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【Announcement】Prize-winners for TEF Vol.9 Open Call Program

TWS is delighted to announce prize-winners for TEF Vol.9 Open Call Program!

[Grand Prize]
Shun Owada "dissolution" (Sound Installation Section)


[Special Prize]
Delphine Depres "Aral" (Performance Section)


[Encouragement Prize]
Ami Yamasaki "till a quiet room sings"
(Sound Installation Section)


Yukio Suzuki and Fuyuki Yamakawa "Lay/ered"
(Performance Section)


*********Jury members' comments*********
I was rather attracted to works whose concepts and materials were not self-contained, closed inside the creators themselves. In this point of view, I could see flexible and concrete ideas more in sound installation works. As they were associated with possibilities in the future and potential for development, sound installation works seemed a little ahead of performances.
Toshi Ichiyanagi (Composer/ Pianist)

In Sound Installation Section, all the three works were powerful, and it became a sharp contest. The time span of 250 million years Owada's work contained was tremendous, in particular. It seems unfair a little, but I could not but be moved even by listening to faint, crackling sound his work produced, on generating CO2 originally from the era of dinosaurs. However, I have to mention the title, "dissolution" was mediocre. As for Yamasaki's work, I was just amazed at virtuosity of her voice performance. She would have been more advantageous, if she had applied for Performance Section. In Performance Section, in turn, there were gathered a wide variety of works. Among them, "Aral" by Depres was ahead of others. It was a rather straightforward work, and she staged well how micro substances (e.g. tiny beads) and macro images (screen + speakers) are connected. It would have received even higher acclaim, if the micro substance would have been subvisible.
Yuji Numano (Musicologist/ Professor, Toho Gakuen School of Music)

In spite of different themes, the three works in Sound Installation Section were common in interest toward listening, and then they all moved viewer's awareness from listening to certain states. I highly evaluated Shun Owada's work in terms of appearance and evocation of the phenomenon attributed to chemical reaction and its generating sounds. In the same manner, Delphine Depres in Performance Section produced sounds mediated by substances from vibration phenomenon as well as showed the phenomenon captured by video camera in real time on the screen. Although both the works seemed to have a similar tendency, it was just as things turned out, and we did not take any special consideration to it on selecting prize-winners. Therefore, there is neither tendency nor provision for this competition. One thing for sure is that it was difficult this time to reach the conclusion.
Minoru Hatanaka (Senior Curator, NTT InterCommunication Center [ICC])

Overviewing TEF this year, I realized that our situation surrounding sound and music has radically been changing. Artists and musicians nowadays are challenged to show how to respond to this change. What impressed me in TEF, which marked 9th volume this time, was such works that sincerely corresponded to these circumstances.
Universe of faint sounds created by fossils in Shun Owada's work let us know anew the fact that the world has been full of sounds since before the dawn of humanity. On the other hand, Delphine Depres visualized transference and vibration of substances in an analogue and low-tech way. Her work let us reconsider relation between physical matters and our visual and auditory senses. As seeing is a system, so listening is another. I could get some clues to question the systems regarded as self-evident and imagine other sounds and music that might have been possible. This is what I think as accomplishments of TEF Vol.9.
Yoshitaka Mouri (Sociologist/ Associate Professor, Tokyo University of the Arts)


Now TWS is calling for performance and sound installation proposals for TEF Vol.10!
For details, please click here