PFG: Animation has known tremendous progresses over the decades, and has interacted with dance back to the 1920s in the Disney studios. What do you think are the major challenges of animating movements, especially choreographed ones—in a digital practice specifically to your work?
KE: I’m not too concerned about making work that is “personal.” Work always possesses a connection to the biography or personality of the artist but this is nothing I focus on or try to exploit. I am more interested in the general, what you call “anonymous,” ways in which an artwork can form a relationship with the viewer. I think of my films and other works almost like street signs whose purpose is to engage the viewer rather than transporting the idiosyncratic thought process of the author.
About the Artist and Curator
Kota Ezawa often reworks images from popular culture, film and art history, stripping them down to their core elements. Working in a range of mediums such as digital animation, slide projections, light boxes, wood sculptures, Ezawa maintains a keen awareness of how images shape our experience and memory of events. His work has been displayed in museum exhibitions including at the Vancouver Art Gallery; the Hayward Gallery Project Space, London; the Hirshhorn Museum and Sculpture Garden, Washington DC; and The Metropolitan Museum of Art, New York City. His work has earned a number of awards, including the SECA Art Award of the San Francisco Museum of Modern Art, and a Eureka Fellowship from the Fleishhacker Foundation. He lives and works in Oakland.
Pierre-François Galpin is Assistant Curator at The CJM. His recent exhibitions include In That Case: Havruta in Contemporary Art—Much Ado About Nothing with Kota Ezawa and James Kirby Rogers, and The Bureau of Suspended Objects with Jenny Odell and Philip Buscemi. He is currently working on the upcoming exhibition From Generation to Generation: Inherited Memory and Contemporary Art. Prior, he worked at the Centre Pompidou (Paris) and Independent Curators International (New York), among other institutions. His writing has been published on different media, including The Exhibitionist, Art Practical, and exhibitions catalogs.