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Tsuneo Nakai

Tsuneo Nakai

출생 : 1947-01-01, Osaka, Japan.

약력

Tsuneo Nakai was born in Osaka in 1947. As a student at Tokyo University of the Arts he made his first work The Skin of a Napping (1967), which was selected for the Sogetsu Experimental Film Festival organized by the Sogetsu Art Center. His second film, Paludes (1968) won an Encouragement Prize at Film Art Festival 1968 Tokyo, organized by Film Art-sha that year as a successor to the Sogetsu Experimental Film Festival. In 1971 he presented an installation incorporating fire at Gallery Tamura (Tokyo), and produced Alchemy (1971), inspired by the structural film movement. Alchemy and Azoth were screened at the experimental film festival EXPRMNTL 5 held at Knokke-le-Zoute (Knokke-Heist, Belgium) in 1974, and Alchemy won the Prix Baron Lambert. In the late 1970s he began creating video art, and obtained backing from JVC to produce the video piece Artificial Paradise (1983), which was later screened at Documenta 8. In 1983 he joined forces with Video Cocktail, a group of young video artists, and organized exhibitions at galleries and museums. In 1986 he became Assistant Professor of Conceptual Design at Kyoto City University of Arts. Since then the focus of his practice has been video installations and video objects such as New World (1986), and works exhibited from 2000 onward include Tokyo Atomic Bomb (2009) and Ilinx (2011).

프로필 사진

Tsuneo Nakai

참여 작품

Director

This work produces complex flicker patterns with positive and negative footage of shimmering reflections on the surface of water. Nakai created a masking film with a calculated pattern of black and white frames into which he inserted positive and negative images and made a print out of two separate rolls of film. The sound consists of the electronically processed noises of insects. “The film depicts the alchemy of light wriggling on the surface of waves, using a negative-positive flicker technique in a structure where darkness can be seen lurking behind the light.” (Tsuneo Nakai)

Director

This work produces complex flicker patterns by splicing together four types of footage, consisting of shots of the exterior of a factory during the day and at night, in positive and negative versions. Nakai created a masking film with a calculated pattern of black and white frames into which he inserted positive and negative images and made a print out of two separate rolls of film. “Images of an industrial zone in constant operation day and night are utilized with the sense that it encapsulates both the beginning and the end. Scenes shot from morning to evening and then from evening to morning are divided into negative and positive frames, resulting in four types of images that intersect, manipulating the effects of film processing on perception.” (Tsuneo Nakai) Two versions of the film exist: 13:40 mins at 24 fps and 20 mins at 16 fps.

Director

This film that can be called an auditory variation on Alchemy, in which the volume of microphone feedback increases and decreases according to the distance from the subject. “This is a work of minimal cinema that continuously zooms out on a flower blooming in the darkness, as a paradoxical approach to the act of seeing.” (Tsuneo Nakai)

Director

This work consists of a fixed shot capturing the natural phenomenon of light flowing in from beyond the horizon, which Nakai encountered at a beach when shooting Alchemy. The sound consists of ambient noise from the surrounding environment. “This is minimal cinema focusing on the phenomenon of light passing over the sea, which I happened to encounter on the beach when I was filming Alchemy.” (Tsuneo Nakai)

Director

The camera slowly zooms, in over a long period of time, on the light of the sun reflected in the mirror of a bicycle parked at the construction site. To this is added a slowly evolving flicker effect derived from negative-positive reversals, progressively dismantling the distance from the subject. Nakai created a masking film with a calculated pattern of black and white frames into which he inserted positive and negative images and made a print out of two separate rolls of film. The original projection speed was 16 frames per second, but the sound is separate from the open-roll tape rather than burned in, so it can also be screened at 24fps. Also, the original sound consisted of the friction noise of rubbing steel, but in 2019 a new version of the sound was created featuring the friction noise of glass. Two versions of the film exist: 24:15 mins at 24 fps and 40 mins at 16 fps.

Director

This allegorical depiction of escape from the stagnation of everyday life was produced with the help of fellow members of the Tokyo University of the Arts Experimental Filmmaking Club. It was shot on location in places frequented by students--university campuses, Ueno Park, Ginza, Hayama--and everyday life intermingles with the processes of filmmaking.

The Skin of a Napping

The Skin of a Napping

Director

Single-handedly produced by Nakai, the film features images of the body, with themes of fetishism and reversion to the womb. In addition to using in-camera editing to achieve multiple exposures, he employed direct methods such as coloring and punching holes in the film.