履歴書 - Momentarium

履歴書
Markuz Wernli Saitô ¦ マーカス・ベルンリ斉藤 ¦ 1968 ¦ Swiss ¦ スイス
アートのポートフォリオ
メール
http://momentarium.org/
デザインのポートフォリオ
http://markuz.com/
[email protected]
私の作品は、毎日の生活の中に現れる「結びつき」「関係性のシステム」に焦点をあてている。何気ない日常のな
かに埋没している小さな「特別」な瞬間や、人びとの「生きられている経験」に強くひきつけられ、そこに「関係
性のシステム」を見出す。私の作品はこの「関係性のシステム」を、アート、メディア、パブリック・スペースと
いった社会を動かす原動力を手段として、目に見える形で表現している。
コマーシャル・デザインとビジュアル・アートの経歴をもち、国際的なエキシビションやアートプロジェクトで作
品を発表するとともに、ワークショップやレクチャーなど教育活動にも積極的に取り組んでいる。現在進行中のプ
ロジェクトとして「the Blind with a Voice」と題し、さまざまな分野のアーティストと視覚障害者が協力しあい、
彼らの「声」のみを使って世界を表現するというプロジェクトが含まれている。
マーカス・ベルンリ・齊藤は2007年オーストリア・リンツのNew Media from Transart Instituteにおいて
Master of Fine Art を取得。
学歴
2005-2007
_
ファイン・アート（ニューメディア・スタディ）における修士号取得
ス・オーストリア
ドナウ大学
1998-2000
マルチメディア・スタディプログラム・サンフランシスコ州立大学・アメリカ
1990-1994
ビジュアルデザインプログラム
芸術学校
チューリッヒ・スイス
1986-1990
ジュエリーデザインプログラム
芸術学校
チューリッヒ・スイス
クレム
教職の経験
2005-2007
2001-2002
京都芸術デザイン専門学校
サンフランシスコ州立大学
ビジュアルデザイン学科
ビジュアルデザイン学科・ウェッブデザイン学科
賞・コンテスト
2007
Pro Helvetia Swiss Arts Council スイス芸術評議会, Exhibition Grant for Shadow
Followers project, a collaboration with Sue Hajdu and a little blah blah, ホーチミン・
ベトナム
2005
<Foundation M> Tuition Award, Transart Institute and Danube University Krems ドナ
ウ大学 クレムス・オーストリア
2004
UTNE Independent Press Award for Excellence in Design of Kyoto Journal, a
collaboration with John Einarsen; Graham Foundation publication support for
Shigemori Mirei book, a collaboration with Christian Tschumi; 日商岩井国際交流財団
出版支援基金 publication support for Shigemori Mirei book, a collaboration with
Christian Tschumi
2002
HOW Magazine Interactive Design Prize 最優秀賞
タクララ・アメリカ
2000
Robert Bell 秀逸作品賞
2001年Intel広告キャンペーン サン
Multimedia Studies Program サンフランシスコ・アメリカ
経歴・ビデオ・パフォーマンス
2008
PeaceWorks, Linking Souls; featuring Shadow Followers; ZAIM ザイム art
foundation, 横浜・日本; Urban Traces Public Phone; featuring The Payphone
Memorial; Alina Tudor & Razvan Neagoe; mObile gallery, モールドバ; Intervene!
