インスタレーション:「金閣」-前代未聞の未来-
断片化したスクリーンに映像プロジェクション/Filmリミックス/DVD
(三島由紀夫原作:「 金閣寺 」, 1976年 高林陽一監督「金閣寺」の再構築)
2006年上海ビエンナーレ「サテライトプロジェクト」日本パビリオン出展作品

Acknowledgement:

Yuca Ishizuka gratefully acknowledges the generous support and encouragement of
高林陽一監督 / Yoichi Takabayashi ( Film Director of "Temple of the Golden Pavilion") and
川村健一郎氏 / Kenichiro Kawamura ( Curator / KAWASAKI CITY MUSEUM film section)
in helping to realize this art project.

Special thanks to :
Terrie Lloyd氏 (Japan Inc Communications K.K.) and 安藤光治氏 / Mitsuharu Ando (PIGEON CO., LTD)

Sponsored by :
EPSON China, PIGEON CO.,LTD, Japan Inc Communication K.K. and Theaterhouse

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The Golden Pavilion - Unprecedented Future -

"Phenomena will recur, and every so often they will reappear in a cycle"  Yukio Mishima

Unlike visible entities, inheritance of the spirit encompassed in a culture is a near impossibility, as such invisible properties escape from the corporeal world when human life terminates. It is not spontaneously transferred, but under some conditions it can be reincarnated over time.

In 1950 the Golden Pavilion, a Japanese national treasure built in Kyoto in the 15th century, was burnt down by a young monk. Of all the works inspired by this symbolic incident, the novel by Yukio Mishima, 'The Temple of the Golden Pavilion', was highly acclaimed and was subsequently cinematized and dramatized.

I have long held an interest in the inexplicable motives lurking in the real life event that was intellectually envisioned and transformed through the reflection of Mishima's own psychological being in the novel. A coincidental but fateful re-encounter with the film adaptation of Mishima's novel by Yoichi Takabayashi awakened me to recognize a similar psychology behind his film, not in the narrative, but in the director's unseen mindset that is metafictionally demonstrated. I was immediately captured by a strong desire to further explore this genealogy of psychological structure which also transcends and overlaps with that of my own.
This project is a quest to attempt to identify what essentially rhymes with my inner life.

By highlighting the climactic scene of the burning golden pavilion, a mark of irreparable history, my idea is to deconstruct the moment of one's rapture when fusion of destruction and creation take place, when all existing values and meanings collapse, of the melting point of the ultimate romanticism and Nietzscheism.
The triumph of formlessness over tangibility invites an adumbration of what can crystallize and recur hereafter.

Yuca Ishizuka 2006