百瀬 文

Aya  Momose

1F-Main Gallery1F-Main Gallery


「オペラ「サロメ」の曲のクライマックス──発狂したサロメが、預言者ヨカナーンの生首を前に口づけをし、彼への激しい愛憎を独唱するシーン─ ─を使用し、男性ダンサーにその部分の解釈とダンスの制作を依頼した。ダンサーが着ているモーションキャプチャースーツから採取されたデータによって、CGによるサロメの姿が形成される。 CG のサロメの踊りから少しずつ乖離していく苦悩に満ちたダンサーの踊りは、空間に充満する歌声の中で「サロメにまなざされ、欲望されるヨカナーンの身体」として幻視され始める。」

「Using the climactic scene of the opera Salome by Richard Strauss – Salome sings a solo to declare her love for the severed head of the prophet Jochanaan, who rejected her and thus was killed by her request, and kisses his cold lips passionately – I ask a male dancer to interpret this scene and to sing and dance to the music as a role of Salome. The dancer wears a motion capture suit so that his movements are traced. Computer graphics then generates the female figure of Salome based on the data of his movements.Twisting her body, CGI Salome is exclaiming in her madness to face Jochanaan’ s severed head “You wouldn't let me kiss your mouth, Jochanaan!” just like the original opera. Her drives and emotions here are in fact created by the movement of the male dancer. At first, the audience of the video perceives that the male dancer’ s body is indeed the subject, and that the body of CGI Salome is just subordinate to his movements. Because the synchronization of two movements is clearly generated by motion capture technology, there is no doubt about this structure. After a while, however, the motion of CGI Salome gradually diverges from the male dancer. Whereas Salome places a curse at the head of Jochanaan and yells “You didn’ t look at me!” as the final scene of the original opera, the male dancer starts hesitating to sing. He is somehow having an anguished dance, and still wearing the suit. The motion of Salome is finally separated from him, and it hallucinates as if his body was seen as the body of Jochanaan which was gazed and desired by Salome in the midst of her singing voice. At this point, the gaze of the viewer is substituted into the one of Salome, that is to say, the viewer is staring at the dancer’s body, in other words the body of Jochanaan, who’s seductively suffering and panting. What Salome is longing for is simply to be gazed by Jochanaan. Obviously, one who is filmed cannot see his/her body itself during a shooting. The video attempts the experience of hallucination that your shadow, that you think it was, diverges from your body and in return addresses its love and hatred to you. This practice is a sort of my answer for the issue of narcissism about which video as a medium has been fundamentally questioned.」

百瀬 文

百瀬 文

Aya  Momose

1988年 東京生まれ
2013年 武蔵野美術大学大学院大学院造形研究科修士課程美術専攻油絵コース卒業
2015年 「アーティスト・ファイル 2015 隣の部屋――日本と韓国の作家たち」、国立新美術館、東京
2017年「Melting Point」、ソウル市立美術館 ナンジ・レジデンシー、ソウル(韓国)
2018年「Borrowing the Other Eye」、ESPACE DIAPHANES、ベルリン(ドイツ)
2019年 「Happiness is Born in the Guts」、Municipal Gallery Arsenal、ポズナン(ポーランド)

1988 Born in Tokyo
2013 Graduated from Musashino Art University MFA, Fine Arts Course, Painting
2015 “Artist File 2015 Next Doors: Contemporary Art in Japan and Korea”, The National Art Center, Tokyo (Tokyo, Japan)
2016 “Roppongi Crossing 2016: My Body, Your Voice”, Mori Art Museum (Tokyo, Japan)
2017 “Melting Point”, SeMA NANJII Residency (Seoul, South Korea)
2018 “Borrowing the Other Eye”, ESPACE DIAPHANES (Berlin, Germany)
2019 “Happiness is Born in the Guts”, Municipal Gallery Arsenal (Poznan, Poland)





大下 裕司

Yuji  Oshita

大阪中之島美術館準備室 学芸員

Nakanoshima Museum of Art, Osaka / Assistant Curator


[Comment by Selector]



Momose, who has participated in numerous exhibitions since her university days, seems to be focusing on the structure and mechanism that can be seen by objectifying the act of objectification itself through all actions taken by the subject consistently. By touching on the phenomenon of sympathy with others at times, such as seeing or listening, it gradually reveals that art possesses a structure involving the exchange of sympathy in the first place. I recommended her works as I believe they will be very powerful when displayed in a location where exhibition and sales coexist.