YouTube is a website onto which 100 hours of video are uploaded every minute, and which is accessed by one billion users every month. Within this huge amount of moving image data exist contents, such as commercial movies and television programs, that have been illegally uploaded.

In order to prevent such copyright infringement, YouTube implements an automated system called Content ID that assigns an ID to copyrighted audio and video material and stores it in a database, against which each newly uploaded video is checked to verify whether copyright infringements apply.
However, as is apparent from the fact that illegal movies have yet to be eradicated, techniques that find loopholes in such censorship systems are widely available on the street. One such technique involves reducing the frame size of the video to be uploaded and nestling it within meaningless patterns or video images that fill the rest of the screen. As meaningless images, the videos in which the uploaded videos are embedded encourage the viewer to pay attention to the video intended for viewing. Here, images whose meaning have been stripped away are used as a form of camouflage in order to escape the eye of the Content ID system, existing within the spaces of other videos. Invariably recognizable as meaningless and irrelevant, these images surround the smaller videos embedded within them.

Nonetheless, is it really true that these images regarded as meaningless have no significance? They may be camouflaged from the eye of Content ID, but there is no possibility of their escaping our gaze. While exposing a certain naked defencelessness, the presence of these images still continues to be felt at the periphery of the screen.

Optical camouflage was organized in order to consider as an opportunity for artistic investigation the existence of images whose meaning has been abandoned in this way or which, in their meaninglessness, have grown in complexity as they move further away from human hands. In an age when technology is becoming increasingly integrated into the environment with seamless transparency, and when the multifarious images of people, objects and events are becoming camouflaged within systems, this exhibition will treat this camouflage of in/visible images as the subject, questioning the feedback generated from a certain viewpoint.


Ryunosuke Goji

Born in 1988. Graduated with BA Honors in oil painting, Tokyo University of the Arts, in 2013.
Recent exhibitions include "Musa ssp." (cueB gallery, London, 2016), "buzz......." (Youkobo Art Space, Tokyo, 2016), "Half-Understood, Half-Collapse, Half-Open - Zurich University of the Arts + Tokyo University of the Arts International Exchange Exhibition" (Tokyo University of the Arts, Tokyo, 2015), and "Digital Humanize" (Tokyo University of the Arts, Tokyo, 2015).

Issei Yamagata

Born in 1989. Currently enrolled in the Doctoral Program of Tokyo University of the Arts.
Recent exhibitions include "iphone mural" (Block House, Tokyo, 2016), "Hors Pistes Tokyo" (SuperDeluxe, Tokyo, 2016), "Seeing Things" (tokyo arts gallery, Tokyo, 2016), "buzz......." (Youkobo Art Space, Tokyo, 2016), "Standard Suppressor" (Tokyo Wonder Site Hongo, Tokyo, 2015), and "Digital Humanize" (Tokyo University of the Arts, Tokyo, 2015).



Youkobo Art Space
Zempukuji 3-2-10, Suginami-ku, Tokyo, 167-0041 Japan http://www.youkobo.co.jp/en/

2017.01.21 - 2017.01.29
12:00 - 19:00
Opening reception : 1.21 18:00 -
Closing Party : 1.29 18:00 -