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2-13-2 Higashi-Ueno, Taito-ku, Tokyo-to, Japan
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Kaito Fujinuma

Kaito Fujinuma

[Biography]
1998 Born in Kanagawa Prefecture
2019 Entered Tokyo University of the Arts, Department of Painting, Oil Painting Course
“Nakacho Street Public Hall Project” Project Leader
“Nakanojo Biennale 2019”

[Concept]
I am working on the theme of infrastructure and communication.
Living in urban structures and interacting with others are two major components of modern urban life.
In today’s highly developed enterprise and infrastructure, the relationship between urban functions and individuals is intertwined.
As an approach to complex cities,I am engaged in cross-media expression activities.

[Works]
Both on display at Q Stay and lounge Ueno

「 “Meguru”/INVADER GAME 」

「Itoh」「Kintaro」「Kaoru」

The medium of “monsters”, for example, which are readily consumed in subcultures like gaming, are like a factory to make imaginary enemies.
“Monsters” play the role of “enemy” (or servants) as the consumer desires.

Despite that in games, humans and monsters are homogenous in that both are fictional, descrimination without victims, or in other words, a simulation of discrimination, is a matter of course.
I wonder if that by enacting these discrimination simulations, people that enjoy defeating enemies in games aren’t actually fulfilling a desire to attack and control different races.

The character (Meguru) displayed here is given no more than an empty shell, but is designed to become a subject of aversion, and the connotation of the real economy within the frame (the QR code), indicates that, like real outside peoples, it may possibly invade this side of the frame.

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