This article examines the solo work Lovers (1994) by Teiji Furuhashi, a prominent member of the influential Dumb Type group in Japan’s theatre and dance scene from the 1980s onwards. Lovers was Furuhashi’s only solo work; he died shortly after its installation at a Tokyo art centre in 1994. The essay examines the work in the context of themes of mobility, migration, and shifting corporealities in Japan across the post-war decades, especially through the key event for art and technology of those decades, which was the Osaka World Exposition of 1970. Lovers was commissioned by the arts laboratory of a Japanese technology corporation, Canon Inc., and incorporated what at the time were innovations in moving-image elements within theatre and dance. But those technologies rapidly became obsolete, and the essay explores the dilemmas about the digital experienced by the curators of the New York Museum of Modern Art in ‘upgrading’ Lovers to show it in their galleries in 2016–17.

中文翻译：

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古桥贞二的恋人：东京和纽约移动身体的数字复苏

这篇文章探讨了个人作品恋人(1994) 由古桥帝二 (Teiji Furuhashi) 创作，他是 20 世纪 80 年代以来日本戏剧和舞蹈界颇具影响力的 Dumb Type 团体的杰出成员。恋人是古桥唯一的个人作品；1994 年该作品在东京艺术中心安装后不久，他就去世了。这篇文章以战后几十年日本的流动、移民和物质变化为主题，特别是通过艺术和技术的关键事件来审视这件作品。这几十年中最重要的一次是 1970 年的大阪世界博览会。恋人受日本科技公司佳能公司的艺术实验室委托，将当时的动态图像元素创新融入戏剧和舞蹈中。但这些技术很快就过时了，本文探讨了纽约现代艺术博物馆馆长在“升级”过程中所经历的数字困境。恋人2016-17 年在他们的画廊中展出。