04:46
TED2012

Gabriel Barcia-Colombo: Capturing memories in video art

ガブリエル・バルシア・コロンボ: 思い出をビデオアートに詰め込んで

Filmed:

アーティストであるガブリエル・バルシア・コロンボは、思い出や交友をビデオマッピングとビデオプロジェクションを用いて記録し、シェアします。TED Fellow Talks にて瓶、スーツケース、そしてミキサーに詰め込んだ彼の魅力的で想像豊かな作品が公開されます。

- Video sculptor
Gabe Barcia-Colombo creates madcap art inspired both by Renaissance era curiosity cabinets and the modern-day digital chronicling of everyday life. Think: miniature people projected in objects and a DNA Vending Machine. Full bio

I love to collect things.
私は収集が大好きです
00:16
Ever since I was a kid, I've had massive collections
子どもの頃から膨大なコレクションを持っていました
00:19
of random stuff, everything from bizarre hot sauces
世界中の辛いソースやら
00:21
from all around the world to insects
捕まえた昆虫を入れた瓶など
00:23
that I've captured and put in jars.
さまざまな物を集めていました
00:27
Now, it's no secret, because I like collecting things,
私は収集が好きですし
00:29
that I love the Natural History Museum
自然史博物館や
00:31
and the collections of animals
動物の剥製が大好きなのは
00:33
at the Natural History Museum in dioramas.
秘密でも何でもありません
00:34
These, to me, are like living sculptures, right,
剥製のジオラマは私にとって
00:36
that you can go and look at,
目で見られる 生きた彫刻のようなものです
00:38
and they memorialize a specific point of time
動物の歴史の 特定の一コマを
00:40
in this animal's life.
再現してくれます
00:41
So I was thinking about my own life,
自分自身の歴史はどうかと考えました
00:43
and how I'd like to memorialize my life, you know,
どのようにして私の歴史を
00:45
for the ages, and also — (Laughter) —
後世に伝えていくのか (笑)
00:47
the lives of my friends, but
それと友人の歴史も...
00:50
the problem with this is that my friends aren't quite keen
ただ問題となるのは どうも友人たちは
00:52
on the idea of me taxidermy-ing them. (Laughter)
剥製という方法が嫌なようです (笑)
00:55
So instead, I turned to video,
そこで私が注目したのはビデオです
00:58
and video is the next best way to preserve and memorialize
特定の時間と人物を記録しておくのに
01:01
someone and to capture a specific moment in time.
ビデオは剥製に次ぐ優れた方法です
01:03
So what I did was, I filmed six of my friends
6 人の友人を映した動画を
01:06
and then, using video mapping and video projection,
ビデオマッピングとビデオプロジェクションで編集して
01:08
I created a video sculpture, which was these six friends
ビデオ彫刻を作りました
01:10
projected into jars. (Laughter)
そして友人を瓶の中に入れちゃいました (笑)
01:13
So now I have this collection of my friends
こうして持ち歩ける
01:17
I can take around with me whenever I go,
友達コレクションができたわけです
01:18
and this is called Animalia Chordata,
ラテン語の学名分類法に基づいて
01:20
from the Latin nomenclature for
この作品には「人間」を意味する
01:22
human being, classification system.
「アニマリア コルダータ」と名付けました
01:24
So this piece memorializes my friends in these jars,
彼らは思い出を想起させてくれますし
01:26
and they actually move around. (Laughter)
なんと実際に動き回ります
01:29
So, this is interesting to me,
これはこれで面白いのですが
01:33
but it lacked a certain human element. (Laughter)
少し人間味に欠けていました (笑)
01:36
It's a digital sculpture, so I wanted to add
せっかくのデジタル彫刻なので
01:39
an interaction system. So what I did was,
インタラクションが欲しいと思い
01:41
I added a proximity sensor, so that when you get close
近接センサーを追加しました
01:43
to the people in jars, they react to you in different ways.
近づくとさまざまな反応をします
01:45
You know, just like people on the street
道端で他人に近づき過ぎた時のような反応をします
01:47
when you get too close to them.
道端で他人に近づき過ぎた時のような反応をします
01:49
Some people reacted in terror. (Laughter)
おびえるやつもいますし (笑)
01:50
Others reacted in asking you for help,
助けを求めるやつもいれば
01:53
and some people hide from you.
隠れるやつもいます
01:55
So this was really interesting to me, this idea of
ビデオというものを画面上から取り出し
01:58
taking video off the screen and putting it in real life,
実生活の中に落とし込み インタラクションを
02:00
and also adding interactivity to sculpture.
付与するというのは非常に面白いアイディアです
02:02
So over the next year, I documented 40 of my other friends
この作品以降 他にも 40 人の友達を
02:04
and trapped them in jars as well
記録し 瓶の中に入れました
02:09
and created a piece known as Garden,
それらで「ガーデン」という
02:10
which is literally a garden of humanity.
文字通り人間のガーデンを作り上げました
02:12
But something about the first piece,
ですが最初の作品で用いた
02:15
the Animali Chordata piece, kept coming back to me,
芸術とのインタラクションというアイディアが
02:17
this idea of interaction with art,
頭から離れずにいました
02:19
and I really liked the idea of people being able to interact,
人々が試行錯誤しながら作品と
02:21
and also being challenged by interacting with art.
やりとりするというアイディアが好きでした
02:23
So I wanted to create a new piece that actually
私は人々が見て遊べる
02:25
forced people to come and interact with something,
新しい作品を作り出したかったのです
02:27
and the way I did this was actually by projecting
そこから実際にできあがったのは
02:29
a 1950s housewife into a blender. (Laughter)
ミキサーに入った 1950 年代の奥さんです (笑)
02:31
This is a piece called Blend, and what it does is
この作品の名前は「ブレンド」です
02:35
it actually makes you implicit in the work of art.
人を芸術という作品に引き込みます
02:37
You may never experience the entire thing yourself.
一人で全てを体験し尽くすことはできないでしょう
02:39
You can walk away, you can just watch as this character
放っておくこともできますし
02:42
stands there in the blender and looks at you,
見つめ合うこともできます
02:44
or you can actually choose to interact with it.
あるいはインタラクトすることも可能です
02:46
So if you do choose to interact with the piece,
つまりもし皆さんがインタラクトすることにして
02:48
and you press the blender button, it actually sends
ミキサーのボタンを押せば 中のキャラクターを
02:53
this character into this dizzying disarray of dishevelment.
この主婦をぐるぐると回すこともできます
02:55
By doing that, you are now part of my piece.
そうすることで皆さんが私の作品の一部となるのです
02:58
You, like the people that are trapped in my work
私の作品に囚われた人々のように
03:02
— (Blender noises, laughter) —
(ミキサーの音 - 笑)
03:04
have become part of my work as well. (Laughter)
私の作品の一部となるのです
03:08
(Laughter)
(笑)
03:15
(Applause)
(拍手)
03:17
But, but this seems a bit unfair, right?
ですが これでは少し不公平ですよね?
03:20
I put my friends in jars, I put this character,
友人を瓶に入れ 絶滅危惧種のような
03:23
this sort of endangered species character in a blender.
このキャラクターをミキサーに入れましたが
03:26
But I'd never done anything about myself.
私自身には何もしていませんでしたからね
03:29
I'd never really memorialized myself.
ですので自画像的作品を作ることにしました
03:31
So I decided to create a piece which is a self-portrait piece.
これは一種の自己剥製タイムカプセル的作品で
03:32
This is sort of a self-portrait taxidermy time capsule piece
これは一種の自己剥製タイムカプセル的作品で
03:35
called A Point Just Passed,
「過ぎ去ったあの瞬間」という作品です
03:37
in which I project myself on top of a time card punch clock,
私自身をタイムカードレコーダーに投影したものです
03:39
and it's up to you.
遊び方は自由です
03:42
If you want to choose to punch that punch card clock,
タイムカードを押せば
03:43
you actually age me.
私の年齢をいじることができます
03:45
So I start as a baby, and then if you punch the clock,
つまり赤ん坊の私から始まり
03:47
you'll actually transform the baby into a toddler,
タイムカードを押せば幼児となり
03:50
and then from a toddler I'm transformed into a teenager.
そこからティーネイジャーへと成長し
03:54
From a teenager, I'm transformed into my current self.
ティーネイジャーから現在の私になり
03:57
From my current self, I'm turned into a middle-aged man,
次に中年の私になり
04:00
and then, from there, into an elderly man.
そして老年の私になります
04:03
And if you punch the punch card clock a hundred times
タイムカードを一日に百回と押していると
04:07
in one day, the piece goes black
作品は真っ黒になり
04:10
and is not to be reset until the next day.
翌日までリセットされなくなります
04:13
So, in doing so, you're erasing time.
この作品の一部となった皆さんが
04:16
You're actually implicit in this work
パンチをするごとに私の人生から
04:18
and you're erasing my life.
時間を消してしまっているんです
04:20
So I like this about interactive video sculpture,
インタラクティブビデオ彫刻が好きな理由は
04:22
that you can actually interact with it,
実際にインタラクトできること
04:24
that all of you can actually touch an artwork
皆が作品に触れられること
04:25
and be part of the artwork yourselves,
更には作品の一部となれることです
04:27
and hopefully, one day, I'll have each and every one of you
いつの日か皆さん全員を
04:29
trapped in one of my jars. (Laughter)
私の瓶に入れられたらなと思っています (笑)
04:32
Thank you. (Applause)
ありがとうございました (拍手)
04:34
Translated by Keiichi Kudo
Reviewed by Takahiro Shimpo

