A Place to Bury Everything I Did

Alexandre Maubert

7 November, 2016 ? 23 January, 2017


Opening night reception: 7 November, 19:30 - 21:30

Live dance performance by Kyoko Nomura



Opening night reception: 5 December, 19:30 - 21:30

Displaying works

Launch of publication

maubert_image_cl-1024x819.jpg[コピーライト] Alexandre Maubert, 2016.?Rehearsing with Kyoko Nomura.





ドゥルーズとガタリが1972年にアンチ・オイディプスの中で「脱領土化」の言葉を作った当時は、21世紀の仮想世界を夢描くだけでした。脱領土化と仮想性の両方の概念は、その時ではまだ抽象的な哲学觀念であり、現代の資本主義文化とその流動性の中での人間の主観性の性質を示すのみでした。現在では、技術向上とインターネットの偏在、そしてスマートフォンと低価格での航空旅行によって、地域文化の独自性は徐々に緩い観点になってきており、実際の距離と独特な文化の違い ? 觀念論と美的価値 ? は更に段々と曖昧になっています。


The Containerでのモベールの展覧会、A Place to Bury Everything I Did (自らの行い全てを埋める場所) は、展示作品の制作への道具として活用される、展覧会の空間である運送コンテナの、実際の構造が見られる時間ベースの写真によるインスタレーションです。モベールはThe Containerの制限された空間、形態、そしてほの暗い性質を利用して、本ギャラリーの空間を展示予定の写真シリーズを撮影する等身大のピンホール・カメラへと転換させます。マウバートの長期に及ぶライブ・パフォーマンス、音楽、そしてダンスへの興味がこれら作品の制作にて中心的な位置を占めており、観覧者は作家の当座しのぎな「アトリエ」の見物人、そして展示作品の制作への重要な貢献者になります。本展覧会は2つの異なる「初日イベント」を開催する予定で、一つは来客前での作品制作、そしてもう一つは実際の作品展示となります。



“The line between the Happening and daily life should be kept as fluid, and perhaps indistinct, as possible.”


  Allan Kaprow


When Deleuze?and?Guattari?coined the term “deterritorialization” in?Anti-Oedipus?in?1972, they could only dream of our 21st?century world of virtuality. Both concepts of deterritorialization and virtuality, at the time, were still only abstract philosophical notions, denoting the nature of human subjectivity in contemporary capitalist cultures and its fluidity. Nowadays, with technological advances and the ubiquity of the internet, smartphones, and inexpensive air travel, local cultural identity is increasingly becoming a looser term, where physical distance and distinct cultural differences?conceptual and aesthetic?become more and more blurred.

Alexandre Maubert, a French artist residing in Kyoto, Japan, has been exploring these ideas through a variety of interdisciplinary works, from film and video, to photography, sculpture, and painting; encapsulating how time and space bridge between cultural locality, and where the actual art-creating processes take pivotal significance in his final exhibited pieces.

Maubert’s exhibition at The Container,?A Place to Bury Everything I Did,?is a time-based photographic installation that sees the actual construction of the exhibiting space?a shipping container?utilized as a tool for the creation of the exhibited works. Maubert takes advantage of the limited space, shape, and dim nature of The Container to turn it into a life-size pinhole camera to take a series of photographs that will be shown at the gallery. His long-standing interest also live performance, music, and dance, take center stage in the creation of these works, where the visitors become spectators in his make-shift “studio” and, indeed, key contributors to the creation of the exhibited pieces.

The exhibition will see two different “opening night events,” one to create the pieces in front of an audience, and another, to showcase the actual works.

During the first event, spectators will not be able to enter the actual container, the exhibition space. Instead, the container will remain closed and dark, serving as a pinhole camera, where rays of light penetrate the space through a numbers of holes, strategically drilled into the walls of the actual container?capturing images, one at a time, onto a variety of surfaces coated with light sensitive photographic emulsion.

The subject of these photographs is a live dance performance by the Japanese choreographer and dancer, Kyoko Nomura (born in Fukuoka, currently based in Kyoto), who will be dancing during the event, in front of the spectators, in what is more akin to an art happening than a private view of an exhibition. The second event, scheduled to take place a month later, will see a more traditional private view event with the images taken from the live performances installed inside of the exhibition space. The images will remain in the space for the duration of the exhibition.


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