Keigo Yamamoto

Video began as a medium that inspired discovery. This art documentary traces the expressive roots of “media art” in Japan — works of video, performances, and installations created using video technology that allowed for free and creative visual expression.

Using video technology as an extension of his body, Yamamoto interacts with a pre-recorded image of his hand displayed on a monitor.

Two faces, in fact two silhouettes, are outlined against a monochromic background. They nod, interchange, underline their soundless talk with gestures of the hand. The gesticulating hands contribute to the communicative role ‘breath’ plays

A bare foot rests on the monitor, while at the same time the screen of the same monitor shows another foot. This picture, however, is upside-down (suggesting a mirror effect) so as to hint that both feet are one and the same. Consequently this symmetry partly conceals the contrast between the two feet: dressed and bare, reversed positions within and outside the video screen, recorded and again registered.

Using video technology as an extension of his body, Yamamoto interacts with a pre-recorded image of his hand displayed on a monitor.

Two faces, in fact two silhouettes, are outlined against a monochromic background. They nod, interchange, underline their soundless talk with gestures of the hand. The gesticulating hands contribute to the communicative role ‘breath’ plays

A bare foot rests on the monitor, while at the same time the screen of the same monitor shows another foot. This picture, however, is upside-down (suggesting a mirror effect) so as to hint that both feet are one and the same. Consequently this symmetry partly conceals the contrast between the two feet: dressed and bare, reversed positions within and outside the video screen, recorded and again registered.