tokyo

Ryoji Ikeda, 4'33“, 2010, framed 16-mm film (blank with AATON timecode), 35 1/4 x 36 5/8”. From the series “time and space,” 2010–.

Ryoji Ikeda

Gallery Koyanagi

Ryoji Ikeda, 4'33“, 2010, framed 16-mm film (blank with AATON timecode), 35 1/4 x 36 5/8”. From the series “time and space,” 2010–.

Ryoji Ikeda is generally described as a sound artist, and the tag is not inaccurate. But because he explores the fundamental properties of sound in depth, his practice has gradually overflowed its boundaries, so that today he sometimes seems to escape it almost entirely. This show included two audiovisual pieces—data.tron, 2007, and data.scan, 2009—belonging to the ongoing “datamatics” series, initiated in 2006 and based on the use of masses of data as source material for abstract representations: black-and-white digital imagery made of grids, streaming code, and buzzing numbers, aiming at a physical, hypnotic experience where the awareness of the data—its full meaning—is buried beneath the avalanche of its unending apparitions. In this sense, these two pieces are indeed related to the “musical” facet of Ikeda’s activity; they constitute an eminently contemporary

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