.-. TATTLETAPES
THE INCOMPARABLE BYRON BLACK MARKET IS INFINITELY PLEASED TO BE RELOCATED IN OSAKA.'' BILL VIOLA SOMEHOW MANAGED TO SQUEEZE HIS EDITING SYSTEM (MADE IN JAPAN, BOUGHT IN NEW YORK) INTO TAKI BLUESEINGER's OLD "MANSION" IN ROPPONGI .·,, TAKI AND LYN BENNETT AND EMI-CHAN ARE MUCH MORE COMFORTABLE IN VANCOUVER, WITHOUT MICHAEL GOLDBERG HOGGING HALF THE FUTON,,, KIRA CLICKS, BUT BILL IS MOVING IN REAL TIME, PICKING UP THE LANGUAGE,,, TAKA IIMURA BOPS FROM JAPAN TO CANADA, SOON TO BE ARTIST-IN RESIDENCE AT THE FUNNEL IN TORONTO, THEN A TOUR - WHAT'S THE MATTER WITH NEW YORK? ... SHIGEKO KUBOTA AND NAM JUN PAIK HAVE ALSO BEEN OCEAN HOPPING.,, KEIGO YAMAMOTO IS BACK IN THE FIELD, AFTER HIS EXHAUSTIVE TOUR OF THE CANADIAN CONTINENT,,, MAKO IDEMITSU BOPPED UP TO CANADA FOR A FEW DAYS, BETWEEN CALIFORNIA AND HOME ... HANK BULL AND KATE CRAIG, ON A WORLD-WIND TOUR, STOPPED BRIEFLY IN TOKYO AND OSAKA ON THEIR WAY FROM VANCOUVER TO INDIA,,, SHIGEO ANZAI WOULD LIKE TO MAKE NEW YORK A HABIT,,, KYOKO MICHISHITA AND FUJIKO NAKAYA FLY BACK AND FORTH OFTEN ENOUGH; THEY SHOULD GET TOGETHER AND BUY A PLANE ... MICHAEL GOLDBERG WANTS TO MAKE JAPAN A HABIT ..• EVERYONE WANTS TO HUSH UP THE ART/PORNOGRAPHY PROBLEMS WITH JAPANESE CUSTOMS, AT LEAST UNTIL THE SHOW IS OVER.,, FUSAO TAKAMURA, ON HIS WAY BACK TO OSAKA AFTER A MONTH IN NEW YORK, SPENT AN EQUAL AMOUNT OF TIME IN VANCOUVER,,, HE COINCIDED WITH THE VISIT OF JUN OKAZAKI AND EMI SEGAWA, ON THEIR WAY THROUGH TOWN, HEADING FOR, GUESS WHERE? NEW YORK •.• THEY WERE HOSTED THERE BY SCULPTURE/VIDEO ARTIST HIROMU SAIKI ... SHOICHI SHIMOTSUGU CUT OUT TO PHILE
DELPHIA ..• KATSUHIRO YAMAGUCHI STOPS BY LONDON AND PARIS, ON HIS WAY TO ROME, TO PROMOTE A POSSIBLE TOUR OF ROMA VIDEO '80. I I EXTERNAL AFFAIRS OF JAPAN, . KOKUSAI KORYU KIKKIN, KICKS IN A MEAGRE AMOUNT TO THE MAJOR EUROPEAN SHOW OF JAPANESE VIDEO,,, WILL KOU NAKAJIMA LEARN ENGLISH AND SPEND TIME AT THE WESTERN FRONT? ... FUJIKO NAKAYA TAKES TIME OUT OF THE CLOUDS TO SET UP TOKYO'S FIRST ALL-VIDEO GALLERY, SCAN,,, TSUKUBA UNIVERSITY'S VIDEO CLUB IS THRIVING, THANKS TO THE EFFORTS OF TSUNEKAZU ISHIHARA .•. AKIRA MATSUMOTO HAS INITIATED AN INTERNATIONAL VIDEO EXCHANGE BETWEEN HANDICAPPED GROUPS; PERHAPS HE'LL MAKE IT ABROAD IN PERSON,,, WHY IS I~ THAT ONLY KANSAI HAS REAL ACTIVE VIDEO GROUPS AND LOTS OF SOCIAL DOCUMENTARY VIDEO? ,,, AND WILL HOKKAIDO'S AINU AND NORT~ERN CANADA'S INUIT FIND SUPPORT FOR THEIR WISH TO COMMUNICATE WITH EA~H OTHER VIA SATELLITE?,,• FOR ALL THE SMART ANSWERS, INNUENDO, AND DOWNRIGHT SLEAZY GOSSIP, STAY TUNED,,, EDIT Vancouver's Video Magazine CONTENTS
This issue is literally· filled with articles 2 TATTLETAPES November 1980 Vol. 3 No.3 written in and about Japan. It is a compi - 2 EDIT
GLOBAL lation of various reviews and comments PUBLISHERS Satellite Video Exchange prepared over the past year. It is not an 3 Video Information Center MANAGING EDITORS attempt to cover the spectrum of Japanese Jeanette Reinhardt 4 Kunitachi Video Seminar Paul Wong video activity. ~ichael Goldberg 5 Social Comment CONTRIBUTING EDITORS Barbara Steinman 6 Handicapped Exchange It is ironic that most of the hardware we use Daryl Lacey Elizabeth Chitty 6 Library Exchange Project is manufactured there, but "video - sakka" Sheila Smyth Shawn Preus 7 Hi-Ovis Cable Experiment (literally "authors", or creators) have not CONTRIBUTORS THIS ISSUE 8,9 SCANNING Michael Goldberg had much opportlllity to show their work Fusao Takamura THE NATIONAL Edward Moss abroad. Most tapes produced in Japan are Fujiko Nakaya 12 Keigo Yamamoto In Canada very international in flavour; certainly, all PRODUCTION ASSISTANCE Stokely Seip 13 Touring Show from Canada the art tapes have no problem with language Shawn Preus Jeanette Reinhardt VANCOUVER GUIDE barriers. Crista Preus Tae Ishibashi 14 Mako Idemitsu & Nora Hutchinson Tokiko Tagami (tn Japanese) This issue of VIDEO GUIDE coincides with PRINTERS COMMENTARY College Printers Video '80, the biennale in Rome, which is CIRCULATION 15 Censorship Ann MacDonald • featuring video from Japan. We are very COVER Published with the assistance Excerpt t'r"'Ol'Tl "Dr"'aams & Memo,.les" pleased to help foster better understanding of The Canada Council . by Michael Goldberg Photograph by; Stokely S . of video activity in Japan. Sub.&cM.p:ti..Drui to VIVEO GUIVE a1te. avail.able. a;t $5 604 5 .£.6.&uu. Se.nd c.he.que. o4 mon.e.y otuie.}[. to: VIVEO GUIVE, Sa;tellile. V-i..dio Ex.c.ha.nge. Soc.i..e..ty, 261 Powell Sbi.e.e..t, Va.n.c.ouve.}[., Bli.U:-i.6h Cof.wnb..ia. Michael Goldberg Ca.nada. V6A 1G3 ( ~1~00) NOTE: Otd.6.<.de. 06 Ca.nada. a.nd .the. U.S., plea.&e. add $3 6M .&ub.&CJri.p.t.i..orui.
