加藤 翼

1984年 埼玉県生まれ・東京都を拠点に活動

一隻のボートをひっくり返すゲリラ・パフォーマンス《Guerrilla Waves》の舞台はベトナムの古都・フエの旧王宮。いまコロナ禍にあるほとんどの国々で集合が制限されているが、ベトナムの公共空間における一定の集合は、コロナ禍の前からすでに人民委員会によって実質的にコントロールされている。ベトナムにおける表現の自由も「国益を損なわない範囲内」でしか認められていない。こうした統治体系が確立される前夜のベトナム戦争末期、大量のボート・ピープルがこの国から脱出した。


《Tokyo Loop》においてトラックが走るのは東京の都心環状線(C1)。環状線を周回してトラックが元の地点に戻ること、それとリンクするように映像がループ再生されること。この二つの反復によってトラックは映像のなかで都心を巡回しつづける。裏を返せば、このトラックが走る都心の風景は永遠に変わることはない。2011年の震災は日本が抱えてきた難題を表面化させ、社会に変革をもたらすかに思えた。この作品は、私たちを鼓舞する応援団のエールを都心に届けながらも、いまだ変身を遂げられない東京を風刺する。



Born 1984 in Saitama, based in Tokyo.
Overseas Study Program: 2014 (two-years) in Seattle.

Guerrilla Waves, the guerrilla performance of a boat being tipped over, takes place in the old royal palace of the former Vietnamese capital of Hue. Mass gatherings are currently restricted in most countries afflicted by the coronavirus, but in Vietnam, public gatherings over a certain number of people had actually already been severely restricted by the People’s Committee even before the virus hit. Freedom of expression is only tolerated in Vietnam if it is not deemed “contrary to the national interest.” Thousands of boat people fled the country in the closing stages of the Vietnam War and directly after it, on the eve of such a system of rule being established.

However, the current pandemic has prompted most countries to close their doors, leaving people unable not only to congregate, but to move across national borders.

In Tokyo Loop, meanwhile, a truck drives along the Inner Circular Route (C1) of Tokyo’s Metropolitan Expressway. When it has completed a full circuit and returned to its starting point, the footage loops. Through these two instances of repetition, in the video the truck continually travels around the city center. Put another way, the central Tokyo landscape through which the truck passes never changes. The quake and tsunami that struck Japan in 2011 brought to the surface some challenging issues Japan has had for years, and seemed to have the potential to change society. This work sends an encouraging cheer for us to the heart of the capital, while simultaneously satirizing a Tokyo yet to achieve transformation.

Perhaps this moment, as we sit in limbo, unable to get either closer to or further away from each other, is the time to reconsider the distance between ourselves as humans; to reflect upon our natural tendency, with distance, to become bystanders; and take a fresh look from someone else’s viewpoint at landscapes that at first glance seem utterly commonplace. If we can return to such a fundamental ability to imagine, perhaps, this time, we can also change.