Interrupt! Rethinking Art as Social Practice; Mission 7a10m/e; University of
Californiaカリフォーニア大学 サンタクルズ・アメリカ The Emergent Game; Actions &
Counteractions; New Generation Arts, バーミングハム・イギリス The Distributed
Exhibition; Project t.h.a.n.k.s.; Institute of Contemporary Arts, サンホゼ・アメリカ;
How Fast Your World Is Changing; Returning The Negatives; ampersand
international arts gallery, サンフランシスコ・アメリカ
2007
1st Public Intervention Day, Have a Tea, Leave a Trace, Southern Exposure, サンフラ
ンシスコ・アメリカ; THE BAO LOC PROJECT Shadow Followers a little blah blah, バ
オロク /ホーチミン・ベトナム; Graduation Show The Payphone Memorial
Kunstmuseum Oberösterreich, リンツ・オーストリア; Remember 3rd Mondays; At
Your Service; remo media gallery, 大阪・日本; Venturous Vanguard Video Festival,
ロサンゼルス・アメリカ; Nigata International Performance Festival, 名古屋 ・日本;
Studio 27's Oral Action screening, サンフランシスコ・アメリカ; I-Love-Trash-Days,
Miyako Eco Fair, 京都・日本; IrrashaimaseビデオPremiere, HachiHachi Cafe, 京都・日
本
2006
写真展 SLOW, group show with Kansai International Photographer's Association,
Prinz Gallery, 京都・日本; Transart Institute; Life on the Roll, O.K. Centrum, リンツ・
オーストリア; Environmentability Symposium, はこだて未来大学 函館・日本
2005
写真展 PEACE WORKS, group show with Kansai International Photographer's
Association, 京都市国際交流協会; SENTO Bath House Culture, The Noodle Gallery, サ
ンフランシスコ・アメリカ
2004
写真展 Garden in Perspective 重森三玲庭園写真
写真展 Garden in Perspective スイス大使館
京都アートセンター
京都・日本
東京・日本
2001
写真展
Desert Wind, group exhibition, Usine Gaupillat, パリ・フランス
2000
Graduation show, Multimedia Studies Program, サンフランシスコ・アメリカ
1994
学生作品展 Fleisher Art Academy, フィラデルフィア・アメリカ
パブリックプロジェクト・活動
2007
Have a Tea, Leave a Trace; OPEN ENGAGEMENT - Art After the Aesthetic Distance,
リジャイナ・カナダ; The Payphone Memorial, collective landmarking for the loss of
public inventory, 京都・ベルリン・リンツ
2006
At Your Service, daily one-hour intervention series for 56 consequent days, 函館・
京都; One. Stone. At. A. Time. Generative public micro-installation, 京都・日本
2005
The Lost Wallet (lure and dilemma of presumed value), public participatory gesture
series, サンフランシスコ・大阪・京都
2003
Where Is The Monkey? Engagement- and situation-based, photo documentation, 京
都・日本
キューレーター・エキシビションオーガナイズ
2008
The Faculty Gallery, displaying works of visiting lecturers at Gallery of the
Professional Association of Visual Artists, リンツ・オーストリア
2006
Tactile Island「点字の島」 cumulative sound-based narrative documentary with
Kalna Katsoum and Alessandro Mavilio with six visually impaired persons.
Lighthouse Center for the Blind, 社会福祉法人 京都ライトハウス
2004
GroundWork, collective sound installation of student projects in a variety of media
that examine the relationships between feet and surfaces. A collaboration with
Lehan W. Ramsay and Art Harbor Art Gallery, はこだて未来大学 函館・日本
2003
Discarted Treasures, narrative-based installation with artisans and story tellers over
disposed items on streets in Asia. のりばギャラリー 京都・日本
アーティスト・レジデンス
2008
Guest artist, Transart Institute, summer residency, OK Centrum, リンツ・オーストリ
ア
2007
Artist Residency, THE BAO LOC PROJECT, a little blah blah, ホーチミン・ベトナム
2004
Artist Residency for site-specific sound installation, Art Harbour, , はこだて未来大学
函館・日本
1993-1994
Social documentary for site specific photo installation at Urban Promise Studios, フ
ィラデルフィア・アメリカ
1991-1992
Social documentary and facilitation of creative workshops for Youth Club Aragast,
エレバン・アルメニア
出版物
Wernli Saitô, Markuz (editor in chief). Towards a Culture of Peace: "PeaceWorks, Linking Souls".
Contribution for Seeing Peace by Design2Context, Institute for Design Research, School of Art and
Design, Zurich, Sept. 2008: 36 pages. Reynolds, Garr. Wernli Saitô, Markuz (photo and article
contributor). Presentation Zen, Simple Ideas on Presentation Design and Delivery: "The Principle of
Repetition in Design". New Riders (imprint of Peachpit Press), Pearson Education, Jan. 2008: x, 26,
98, 155-156, 178, 212, 224. Placentite, Milena and Vykoukal, Monika (ed). Wernli Saitô, Markuz.
