Cindy Mochizuki Clip 2
Details
Cindy Mochizuki Clip 2
Metadata (MODS) |
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| Titles | Cindy Mochizuki Clip 2: |
| Name | Cindy Mochizuki |
| Name | Dr. Joanne Leow |
| Type of Resource | sound recording |
| Identifier | Interview |
| Identifier | Cindy Mochizuki Clip 2 |
| Abstract | The second audio clip discusses the work’s use and layering of space. Mochizuki’s then comments on how her work connects to the ocean and water—leading to a discussion of the culture of diaspora, history, space, and transnationalism. |
| Extent | 4:40 Minutes |
| Form | sound recording |
| Note | CM: Well I was definitely wanting to create this idea that um that you're gonna be receiving this story; that you're gonna be on the receiving end of a story that will traverse some time and kind of lace over two different landscapes and two different cities as well, so literally it would be Yonago and Japan, as you said, layered on top of each other, and I…you know it's different than going on a walking tour. In this case, you're on a boat so you're floating at sea, so I thought of this idea and I've done works before where you're listening on headsets, but it really takes place in in…it really takes place in your mind and in your memory and something that's really between your two ears. And you don't really need visuals to see this, it's kind of happening there, it's a stage in your mind. And what was really interesting for me was you know you're at sea, you’re floating out in the Japan Sea, and you're listening to the story and I actually performed it in Japanese. My Japanese is, it's pretty okay, but like I wouldn't say it's like…because I'm not like native born Japanese and it was for a Japanese audience, so I think they were like "who is this? Where is this? Where is she? What's happening here?" right? because it's so, the speaker is from another realm and so I think that was added to this really weird fictional story that's maybe reality, maybe not and then when they took off the headsets in this vast ocean, they were kind of drifting out in the middle of the Japan Sea and then the man started up his "Hi Everyone Welcome out" in Japanese and did his tour, and so I think there was like a rupture there in the moment and so I think the headsets—it's a very simple device and many artists there are many artists that use this. But for me it because so much is about thinking about the future and the past and not about watching movies or moving pictures, I think that was the form that worked the best. Almost like a bedtime story, somebody is whispering this thing to me just like the elder on the boat that just kind of like told us this story in passing. I'm very interested in the passage or slippage of these like almost periphery sorties that hold something that hold a grain of like a key to something that's much larger and so I was thinking of that. 10:42 JL: Also, what's really interesting is in some senses it's also really connected to the ocean the water and there's that element in that work there—in some of your other work as well, the project you did with school children for instance. Can you talk a little more about that connection then, because we're thinking about this Trans-Pacific connection, and yet, each space that you're going to has this really really specific, local, waterway history, right? So how do you sort of bridge that gap between the oceanic connection and the really local, the inlet, the false creek, like you were saying, the canal? 11:19 CM: Well, I think I mean I think being somebody who's of a culture of diaspora, of, like my my father was you know third generation Japanese-Canadian, my mom is from / was born in Osaka and lived in Yokohama and they both have, you know, returned back to Canada on different occasions on like my father for example, after the internment they exiled to Japan and they came back on the Hikawa Maru and so um I've been fascinated with this Pacific ocean or there's the Japan Sea, or there's this this bodies of water that are stretch out these long (x6) lines um but they lull you back, or they bring you back. And I'm interested also in things like war and history and these things that are about water and having to eat water, and living and so it's true like many different pieces of mine there's water imagery, things on the shore line, asking children to work with material of water and ink and salt to create the imaginary or the imagined. And so I think for me it's just an important place to kind of to be because we're all settlers we're all you know we've washed up ashore, we've floated here and have different histories and different and I think now we're being asked to think about um why what are you doing here? What are you contributing? Why are you here? And the ocean line or the shoreline I think is like a really good kind of um periphery space or something where you can sort of ask those questions and I'm curious about that, I’m interested in that, as a notion I think maybe. |
| Access Condition | Contact Dr. Joanne Leow |
| Subject Hierarchical Geographic | North America--Canada------Vancouver |
| Subject Local Name | ----Space--Diaspora------Water--Transnationalism--History--Memory--Family--Site-Specific--Displacement |