Zeitschrift Umělec 2000/1 >> Why do so many frightening things go through such a boom? Übersicht aller Ausgaben
Why do so many frightening things go through such a boom?
Zeitschrift Umělec
Jahrgang 2000, 1
30 EUR
33 USD
Die Printausgabe schicken an:
Abo bestellen

Why do so many frightening things go through such a boom?

Zeitschrift Umělec 2000/1

01.01.2000

Tomodachi no Uranchan (Přátelé Uranové dívky) | japan | en cs

"Super Idols

Gentaro Araki considers himself a false alchemist rather than a figurative sculptor. His company produces incredible characters—figures whose appearance and themes are far from ordinary commercial toys. Araki’s play with gender ambiguity, which is so typical for contemporary Japan, attracts attention on the one hand and is fiercely criticized on the other. This may be the reason why otaku (an indulgence in or mania for making small hyper-realistic figures) is disgusting for some. In any case, his work very quickly became famous. Gendaro is currently working on a 3D picture book.

Hinano Yoshikawa
This doll was created simultaneously with photographic books with the aim to create the symbol of a young, living actress in 2D and 3D. Concurrently, he decided to realize two further forms: Hinano Yoshika-wa—“Natural” and “Illusive” in which the actress was photographed outside with her face naked, while the other was a virtual Hinano of the hallucinatory world.
The dolls Gentaro created—“Black Made”—are models that are intended to resemble the atmosphere of selected fantasy. Gentaro’s limited 500 pieces are all hand-made. When interviewed, he spoke of how difficult it was to make a doll’s face so that it resembled Hinano as much as possible. For this project, he created approximately twenty prototypes. Completing them took two months, half of which was reserved for making Hinano’s face. Models usually take two or three weeks to make.
Before the project began, Japanese TV had been showing the film Illusive Midnight in which Hinano Yoshikawa played the main double-role, a real girl and her identical robotic copy. In one of the scenes, Hinano Yoshikawa asked her boyfriend which of the two he liked more, which of them was more attractive and magnetic.

The Power of Number Eight
(a review in the confessional style by an anonymous author)
“Yeah, it ain’t easy. He’s a robotic boy, which is obvious from the slightly open square on his little chest. I’ve never experienced such excitement!
This doll is a boy—a robot that boasted seven powerful abilities, and he has just discovered the eighth. Perhaps this is what is so attractive about this doll. Perhaps there is a little bit of calculation. Otherwise, I don’t understand how an adult person could be so strongly attracted to dolls. It’s not just a hobby, and it’s not about innocence at all. Despite millions of various forgivenesses, this type of hobby is obscene.
But it’s my problem, don’t you think?
Remember. Go back to when you looked at the doll for the first time; you must have felt that there was something really weird and dangerous about it. Look, the reason why a beautiful girl attracts modern guys could be because their manhood and self-indulgence is mirrored in this principle.
A really complicated idea on how to define love in its virtual form.
Suppressing fear of personal and social destruction in the moment of your confession. In the near future, Japan will definitely be inhabited by a majority of Androids. Now that human figures are embodied in virtual toys that are becoming more and more popular, it is rather alarming.
Do you want to live through that?”

Robin Kun—his charm is in his hermetically tight leather suit. Any character who was to be his partner would have real problems with him.

Win–09—his first name is “Wiener Kun.” He really gets you if you turn one of the parts into a different mode. He comes with three extra parts, including a hard-on that could also be used as a stand for rings. Great present for girlfriends.

The Cute Boy Figures of Gentaro Araki
These dolls are not only made for girl-fans. Even though they appear at first sight as if they were made from the female perspective, they represent a very male view of cute boys. There is just something about them, and that is why I don’t want to make female figures. Also, all female or girl dolls that are made by men seem to lack anything female about them. That’s why. It is a materialization of personal obsession and satisfaction. There’s no room at all for the reflection of a woman. It’s a totally personal work, and anything else becomes an obstacle. Do you think this obsession of dealing with so many things is wacky? Spoiled childhood? Why do so many frightening things go through such a boom?
The answer is clear. Everybody is innocent, selfish and spoiled just like kids. Most people think that everything around is obstacles, even themselves. So is this all right? My anxiety and desire are burning every day.
"




Kommentar

Der Artikel ist bisher nicht kommentiert worden

Neuen Kommentar einfügen

Empfohlene Artikel

Im Rausch des medialen Déjà-vu. Anmerkungen zur Bildnerischen Strategie von Oliver Pietsch Im Rausch des medialen Déjà-vu. Anmerkungen zur Bildnerischen Strategie von Oliver Pietsch
Goff & Rosenthal, Berlin, 18.11. – 30.12.2006 Was eine Droge ist und was nicht, wird gesellschaftlich immer wieder neu verhandelt, ebenso das Verhältnis zu ihr. Mit welcher Droge eine Gesellschaft umgehen kann und mit welcher nicht und wie von ihr filmisch erzählt werden kann, ob als individuelles oder kollektives Erleben oder nur als Verbrechen, demonstriert der in Berlin lebende Videokünstler…
Meine Karriere in der Poesie oder:  Wie ich gelernt habe, mir keine Sorgen  zu machen und die Institution zu lieben Meine Karriere in der Poesie oder: Wie ich gelernt habe, mir keine Sorgen zu machen und die Institution zu lieben
Der Amerikanische Dichter wurde ins Weiße Haus eingeladet, um seine kontroverse, ausstehlerische Poesie vorzulesen. Geschniegelt und bereit, für sich selber zu handeln, gelangt er zu einer skandalösen Feststellung: dass sich keiner mehr wegen Poesie aufregt, und dass es viel besser ist, eigene Wände oder wenigstens kleinere Mauern zu bauen, statt gegen allgemeine Wänden zu stoßen.
Missglückte Koproduktion Missglückte Koproduktion
Wenn man sich gut orientiert, findet man heraus, dass man jeden Monat und vielleicht jede Woche die Chance hat, Geld für sein Kulturprojekt zu bekommen. Erfolgreiche Antragsteller haben genug Geld, durchschnittlich so viel, dass sie Ruhe geben, und die Erfolglosen werden von der Chance in Schach gehalten. Ganz natürlich sind also Agenturen nur mit dem Ziel entstanden, diese Fonds zu beantragen…
Tunelling Culture II Tunelling Culture II