NEW SKIN|あたらしい肌
Mayumi Hosokura|細倉真弓

あたらしい肌は「私」 − あるいは「あなた」− を拡張するためのボディハックである。


We need new skin.
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".

-Mayumi Hosokura

2019年11月22日-12月20日 14-19時
22 November - 20 December, 2019

PUGMENT x 細倉真弓
20191117 1930 2000(仮)


今回の「NEW SKIN」では、自身の男性ポートレート作品や美術館に置かれた男性彫刻の写真、ネット上の韓国人男性セルフィー、細倉が男性身体表現のアーカイブとして大きな影響を受けていたゲイ雑誌からの切り抜きなどを合成した巨大なデジタルコラージュを制作し、その中を漂う映像作品とその写真作品を展示している。




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.

Images courtesy of mumei, Tokyo
Photographs by Fuyumi Murata