Tetsuya Maruyama
instagram@t33unit

Tetsuya Maruyama (Yokohama, 1983.) umjetnik je čija interdisciplinarna praksa uključuje film, performans, zvuk, instalaciju i sve između. Maruyamijev rad odstupa od rekontekstualizacije pronađenih banalnih materijala i tekstura te je zapis njegovih svakodnevnih opažanja. Njegova su djela izlagana na Traverse Vidéo, Međunarodnom festivalu kratkog filma u Hamburgu, Alchemy Film and Moving Image festivalu, Chicago Underground Film festivalu, Međunarodnom festivalu eksperimentalnog filma u Istanbulu, Mono no Aware, Bienal de Imagen en Movimiento, Cinemateca Uruguaya, kao i brojnim drugim festivalima. Njegov film Sovina priča, nadahnut haićanskom bajkom istog naziva, dobio je nagradu za najbolji film na VIII. festivalu Márgenes (Madrid, Španjolska) 2018. godine. Maruyama trenutačno živi u Rio de Janeiru, u Brazilu, gdje nastavlja raditi u bliskom kontaktu s prirodom.

Tetsuya Maruyama (Yokohama, 1983) is an artist whose interdisciplinary practice includes film, performance, sound, installation, and everything between. Maruyama’s work departs from re-contextualization of found banal materials and textures, as a record of his quotidian observations. His works have been shown at Traverse Vidéo, Hamburg International Short film Festival, Alchemy Film and Moving Image Festival, Chicago Underground Film Festival, Istanbul International Experimental Film Festival, Mono no Aware, Bienal de Imagen en Movimiento, Cinemateca Uruguaya, among many others. His film “The Owl’s Tale”, inspired by the Haitian folktale of the same title, won the best film award at VIII Festival Márgenes (Madrid, Spain) in 2018. Maruyama currently lives in Rio de Janeiro, Brazil, where he continues to work in its proximity to nature.

Tetsuya Maruyama
Pokretna slika, 2020., staklena posuda, kućni super 8 film, sok od limete, vodikov peroksid, dimenzije promjenjive
Moving Image, 2020, glass container, home movie super 8 film, lime juice, hydrogen peroxide, dimensions variable

Kada „pokretna slika“ doseže svoju definiciju? Kada vlastiti efemerni nagon pokreće „sliku“? Kada niz posloženog vremena isporučuje „pokret“? Što ako je „slika“ zaustavljena, a pokret se događa isključivo u imaginaciji gledatelja? Radom „Moving Image“ predlažem prekid vremena koji se polagano pogoršava u vlastitoj igri. Kada se ove „slike“ zaustave na tlu, dovršavaju svoju funkciju kao puki proizvod konzumerizma.
(iz umjetnikove izjave)

When does "a moving image" reach its definition? When is "an image" moved by its own ephemeral drive? When does a suquence of assembed time deliver "a movement"? What if "the image" is stopped and "the movement" only happens in the viewer's imaginary? With "Moving Image", I suggest an interruption of time slowly deteriorating in its own dance. When these "Images" come to rest at the ground, they complete their function as a mere product of consumption. 
(from the artis's statement)