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We experience sound with our entire bodies, Yutaka Makino once explained. The ear is only a part of the physiological apparatus with which we perceive sound. In his works, Makino creates situations that demand that the visitor go beyond raw acoustics. In particular, space is a crucial element in his work. Also in his new work, The Conditions of the Process, the effects of light and space are arranged on equal footing with the acoustics of the piece: darkness and silence, light and sound.

The Conditions of the Process addresses concepts that were developed in the 70s by artists such as Robert Irwin. In these works situations are illuminated from a phenomenological perspective. The borders between the frames, the circumstances external to the work, and the work itself are permeable. The visitors, says Makino about the central idea of his work, experience situations not as a collective but as an individual. Makino himself reinforces not the shared qualities but rather the differences of experiences instead, not to position the visitor of the exhibition at the middle of a certain experience but the possibility of an experience in general. The visitor is an existential part of this situation: without him/her The Conditions of the Process is incomplete.

Text by Björn Gottstein

Yutaka Makino was born in 1976 in Japan, and in 2010 he was a guest of the DAAD artists-in-Berlin program. Active primarily in the field of computer music, Yutaka Makino also uses installation and performance to explore the various dimensions of human perception. On the basis of his investigations into spatial perception and new methods of sound synthesis, his works make use of concepts inspired by his current research into areas such as phenomenology, experimental psychology and complex dynamic systems. Makino’s recent installations and performances provide environments in flux to experience shifting modes of perception

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