2017, performance, 30–45 mins. Photo: Sophia Kidd
Inside/Outside-Black and White: 5th Chengdu Up-On International Live Art Festival ~ p94 ~ By Sophia Kidd
In Daisuke Takeya’s Painting, Commodity / Painting Commodity (October 22, 2017), the artist spent an entire day prior to his performance painting (on-site) in 2-D an image of a 3-D large installation. Then on the day of his performance he interacted with the audience using objects from the 3-D large installation, later painting each object black, then painting over his 2-D painting in black as well. Daisuke Takeya’s choice of black as prime material for his performance may have been purely aesthetic, the visual effect of each square centimetre of the painting and installation covered over in black and appearing as a kind of erasure. As mentioned earlier, the audience played a larger role in this artwork than Daisuke Takeya had intended, and in some cases disruptively; for example, when audience members began picking up objects from the installation, eating edible items, and so on. While the artist succeeded in incorporating this energetic element into his artwork, he had the last word—at the conclusion of the artwork, with every last surface and object pared down to nullity, it became an iteration of emptiness