2 VIDEO INFOR ATION by Fujiko Nakaya & Michael Goldberg CENTER The VIDEO INFORMATION CENTER is the first The group wished to act as a cultural witness. marketplace lists no prices. Instead, a sign non-profit group we know of to open a commer This grew out of an interest in Walter Benjamin, invites shoppers to ask a salesperson about cial "home-video" sales outlet to finance its who suggested in his writing that something not the price. activities. Although still in its fledgling stages covered by mass-media today may have no real VIC sells tape at 80'% of list price. It gets a after one year, it is worth knowing about; and existence. VIC does not specifically criticise we wish them every success. Before sharing the NHK (government network). They deliber rebate from the distributors at year's end, the some of their early experiences, let's place ately chose activity not covered by the educa percentage of which increases with volume. this in the context of their history and activities. tional channel; but would indeed have been (note- Vancouver's Tape Co-op negotiated a pleased to relinquish the task to others. Still, curved scale, instead of a stairstep rebate While at Tokyo's ICU (International Christian while there was occasional "coverage" of con system. Previously, if the sales fell just be University) in 1972, I.Qtiiro Tezuka and Takashi low the next lev el, say jumping from 2% to 33 Noy ama got together with 5 other students, to temporary art events, little documentation was in fact being done. With no record, only a myth at $15,000, it would stay at 2%. With the curve form a club cal led the Video Information Center it might get 2.8%.) The manufacturers give a would remain, through the Filter of critics and (sometimes called "VIC"). Their original free, one-year warranty, but the purchasers their media. VIC feels that peo ple should be intention was to use the ICU cable system; but drop into VIC if they have any problems. When able to evaluate such events for themselves. the university never put wires in the conduit the year is up, the video companies continue to linking the buildings. Nevertheless, they went Now they have an invaluable archive of about 600 do repairs, and charge the retail client directly. out and recorded off-campus lectures, and tapes. The vitality of Japan's art scene died played them back at ICU. The Phys. Ed. Dept. down toward the end of the last decade, at least VIC has built up a relationship of trust both with refused them access to its equipment - all there so far as performance art events were concer its clientele and the manufacturers. They will was. So they pooled their earnings from part ned. Tezuka now wonders in which direction have put out a sign at the new place they have tjme jobs and bought a portapack. they will take their ca:meras. Meanwhile, com rented by the time you read this. Let's hope it mercial production houses have moved into the helps them sell home-video systems to people There was student strife all over Japan (and the market of documenting contemporary-dance off the street. It's difficult to count on selling rest of the world) at the time. The ICU student performances, undercutting the prices VIC has to artist-friends . Once they become establish paper adopted a determined position; teqchers to maintain. Most of their energy has conse ed, they develop their own rapport with video and staff took another, equally hard line in the quently been channeled into their sales of VHS company head-offices and PR departments; university bulletin. In the opinion of the video and Betamax (1 /2" cassette) video hardware, then they can buy direct. Sometimes relations group, both gave mass-media type credibility basically to performing arts grou~s and estab can get a bit strained; it almost seems as if to the things they published. It took the stance lished fine-artists. your friends are competing with you, if they that an alternative was required, which would pass on their discounts to students and other treat information in a more flexible manner, not The group opened a small shop in Kichijoji, not artists. VIC has decided that it is best to according to one predetermined line.· very close to the centre of Tokyo, and a bit of a establish a business-like rapport with people walk from the train station. Without financial In its recordings, the group attempts to divest for whom they record and to whom they sell . backing or a bank loan, they could do no better. itself of the superficial aspects of information, It prevents that kind of conflict. Their prices As a result, new and previous clients aren't to capture the essence of an event. In their are getting competitive, and video art profs exactly knocking down their door ... though the mind, editorialism, authority, propaganda, are sending more students their way. arts community is sympathetic. Still, they bureaucracy, even personal ego are to be dis sell decks and raw tapes at a discount, and also VIDEO INFORMATION CENTER wants to cross carded. There is no single truth; all moments offer audio and other equipment. In order to the line and function within society, without are meaningful. Their documentation of artists' get a dealership, they had to put down ¥300.,000 losing the freedom to express themselves as events have a simple, unpretentious quality, one (about $1 ,500 Can.), and must purchase any they wish. Tezuka-san says the sixties was a that seems almost impartial, devoid of inter hardware they display. In actual fact, they are time of experimentation in the arts, the seven pretation by the cameraperson. more of a catalogue order house. When a client ties, one of popularization, and the eighties ... VIDEO INFORMATION CENTER tries to avoid expresses serious interest, and requires a well, they're working on it. Will their time manipulation or indulgence on the part of the demonstration, the manufacturers do lend them and energy be diverted away from recording producer. In order to remain faithful to the pieces "on spec" . But then they are under com what they wish, to concentrate on earning viewer, they uphold a credo of "amateurism". pulsion to get it sold, or purchase it. money to survive? Let's hope not. They feel it is possible to become entrapped by Competition is stiff! VIC surveys the going the hierarchy of specialisation, in an attempt at prices every once in a while, by dropping in on becoming "professional". If you become a media their chief commercial rivals: If they discover pro, Tezuka-san says, you are at best replacing other dealers undercutting them, selling below the content of existing media with what you the manufacturers' minimum retail list price, think is better. He is hesitant to edit any of they complain. An unknown broker once bought their tapes, however lengthy they may be, out of out a bankrupt outlet, and the equipment appear respect for the artists involved. VIC does not ed at another dealership, at cut-rate prices. have a system as yet for distribution of the re Sony bought back the lot, threatening to c.ancel cordings , but can negotiate them case by case the dealer's contract. Now one large-volume Photos: M. Goldberg (which takes at least a month). left - ichiro Tezuka rtght - FuJik o Nakaya
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KUNITACHI VIDEO SEMINAR
Reviewed by THE BIG FESTIVAL AT TAKEGAWA 9949 K1 K1 K1 MICHAEL GOLDBERG by Komoko Toriyama by Masao Kawaguchi
While in Japan, I attended a showing of new Compared with Vancouver, there are very This is the secret formula for space travel, work by members of the KUNITACHI VIDEO few women using video in Japan. Rarer revealed to us by the video artist's friend, SEMINAR. Kunitachi is on the western still does one find a community-oriented whose real knickname is "Genius". He extremity of Tokyo. Site of a univer.sity, approach in their work. Ms. Toriyama might seem like a crackpot at first, with residential area for younger established chose as her subject the annual festival in his theories and tales, and looking at the artists, it has an active community assoc her hometown. Marred somewhat by audio amorphous sculptures around his house. iation with a fine recreational cehtre. problems and some unsteady camerawork, But when he talks of travel to other plan Hakudo Kobayashi founded a video group the tape does succeed in relating the par ets, Kawaguchi-san asks if he can go too. there, one of the few in Japan interested tici pation of one individual in the day-long "But, of course ... ! " After some waiting, in both artistic and social uses of the event. Genius raps on a table with his fingertips, medium. and they go out to a shed . The camera I particularly enjoyed sequences of street looks up at a patch of sky, goes out of Your roving reporter was on the go that folkdancing, and wonderful images of a focus, the lens aperture is _opened a bit night, from this event to a reception. for huge, bi !lowing dragon, floating ethereally too much ... and we' re off. · The sky has New York's Tomiyo Sasaki, hosted by down the road, held aloft by many, strong an eery lustre; it looks like a blob floating Fujiko Nakaya. I did stay for 90 minutes, arms. Toriyama-san interviews several on the TV screen . and review here 4 tapes for your "Tape vendors, and spends time with a student, Shelf''. roasting corn in his small cart, who goes We've arrived. They go out for a walk on from one local festival to the next. the planet Seshimetto, which looks decep Another pro explains how he raked in alot tively like Tokyo. But is it just an opened of yen, going from shop to shop, request lens that makes everything appear some VIDEO PRACTICE No. 1 ing handouts. A mix emerges like X-mas what unreal? This is only an image of the by Kazuki lchiyama in the West- true festivity if you 'seek it, town that they are exploring, he says. but pervasive commercialism also abounds. Genius has been there before. They can't The subtitle which Mr. Uchiyama frivol be seen by the people aro und them, o r s o ously gave to this, his first tape, was: The tape does not resolve itself; it left me it seems. Flying saucers abo und . "How to make v ideo ... a bad example'.'. waiting for more, or for a clear ending ... In fact, this is quite modest. The camera but then, life isn' t quite like that. Altho ugh the tape c o uld have been a b it work was indeed unsteady , the v iew, not t ighter, it is a wondrous essay in s haring sustained, and the recording, unstable at s o meone's imagination and perceiving t he times. Ho wever, it ingeniously resolves world around us in a different wa y. the di lemma faced at one time by e very A DOG ON SUNDAY video creato r - what to do with the camera by Kenji Hoshino the first tim e y o u try it o ut on your own. This is another first work, and it starts He' began by asking each member of the out with lots of promise. Pieces of string video group to present themselves to the spell out the title, in English, and the G viewers. Most enjoyable is the fellow who in DOG wags its tail, until it is hit with a flubs it, and must wait for the next take, hammer and gives out a yelp. After this kidding around, relaxed. Little did he bit of video animation, haunting flute music suspect that this might be incorporated sets a good mood, and we find ourselves into the tape. It's the best part; surely bounding along the sidewalk, camera at a there's a lesson to be learned from that. dog's height.