CASAzine #4 Drawing The Line: "Critical Reflections on At Your Service". Aberdeen, March 2008.
Delos Reyes, Jennifer [ed]. Wernli Saitô, Markuz. "Open Engagement: Art After Aesthetic Distance"
Post Conference Catalogue: "Have Tea and Leave a Trace". University of Regina, Jan. 2008: 70. Dr.
Knoll, Klaus & Cella. Wernli Saitô, Markuz (photographer). "Transart Institute", DVD-based portrait.
July 2007. Wernli Saitô, Markuz (photographer). Ed Tschumi, Christian. "Mirei Shigemori, Renewing
the Japanese Garden", Stone Bridge Press, Berkeley. April 2004. 1-124. Einarsen, John (ed). Wernli
Saitô, Markuz (photographer). Kyoto Journal #64 "Unbound, Gender in Asia". July 2006: 1-1. Kerry,
Jane (ed). Wernli Saitô, Markuz (photographer). HORS LIGNE Magazine, Geneva. Feb. 2006: 8-13.
Mantle, Deborah. Wernli Saitô, Markuz (co-author and photographer). Kansai Timeout #348 "A
Whole Other World". Feb. 2006: 32-33. Mantle, Deborah. Wernli Saitô, Markuz (co-author and
photographer). Kansai Timeout #342 "One River, Many Faces". Aug. 2005: 36-37. Einarsen, John
and House, Ginevra (ed). Wernli Saitô, Markuz (photographer). Kyoto Journal #58 Freeing Spirit:
"Dancing for the Dead, The Living Tradition of Awa Odori". Oct. 2004: 42-52. Yudina, Anna (ed).
Wernli Saitô, Markuz (co-author and photographer). MONITOR UNLIMITED: "China Street Treasures".
Moscow, July 2004: 27-33. Einarsen, John and John Miyake Downey (ed). Wernli Saitô, Markuz
(photographer). Kyoto Journal #56: "Dragonfly Island Pilgrimage". Oct. 2004: 32-40. Gilman, Sander
L. and Xun, Zhou (ed). Wernli Saitô, Markuz (image contribution). "Smoke, A Global History of
Smoking". Reaction Books London. Oct. 2004: 52-57. Hunt, David (ed). Wernli Saitô, Markuz.
Creative Treatment #5: "Street Life". London, Sep. 2004: 15-16. Einarsen, John, McLaren, Sally and
Wernli Saitô, Markuz. Kyoto Journal #55, "The Street Issue". Aug. 2003: 2-3, 6-7, 12-14, 26-29, 4243. Ropke, Ian (ed). Wernli Saitô, Markuz. Kyoto Visitors Guide: "Portraits from Kumogahata
Village". April 2003: 2.
