Imagery by TAKESHI KAWANO VISUAL DESIGN STUDIO

Speculative execution

DRAM [Dynamic Random Access Memory]
Year: 2015
Venue: Chionsha (Kyoto) 
Material: 1024 pieces of printed sheet, 16 boxes of paulownia wood, plastic bags, computer, square shaped display, laser printer, and paper shuredder
Size: Print:31.6cm×31.6cm、Installation: --

An installation work using moving images and prints under the theme of “contingency” and “selection”.
Through design works, I often hear requests like “We would like you to show us some samples with this direction.” from the clients. As a result, it sometimes happens that the idea that is different from the one I recommend the most gets to be chosen. In such case, since the fine nuance at the end would be chosen by the clients’ feeling or fetish based on the premise of the mutual agreement of the basic idea, there is a discrepancy between the virtu I have expected and that of them. Through this piece, I had a think about the possibility of “something that has certain value for certain people despite me not selecting it willingly.”
The work consists of countless printed art works. Photographs, colors, and images are randomly picked, laid out and printed endlessly by the program. The printed sheets are arranged on the grids that are used to represent 4x4 (4bit) virtual memory in a Japanese style room. The total of 1024 prints are shown for 64 times, rearranged by the artist for once in 30 minutes. The audience are suggested to “select” one piece out of the works installed, and decide whether to “discard” or “purchase” the sheet. The pieces “purchased” by the audience then becomes defined as a separate art work by itself from the moment. The artist dropping the role of controlling the art work and becoming the part of the system lets the work dependent on the eventuality of the system and the encounter with the viewer, hence the value of the piece exists in the relationship between the work and the audience. During the exhibition, about 300 pieces of prints have been “purchased” to be art works, and approximately 700 were “discarded” by the system and the audience.