Why Not Hand Over a “Shelter” to Hermit Crabs?Aki Inomata
"In this piece I gave hermit crabs shelters that I had made for them, and if they liked my shelters, they made their shells in them. My idea for this piece first came about when I participated in the “No Man’s land” exhibition that was held in the French Embassy in Japan in 2009. This work is inspired by the fact that the land of the former French Embassy in Japan had been French until October 2009, and became Japanese for the following fifty years, before being returned to France. The same piece of land is peacefully transferred from one country to the other. These kinds of things take place without our being aware of it. On the other hand, similar events are not unrelated to us as individuals. For example, acquiring nationality, moving, and migration. The hermit crabs wearing the shelters I built for them, which imitate the architecture of various countries, appeared to be crossing various national borders. Though the body of the hermit crab is the same, according to the shell it is wearing, its appearance changes completely. It’s as if they were asking, “Who are you?””
"While we were working on their series Cities, we started to photograph spaces related to the urban. This was the start of our special attention to and interest in symbolic and monumental spaces—palaces, noble villas, majestic cities—that manifest a dual nature: they were centres of power and decision-making, but also lived spaces, places of privacy for a variety of personages. This condition also speaks of a dual temporality: that which corresponds to the time of the historic event and that which belongs to personal biographical time. This particular tension in the nature of the spaces in Rooms is caught and accentuated through the fragmentation of architecture, with columns, floors or corners calling up a palpable and intimate space and resisting monumentalization. Our images do not describe these rooms or place us in them, but cause us to experience them and return to them through evocation."
2+7 Telephone. Designed by Marcello Nizzoli, made by SAFNAT, Italy, 1958.
Regency TR-1 pocket-sized radio. Designed by Teague & Petertil, made by Texas Instruments and Industrial Development Engineering Associates (IDEA), USA, 1954.
The Blickensderfer 6 portable typewriter. Designed by George Canfield Blickendsderfer, USA, 1906.
The Olivetti Valentine typewriter, designed by Ettore Sottsass and Perry King, made by Olivetti, Italy, 1969.
Divisumma 18 portable calculator, designed by Mario Bellini, made by Olivetti, Italy, 1973.
Macintosh Icons. Designed by Susan Kare, made by Apple Computer Inc, USA, 1984.
IPOD Digital Media Player. Designed by Jonathan Ive, made by Apple Computer Inc, USA, 2001.
“This exhibition examines how design has been applied to information technology products; and about how a handful of companies made complicated technology appealing and easy to use. It is also about the visionaries who started some of the great consumer product companies of the 20th century and how the designers and engineers they hired found a means of imparting their ideals into the products they designed.”