2018年、香港・中環にて開館したアート施設「大館（タイクン）」。16の歴史的建造物を擁する遺産の宝庫でありながら、現代アートやカルチャーをも発信する話題の新名所にて先月まで開催されていたのが、近未来のサイバーパンクをテーマにした展覧会『PHANTOM PLANE, CYBERPUNK IN THE YEAR OF THE FUTURE』。サイバーパンクとはSFのサブジャンルのひとつで、人間と機械が融合し、情報化が進んだ近未来を描写したもの。映画『マトリックス』や『ブレードランナー』、漫画『AKIRA』の世界観は、まさにサイバーパンクだ。
同展に参加したのは、香港、中国、韓国、オーストラリア、カナダ、米国、インドネシア、日本から21名のアーティスト。ビデオ、ミクストメディア、ホログラム、絵画、彫刻、写真など多種多様な表現方法を通し、独自の視点でサイバーパンクを追求した。たとえば、韓国人アーティスト、イ・ブルはドイツの未来派建築家ブルーノ・タウトにインスパイアを受け都市模型『After Bruno Taut』を制作。また香港のアーティスト、ツェン・マーラーの3Dアニメーション作品『Nostalgia Machines』は、2050年の香港を舞台に、“現在”を生きたくない人のために政府が開発した「シミュレーテッド・リアリティ（現実性をシミュレートするという考え）マシン」についての物語を展開する。
サイバーパンクでたびたび描かれる高度なネットワーク社会こそ実現していないものの、AIの進化やオートメーションなど、生身の人間と機械の距離がぐんと縮まった昨今。現実味を増してきた近未来に備え、現代アートを通しサイバーパンクの美学を予習しておくのもいいだろう。
Shinro OhtakeMON CHERI: A Self-Portrait as a Scrapped Shed
2012
Mixed media, timber, electronics, sound, steam Dimensions variable
Commissioned and produced by dOCUMENTA (13) with support of Take Ninagawa, Tokyo; Naoshima Fukutake Art Museum Foundation, Kagawa, Japan; Japan Foundation, Japan
Courtesy of Take Ninagawa, Tokyo © Shinro Ohtake
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Shinro Ohtake
MON CHERI: A Self-Portrait as a Scrapped Shed
2012
Mixed media, timber, electronics, sound, steam Dimensions variable
Commissioned and produced by dOCUMENTA (13) with support of Take Ninagawa, Tokyo; Naoshima Fukutake Art Museum Foundation, Kagawa, Japan; Japan Foundation, Japan
Courtesy of Take Ninagawa, Tokyo © Shinro Ohtake
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Zheng MahlerNostalgia Machines
2019
Video installation, 15’
In collaboration with Reijiro Aoyama
Musical score by John Bartley and Gordon Mathews
Courtesy of the artists
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Zheng Mahler
Nostalgia Machines
2019
Video installation, 15’
In collaboration with Reijiro Aoyama
Musical score by John Bartley and Gordon Mathews
Courtesy of the artists
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Zheng Mahler
The Master Algorithm
2019
Hologram installation
In collaboration with You Mi
Musical score by John Bartley and Gordon Mathews
Commissioned by Tai Kwun Contemporary
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Bettina Von Arnim
Verkehrswesen
1971
Oil on canvas 150×130cm
Outside:
Chan Wai Kwong
Untitled 2013–2019
2013–2019
Installation, inkjet prints
Commissioned by Tai Kwun Contemporary
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Tetsuya Ishida
Interview
1998
Acrylic on board 103 × 145.6 cm
Lee Bul
After Bruno Taut (Beware the sweetness of things)
2007
Crystal, glass and acrylic beads on stainless-steel armature, aluminium and copper mesh, PVC, steel and aluminium chains 258×200×250cm
Courtesy of the artist and Galerie Thaddaeus Ropac
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Yuri Pattison
False Memory
2019
Video installation
Commissioned by Tai Kwun Contemporary
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Nadim Abbas
Fake Present Eons (After Posenenske)
2019
Mixed media installation with durational performance
Commissioned by Tai Kwun Contemporary
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Nadim Abbas
Fake Present Eons (After Posenenske)
2019
Mixed media installation with durational performance
Commissioned by Tai Kwun Contemporary
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
Jon Rafman
Neon Parallel 1996
2015
Single-channel digital video, 11’15’’
Courtesy of the artist
Tishan Hsu
Stripped Nude
1984
Oil stick enamel, styrofoam, concrete on wood 213×122×22 cm
Tishan Hsu
No Name
1986
Acrylic, cement compound, alkyd, oil on wood 226×122×10 cm
Installation view of “Phantom Plane, Cyberpunk in the Year of the Future”, Tai Kwun Contemporary, 5 October 2019 – 4 October 2020
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Text by Ayano Mori
Content Direction & Edit: HEAPS Magazine
