原田 裕規 Yuki Harada

Waiting for
2021, Color video with sound (4K)
33 Hours 19 Minutes 26 Seconds
Narration, Edit & Direction: Yuki Harada
CGI Design & Animation: Junjie Sun
Reserch & Sound Edit: Akane Tanaka
Cooperation: Katsura Muramatsu, Kanta Nishio

This work is an animation/narration performance piece created using the computer-generated imagery (CGI) technology used in game production. The three spaces, created from model images of the earth one million years ago and one million years from now, spread out endlessly like an open-world game, and a virtual camera wanders around them endlessly.
What reverberates throughout the work is the names of all the animals that exist on the earth, which the artist himself recites over the course of 33 hours and 19 minutes. The common names of animals, which are composed of their characteristics and the names of the places where they live, are in themselves like an “ark” that conveys the relationship between humans and nature.
The act of calling out the names of living things that exist on the earth (=this shore) while immersing oneself in a world that reminds us of somewhere other than here (=the other shore) creates a new “landscape”, rising up between the other world and this world.

Waiting for

本作は、ゲーム製作などに使用されるCGI(Computer-generated imagery)の技術を用いてつくられた、CGアニメーション/ナレーション・パフォーマンス作品である。

Artist’s comment
I’ d been wondering for some time what exactly constitutes a contemporary “landscape.”
Traditional landscape paintings more often than not depict an elevated overview. These days though, merely fixing the viewpoint in a high place is unlikely to give an overview of the time frame we know as “contemporary.”
So where should we set our viewpoint? My attempt to answer this was 2021’s Waiting for, with its recitation of all members of the animal kingdom (including homo sapiens) currently found on earth, and visualizations of scenes without various of these, a million years in the past, and future.
Scraping together material from a number of sources, and seeking advice from academic societies and research institutions, I compiled a huge list of common animal names in Japanese and English. Having managed to complete this list, I realized that it would take at least thirty hours to read aloud the more than 20,000 names on it.
Initially I imagined that in order to create a single “viewpoint” covering all of these names, I would have to read them non-stop without pausing. But when I actually started trying to recite them, I failed several times, due to fatigue, drowsiness, and misreading, so in the end decided to divide the reading into two sound recordings of and twenty ten hours each to make the work.
My decision was prompted by having been powerfully reminded of the limits of the human body.
In this recitation, like water spilling over from a full glass, a surfeit of information and the physical strain of the exercise combined to make it constantly unmanageable in some way or another, for both performer and spectator. It was in this spilled-over state that I felt something arise we mere humans can only guess at, something worthy of the name, “landscape.”

それでは、その視点はどこに設定されるべきだろうか。そのために試みたことが、《Waiting for》(2021)における「地球上に存在する全ての動物の朗読」と「あらゆる動物がいない光景(=100万年前/後の光景)」のビジュアライズだった。

「アペルト14 原田裕規 Waiting for」(金沢21世紀美術館、2021年)ハンドアウトより[JP / EN