講義・パネルディスカッション
09/2008
Guest speaker, dorkbot (doing strange things with electricity)チューリッヒ・スイス
01/2008
Visiting Guest Critic at winter residency of Transart Institute, Chelsea Gallery, ニュ
ーヨーク・アメリカ
10/2007
Recent project presentation at (albb) little blah blah, ホーチミン・ベトナム
01/2007
Artist Talk for Point B Artist Collective, Williamsburg, ブルックリン・ニューヨーク・
アメリカ
Guest Lecturer for Kyoto Discovery Program, Labor Gakuen Vocational University,
ラボール学園・京都勤労者学園; Artist Talk on participatory performance for PAT
Performance Art Today hosted by Seiji Shimoda at キッドアイラックアートホール東
京・日本
12/2006
10/2006
Guest Presenter on "Design-powered Interventions in Urban Public" for DESIGN
MATTERS, アップル心斎橋店; Artist Talk on relational art practice in Japan at IAX International Art Exchange, 京都造形芸術大学・日本
03/2006
Interventionist Workshop moderator at Environmentability Symposium, 未来大学
函館・日本
02/2006
Guest Speaker on "Communication-based Photography in Book Design" at Apple
User Society, メルボルン・オーストラリア
12/2005
Guest Presenter on Reframing the Japanese Garden at BOOK BREAK of The
Foreign Correspondent's Club 海外特派員クラブ 東京・日本
4-9/2005
Guest Speaker on "The Integration of Image and Word" アップルサンフランシスコ
店・アメリカ; アップルロンドン店; アップル心斎橋店
02/2003
Artist Talk on Socially Concious Design and Photography at Art Harbour, はこだて
未来大学 函館・日本
01/2002
Guest Lecturer and Workshop Leader for user interface usability, バーゼル・スイス
職歴
2008-
Independent visual systems designer for mobile and internet user interfaces; ユー
ザーインタフェースデザイン（モバイルおよびウェッブデザイン）、 サンフランシスコ・
アメリカ
2003-2007
Independent photographer and publication designer for online and print media in
Kyoto, Japan 写真および出版デザイン（ウェッブおよび印刷デザイン） 京都・日本
2000-2002
Art Director (Interaction Design) at Modem Media LLC, アートディレクター（インタ
ラクションデザイン）、サンフランシスコ・アメリカ
1999-2002
Senior User Interface Designer for NetAbacus Software, インターフェースデザイン
（ソフトウェアデザイン）サンフランシスコ・アメリカ
1998-1999
Lead Visual Designer for Student Center Publicity Office, ビジュアルデアイン（ウェ
ッブおよび印刷デザイン）、サンフランシスコ州立大学・アメリカ
1996-1998
Senior Brand &: Packaging Designer for FutureBrand (formerly The Coleman
Group), ブランドおよびパッケージデザイン バーゼル・スイス
1996-1998
Art Director (Visual Design) for Now! Advertising, アートディレクター（広告デザイ
ン）バーゼル・スイス
1994-1995
Graphic Designer (Corporate Identity) for HEADS (formerly HBS), グラフィックデザ
イン チューリッヒ・スイス
技術・使用する道具
プロフェッショナル: HTML, CSS, JavaScript, PHP. Entire Abobe Creative Suite. BBEdit, DreamWeaver and
GoLive. MacOS X, Flash, Acrobat, PowerPoint, FinalCut Pro. MS Office. Windows XP, Unix/Linux. コンピ
ューター以外: アナログおよびデジタルフォト, ビデオおよびボイスレコーダー、アイデアのプロトタイプ作成時
は鉛筆・紙・絵の具を使用.
言語
ドイツ語、英語、日本語、フランス語
7
M a s t e r
O F
F I N E
A R T S
ON SUCCESSFUL COMPLETION OF THE FINAL EXAMINATION OF THE UNIVERSITY COURSE
MASTER OF FINE ARTS IN NEW MEDIA
FROM THE DEPARTMENT FOR INTERACTIVE MEDIA AND EDUCATIONAL TECHNOLOGY
( IN COOPERATION WITH TRANSART INSTITUTE )
AT THE DANUBE UNIVERSITY OF KREMS
AND
ACCORDING TO THE DEGREE ISSUED BY THE MINISTER OF EDUCATION, SCIENCE AND CULTURE
ON 17 MARCH 2005 (BGBL. II NO. 73/2005)
THE ACADEMIC DEGREE OF
Master of Fine Arts (MFA)
New Media
IS AWARDED TO
Markuz Wernli Saitô
KREMS
19 SEPTEMBER 2007
HEAD OF DEPARTMENT
VICE RECTOR FOR ACADEMIC AFFAIRS
Univ.-Prof.Dr. Peter Baumgartner
Univ.-Prof.Mag.Dr. Ada Pellert
8.1
Transart Institute Master of Fine Art in New Media
Program Description and Transcript Key
Transart Institute, in cooperation with Danube University Krems, offers an international
graduate program leading to a Master of Fine Arts (MFA) in New Media. Students pursue work
in media art-related genres and create their own course of study. For two years, students work
independently on art and research projects off-site with the support of faculty and individual
artist mentors. Lectures, critiques, performances, exhibitions, seminars and workshops take
place in three intensive summer and two winter residencies on-site.