After some footage of Hakudo-san giving a Unfortunately, there just isn't much hap workshop, the cameraman walks out of the pening for a dog today (or for the viewer). bui l ding, and takes us on a long car ride. Another dog barks at us, but that's about During this sequence, the artist explains it. I wished Hoshino-san had been able to why he finally decided to give up producing get people to relate to the camera as if it the tape ... Yet here we are, watching it! were a dog. We go up to a fence and His voice-over ends just as the car arrives watch some kids playing. The bars were at the Cultural Centre. We are brought wide enough for a dog to slip through, or downstairs, to the room in which we are a camera. With a simple edit it could now viewing the tape. In the centre of the have appeared as if we (the pup) had jump room is a valise. With the VTR still roll ed into the yard. The theme really lent ing, a hand opens the lid (it is the camera itself to numerous fun antics, but only_the case), and the camera is placed into its opening explored such potential. The end, foam casing. The end - darkness and classical music and sunset by water is silence, a most unexpected finish to an pretty, yet it seemed to ·bear little re lati on enjoyable first work. to che rest of the tape .
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ENT The Osaka video group, TV Moi, is working on by Michael Goldberg a tape about working-class poor, massed in the A tape by Video Earth, Tokyo, follows one Kamagasaki part of town. Emi Segawa, the paraplegic1s determined effort to ascend Mount young woman spearheading this project, Fuji, a pilgrimage that is ~normal part of estimates that about 20,000 casual labourers, Feminism is hardly outspoken here, although most Japanese lives. While he practices and all men, spend most of their lives in flophouses there are a number of discussion groups, builds up his muscles by racing up and down there. Most will never marry; women are mostly of Japanese women who have been ramps in his wheelchair, a group of volunteers afraid to venture in . But she insists that they abroad, it would seem (although these are the designs and constructs a special hand-powe.red are not at all aggressive toward her. Indeed, women I was most likely to meet). The role chair on tractor-tre<;lds. It ends with a heroic they are gentlemen. Some off-season farmers of Josei (the "fairer sex") is steadfastly, if effort, painstakingly progressing up the cold also crash there, away from their families, slowly, changing nevertheless. Women video mountain. trying to find occasional employment around sakka are rare; feminist video is rarer still. the big city. Jobs are scarce, frustration, high; and as a result, drinking and gambling are part For the opening of the revitalized women's of their way of life. gallery AURA, in Tokyo's old red-light In another tape by the same group, the camera district, a video show was chosen. Selected There are daily clashes with the police, who takes us underneath a bridge, where there is from Processart's American collection were have placed video surveillance cameras on tele a bed, made, and someone's personal effects. Tomiyo Sasaki1s "Bubbling", and "Ladybug, phone poles around the neighbourhood. As soon But the proprietor isn't to be found. Then, Burlesque Artist" by Lyn Tiefenbacher and as a crowd gathers, cops appear. A photogra just as the young video -sakka are about to Dave Pentecost. A first-time video by Setsu pher friend of the v.ideo group, living there to leave, the gruff owner returns, incensed to Miura followed a hotshot, male rock-star sha,re the life of these men, was walking down find them there. "A-e you the people that have photographer. Mako Idemitsu showed one of an alley with his expensive camera, when he been stealing my stuff? A man can't have any her "Day of the Housewife" tapes. In it a was accosted by three burly, plainclothed privacy any more I" They insist that they just group of four married women friends move policemen. They roughed him up, refusing to want to talk to him, out of curiosity, but when pawns around the f loorplan of a typical house believe he was not one of the locals with a he continues ranting, they too start to get and, briefly, a neighbourhood map, to show stolen camera. The video group, young and insulting . Judging from viewers reactions, it how they spend their day. I couldn't under hip looking, was also spotted. They were becomes extremely humorous. The camera stand the chatting, but laughed along; like me, stopped, their identities verified, and were person shoots the whole thing from the hip. they spend most of the time in the kitchen. grilled at length on their activities and the In time, the guy relaxes, talks about his life Kyoko Michishita, well-known as a feminist purpose of this recording. Usually it is the as a vagabond, and his experiences in the War. writer and video artist, showed her intimate other way around - t he pol ice protect mass - "Dinner with a Friend", a relaxed, rambling, audience TV people, who are afraid to look the tender coriversation, quite high-level thought, locals straight in the eye with their camera. I believe. In fact, Japan's social problems are rarely A number of shows by established video artists covered by the mass-media, unless the event and groups were held last year. I took the · is sensational. They ignore neighbourhoods opportunity to catch Kou Nakajima's "Life like Kamagasaki, Sanya, and Kotobukicho, Only recently have handicapped people come Story", at his one -man show. A favorite of problems of discrimination toward Koreans, out in the open. It used to be a stigma, which Barbara London in the MOMA show, it moved the indigenous Ainu, and the formerly untou the family took care of in the privacy of the me deeply. It is a two-channel piece, one chable Buraku, industrial diseases and pol home. A number of video-sakka have done monitor documents his daughter's birth and lution, nuclear hazards, etc. tapes showing the difficulties these people first few years of growth, the other, his face, intensified by a society that prefers not mother's funeral. The baby's healthy crying to see or show individual plight. The country is paralleled by sobs of grief. Each member has made great strides in treatment and care of the family hammers a nail into the coffin, of the handicapped, although some parents while the artist's hand appears from behind the Ten years ago, the first social action tape I still prefer to take this burden on themselves. camera on the other screen, to tickle his little saw was by Fujiko N?tkaya. She documented Integration of deaf and retarded children into girl. The document, played again and again in the struggles of mercury poisening victims the n0rrnal school system is a subject of tapes the name of art, is an expression of love that from Minamata to be recognized and to gain by Keiji Ito. Kou shares with us. retribution. Despite public ignorance and Chisso employees' intimidation, this scandal In a documentary tape by Akira Matsumoto, a was brought out in the open. Yet only recently Cerebral Palsy victim pushes his way back has pressure by M inamata victims led to wards in a wheelchair, then waits at the stairs publication of Eugene Smith's poignant photo for someone to offer to carry him up. A drunk I hope I don't give a negative impress.ion of documentation in Japanese. Somewhat frigh - starts hanging around , pushing away a would - Japan, a culture full of worthy values that I tened by the public exposure and subsequent be Samaritan, saying again and again: "You'd respect and try to emulate. It is rare that its payoffs to the victims, manufacturers have be better off dead". "My parents think so too", negative aspects are shown, which may make been locating new plants in other Asian count he says, "but I am alive, like you I" Akira a critique stand out more than it should. It is ries (mostly totalitarian), also a good source apologizes to him for continuing to record, and a country and a people that I care for, and I of cheap labour. At great risk, Korean and not helping him out. "Oh no, I'm glad you got wish to keep a balanced perspective. Phillipino artists are trying to show this reality that on tape. It happens almost every day." to the Japanese, sometimes on video. 5 GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL
the KOBE SHINBUN June7,1980 HANDICAPPED ~jfij,f-te~tJ: C'J&~ Art House Video Library is in the process of organizing an international network of video for disabled people. The project was conceived at the suggestion of an ~~~~ rti~~: tlmtit Osaka civic group actively involved in a self- help drive for disabled persons. The group now calls itself "The International Year of the Disabled '81 Executive An Invitation to Exchange of Video Tapes Com'llittee". You are cordially invited to contact us for the At the 31st General Assembly of the United Nations, a unanimous resolution was exchange of video tapes in order to add stock to passed proclaiming 1981 as International Year of the Disabled. Its theme is to our VIDEO LIBRARY which is scheduled to open in facilitate the participation of disabled people in any aspect of society - social, the middle of this July. We are calling on foreign economic, or political. However, the Osaka commlttee feels that, praise1M:>rthy individual and organized video artists as well as as these objectives are, there is not likely to be much concrete results unless those here in Japan. an active role is given to the disabled in planning and implementation. Your nationalities, tape sizes,playtimes, genres are NEVER to be questioned, The canvassed tapes "The UN says in an article of the Declaration on the Rights of Disabled persons shall be kept away in the Video Library to be of 1975: 'We shall abolish all forms of discr1mination ... ', in the preamble it displayed to many library visitors in town. To also states: 'We shall, as international comm•.. mity members, endeavour to. safe further stimulate the public interest, we are guard all the rights of disabled persons, prevent any form of physical and mental planning to create video feature programs at our disturbances occuring to them, and approximate their way of life to that of a own initiative. As a backgrounder, let us say a few words. At normal and full one, as far as we can.' " the Art HoUJSe in Nishinomiya,northwest of Osaka on Having closely studied these statements and their results, the group came out June 15, a symposium was held in preparation for the foundation of the present Video Library. The with a statement: "The mental framework in which the disabled are considered people gathered on the day were Mr. Michael Gold something to be safeguarded hardly could breed an intellectual climate in which berg from Canada's Video Inn,(See Bottom Photo) the disabled could, as independent equals to other human beings, play a positive Mr.Norio Imai,a creative Japanese video artist, role wl1ile fully participating in their society". and also graphic designers,school teachers and students,office workers and many others(or more There is an underlying C!-Jrrent of Paternalism in the UN declaration. Under the than 30 people in all). guise of benevolent action, an unwanted byproduct surfaced, namely the banish The basic goal of this library is to be an organ ment of disabled persons by other members of the society. The Osaka group to use the video as a medium of sending out and suggests that one basic right is the ability to communicate amongst ourselves, getting back an international level of infonnation for self- reliance to be possible. and knowledge across the world, entirely operated by and at the initaiaive of, the private citizens This right to "interchange" is fundamental for all people. A feeling of alienation of any nationality. is not limited to the handicapped in contemporary society. We can cite Japanese These nongovernmental services are pooled and politics as an example, as well as the problems of men and IM:>men. Our knov.. coordinated by the Art House(See Top Photo)where ledge of these comes to us via the existing mass - media, not through direct the Video Library is set up.(The Art House is a contact with the people we are talking about. At the extreme, when we try to multipurpose art space which has been through a multitude of projects promoting the popular talk about real people in a concrete situation,conversation bogs down, or comes understanding of contemporary art before and since close to the brink of ugly cliches. The topics we usually discuss can be narrowed Mr. Shozo Shimamoto,a progenitor of the GUTAI down to gossip about the very few people who happen to contact us through the (Fmbodiment)School Avant-Garde Art Movement limited channel of our everyday life. At best, we deal with stories about some remodelled his studio into the present form.) movie actors and actresses, or dreadful "news" about white- collar crime and On this day all the participants could enjoy an the like. We don't know what is the real picture is, or what people are thinking over 6-hour talkathon whose eyes and ears were in Okinawa, New York, Israel, or any other place in the IM:>rld. A persistent concentrared on the Video Library's prospects, question stands out: What do we really know? particularly on tape security techniques while unsealing to enjoy watching their "giftpacked" At Art House, we are determined to know what different people around the world video works now and then willingly listening to are thinking, feeling, and doing in various circumstances - social, economic, Mr.Goldberg explaining what's going on at his Video political, cultural, historic, etc. We will seek to put into practice, not a mere Inn back in Canada. abstract theory of communications but a concrete, blood- and - flesh act of He cornmented:"It seems pleasantly surprising to 1 see an independent community cultural movement communication between people. This necessity has been reinforced through our started at the call of a small single video group interacting with disabled persons, who are much more alienated than we. (Videocraft Institute)whovoiced their struggle out of the prevailing climate of obeying the louder Thus, the ultimate objectives to be attained by the international video network voice of the video makers here in Japan. are·: (1) To break down the isolation of disabled persons from our everyday Indeed, the Video Library's birth is worth three setting, and involve them as active members of the human community; cheers today." (2) Convey their message to healthy persons, specifically that what Back to our talk. disabled people want is understanding and interaction, not protection or sympathy. As a way of exchanging tapes on a broad basis, as soon as we receive your tapes we will in return We ask you please to send us copies of tapes produced with disabled people, provide you with the same number(preferably) of which we shall present in Japan, the United States, Canada, and South Korea. tapes out of our latest stock. If interested, you Areas of interest include: are suggested to mail your tapes or to ask for our * City traffic and transportation problems, and their relevence to the disabled; video library catalogue. * The Social Security System for the disabled; Looking forward to your interest and support. * Interaction of the disabled with normal people; * Integration into the school system;. *ETC. Contact us at the address below.
