They are in no factual contact. The illusion of their presence, however, is present.

This installation was conceived by Japanese artist Teji Furuhashi. It is supposed to represent the lyricism of the sexual liberty just recently accepted by society. The projections allure the transitory nature of love, and its constant motion. The characters move naked from person to person in a ballet. There appears the individual, alone in its solitary choreography, meeting others on the way who temporarily turn into lovers. Nonetheless, the illusion of the affairs do not last enough. Leaving the character back to the unbearable reality of being alone.

Technically speaking, the narrative is orchestrated with 5 projectors that rotate back and forth onto the black walls of a square room. The images are of nude bodies, both male and female, moving repeatedly in their own, embracing and colliding at some point.

The artist died of HIV in 1995, a year after the production of ‘Lovers’ (1994).

Paradoxically, how true is it to say that sexual freedom is in fact liberating and not otherwise?
Loneliness and confusion are strong characters in Furuhashi’s digital performance. How does that reflect the psyche that accompanies the ‘freedom’ of our time when it comes to sex? To what extent the self has been devaluated by our most animalistic instinct? The other is no longer someone, it has mutated into an object intended to serve as a brief scape from solitude, and as a masturbation tool.

It is sad, to say the least, that Furuhashi died. It could had been interesting to see his evolution in cybernetic arts.


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