PROFILE
The MFA in New Media is a project-oriented, student-centered, transdisciplinary studio and
research program at the intersection of art, science and technology. The international program
is delivered by Transart Institute for Donau University Krems.
GOALS
The program reflects the increasing transdisciplinary practice and hybridisation in art worldwide by combining theory and practice, scientific research and artistic production. The essential
goal for students is the creation of a sustainable, informed and accomplished artistic practice.
STRUCTURE
The program consists of four semesters and three intensive residencies. Residencies are the
presence form of the program and consist of nine modules: three summer residencies of three
weeks each. Central to the residencies are seminars (cultural studies electives), workshops
(studio electives), critiques, lectures and artist talks. In several intensive project planning
meetings students work out the details of their studio and research projects for the coming
semester. The residencies impart theoretical competencies through lectures and seminars,
creative development and artistic realization through workshops and critiques as well as social,
organizational and intercultural skills in the daily encounters of teachers, students, guests and
alumni from three continents.
During the ensuing semester, students go on to realize the studio and accompanying research
project planned out during the residency. Studio projects are mentored, supported and
critiqued by an individual artist mentor usually from the area the student lives in. The reseach
project whose aim is to inform, support and augment the studio project is mentored by Transart
Institute’s faculty. Extensive exchanges between faculty and students take place in the Transart
Virtual Classroom and all projects receive detailed evaluations at mid-semester and end term by
students, faculty and mentors.
TRANSCRIPTS
Transcripts list individual art and research projects as well as studio and cultural studies
electives. The various artist talks, lectures, planning sessions, presentations and critiques do
not carry individual credit points and are not listed. Should you require specific information
about these or any other aspect of the program please contact:
Transart Institute, Hauptplatz 24, A-4020 Linz, Austria.
ACCREDITATION
Danube University Krems, Austria is accredited by the Austrian Federal Ministry for Education,
Science and Culture.
Hauptplatz 24, 4020 Linz, Austria | (USA) +1 415 367 3470
(Europe) +43 (699) 1169 0277 | Fax: +1 508 682 2853
GRADUATION & CREDITS
The program carries 90 ECTS points in the European Credit Transfer System (ECTS. This equals
a workload of 2500 to 2700 hours in line with the 60 credits standard for MFA programs in the
United States. Transfer Credits are accepted after evaluation of course levels and contents up to
a maximum of 45 TCTS. Students graduate after gaining credit for 90 ECTS points and
successfully completing a graduate thesis and exhibition.
www.transartinstitute.org
QUALIFICATIONS
Students develop a sustainable artistic practice beyond the duration of the program; a deepened
transdisciplinary attitude in art and research, a professional research practice; conceptual
clarity in their artistic practice; and a critical appreciation for their field of artistic production
and for its connection to the grown cultural and socio-political contexts.
8.2
Transart Institute Master of Fine Art in New Media
TRANSCRIPT OF PERMANENT ACADEMIC RECORD
Last name: First name: Born: Wernli Saitô
Markuz
February 29, 1968 in Baden (AG) Switzerland
Date of entrance: MFA degree awarded on: Prev. transfer credit awarded: July 2005
July 28, 2007
0
Summer 2005 Studio Elective A (2 credits/3 ECTS): Dis.location: Migration of an [Art] Idea
(Darko Fritz)
Summer 2005 Studio Elective B (2 credits/3 ECTS): Documentation as Concept, Theory, Practice
(Christoper Hewitt, Liveartwork Berlin)
Summer 2005 Cultural Studies (4 credits/6 ECTS): Media Theory (Giaco Schiesser, HKGZ Zurich);
World of Art (Claire Daigle, San Francisco Art Institute); Critical Theory (Klaus Knoll).