ART HOUSE VIDEO LIBRARY Koshienguchi 1 - 1 - 1 0 (VIDEO LIBRARY ~1.J0$)6ff) Nishinomiya - City Hyogo Prefecture JAPAN 8P663
TITLE - NAME LEADER GROUPI PRODUCER I .fil'l ARTISTS'UNION 7-T-< ~ '°' . .i.=."'"~ ~ ART UNIDSNTIFIED c»-!l c L"t"c»t: TAPE DURATION I IFORMATI 3/4" BETA VHS 1/2" B/W COL DESCRIPTION -·- - - -- ·-·------·-.- c - - ~:Ylfl _'i_·- ·-·-·----·-·------·-·- 6 -...... · :· ·-:' ···. ( GLOBAL GLOBAL GLOBAL GLOBAL GLOB~L GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL Hl·OVIS INTERACTIVE CABLE TV HIGASHI-IKOMA ------.. In the town of Higashi-Ikoma, just south Because it i.s necessary to use the response of Kyoto, there is a system of viewer - box to control all the functions of the TV response television that is technologically screen, the H~ OVIS computers instantly sophisticated, yet designed expressly for have critical statistical information about practical use by the average citizen. The the popularity of certain programs. Truly, Higashi-Ikoma Optical Visual Information serious objections can be raised that such System (Hi -OVIS) is the world's first information is potentially dangerous, if community cable system employing fiber made available to unscrupulous advertisers, optics. Financed by government and media managers, and the l i.ke. Hi - OVIS private enterprise, Hi. OVIS provides a uses this data to make decisions about variety of community service programs, future programming, and eliminate unpop a computer-controlled still-picture ser ular programs. But anyone having access vice, a tape request library, excellent to the Hi - OVIS computers can follow the retransmissions of TV programs, a mic viewing habits of any particular subscri rofiche library, as well as its own fully bing family. Obviously, this is an inva equipped television studio and mobile sion of privacy, on a minor scale. This units. problem is currently being discussed by the staff. If the experiment is to be en - COMMUNITY-SERVICE PROGRAMS: larged, serious efforts will be made to This includes a plethora of data geared deal with this problem. to inform the Hi.-OVIS participants about local news, weather, governmental deci Along with the above- mentioned ethical sions, police & fire information, traffic considerations, there are some serious situations, shopping information,· concerts, hardware and software problems to be movies, cultural events, and medical and MICROFICHE LIBRARY: faced. This type of information system hygienic information , which is aired Vi.ewers can request one of many series of requires a keyboard, microphone, video daily. Along with these short programs, microfiches, designed to inform and edu camera, and computer terminal i.n each longer educational telecasts are available cate. For example, there is one set that home, along with a standard color TV. (produced by staff and community mem teaches Kanji, the Chinese characters used Two computer control systems are nec bers) on subjects such as English language, in .Japanese writing. essary for each subcenter, one on reserve, carpentry, "Go" playing, art, cooking, to replace the other i.n the event of a mal child rearing, gardening, and technical STUDIO & MOBILE UNITS: function. Also, robotized tape libraries, education. Community birth, deaths, . Using these, spontaneous programming mi.crofiches, and millions of dollars worth marriage and engagement information i.s ideas become reality. Local events are of accessory hardware are needed for each also given daily. taped or presented live, and vi.ewers can such hub. produce their own shows, in their own Some concerns that the station manager STILL-PICTURE SERVICE: homes, on location, or i.n the studio . The expressed for the future, aside from Computer-generated, continually updated local children even have their own show. possible expansion worries, regarded still-pictures can be requested (using the abuse of this type of two - way com mu - home keyboard) to obtain information As luck would have i.t, I was able to stay nication network. For example - a local about local news, weather, doctors on with a family i.n Higashi.- Ikoma for four politician could easily dominate the air - duty, water or power outages, hospital days, and to actually become involved i.n waves, with the help of a few friends, by addresses, traffic information, train • this fantastic operation for a while. having them continually support him with time-tables, and many other daily events. their "feedback". By the same token, a These still pictures quickly display the For the family I stayed with, the TV set community member could easily be slan data in a well-organized and easily under had taken on new meaning; i.t was no lon dered, for political or personal reasons. standab le fashion . ger a box used only for entertainment Rules and appropriate penalties will have purposes, but a vital link with their sur to be enacted, to prevent such miscarr VIDEO REQUEST LIBRARY: roundings. Every day, they would request iages from occurring. Each viewer receives a monthly sched1Jle weather information, news, and train of popular shows that can be rebroadcast. schedules. After dinner, at 7 p. m. on Although immature and costly, Hi- OVIS In approx. 45 seconds, a robot selects a weekdays, their college - age son studied has had a tremendous impact upon the chosen tape from the library and begins English using a broadcast from the Hi. - community of Higashi - Ikoma. Due to the to replay i.t to the viewer's home. Any OVIS studio and his response 'box. Later effects of this experiment (as it is called), tape can be cancelled at any ti.me by the i.n the evening, we'd watch standard tele the subscribers act as a tightly knit group vi.ewer, with the press of a button. The vision, ori.f nothing interesting was being of friends, willing to share their particu tapes available include programs pro aired, request a particular favorite from lar talents and ideas with other commu ducep locally, nationally, as well as some the tape l i.brary. nity members, while mutually benefiting from abroad. from the existence of this unusual service. Si.nee foreigners are somewhat rare i.n the TELEVISION RE-TRANSMISSION small town of Higashi.- Ikoma, especially university students from abroad, my group The town is at the base of Mount Ikoma, A report by was asked to appear on the local news show, and has many tall buildings. Both of broadcast from several points. Of course, these obstacles result i.n typically poor TV Edward Moss we all leaped at the chance to expose the reception, ordinarily, but Hi.-OVIS main State University of New York actor that lies hidden within us all ... so tains its own master antenna at the peak of Exchange Student i.n .Japan at 8 p. m. , three women from our group the mountain. It is thus able to deliver were interviewed in the studio, while I superior, instantaneous distribution of the interacted and was interviewed from my · TV networks to its viewers. host family's home. We used the te levi.sion camera and microphone, located i.n each CATV subscriber's house. We were ner-: vous, but happy, as we stumbled along i.n halting .Japanese, answering questions about our experiences i.n .Japan and favo - rite foods. After the broadcast, the women in the studio could observe a computer display indicating how many homes were tuned into the telecast, including exactly which families were on line. Out of 158 mem bers (more will be added as new centers are built, since each hub can handle only 168 terminals, and high costs now preclude widespread usage), only 16 families were watching at that point. Ah well, maybe they'll tell their friends and everyone else wi. l l watch us on the video request rebro adcasts. SHIOYA BILD.'F 3-11-9 SAKAE NAKA-KU NAGOYA JAPAN 'f,60 g;!;!li!l The following titles are deposited in the VIDEO INN library: 261 Powell St.; Vancouver, B.C.; Canada, V6A 