We need new skin.
Mayumi Hosokura
It could be something like fur, like the scales of a snake, like the downy hairs of a plant, like glowing glass.
It obscures our previous category just as manipulating one of the genes leads to a tomato with a moth gene and a sheep with a frog gene.
I am a man as well as a woman, and I can be an animal, plant, or dead matter.
New skin, blurring borders.
Mixing my desires with those of others. The act of imagining. Not fixing the point of view. A change.
The new skin is a body hack to expand “me”, or “you”.
Hosokura has produced works that rearrange the boundaries between races, nationalities, people and plants, machines, and organic and inorganic “used to be common” based on physical representations.
In this exhibition, Hosokura created a huge digital collage of her male portraits works, pictures of male sculptures in the museum, cutouts from gay magazines, and selfies of Korean men, and exhibited photography and video images floating in it.
In the video, her point of view drifted around the screen like a drunk. The screen continues to drift to avoid decision making, sometimes reflecting the beautiful details produced by layered synthesis, sometimes showing overview as a chimera.
The main projection displays the body of the man in fragments, the scanner that was the main camera in the production of the film, the skin with the mysterious tattoos, the casual conversation between Hosokura and her female film director friend, and the fragmentary words between the Hosokura and the model that were exchanged during the film, and they are overlap and shown with the mixing of “Memory” “Record” and “something that might not have been recorded”.
Collage data, which has never been shown whole images in the video, is always displayed with omissions in a photographic work, and it can be completed only by imagining. But this decision is always hypothetical.
Fuyumi Murata, Mumei
Mayumi Hosokura, “NEW SKIN”
細倉真弓、あたらしい肌
Mumei
November 22 – December 20, 2019