Manchester

Masaki Fujihata

Cornerhouse

In a quiet, meditative space furnished with just a desk and chair, there lies a book on the desk—a digitally projected book. Its pages “turn” when tapped with a pen that lies nearby. Touching individual images in the book also produces other results: Tap one page, for example, and you hear the names of Japanese pictograms spoken out loud; a small lamp on the desk turns on when you touch a picture of a light switch on another page; a door in the wall opposite you swings open for a split second when you touch it with the pen, revealing a laughing, naked child.

Like the book, the door is a digital projection. Masaki Fujihata’s installation Beyond Pages, 1995–97, like most of the eight works shown here, combines the real and the virtual in ways that paradoxically both blur and reassert the boundaries between them. It would be false, for example, to say that the book in Beyond Pages is not really

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