1G3. Some of them are available directly from the INN, on an exchange basis; soon, VIDEO OUT distribution will be representing a number of these artists' work. We can also provide you with contact addresses for all the producers. ART OF THE 60s IN JAPAN by Gann Matsushita 1976, B&W, 30min. EATING by Kyoko Michishita . KI CK THE WORL.D Interviews (in English) at a show of 1975, B&W, 30min. by Nobuhiro Kawanaka the Artists' Union, with Mr. Y. Tono, Ms. Michishita documented what she B&W, 17min. art critic; and ~ther visitors. ate, before and after the meals, for a month . It shows what kind of music A journey through a "miniature she preferred at the time, and world", following the video artist's statistical information on cooking feet, kicking a can of "Coke" from and cleanup time. famous site to site. LOVE HOTEL by Taki Bluesinger 1974, B&W, lOmin. No people appear in this documentation of a Japanese Love Hotel (they rent by the hour). CLOTHING by Nori o Imai colour, 16min. A seated nude is slowly dressed in his own image, shot with a Pola.raid THE FACE OF KAMAGASAKI camera. by TV Moi 1980, colour, An inside view of the slums of Osaka, .documented by Jun Okazaki, interviews by Emi Segawa. English sub-titled version available. TWENTY YEARS by Sakumi Hagiwara MAKE UP 1974, B&W, 6min. by Mako Idemitsu 1977, colour, 12min. A group of people tries to faithfully reproduce posing for a photograph With her back to the viewer, a woman taken twenty years previously. applies facia] makeup, using a B&W monitor as a "virtual image mirror". HOMAGE by Ken Kuramoto 1979, colour, 23min. Personal reminiscence of an elderly Japanese couple who had emigrated to Canada in the '20s and returned to CONFIRMATION BY DOING Japan after many years away. The Complete Series (In Japanese) by Keigo Yamamoto 1971-73, B&W Trying out a series of well-known scientific principles, for artistic effect. FOOT No. 6 by Keigo Yamamoto 1978, colour, 8min. Dancing silhouettes of a foot in a MONA LISA tourquoise frame, creating visual by Toshio Matsumoto patterns from humor ous to abstract. 1975, colour, 3min. Th e ultimate synthesized, co lourized DRAWING-LI NE - tape . . • it's Mon a electronica! by Kurash i ge Mi t suno ri colour , 20m i n. IWAMIKAGURA (M) NOISY WHITE FOREVER The video camera is fixed on a bath by TV Moi byMich i taka Nakahara room sink. After a moment, the art 1979, coldur, ~pprox.55min. B&W, 23min. ist's hand appears, and draws the outline of the objects in frame, Edit of an all-night allegorical play Video snow (white no i se), real time right on the screen. An exercise in presented by local citizens, in the clock, feedback, snaches from Jap perception. temple . Without understanding the anese TV, all l~ad viewers to unde r words, it is a most enjoyable tape. stand the plea in the title. 8 SCANNING SCANNING SCULPTURE EXHIBITION IN SEATTLE Shoichi Shimotsugu 1979, B&W, lOmin. Overview of Sho's exhibition of paper sculptures, at And/Or Gallery. SHADOWS by Mako I::lemitsu 1980, colour, 27min. The line between action and thought, life and aspirations, old patterns and new roles ... one of the few feminist tapes produced in Japan. Available in English-subtitled version. ON THEIR FEET HAKKOKI (PROJECTOR) by Akira Matsumoto by Katsumi Miyazaki 1 9 78 , co 1 o u r , 3O .mi n . colour, music, lOmin. A small printing company run by Electronic patterns in green and pink . handicapped peo~le has difficult~es ~s do its employees, in their day- ' VANISHING LINE / VIDEO SELF-PORTRAIT to-day life. Available in English by Katsuhiro Yamaguchi subtitled version. B&W/colour, 20min. A- Street scenes made into abstract patterrrs with the use of mirror~. B- Colourization of self-portrait, with Japanese Koto music. SHOICHI YOKO! by Keiji Ito & Shigeki Tomita (Video Earth, Tokyo) B&W, 25min. The story of a World War II soldier who had been hiding in the jungles of Guam for 30 years, unti 1 coaxed out in 1972, when he returned to Japan and to modern life. OOI AND ENVIRONS by Katsuhiro Yamaguchi 1977, colour, silent, lOmin. A colourized tape of constantly mov VIDE O FIE LD #1 and #2 ing cityscapes - highways, people on by Taka Ilmura the street, graveyard, etc. It 19 75, B&W, lOmin. achieves the quality of a silkscreen print - very pleasing to watch . #1: Exploring the field of movement between camera and monitor ; #2: Field of exploration of a mov ing camera within a room . RAPE-BLOS50MS/DEVIL - FISH/IRONY by Hitoshi Momura 1975, B&W, 20min. STATICS OF AN EGG A video performance piece, visual by Fujiko Nakaya puns - sensuously eating petals, 1973, B&W, llmin . holding an iron, etc., accompanied by random phonetic sounds. An egg is like a geodesic dome, comprised of tiny triangles. Fujiko demonstrates that, on a flat surface, and with a lot of patience, you can get it to stand on end. A timeless performance. VIDEOTAPE FILE by the Video Information Center 1972-76, B&W/colour, 12min. This is a composite of sequences lasting about 6 seconds each, f r om ' doc umen tary r eco rdings of co ntem po r ary dance, plays , and a rti sts ' SCANI MATE A / LAPS E COMMUNICAT I ON events , f rom over 100 t apes. by Ha kudo Kobayash i 1973, co l our/B&W, 27 mi n. WHAT IS PHOTOGRAPH? by Kou Nakajima A- A "Pong" ball dances to music as TOKYO KID BROTHERS IN REHEARSAL 1976, B&W, 30min . colours change. by Michael Goldberg 1972, B&W, 25min. A group of young, male photographers B- Video "broken telephone". One take pictures of a female model, person does a set of movements for At a rehearsal of a well-known, under clothed at first, then shyly naked. video, then, one by one, others come ground tneatre group in Tokyo, a man The photographers, whose mouths are in and try to learn it from one becomes a monkey, and a child meets taped over, also disrobe, and at last viewing of the previous person's life's tribulations . An audience become themselves models for the tape. participation game is tried out. video camera : 9 Introducing . the VIDS~ ms portable VIDS~ I V"S ] color video system .... EACH COMPONENT OF THE SYSTEM Compact, lightweight HAS FEATURES THAT CONTRIBUTE and the fastest search TO FURTHER RAISING in the industry! THE SYSTEM'S CAPACITY NEW-GENERATION FEATURES HR-2200U Portable Recorder e Electronic viewfinder (optional, •Microprocessor-based full-logic tape control. e only 11 .4 lbs. including battery VF-P30U) available with 1.5" CRT for •Solenoid-operated feather-light touch pushbuttons. e shuttle search playback at speeds monitoring of the scenes being shot 1O X normal, on both forward and as well as playback checks •Four-motor system for greater stability and higher reverse directions reliability. e low power consumption - 9.6 watts TU-22U Tuner/Adapter-4 in 1 unit •Variable-speed playback - variable slow-motion, still-frame • 4 motors - newly developed brush e functions as a TV tuner, timer. AC less, quartz-loc! a "little perfection" from JVC31 Progress Avenue Unit 14 Scarborough, Ontario M1 P 4S6 HR-2200U I $1111 t~ u ~ *· ;g *+ · I ( t:~9-t:7" 1Jt!'!l9-Ml5l ) ~ 5 [ij)~fi I:~~ ~--~-----co_m_l_n_g_lo_C_a_n_a_d_a ¥1600 :6111 T~~w ~o RECEIVE8JY ·,,·,/ / AND ·,:~ I IMUP~ g~:ES ·· ~-- I See You Shooting Me INTERNATIONAL ~ ,.,. 1:t-1 INDEPENDENT VIDEO Wat ak:ushi wa watakushi o satsuei-suru anata o Jlliru NEWS I (p) me (p) (i s ) shooting you (p) see I Me You (Off -Screen) I see You shooting Me ELECTROHOME SPECIAL, ends Dec. 15, 1980 - unlimited quantities - ESM914 B&W MONITOR, ALL NEW - $225 SONY EQUIPMENT - NEW, USED & DEMOS 2 x AV3400/AVC3400 PORTAPACK, USED 2 x V02850 EDITOR, USED ...... each $695. (complete) 2 x ECM30 MIC., DEMO each $1799. 2 x AVC3450 PORTABLE CAMERA, NEW each $78.95 2 x SLPlOO BETA PLAYER, DEMO each $895. 2 x ECM270 MIC., DEMO each $595. x PVM8000 8" COLOUR MONITOR, NEW each $69. l x SLP300 BETA PLAYER, DEMO $896. 2 x ECM280 MIC., DEMO $1095. x BClOOO MU LTIPLE BP30 CHARGER, NEW each $92 . 