Lyota Yagi pravi gramofonske ploče od leda i vrti ih na gramofonu. Kako se led topi tako se muzika doslovce rastapa.
"Lyota Yagi Exhibition"
By ANETA GLINKOWSKA
Mujinto Production, a new gallery tucked away in an old building near Koenji Station, opened its doors for the first time with a show by a 26-year-old artist Lyota Yagi. In the age of the i-Pod, Yagi experiments with disappearing analogue music formats: vinyl records, magnetic tapes and the physical principles behind them.
In the middle of the gallery is a freezer topped with a portable record player. The freezer contains ice frozen in custom-made plastic molds that produce perfect records. On the hot opening night, the rapidly melting ice discs were being placed on the turntable at frequent intervals. Each time a perfectly sounding Chopin or Debussy piece filled the room for about a minute before the sound would become distorted as the warm air and the weight of the needle melted the record's grooves.
Yagi's melting ice and evaporating water is a simile for the disappearing sound and ephemerality of music. Somewhere between the lines there is also a pun on electronic music heard in the static noises and distortions emitted from the melting classics.
Though it is tempting to guess that Yagi is an inventor or a musician, he is neither. He was inspired to learn about and work with sound by a former roommate's experimentations with electronic music. Besides the ice records (which are being played daily every other hour from 1 p.m.-7 p.m.), there are several other interactive installations at Mujinto, which make you rethink your relationship with music and sound.
19 10 2010
I loved Lyota Yagi’s piece. He made molds of records and used them to make records out of ice, which he would then play on a real record player. One could actually hear the music as the ice record played. Over time, the record would start to melt, and the music would become decreasingly articulate. As a conceptual piece, it is brilliant. It uses one mode of temporality to describe the other, and visa versa. We are forced to become aware of ephemeral music is because its physical object disappears over time. Eventually, there becomes no trace of the record or the music.
I’ve seen this piece at a gallery back home, and that time I read the work more tragically. At that time, I thought of the act of playing the record as more of an exchange, rather than a simultaneous realization of music and form. One must necessarily destroy the record in order to play it. It is impossible to evoke both the aural beauty and maintain the stability of the work’s form at the same time. The piece becomes one of choice: one must sacrifice either the experience of the music, or the physical object. - Serena Qiu
So this is what they mean by ephemeral beautyThe Record: Contemporary Art and Vinyl” is simple and beautiful. He pressed a record of the songs “Clair de Lune” and “Moon River” in ice and played it on a turntable until it melted. You can see the work here.
It would be quite a feat to present “Vinyl (Clair de Lune + Moon River)” in person. I am not sure how that would work, actually. I suppose, in a perfect world, an attendant would stand by a record player all day long in the gallery, replacing records of ice on the turntable as soon as each one melted.
So we were thrilled when Lyota came to visit the Nasher Museum last week for the opening of “The Record” and mentioned that he brought a silicone mold to create a record of ice. He filled the mold with water and froze it overnight in his hotel room. Next morning, I took him to pick up dry ice at Kroger and we carefully transported the ice record to the museum.
The artist promised that the ice record would not harm the record player I borrowed from a friend. (Peter, if you are reading this, your record player is totally fine!)
On the night of the exhibition opening, some of us gathered upstairs in the administrative offices to listen to Lyota’s record. Shyly, he told us he did not know whether it would work. He picked some loose change out of his pocket and stacked coins on the base of the stylus to weigh it down. Then he moved the needle over to the record. The needle travelled along real grooves in the ice and actually played Chopin!
Two people shed tears.
After about five minutes, the music began to warble and disintegrate as the grooves in the record melted.
We all felt as if we had witnessed something very special. See more pictures here.
Lyota, who is 30 years old, told me he is too young to have grown up with records but began listening to records in high school. He likes using vinyl in his work, he told me, because a record on a turntable has movement, sound and visual components. He is finishing up his artist residency in New York with the Asian Cultural Council and we can’t wait to see his new work. - Nasher Museum Blogs
Bonus - izložba koja istražuje kulturu vinilnih ploča:
The Record: Contemporary Art and Vinyl
Through sculpture, installation, drawing, painting, photography, sound work, video and performance, The Record combines contemporary art with outsider art, audio with visual, and fine art with popular culture.
