Cindy Mochizuki Clip 3
Details
Cindy Mochizuki Clip 3
Metadata (MODS) |
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| Titles | Cindy Mochizuki Clip 3: |
| Name | Cindy Mochizuki |
| Name | Dr. Joanne Leow |
| Type of Resource | sound recording |
| Identifier | Interview |
| Identifier | Cindy Mochizuki Clip 3 |
| Abstract | This final clip of the interview discusses translating history into art and the use of multiple media forms in Mochizuki’s projects. She comments on her position as an artist and how it influences her representation of history in her work. The conversation then shifts to the role of audio in creating a space for the audience to stop and think. |
| Extent | 4:51 Minutes |
| Form | sound recording |
| Note | JL: History. When you’re trying to translate the personal, and / or collective history into an art form—and there's things that always have to be left out or actually sometimes fabulated, confabulated, because you're trying to tell a narrative, right? so if you could talk a bit more about that process and when you're doing it and it doesn't have to be specifically about Paper, but it can be, what is going through your head? What are some kinds of the challenges you face when you're doing that kind of process? 14:18 CM: Well, definitely I think I can't speak. My position is as an artist, so it's definitely not of historian, so it's definitely a different way of mining through the archive and mining through materials. I definitely think that sometimes, like in the case of Paper, there was an invitation by someone, there was an ask to make something so I think about that ethically and aesthetically, also, like what does it mean to like carry these materials forward and what does it mean to make it into an artwork? Um, I don't think I’m necessarily making something that’s like “I'm going to state the facts, this is the history of Japanese-Canadian internment.” It's not about that. But I feel definitely that…I think art can lend itself or writing or text or something that comes more from a creative place, can lend itself a different viewpoint of understanding history or understanding something very complex. That maybe, literally, that history can't alone…maybe or that certain academic research alone can't can’t kind of…cause you're actually calling upon things are invisible, right? And so here this might…we can go into the other question, why work with so many different mediums, it's almost like I'm tracking this spectre or this thing that I cannot attain, right? Even personally, as a somebody who's looking back at history trying to understand her history and you know as I get older even I think "maybe I'm done with this issue" because like you come up with something else and you're like “what? how did that happen?” But it's a living thing, it's a living archive, um creature in itself and so, I think that I move through different mediums because what's the best way to channel that through and bring it to so we can even see this for a temporary moment. And so I think performance or even audio work or these experiences where people come and experience something and then leave and it's not necessarily object or a monument, I think that, to me, has the most…I think it's the most interesting to me because I'm interested in what happened after, I guess the affect of it and how people and audiences carry that with them afterwards and then how that kind of ricochets and breaks open something else. So, I think I'm more interested in that, and a lot of that is unknown and so somebody could come and be like “that conjured something dark in me” or whatever, something, now I'm gonna go off and do something else or maybe not, maybe you have no reaction to it but um like I’ve worked with or I've you know worked in a room with artists and you know collaborated and then you know brought together a bunch of images and then somebody be like “oh my god this pairing of this like made me think of this thing,” and so, I love those kind of moments like a ricochet of things like a knock of dominoes or affect of something so I think I'm more interested in that as a process. 17:17 JL: And I think the last question I have for you, just following up on all the things you've been talking about, is this that a lot of your work as well requires that the audience pay attention; pay close attention, be listening intently, or be looking intently. Can you tell me a little bit more about that kind of impulse in your work? That drawing in but also that kind of…it's almost like you're holding open this space, but you're also holding a space that's telling you "hey, stop and just like really listen. Like really listen." Can you talk a little bit more about that? 17:47 CM: I think, well, I think I'm very…I'm interested in this idea that…I mean it's so difficult to do. It's very difficult to slow down, stop, and observe everything. We live in this capitalist society that's go-go-go, we have deadlines, like I said I'm working on 8 projects, like what? But I think that in, there's something in, especially in terms of storytelling or listening or receiving that it's in that very quiet interstitial, that really quiet moment where something ruptures time, I think, and to really get that, to really see that, is sometimes not a mass theatre production for 180 people, I think sometimes it's a small journey, sometimes it's a taste, sometimes it's a little moment, and very recently and in some of my work it kind of comes down to that and I think it's about really carefully looking at something that's invisible and each individual person carries a different way of interpreting it; so, how to create the stage for that, how to create the space for that, I think that is important for me. |
| Access Condition | Contact Dr. Joanne Leow |
| Subject Hierarchical Geographic | North America--Canada------Vancouver |
| Subject Local Name | ------Art--History--Space--Audio--Displacement---- |