3 x SL5600 BETA RECORDER/PLAYER, NEW $499. x MX650 MIC. MIXER, NEW each $1299. 7 x TENTELOMETER TAPE TENSION GUAGE $399. x AV8650 COLOUR EDITOR, USE D I each $279. Name---·------$1995. ·Whatever your video requirements, give.us a call. llrganizationAddress ______------_ HEAD OFFICE: 715 E. 20th Ave., City------Prar. /State _.______CREATIVE VllEI LTI. Vancouver, B.C., country ______Postal code ______· (604) 873-5107 V5V1N2. I 1 10 LETTER TO THE EDITORS 1ub1ctibe to. the maaazineat CULTURAL CRITIOUE Name Address O Enclosed is my cheque for s12•coutside Canada add $3) Arton's Publishing Inc. 31 Dupont Toronto, Ontario, Canada MSR 1V3 BOOKS BY ARTISTS A COMMON·ASSAULT Produced by Peg Campbell An exhibition of over 60 artists' books from the collection For the United Way fAh"''' of ART METROPOLE, curated by Tim Guest, will preview at TASK FORCE ON VIOLlWCE the gallery of the Metropolitan Toronto Library, November 20 to December 24, 1980. A COMMON ASSAULT AllRAMOVI¢, M1rlnll/ULAY is currently available ACCONCI, Vito on 2 weeks loan from: ANDERSON, Lourie APPLE, Jeckl LEGAL SERVICES SOCIETY APPLEBROOO, Ida 5 5 5 W. Hastings St. .t.RT·LANOUAOE BALDESSARI, John Vancouver, B.C. BARTOLINI, Lucleno (604) 689-0741 llEUYS, Joeeph BOETTI, Allghlero For translated versions llROODTHAERS, M1rcel BROUWN, Stenley in 7 languages, contact: llURDEN, Chrl1 1 M.O.S.A.l.C. llUROIN, Victor 1161 Commercial Ave . BYARS, Jem11 L.. 1 CAOE, John Vancouver, B.C. CARRION, Uly1111 :i..,i. ,,!,_,l.l,i,•:•,i,i,1.:.,:.1.1,:.l.i (604) 254-9626 CLEMENTE, Frenceaco DARllOVEN, Henne :' ~1.i.,i.:i For rentals and sales: DE JONO, Conet1nce '~111 . DUCHAMP, M1rcel Peg Campbell EL LISSITSKY ENOLISH, ROll/Jocky L.ANSLEYISelly POTIER 401 - 1133 Barclay St. FULTON, Heml1h Vancouver, B.C. OENERAL IDEA V6E IG8 OILllERT I OEOROE OREYSON, John Tel : (604) 669-3253 HILLER, Suaen KNOWLES, Chrlatopher ~ A 3 PART PROGRAMME ON WIFE-BEATING, OUTLINING SOCIAL AVAILABLE ON SLIDE/TAPE LEWITI, Sol AND LEGAL SERVICES FOR FAMILIES NEEDING HELP. OR 3/4" VIDEO CASSETTE. MACUNIAS, 0- MERZ, Marlo MURRAY, Ion NANNUCCI, Maurizio NAUMANN, llruce ONTANI, Luigi OPPENHEIM, O.nnl1 ROSLER, Martha ROT, Dlater RUSCHA, Ed SCHNEEMANN, Carol" SCHWARZKOOLER, Rudolf SNOW, MlchHI ~WIDINSKI, Jan TOT, End,. ULA Y I Marina AllRAMOVI¢ VOSTELL, Woll/Dick HIGGINS WARHOL, Andy CATALOGUE AVAILABLE A catalogue, including critical essays and a guide to the exhibition , will be available from mid-November. Germano Celant's important 'Book as Artwork 1960/72' text, long out of print, will be reprinted here in French and English. For information on the exhibition or the catalogue contact Tim Guest, Art Metropole, 217 Richmond Street West, Toronto, Canada M5V 1W2. (416) 977-1685 ART METROPOLE AM 217 Ric hmond Stret-t \Vest Toront o. Canad a MS\ t \\ 2 11 THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL THE NATIONAL KEIGO YAMAMOTO After public showings of his tapes, at SAW In a d1scussion after he had viewed many Gallery in Ottawa, Ed Video in Guelph, social-activist tapes, which Keigo questioned ArtSpace in Peterborough, the Video Inn, as art, I mentioned that Japanese video is by Vancouver, and the Sunshine Coast Cultural and large abstract, whereas Canadians tend to • Centre, in Sechelt, Keigo bridged language use the camera to show their social and per and culture gaps to answer questiJns about sonal reality. He insisted that his work is his approach and techniques. ( Many thanks not abstract: 11 I document the way people to the volunteer interpreters who made this move in my society; it is the basis of my possible - Koichi Abe, Lennie Natividad, art". Keigo is gently critical of the docu and Riko Sano.) He viewed other people's mentary video maker who jumps from one rea- tapes in those centres, as well as at 1 ity to another, without developing a depth Video Ferrmes in Quebec City, with Marsha of understanding, yet covers sweeping realms lore and at le Videographe in Montreal, of thought. Vera Frenkel and Noel Harding in Toronto, at Off-Centre Centre in Calgary, and down And where does the art step in? A woman at And/Or, in Seattle. Our thanks to them in Peterborough, whose name I missed, all for receiving us so well. asked about the process. Keigo records one image, then copies this onto another These discussions were fascinating for me, tape. He sets cameras in front of the as I had the opportunity to be at all of two monitors, so that they overlap quite by Michael Goldberg them. I'll try to wax down some of the exQctly, using a simple mixer. He starts thoughts that flew about, as I remember one VTR just after the other, so that the them, exhausted as I was. second image catches up with the first ... · Keigo Yamamoto returned to Canada this but cannot see the result of the delay July, after 11 months' absence, to com Often people with some knowledge of Japanese when doing the original recording. Only plete the tour interrupted by teaching performing and Fine Arts or crafts would duties at Fukui Technical High School. see influences of these in Keigo's video. trial and error, and careful attention to his "breathing", or timing, gives it ~ This is the same town honoured in the If you have never seen his work, I should magic glue that creates the intensity of title of the exhibition selected by preface this with a brief description - the work, transcending its apparent Barbara London for the Museum of Modern simple, fine-lined silhouettes, shadows, or simplicity. Art, "From Tokyo to Fukui and Kyoto". real images of hands, feet, a torso, or (See censorship article in this issue.) parts thereof, inter-act with a second Again this year, Keigo had to zip back to image of themselves. Movements of dance, Japan right after the school's summer rhythm of music, slowness of theatre, strokes vacation. It's just as well; the ri~e of calligraphy, abstract patterning, anima harvest is late this year, so he must tion ... these were seen by viewers, and help the family work the paddies. indeed they were there. To this comment, in each city, Keigo repeats with patience: Strange that someone from such an isolated "That's interesting; I was concerned only environment should produce video art of with the relationship between the two international repute. A black sheep ( similar ) lines on screen, with the timing tethered, perhaps. It is also interesting of their touching or being apart". Still, that Keigo Yamamoto bases his work in he has a passion about traditional theatre, traditional Japanese concepts ( see the and ha~ seen a lot of it around Japan. VIDEO GUIDE interview of him 'in vol.II/4 ). Most of the video artists well known in Vera pointed out to him that, in using a Japan have a lot of contact with the out delay of the image catching up with itself, side world, and have had more opportunity a fist hitting or a hand caressing the image to be influenced by the international art prerecorded on a monitor, he had built in a scene and concepts ( read "American" }, "leader" and "follower" relationship. This subsequently interpreting this for Japan. had not been his intention; but on thinking about this, he acquiesced this was true ... Taki Bluesinger said at the showing at "Copy" culture, some Japanese modestly and that started him thinking about .his work the Inn that in Japanese theatre, action label their rich tradition, since from in a new way. moves so slowly, it takes about half an time recorded, outside forces helped shape hour for you to get into it. I thought the society. Japan preserved these impor about the amount of time it takes me, ted arts, as the original countries did when I go to the country, to lose city not, strengthened and refined them. For speed and find my natural rhythm. 