Fall 2005 Studio Art Project (6 credits/9 ECTS): The Lost Wallet
(Lehan W. Ramsai, Future University Hakodate)
Fall 2005 Cultural Studies Project (3 credits/4.5 ECTS): Audience, Artist and Artwork (Klaus Knoll)
Spring 2006 Studio Art Project (6 credits/9 ECTS): Tactile Island, Documentary on Visually Impaired
(Lehan W. Ramsai, Future University Hakodate)
Spring 2006 Cultural Studies Project (3 credits/4.5 ECTS): Engaging the Public, Dialogical Art and
Frameworks to Collaborative Environments (Wolfgang Suetzl, University of Vienna)
Summer 2006 Studio Elective A (2 credits/3 ECTS): Exterior Memory Studio
(Jeremy Beaudry, Philadelphia)
Summer 2006 Studio Elective B (2 credits/3 ECTS): The Universe and You. Scientific Methods and Art
(Marjie Vecchio, University of Nevada)
Summer 2006 Cultural Studies (4 credits/6 ECTS): Immaterial Research
(Geoff Cox, University of Plymouth)
Spring 2007 Studio Art Project (6 credits/9 ECTS): The Payphone Memorial
(Brett Bloom, Temporary Services, Chicago)
Spring 2007 Cultural Studies Project (3 credits/4.5 ECTS): Practice of Invitation, Meaningful Participation in Public Art (Marjie Vecchio, University of Nevada).
Summer 2007 Studio Elective A (2 credits/3 ECTS): Performative Elements in Contemporary Media Art
(Christoper Hewitt, Liveartwork Berlin)
Summer 2007 Studio Elective B (2 credits/3 ECTS): Transformative Practice and Frames of Action
(Jeff Thompson, New York)
Summer 2007 Cultural Studies (4 credits/6 ECTS): Art of War, Art of Piece
(Wolfgang Suetzl, University of Vienna)
Note: The receipt of credits indicates that the student completed work at the graduate level. Transcript
is official only when signature and seal appear hereon.
Evaluation: Yes
Hauptplatz 24, 4020 Linz, Austria | (USA) +1 415 367 3470
(Europe) +43 (699) 1169 0277 | Fax: +1 508 682 2853
Fall 2006 Cultural Studies Project (3 credits/4.5 ECTS): Being in Service: Art Practice Towards Empathy
(Geoff Cox, University of Plymouth)
www.transartinstitute.org
Fall 2006 Studio Art Project (6 credits/9 ECTS): At Your Service, Daily Intervention Series in Kyoto
(Seiji Shimoda, Meiji University Tokyo)
8.3
Transart Institute Master of Fine Art in New Media
Markuz Wernli Saitô
Graduation Project: The Payphone Memorial
STUDENT’S FINAL EVALUATION
Obviously committed to his art practice, Markuz Wernli Saitô’s
lively and animated artist presentation was a humorous yet
sophisticated body of performance works that playfully mingle
with the citizens and environment in Kyoto, Japan. His
Chaplinesque approach to his subject matter (the vanishing pay
telephones, tree-touching, mobile tea ceremony, coin mosaic, and
thank you notes to the garbage men) was bittersweet, falling off
the edge into irony and, without a doubt, shows much promise in
his artistic persona and process.
Presentation: 94 (out of 100)
Art Works: 96 (out of 100)
Hauptplatz 24, 4020 Linz, Austria | (USA) +1 415 367 3470
(Europe) +43 (699) 1169 0277 | Fax: +1 508 682 2853
Evaluators:
Jean Marie Casbarian (New York)
Gebhard Sengmüller (Vienna).
www.transartinstitute.org
His participatory presentation was a performance in itself and
although Markuz aimed to maintain cohesion between the two,
it may have come across a bit glossy. However, there was a fusion
between his work and the presentation that cannot be left unsaid.
Perhaps in his attempt to marry the two, Markuz might consider
providing us with a stronger foundation for his working process
from the very beginning of his presentation – one that would
provide a portal through which we can fully understand the
depth of his thesis.
