Aoyama Shin | "Jyu (Chapter 3/EDGE)" (Part 2)
This article analyzes GCD☆GCD's installation "Jyu (Chapter 3/EDGE)" at EASTEAST_TOKYO 2025, focusing on its parody of urban/suburban landscapes and its technique of image compression and collision.Summary
This critique discusses the second part of GCD☆GCD's installation, "Jyu (Chapter 3/EDGE)," held at the EASTEAST_TOKYO 2025 venue in November 2025. The work inserts a miniature suburban landscape—a parody of the Imperial Palace—into the center of the city, attempting a negative/positive inversion of the urban space. This temporary set functions as a parody that relativizes Tokyo's "empty center," a concept previously discussed by Roland Barthes. The author argues that GCD☆GCD's concept of 'archive' is a technique of 'irreversible compression,' where images collide with materiality and are condensed by the power of accident and chance. This technique is linked to the lineage of Virgil Abloh's editing methods and J.G. Ballard's *Crash*, where technology and humanity merge through collisions, positioning the car accident as a method of 'archiving' life. Ultimately, the stage, built in a parking lot—a new 'empty center' after the cars (apostles of accident) have left—invites a distorted narrative where collisions and exchanges occur under the banner of 'accident.'
(Source：artscape)