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About the Speaker:

Gabriel Barcia-Colombo - Video sculptor
Gabe Barcia-Colombo creates madcap art inspired both by Renaissance era curiosity cabinets and the modern-day digital chronicling of everyday life. Think: miniature people projected in objects and a DNA Vending Machine.

Why you should listen

Gabe Barcia-Colombo is an American artist who creates installation pieces that both delight and point to the strangeness of our modern, digital world. His latest work is a DNA Vending Machine, which dispenses vials of DNA extracted from friends at dinner parties. He's also created video installations of "miniature people" encased inside ordinary objects like suitcases, blenders and more. His work comments on the act of leaving one's imprint for the next generation. Call it "artwork with consequences."

As he explains it: "While formally implemented by natural history museums and collections (which find their roots in Renaissance-era 'cabinets of curiosity'), this process has grown more pointed and pervasive in the modern-day obsession with personal digital archiving and the corresponding growth of social media culture. My video sculptures play upon this exigency in our culture to chronicle, preserve and wax nostalgic, an idea which I render visually by 'collecting' human beings (alongside cultural archetypes) as scientific specimens. I repurpose everyday objects like blenders, suitcases and cans of Spam into venues for projecting and inserting videos of people."

Barcia-Colombo is an alumnus and instructor at NYU's Interactive Telecommunications Program. Read about his latest work on CoolHunting and in his TED Fellows profile.

More profile about the speaker
Gabriel Barcia-Colombo | Speaker | TED.com