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“The Reverse Rotation
Atsushi Koyama Solo Show

2019 August 28 (WED) – September 1 (SUN)
Commune 2nd Midori-so Gallery Space

 
Gallery Talk by Atsushi Koyama & Rodion TR; August 30 (FRI), 17:00 – 19:00
Reception; August 30 (FRI), 19:00 – 21:00
Lecture 1: “Jet Engines and Dharma Wheels: On the Mechanisms of Karma” by Rodion TR; August 31 (SAT), 13:00 – 15:00
Lecture 2: “Koyama-san, what do you underline in your science books?” by Atsushi Koyama; September 1 (SUN), 13:00 – 15:00

 
Facebook Event Page| More about the artists: Atsushi Koyama
 

 After two years of intensive research and studio work Atsushi Koyama develops his "MANMACHINE" project bringing it finally to the degree where the synthesis between machine and human both in the painting and in the process of creation is not a metaphor any more. Koyama creates a machine that helps him to incorporate in his paintings the super-human element. Manifesting his passion in mathematics, his “robot” uses XY-plotter and Web Application and following the algorithm for lines based on the least squares approximation brings on canvas Koyama’s interpretations of mechanical systems while the artist’s hand creates the image of the human body.

 Frantic Gallery is honored to have a chance to present the first four paintings from Koyama’s new series of works titled “Parity Violation” along with the prints and preliminary sketches in the base of his research. “The Reverse Rotation” Exhibition we open on August 28 in the Gallery Space of Midori-so in Commune 2nd in Omotesando is in one word the show about the choice. “Reverse Rotation” is about “the things we do” perceived as “the choices we make”, about the mechanism of the cause and the effect, about our current condition as the outcome of previous actions and about the possibility of changing our state in future by changing the actions we do in present. Koyama’s way to arrive to this is science, the way he illustrates it to us is art.   

 «Parity Transformation» in physics is a property important in the description of a physical system. In most cases it relates to the symmetry of the function. A parity transformation replaces such a system with the type of mirror image. Stated mathematically, the spatial coordinates describing the system are inverted through the point at the origin; that is, the coordinates xy, and z are replaced with −x, −y, and −z. In general, if a system is identical to the original system after a parity transformation, the system is said to have even parity.

 Koyama is interested in that phenomenon where this reflection fails and there is a difference between the world and its reflection. Then, the choice of one possibility of two is being made: the seeds in the sunflower are distributed in one direction (but could be placed in the opposite one), electron is moving in one direction (but could move in the opposite one), hair in your head vertex are growing in one direction (but could grow in the opposite one). Koyama calls this “Parity Violation”. In first case, two worlds, the one and the mirror reflection of it, are both possible and are balanced. In the second case – this balance is disturbed and the chosen world becomes the real one. Koyama tries to catch this moment, when the choice is made and one of many versions of the theoretical reality actualizes itself…

Atsushi Koyama, Parity Violation 2, oil on canvas, 90x130x3cm, 2018

 In “Parity Violation 2” for example Koyama works with the structure of Jet Engine and the situation when the choice is already made: the turbine of the engine can in principle rotate in both direction, but here the direction was chosen (by the man in the middle) and the turbine is rotating clockwise. The particular structure of Jet Engine, which has attracted the artist, sharpens the relationship between cause and effect, which start to rotate following this choice. Centrifugal Compressor Impeller (around the neck of the man figure) due its rotation delivers and compresses air in Combustion Chamber, where the fuel is delivered. Continuing his long lasting MANMACHINE Project Koyama changes “the fuel” to the open palms of the man, which serve as a source of the energy for the work of this mechanism in general. Coming in touch with air “fuel” creates explosion and the energy moves further and rotates High Pressure Turbine (on the level of the chest of the figure). This turbine is connected with Centrifugal Compressor Impeller which delivers air and rotates it. The energy moves further and rotates Low Pressure Turbine which in its turn is connected with Impeller and High Pressure Turbine and rotates the whole mechanism in totality. In this way the system is closed and balanced. No part of it will stop until there is the delivery of fuel in it. Turbine rotates the Impeller, Impeller delivers air and creates the explosion of fuel, which rotates Turbine, which rotates the Impeller, which rotates… What is the cause, what is the effect here? The rotation of the turbine is the effect of the rotation of the Impeller but it is in the same time and in this case obviously the cause of the rotation of the Impeller and the whole mechanism. The painting illustrates the immediate turning of cause into the result, this “wheel” shows the locked in itself rotation of the act and the outcome.
 
