[日本語から英語への翻訳依頼] ONE VOICE CAMPAIGNという、日本で行われる衆議院、参議院"選挙"を、ネット解禁させるというムーブメントのコンセプトビジュアルを担当。 ④...

Original text

ONE VOICE CAMPAIGNという、日本で行われる衆議院、参議院"選挙"を、ネット解禁させるというムーブメントのコンセプトビジュアルを担当。

④

アートディレクターはジャーナリストである必要はないが、
時に命題がクライアントではなく、社会問題や国家、政治であってもいいのではないだろうか。

→ロゴの形態は、比率さえ守れば縦横は自由に動かせるよう設定。
→バナーセレクション。あらゆるカラーを選択できる。


⑦作品のテキストの始めは、こう始まる。

翻訳 / 英語

In charge of the visual concepts for the moment, called the ONE VOICE CAMPAIGN, to force a repeal of the internet ban for the House of Representatives and House of Councillors "elections" held in Japan.

④

The art director doesn't need to be a journalist but
it's possible propositions will not be clients but rather social problems and the nation and politics.

→The form of the logo is to be set to allow every direction to move freely even if only a percentage is protected
→Banner selection: all colors can be chosen

⑦The beginning of the text production will begin like this.

Original text

③また、二回目では、一段階プロセスを逆行し、GOLDEN MAFの元素材である"羊毛"に着目。

④日本の著名な政治家や、経済学者などの有識者なども参加し、大手メディアに取り上げられるなど、日本の政治界では珍しいポップで大きなムーブメントとなっていった。
Fast Politics(Fast Fashionと同じFast、概念も提唱した)という概念を全体コンセプトに設定し、ロゴは前回の衆議院選挙で使用された投票用紙の比率を参照し作成している。(外側の四角は同じ比率となっている。)

翻訳 / 英語

③ And, the second time around, it goes back and pays attention to the single-step process of the "wool" that's the main material of Golden MAF.

④ Prominent Japanese politicians and knowledgeable people such as economists have also participated and it has been picked up by the major media. It has become a rare pop and big movement in the world of the Japanese government.
The concept of Fast Politics (the same Fast as Fast Fashion and also advocating ideas) is set as a whole concept. The logo was created referencing the percentage of ballots used by the House of Representatives election. (It's the same percentage as the outer square.)

Original text

アーティストとして、三越伊勢丹・三越本店(Mitsukoshi / Isetan Mitsukoshi Ltd.
三越百貨店は日本最古の伝統あるデパートである。)より指名依頼を受け、
2011年3月11日に日本で起きた大きな災害をテーマに、作品を制作。
コンテンポラリーアートとしての作品であり、クライアントワークではない。


⑤
この作品は、彼が撮影した写真と、テキストによる構成となっている。
未来の一つの姿でもある。

展示形式は、撮影された写真と、執筆されたテキストによる構成となっている。

翻訳 / 英語

As an artist, a nomination request was received from Mitsukoshi / Isetan Mitsukoshi Ltd. (Mitsukoshi department stores are the oldest traditional department store in Japan) and the work was created using the disaster that occurred on March 11, 2011 in Japan as the theme. It's a contemporary piece of artwork and not a commissioned work.

⑤
This work is a picture he took and organized according to the text.
It is also one form of the distant future.

The exhibition is a configuration accorded to the pictures taken and the text that's written.

Original text

⑤-「断絶された(文脈が途切れた)場合の未来 」の可視化・その体験と、更なる外部との遭遇を焦点とし、 "一連のディザースターの情報が全くない人物を招き、実際に福島、宮城と被災地へ共に旅をし、風景の記録とともに何が起きたのか想像の物語の執筆を依頼する"というプロセスを辿っている。


⑥
メディアの断絶、孤立化を批評的に表現しています。

(※映像、画像なども見ていないー該当する人物を探すのは困難で、バックパッカーを頼りに探してもらい、カンボジアでようやく発見した)

⑦

翻訳 / 英語

⑤- The visualization of "The Future as it's Disconnected (Cut-off from Context)" along with the experience of focusing on encounters even further outside followed a process of "inviting people who had absolutely no information on a series of disasters, traveling to Fukushima, Miyagi, and the disaster areas, and requesting a description of the scenery and an imagined tale of what they think had happened."

⑥
It's a critical expression of the disconnection of media and isolation.

(※It was difficult looking for someone who had not seen things like images or pictures, but one was finally found in Cambodia with the help of a backpacker.)

⑦

翻訳 / 英語

⑤Visualization of the ”disconnected future (with context interrupted) "　and its pseudo-experience, and the encounters with the external existence were focused, the process we worked out was as follows: "we have invited the person without any information of a series of 2011 disasters, and traveled together with him actually to the ruined land of Fukushima and Miyagi, and requested him to record the scenery and to write the fantasy tale for what had happened there."
⑥
Rupture and isolation of media are expressed critically.

(※It was difficult to look for the appropriate person who had not watched any photos nor images,
We placed reliance on a backpacker to look for such a person, who had been found eventually in Cambodia.)

⑦

Original text

⑥「断絶された(文脈が途切れた)場合の未来 」の可視化と、その擬似体験が焦点でした。

"彼は、完全に断絶された未来から来たかのように、何も知らない。映像も何も見ていない。
- 2011年に起きた、一連の出来事(日本における大きな災害)の情報が全くない人物を日本へ招き、情報を与えない状態で実際に災いを受けてしまった土地(福島、宮城)へ共に旅をし、風景の記録とともに何が起きたのか想像の物語の執筆を依頼した。この作品は、彼が撮影した写真と、テキストによる構成となっている。"

翻訳 / 英語

⑥The focus was the visualization of "The Future as it's Disconnected (Cut-off from Context)" and that pseudo-personal experience.

"He knew nothing, just as if he had come from a completely disconnected future. He hadn't seen even a single picture.
- A person who had absolutely no information on the series of events that occurred in 2011 (the major disaster in Japan) was invited to Japan, brought to the places that had received the damage (Fukushima and Miyagi) without being told anything, and were requested to describe the scenery and a guess as to what had happened. This work is a composition of the photographs he took and the text he wrote."

翻訳 / 英語

⑥Visualization of the disconnected future (interrupted context) and the pseudo-experience hereof were focused.

"He knows nothing as if he came from the future disconnected completely. He has not watched any images as well. We have invited to Japan the person without information on a series of 2011 occurrences (serious disaster in Japan), and we traveled to the actually ruined land (Fukushima, Miyagi) together with him to whom we did not provide any information, and requested him to record the scenery and to write the fantasy tale for what had happened there. This work consists of his photographs and the text described by him. “

sieva- 12年以上前
＜最初の文の（　）の中のみ差換え。その文全体は次のとおりです＞ ⑥Visualization of the disconnected future (with context interrupted) and the pseudo-experience hereof were focused.