Disappearing music for face : Fluxfilm nº 4 (1966)Other(s) author(s) : Shiomi, Mieko, [zuzendari]Uniform titles : Disappearing Music for Face.(11 minutu) : isila, zuri-beltzezIrudia (mugimenduan ; bidimentsiokoa): bideoaDisappearing Music for Face (IMDb) In : Flux Film - Paris : Re-Voir, copyrigth 2010
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|Tabakalera-Ubik Orokorra / General||Tabakalera||23 FLU (Browse shelf)||Available||637317|
Also known as Mieko Shiomi, the Japanese artist Chieko Shiomi had originally presented this as a performance piece in 1964. The action was a gradual transition from smile to non-smile. Here we see Yoko Ono smiling, filmed by Fluxus artist and photographer Peter Moore using a scientific analysis camera which ran at 2000 frames a second. Projecting the film at normal speed, 24 frames a second, produces an extreme slow-motion effect. The length of this film varies in different versions of the Fluxfilm Anthology, sometimes reduced to one minute, sometimes stretched out to 10 or 15, such as the version included here. In an interview with Scott MacDonald, Yoko Ono explains: “What happened was that Chieko Shiomi was in Japan at the time. She was coming here often; it wasn’t like she was stationed in Japan all the time, but all the time I think she had just left to go to Japan. Then this high-speed camera idea came up, and when George was saying, ‘Quick, quick, ideas,’ I said, ‘Well, how about smile’; and he said, ‘No, you can’t do that one.’ Finally, he said, ‘Well, OK, actually I wanted to save that for Chieko Shiomi because she had the same idea. But I will let you perform.’ So that’s me smiling. Later I found out that hers was a disappearing piece; the concept is totally different from what I wanted to do. Chieko Shiomi’s idea is beautiful; she catches the disappearance of a smile. At the time I didn’t know what her title was.” Chieko Shiomi’s work also encompasses a set of “event scores,” including Mirrors and Event for the Midday in the Sunlight, published in Fluxus Newspaper #1 and #2. In the action which she called Air Event, presented in July 1964 at the Washington Square Gallery in New York, she invited the public to blow up small individual balloons and to sign their names on the surface. These “lungs,” as she called them, once inflated and signed, were auctioned off.