top of page



single channel video installation with stereo sound

6 minutes 24 seconds, color

Dimensions variable

<<Lesedrama>> which is the title for this product is a stage word meaning the screenplay not intended for being actually performed on the stage.

The theme explored by this product is how memory exists and whether it is possible or impossible to share memory. Because memory cannot be expressed in a transparent manner, what we can do during the creation process for this product is confined to chasing after the image of memory resembling the inferior mirage. That resembles putting the Lesedrama (a screenplay originally not intended for actual performance) on the stage.

The pieces of paper used for this product are derived from the book “The Earthquake in Chile" (1810), a short story written by Heinrich von Kleist. A large-scale earthquake is the core of this story. The description of the earthquake in this story is surprisingly short and simple. As far as disasters such as the Great East Japan Earthquake and COVID-19 pandemic are concerned, the more effort to express them linguistically is likely to enlarge the distance from the actual events, letting us know how the attempt of dramatization (reproduction) is obsolescent. “The Earthquake in Chile” is a rare literary work = text, adopting a style of description which allows us to approach the event/memory in a paradoxical manner. Memory is, so to speak, an ongoingly woven text. The text is occasionally repeated or fragmented and continues to be restructured into a new form. The forest on a dark night is presented as a symbol of something internal. In the present age, everything is visualized, as seen in the social networking service (SNS). Internal matters which are currently viewed as unnecessary (to be concealed) may serve as one of the requisites for human beings from now on, and memory may be one of them.




6 分 24 秒, カラー, サイズ可変



本作で使われている紙片はハインリヒ・フォン・クライストの短編『チリの地震』(1810)の切れ端です。この物語においては大地震が核となるのですが、その地震の描写は驚くほど短く簡潔です。東日本大震災やCOVID-19によるパンデミックを始めとする多くの災いは、言語化すればするほどその出来事から遠ざかり、ドラマタイズ(再現)することがいかに陳腐であるかを知らしめます。『チリの地震』はその描写の仕方から出来事/記憶に逆説的に近接している稀有な文学作品=テキストです。記憶は言わば現在進行形で紡がれるテキストであり、テキストは時に反復、切断され常に新しく再編されます。また、暗闇となった夜の森は、内的なものの表象としてあらわれます。S N Sに見るように、あらゆるものが可視化されている現在において不要(隠蔽)とされているそうした内的なものは、記憶がそうであるように人間の条件の一つとなるのかもしれません。

bottom of page