300 years Japan closed itself off from the Stephen Hackett said he'd drift off every world outside, its own reality ending at once in a while, finding the transitions the borders, its only neighbour, the seas. slow, then finding each time that Keigo European links first opened the culture to had taken the piece in a new direction, the occident. Since the second Great War, a seeming jump from where he'd left it. it is an understatement that Japan has abundantly taken in American styles. I commented that, in spite of the Japa nese well from which Keigo's work sprung, Keigo teaches the art prescribed in the I felt it could be appreciated by anyone curriculum: Western painting, drawing and who could touch the child in themselves sculpture, not woodblock printmaking, and (remembering shadows I played with on the certainly not video! His wife teaches, wall, before falling into sleep). But not Koto or Shamizen, but piano. Despite Gerry Gilbert insisted, finger on the all this, his own art is an island unto truth, that the work is very mature, itself. Keigo-San can navigate his way highly sophisticated. "There's something alone around any city in Europe, Canada, special happening every moment; it leads the States, or Brazil, yet he speaks you deeper and deeper. When the fingers nothing but Japanese. IN CANADA touch, there's suspense every time." ·JAPA!'ffiSE CANADIAN NE\VS ,~~~? .-!~- VANCOUVER SHIMPO P.O. BOX MAIN 3368, Vancouver, B.C. V6B 3Y3 254-9142 12 GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL GLOBAL 71 T ~-·1p; Q)~r;t~.W. TOURING SHOW FROM CANADA Last year, when Kei.go 'Yama m oto c ame to Fro nt , Vancouver, and Ko u Nakajima added .Japan. I had hoped we co uld leave i.t up to Vancouver, he spent a lot of time b rowsing tapes from the VIDEO EARTH group . We each gallery to decide whether or not to s how through the VIDEO INN library . He decided took the whole packa ge to Zebra House i.n i.t . They sometimes s how m ore e xpli.ci.t art to arrange showings of s ome Canad ian tapes S apporo a nd Sony Building in Osaka. than New Wave wi.th bi.ts of bodies - Stellarc i.n s m all galleries a nd showplaces a round reg ularly hangs around ( l i.teral ly) i.n t he buff. .Ja pan. Wi.th the help of Ka tsuhi.ro Yamaguch i. , Keigo -san decide d that, for thi.s, the f irst But the E m bassy had been involved i.n a show and under t he auspices of t he Canadian Emb - touring vi.deo exhi.biti.on to hit .Japan, a wi.de of erotic art whi.ch was closed down by the a s sy ( c r uci.al for pub l i. c a nd c ri.ti.cal succe s s variety of styles and subject matter vvould be police, and i.t could not therefore endorse the i.n .Japan , I am t old), exhi.bi.tions were set up most suitable: theatre, dance, conceptual, Punk Art tape. It had no qualms, however, a t Gallery Komai. i.n Tokyo, Galle ry U i. n Na electronic, and poli.ti.cal tapes. Unfortunately, about i.ncludi.ng "Pea Soup", a Separatist and goya, Galle ry Han i.n Fukui., and Photo S tudio one o_!'._!_he tapes ori.gi.nal ly recommended, a Soci.ali.st analysis of Quebec's culture and "Create" i.n Miyazaki.. Later, Taki. Bluesin Guimond I Di.on production, had to be rejected economy, by Pierre Falardeau and .Juli.en ger joi ned us wi.th tapes from the Western because of crotch shots, whi.ch are illegal i.n Poulin. Other tapes from the VIDEO INN were: Works", by Al Razutis. It was necessary to .Japanese museums and galleries are just "The Agony and the Ecstasy", by .John Mit try and avoid the spoken llVOrd, which certainly now opening to video in a serious way. I chell; "C'etait un jeu de memoire", by Nora limited the inclusion of social-documentary have been militating for fees, as is Fujiko Hutchison; Me$$age to China", by Susan llVOrk. The Western Front sent tapes by Sanja Nakaya ( PROCESSART distribution, 11 Britton; 5 Minutes & Under", by members lvecovic and Dalibor Martinis (Yugoslavia), 1 - 21 - 1, .Jingu-Mae; Shibuya-ku; of the Video Inn; "Al Neil - Piano and Antics", Fabio Mauri (Italy), Robert Filiou (France), Tokyo ; .Japan) . There is a spate of new by .June Boe; "Bal Anat Dancers", by Trish Kate Craig, Glenn Lewis, Taki Bluesinger, contemporary-art galleries, wi.th little 1 Hardman; "Le temps d une priere", by .Jac Randy & Berenici, all from Canada. programming to fill them, much like the ques Benoit and .Jean-Claude Germain; "Anna plethora of '.'Confederation" buildings open - and the Boys", by "Bozo" Moyle; and "Four It was not possible to offer artists' fees; ed around 1967 in Canada. However, the Hara Bijutsukan (museum), wi.th its Arc - House, Sapporo), and of course, the en- Ciel Foundation, selected four of the Travels were covered by the Embassy, the tapes for possible inclusion in i.ts collection. University of Tsukuba, where I was Visiting initiator and co -ordinator Keigo Yamamoto. Foreign Lecturer, our own pockets, and, as A~er considering prices quoted by the artists (plus handling), it chose t11VO ($725.00 I later discovered, Keigo - san chipping in If you are thinking of making contact wi.th plus shipping) ... not bad, for a start. more than his share. These forums really .Japanese video artists, or are planning to generated interest in and better understan - visit .Japan in the future, an invaluable aid Keigo - san arranged a series of panel dis - ding of the tapes . They 11VOuld not have been vvould be the next International Video Ex cussions, wi.th Katsuhiro Yamaguchi, Nobuo possible without the professional interpreters change Directory. You wi.ll fi.nd an ad i.n Yamagishi, Hideki Nakamura, Yoshiharu arranged by each centre . There are mc;tny this issue. Igarashi, Taki Bluesinger, Kazutoyo Shibata, people to thank for the success of the exhi Takeshi Yoshizumi, Keigo, and myself, bition, particularly .John Sloan,Cultural at the various openings or- closings . Kou Attache of the Canadian Embassy, Katsu - Michael Goldberg Nakajima appeared in Osaka and Hokkaido . hiro Yamaguchi, Tetsu Yuzaki (.of Zebra r" A ::i ~ • 7"vt:l;t1!tfl.4'!-16.1WI: L, "n'9 lttl.c'tJ, • 1.,-rnti.nti.Ar.ifftsO)JIMl:l2:E?"n'9l' t,..1:? fJ> ? .... t: T' :;ff'F*O) :*Jtl~-'./j-JL-f.t•JJ!.;: f:, f.~s:S:~ 'O)Xil:~ -I' "I :1!-;: ;l t.:'tJO)!-ffi;l ~.. ? l'~-!>? ., 13 - 11 VAN_COUVER GUIDE IQ MAKO IDEMITSU & NORA HUTCHINSON &0er*·.J-t a review of their recent work lli :Yt;JFF : f SHADOWS J by Fusao Takamura Norl! Hutchinson: r ~v'lfi®ij'-b. J m~u< oo•~nQ~m!UU$0 lfr"("~ er*l 0 ®filv'if~®~fii!c:b!~E*D<' ~ 5li::/J) 5h~v', f'Fg~@A,JE!'.J:17-1'«-J-..'fd..~~i=~-t ~ulli"9L: c:/J!j!~'fd...:f.- (KEY ) li:'fd.. ? LV'Qo ~®~acrttt~E~,$;"9Qo~~-'fd..E~®-~'fd.. ~5~<®A4'c®~~i=~-J-..E"("88~-~ ~tlh9 QA 4' ®~!'.Jc !'.J l What finally happened was that the same tapes were sent from New York To Osaka, where the curator casually went to pick than up at Customs, and they were cleared without incident. My guess is that both sides pretended the previous siezure was unknown to them, thereby saving face. The show is now on tour. Keeping it quiet was a wise strategy after all. I saw one of t he censored tapeS" ii1Seattle. It corltained a dreamlike sequence of a woman turn ing, standing in a bathtub ... nothing to get horny about. I'm told that another has a man mas turbating. An erection is more difficult to contend with vis-a-vis the law, in any country. Still, there's a lesson to be learned from this incident, at least in practical tenns .• It is possible, with patience and quiet, to get around regulations on pornography. One cannot officia lly show crotch shots in Japan, yet artists often show nude works these days, in small galleries, at least (Stellarc regularly hangs around in the buff, literally). There are clearly times to make censorship into a real issue, and others when it is wiser to avoid confron.tation. MICHAEL GOLDBERG 15 videospace FROM TOK'r'O TO f\Jl(UI AAO KYOTO ~,.~ . VANCOUVER CO•OP · RADIO 102.7 FM Listener Supported Non• Commercial 337 Carran Street Vanco_uver, B.C Canada, V6B 2J4 ------~--~------