小林健太+横田大輔(Kenta Cobayashi+Daisuke Yokota)THE SCRAP


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小林健太+横田大輔『THE SCRAP』

この『THE SCRAP』は、その2人ががっちりと組んで行った特別でレアなコラボレーション作品なのである。このそれぞれの体験は、その後の2人の「分岐点」ともなったことでも注目に値する。
横田は、アムステルダム のfoam写真美術館でも個展を行い、また国際的な賞も数多く受賞してきた。日本の写真賞のトップである木村伊兵衛賞も昨年受賞した。
この『THE SCRAP』は、用意した画像をメールで互いにキャッチボールし合い、加工し続ける過程を、何重にも行うことで、画像生成されている。
(TEXT by 後藤繁雄)

As we move from the 2010s to the year 2020, Daisuke Yokota (born in 1983) and Kenta Cobayashi (born in 1992) are extremely important not only in Japan, but also from a global perspective.
The SCRAP is a special and rare collaboration between these two artists. It is worth noting that each of these experiences became a "crossroads" for the two artists thereafter.
Yokota has had a solo exhibition at the Foam Museum of Photography in Amsterdam, and has received numerous international awards. Last year he received the Kimura Ihei Award, the top prize for photography in Japan.
Kenta Kobayashi has also had solo exhibitions in the United States, Italy and Belgium, as well as commission works for Dunhill and Louis Vuitton.
However, their styles are both experimental, and at the same time, they pose a fundamental question about what photography is in the digital age.
Yokota consistently raises the issue of materiality in photography, sometimes creating works that digitally scan the metamorphosis of film itself without the need for images. Cobayashi, on the other hand, is a thorough digital native, daring to transform the information he inputs through photography into a physical drawing act.
The SCRAP is created through a process of mutual exchange of prepared images via email, and the process of continuous processing, in multiple layers.
This act can be seen as a response to the aporia of how creation is possible in an age in which the entire world has been digitized and everyone is inevitably destined to live in a virtual world.
Yokota's photographs have a paradox: they move forward while destroying the photograph itself. Cobayashi, on the other hand, sees the playful transformation of information as something endless (something with no dead end), and as a result, despite the title, the work is not ruinous, but rather a work worthy of being called "a life form" or "something to come".
Kenta Cobayashi called this work "like music", and here is the birth of a "new aesthetic", which is almost miraculous.(Text by Shigeo Goto)
発行元:アートビートパブリッシャーズ supported by FUJIXEROX
価 格:3,182円+税