specific works such as Isobe Yukihisa's Where Has the River Gone? and The Shinano River once flowed 25 meters above where it presently flows, and Utsumi Akiko's For Lots of Lost Windows. The late-summer sun blazed relentlessly, as if even the birds and insects avoided its glare; the only sounds that reached his ears were the crunch of gravel beneath his feet and the rhythm of his own breath. Yet, when the wind stirred, the fields of rice gave voice — a memory of sound that lingers with him still.
Recalling those walks along the rice paddies in Echigo-Tsumari, the artist reflected on the spring of 2020, a season overshadowed by the pandemic, and sensed in himself a longing for renewal once the crisis would pass. For this work, he turned to his practice with modular synthesizers, weaving together sound with images and fragments of text gathered from his journeys through Echigo-Tsumari.
The completed work ✴︎ YouTube / Bilibili ⌃ All images taken in the walk. ↩︎ back to index