The exhibition features 99 works by 41 artists, including rising stars in the contemporary art world (William Cordova, Robin Rhode, Dario Robleto), outsider artists (Mingering Mike), well-established artists (Jasper Johns, Ed Ruscha, Carrie Mae Weems) and artists whose work will be shown in a U.S. museum for the first time (Kevin Ei-ichi deForest, Jeroen Diepenmaat, Taiyo Kimura, Lyota Yagi).
Since the heyday of vinyl, and through its decline and recent resurgence, a surprising number of artists have worked with vinyl records. The Record presents some of the best, rarest and most unexpected examples. The artists in the exhibition use the vinyl record as metaphor, archive, artifact, icon, portrait, or transcendent medium. - Trevor Schoonmaker, Patsy R. and Raymond D. Nasher
Curator of Contemporary Art at the Nasher Museum
Podcast: The Record
The Record includes a broad range of works, such as a hybrid violin and record player, Viophonograph, a seminal work by Laurie Anderson; David Byrne's original life-sized Polaroid photomontage used for the cover of the 1978 Talking Heads album More Songs About Buildings and Food; a monumental column of vinyl records by Cordova; and an important early work by Robleto, who transformed Billie Holiday records in an alchemic process to create hand-painted buttons. Works by Christian Marclay, who has made art with records for 30 years, include his early and rarely seen Recycled Records as well as his most recent record video, Looking for Love.
Two of the works on view at the ICA were commissioned specifically for the exhibition by The Nasher Museum. Berlin-based artist Satch Hoyt created a 16-foot canoe made of red 45-rpm records with an original soundscape during a 2009 artist residency at Duke. New York artist Xaviera Simmons created photographs of the North Carolina landscape and solicited musical responses from musicians such as Mac McCaughan of Superchunk, Tunde Adebimpe of TV on the Radio and Jim James of My Morning Jacket. The original songs will be pressed onto a 12-inch record and played with her installation.
ArtistsArtists in the exhibition include Laurie Anderson (1947 USA), Felipe Barbosa (1978 Brazil), David Byrne (1952 Scotland), Janet Cardiff & George Bures Miller (1957 & 1960 Canada)*, William Cordova (1971 Peru), Moyra Davey (1958 Canada), Kevin Ei-ichi deForest (1962 Canada), Jeroen Diepenmaat (1978 Netherlands), Sean Duffy (1966 USA), Yukio Fujimoto (1950 Japan), Jack Goldstein (1945 Canada), Rodney Graham (1949 Canada)*, Harrison Haynes (1973 USA)*, Gregor Hildebrandt (1974 Germany), Satch Hoyt (1957 UK), Jasper Johns (1930 USA), Taiyo Kimura (1970 Japan), Tim Lee (1975 Korea), Ralph Lemon (1952 USA), Christian Marclay (1955 USA), David McConnell (1975 USA), Mingering Mike (1950 USA), Dave Muller (1964 USA), Ujino Muneteru (1964 Japan), Vik Muniz and Carlos da Silva Assunção Filho aka Cafi (1961 & 1950 Brazil)*, Patrick Douthit aka 9th Wonder (1975 USA)*, DJ Rekha (1971 UK)*, Robin Rhode (1976 South Africa), Dario Robleto (1972 USA), Ed Ruscha (1937 USA), Malick Sidibé (1935 Mali), Xaviera Simmons (1974 USA), Mark Soo (1977 Singapore), Meredyth Sparks (1972 USA), Su-Mei Tse (1973 Luxembourg), Fatimah Tuggar (1967 Nigeria), Alice Wagner (1974 Peru), Carrie Mae Weems (1953 USA), and Lyota Yagi (1980 Japan).
* "Cover to Cover" crate curator list
The accompanying Cover to Cover installation installation features 7 listening stations designed by 9 artists and musicians who each curated a crate of 20 albums that tell a story through the cover visuals. Visitors will peruse the crates and with headphones listen to records on record players.