 The turbine moves in one direction -- permanently developing the progression of effect/causes in this direction -- and it is due to the choice made by the man in the center. The question then - and this is crucial for Koayama’s work – how can we stop this chain of events… and how would it be possible to launch the reverse rotation.
Events
Lecture 1
Jet Engines and Dharma Wheels: On the Mechanisms of Karma
Rodion TR
August 31 (SAT), 13:00 – 15:00 (in Japanese)
Commune 2nd Midori-so Gallery Space

 
“Mind precedes all the phenomena,
mind matters most, everything is mind-made.
If with an impure mind
you speak or act,
then suffering follows you
as the cart wheel follows the foot of the draft animal.
If with a pure mind
you speak or act,
then happiness follows you as a shadow that never departs.”
Buddha, Dhammapada

 Sometimes we put all the efforts, make everything we think we can, and things just get worst. Sometimes we don’t lift a finger and things happen in the way we didn't even dream about. Why? Wouldn’t it be a mystification to keep saing it is just an accident? Wouldn’t it be more reasonable to try to find the rule in this current of events? Where is the mechanism that governs it and how does it work?

 Wheel is one of the oldest symbol in all Indian history. In Buddhism, it is used to represent the universal moral order, Buddha’s teaching, the path to enlightenment or Gautama himself. It is said that Buddha has set the wheel of Dharma in motion, what signifies revolutionary change with universal consequences. The cyclical movement of a wheel is also used to symbolise the cyclical nature of life in the world. This wheel of suffering can be reversed or “turned” through the practise. It manifests the cause and the result sequence: everything is a cause to what is coming and the result of the previous action. And it is our actions that decide in what direction the wheel of our life is turning.

 Atsushi Koyama explores very similar laws through science and represents it in his paintings. “Parity Transformation” in physics relates to the symmetry of the function. Simply speaking, it is the ability of x to turn into -x or left to turn into right. Nevertheless, he explores the phenomenon of the fall of parity, when one value, one direction is chosen. He is interested in the cases when things are already fixed and the choice is made: one, and not the one opposite to it, is being actualized. His main symbol by now is the engine, the gear, the wheel.

 “The Reverse Rotation” exhibition by Koyama is for us an opportunity to bring Jet Engines and Dharma Wheels together. We would like to reflect on the mechanisms in concrete and universal sense, to think about the choice, the subject of this choice, the cause and the effect, and of cause to enjoy this enigmatic aesthetics of “mechanistic” vision of the world in Buddhism along the spiritual connotations of scientific artifacts depicted in Koyama’s art.    
Lecture 2:
“Koyama-san, what do you underline in your science books?”
Atsushi Koyama;
September 1 (SUN), 13:00 – 15:00 (in Japanese)
Commune 2nd Midori-so Gallery Space
 
 Impressive studio you have, Koyama-san. Electric boards, canvases, cords, oils… All walls are covered with sketches and images. What do we have here? Drawing of uterus by DaVinci, close up of an insect, erotic photos, blueprints of combustion engines, human anatomy atlas clippings, ornamental patterns. Marvelous. And the library of course. Let me see what you are reading. “The Mathematical Experience” by P.J.Davis and R.Hersh (first published in 1981): “the psychology of mathematicians; what a proof really means, in relation to actual truth; the mathematics of number mysticism, hermetic geometry, astrology and religion”. You are not joking, Koyama-san, right? “The Universe of Body. East and West.” by Yasuo Yuasa (岩波人文書, 1982): “In the mode of thinking which is beyond the historical diversity of civilization, there is a point of view on micro and macrocosmos of human body and the position of the human in universe”. I see. And here? “Is God a Mathematician?” Mario Livio (Simon and Schuster, 2009): “Is mathematics ultimately invented or discovered? If, as Einstein insisted, mathematics is "a product of human thought that is independent of experience," how can it so accurately describe and even predict the world around us?” One more. “The Psychology of Man’s Possible Evolution” by P.D.Ouspenskiy (first published in 1945): “Ouspensky sees man as a machine and propose to study man from the point of view of what he/she may become”. Ok, Koyama-san, what are you doing here, in this studio? Seriously. Through art and mathematics, in micro and macro cosmos… I mean, what are you searching for?
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