untitled #3
製作年份: 2025
材料或技法: 噴墨打印
尺寸: 29.7 × 39.5 cm
版本: 有版
簽名:包括



關於作品
- 製作年份
- 2025
- 材料或技法
- 噴墨打印
- 尺寸
- 29.7 × 39.5 cm
- 版本
- 有版
- 簽名
- 包括
- 畫框
- 不包含
- 作品證書
- 包括
- 藝術品經銷商
- The Chain Museum
- 發貨區域
- 東京
- 發送前的天數
- 展覧会終了後、約1ヶ月
- 類別
- 照片
作品詳情
■ Artwork information
・Title: untitled #3
・Production year: 2025
・Medium: Thermography, high resolution inkjet print mounted on aluminum board
・ED. 8 + AP. 2
・297mm x 395mm
・Signed on the reverse side
Exhibition Veiw
■Artist comments
Livestock is a category of human. *
The farm Hopeful Pig began in the wake of the 2011 Great East Japan Earthquake. After the tsunami, five mother pigs were found alive, huddled together inside a collapsed feed silo. They had survived on the leftover feed inside, and their life continues to today.
On the farm stands a derelict livestock shed, long unused before Hopeful Pig arrived. This shed once housed pregnant and farrowing stalls — narrow metal pens where female pigs were kept for breeding, spending most of their lives in confinement. Hundreds, sometimes thousands, of identical cold steel stalls were arranged in rows, with just enough space between them for a single pig or person to pass. These structures were designed solely for the efficient management of animals by humans, without any regard for the pigs’ natural behaviour. Their design bears a haunting resemblance to factories, detention centres or prisons used to control and exploit certain categories of people deemed “animal-like” or sub-human.
While dismantling these inherited structures, Hopeful Pig continues to explore new ways of farming. In a time when primary industries are in decline, the farm repurposes the ruins of industrial agriculture to pursue animal welfare, weaving together the lives of endangered species and, in doing so, offers a vision of what lies ahead.
Nozomi Takahashi, the pig farmer behind the project, told us: "I want to create a place of animal welfare for human beings." As we look upon the animals, we begin to feel ourselves — our bodies and minds — unwinding, softened by their presence. We recognise ourselves in them: as animals, and through animals.
KA-I is an encounter with the many possible meanings contained in these phonemes: disentangle and pleasure (解/快), sea and ash (海/灰), care and keeping (介/飼)... A moment of convergence between tenderness(懐) and the unknown(X).
MES
* Azumi Kawahara. 2024. The Ideological History of SM: Dreams and Desires Regarding Domination and Violence in Post-War Japan. Seikyusha, p. 356.
展覽資訊
- 過去的展覽
- MES Solo Exhibition "KA-I"2025.07.04 - 07.27
觀賞擺飾在房間裡的樣子
購買方式
這件作品可供購買。
USD 839
*顯示的為匯率換算的參考價格。結算將以日元進行。
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