9.1
Kyoto, April 16, 2007
CONFIRMATION OF EMPLOYMENT
To Whom It May Concern
This letter is to confirm the employment of Markuz Wernli Saito at our
school as part time lecturer for language and creative classes.
Wernli Saito was lecturing with us for two years (four semesters) between April 2005 to March 2007 and comes to you with our best recommendations because of his innovative spirit, excellent communication
skills and reliabilty that we have to learnt to appreciate very much.
瓜生山学園グループ
情報デザイン総合コース
〒606-8252
京都市左京区
北白川上終町24
電話
075-722-9231
ファクシミリ
075-712-0021
ウェブサイト
http://www.cdc.ac.jp
グループ校
京都造形芸術大学
Uryuyama Gakuen Group
Advanced Media
Design Course
His teaching assignments included:
International Communication for Designers class 1 and 2
for first year college students,
one unit (80 min) per week (2005 to 06).
Global Society class for first year college students,
one unit (80 min) per week (Winter semester 2006/7).
Introduction to Web Design twi-light class, open to all students,
one unit (80 min) per week Winter semester 2006/7).
If you have any questions regarding the employment of
Markuz Wernli Saito, please do not hesitate to contact us directly.
24 Kamihate-cho
Kitashirakawa, Sakyo-ku
Kyoto, 606-8252
Japan
PHONE
075-722-9231
Sincerely
FAX
075-712-0021
URL
http://www.cdc.ac.jp
PARTNER
Kyoto Zokei University
of Art and Design
三原・聡
SATOSHI MIHARA
Head of Advanced Media Design Course
Published Photo Book
Markuz Wernli Saitô
DETAILS ONLINE:
Photography (digital) and entire book
layout including
pre-press for the
book edition:
Mirei Shigemori,
Renewing the
Japanese Garden.
Stone Bridge
Press, Berkeley.
April 2004.
ISBN 1-880656-94-9
http://www.markuz.com/design/shigem.html
Applied and Published Photo Works
Markuz Wernli Saitô
http://markuz.com
http://momentarium.org
Photo concept
(digital) and web
site layout (incl.
technical implementation) for Center
for the Study of
Japanese
Religions:
Bridges of Kyoto,
Bridges of Faith.
http://
japanese-religions.jp/
Staged photo
installation for
Kansai International
Photographer’s
Association:
PEACE WORKS –
Towards a Culture
of Peace.
Kyoto, December
2005
Public Multi-media Experiment
Markuz Wernli Saitô
VIDEO DOCUMENTATION:
http://www.momentarium.org/experiments/service/
http://www.momentarium.org/experiments/service/videos.shtml
ARCHIVE OF VIDEO CLIPS:
Video Archive
documenting
56 daily public
interventions, that
create unusual connections between
the lived, public,
and mediated
spheres.
AT YOUR
SERVICE
Kyoto, fall 2006.
The consequent
video dokumentary
At Your Service
has been screened
at numerous
international video
festivals.
Sound Installation: GroundWorks
Sound sampling and compositions with mobile recording devices
PROJEKT DOCUMENTATION:
Workshop with
students at Mirai
Daigaku (Future
University) in
in Hakodate.
The 25 participants
created direct audible links between
their feet and ears
through make-shift
recording devices.
The sampled results
were arranged in
a live sound scape
event that took
place at ArtHarbor
gallery in Hakodate.
http://www.momentarium.org/experiments/ground/
Public Multi-media Experiment
Mocumentary (documented parody) with pay phones
VIDEO DOCUMENTATION:
http://www.momentarium.org/experiments/payphone/
http://www.momentarium.org/experiments/payphone/videos.shtml
ARCHIVE OF VIDEO CLIPS:
Nine ordinary pay
phones in Kyoto,
Linz and Berlin
have been transformed into a sightseeign attraction
and souvenir photo
booths for the
public – under the
(false) claim that
this important piece
of public communication would
be dismantled the
following week.
Consequently over
250 individuals
posed with the
pay phones and
had their memorial
photo taken.
The project has
been featured in
a news feature of
Kyoto Television on
June 26, 2007.