"mirror・ge" 2005. Production still
"mirror・ge" 2005. Production still

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"mirror・ge" 2005. Installation view
"mirror・ge" 2005. Installation view

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"mirror・ge" 2005. Installation view
"mirror・ge" 2005. Installation view

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"mirror・ge" 2005. Production still
"mirror・ge" 2005. Production still

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single channel video installation with stereo sound

2 minutes 37 seconds, color

Dimensions variable


Narrative Comes from the Layers of Memory

Pursuing Memory: The Viewpoint of Yoshito IKEDA


Text by Noriko KAWAKAMI (journalist, editor)


I am interested in how a narrative is created. Even when words recount the real, they do so from a world inscribed in the memory, which grows unconsciously. Even if one carefully chooses words to convey a message, one cannot be sure it will be interpreted in the intended

manner. Is it therefore possible to draw a line between fiction an non-fiction? A narrative depends largely on the structure of the author’s memory.


‘You know that you can’t see me.

But you think that you can see me.’

(quoted from a text on Yoshito Ikeda’s work Melting Point)


Yoshito Ikeda tries to create ‘impossible narratives’ by layering up the intrinsically ungraspable memories of other people. His work shows a timeless ‘impossibility of understanding’ via normal communication. Ikeda says, ‘we tend to forget there is always something that escapes during communication, even when we talk one-to-one.’


His work Overlap (2001)shows his and another person’s hands writing text, starting at opposite ends of the paper. It is true that ‘writing is a contextualization of one’s memory’ (Ikeda), but there is always a blank in the middle of his half-written paper, suggestive of the disjunction between the two writers’ minds. This hole will never be filled. In another of his works is Melting Point (2002), where various images are layered, turning to white at the end. In the adding of colours until in the end they become white, Ikeda represents memories’ growing ambiguity. How can we order memories that gradually disappear?

Tuning of Memory (2004) is a recent work that combines pre-existing film clips of people writing with his own scenes of writing. Developed from that is Mirror・ge, a work that debuts in this exhibition. A mirror is a tool to discover ourselves, but in reversed vision. The title also implies ‘mirage’ - visions that escape as we approach. We always feel a strong desire to grasp things, but memory continually eludes us. The double vision never intersects, although it looks as if it might. Plural

memories from different times and places become the seeds of another narrative.

His work deals with how communication is, how memories are constructed, and how narrative is composed.

Other than ‘pursuing the possibility knowing the impossibility of communication’, and ‘the concept of approaching the impossibility of communication’, he tells us that realisation of a narrative may actually lead to a possibility of communication.

This young creator is attempting to approach the possibility of communication by grasping its inevitable impossibility. This attempt is consistent throughout the new work, Mirror・ge

(Translated by Kazuhiro MURAYAMA)




2 分 37 秒, カラー, サイズ可変




川上 典李子(ジャーナリスト、エディター)




「You know that you can’t see me.

But you think that you can see me」

(池田嘉人『Melting Point』より)




作品に、本人の手と別の人物の手が、紙の両端から文字を記していく『Overlap』(2001年)がある。「文字を記す行為は記憶の文脈化」(池田)だが、文字で埋められた紙の中央には、2人の心の断絶のように空白が残され、埋められることはない。様々な映像が積層され、最後にホワイトアウトする『Melting Point』(2002年)。光を重ねていくと白くなるように、記憶も積層されるほどに曖昧になっていくと池田は言う。徐々に消失してゆく記憶を、私たちは、一体、どう文脈化できるのだろうか。

近作の一つが、文字を記している映画のシーンを集め、同様の撮りおろし映像を組み合わせた『Tuning of Memory』 (2004年)だ。そして、これらの作品に向かった池田の興味がさらに発展するかのように、今回の新作、『Mirror・ge』が誕生した。