Dark arts: Hiroshi Sugimoto thinks outside the black box

teamLab, an international art collective, has partnered with TikTok to launch an innovative immersive art and sauna experience in Tokyo called 'TikTok teamLab Reconnect.' This unique exhibition, open until August 31, aims to allow visitors to experience art in an enhanced mental state, referred to as a 'sauna trance.' This state is achieved by cycling through saunas, cold showers, and periods of rest, which are believed to sharpen the senses and clarify the mind, enabling a deeper appreciation of the art. The concept draws inspiration from ancient Japanese traditions, blending this historical pastime with digital and immersive art. The exhibition features various saunas, each equipped with colorful lighting and calming scents, followed by a cold bathing area. After this cycle, visitors enter one of five immersive art installations. The experience encourages repeating this process before viewing each new art piece. The installations showcase several of teamLab’s signature boundary-defying works, including pieces from their new project, 'Supernature Phenomena.' Notable installations include 'Levitation,' 'Ephemeral Solidified Light,' 'Proliferating Immense Life in the Rain,' and 'Step into the Light Circle.' These pieces incorporate elements such as levitating orbs that pulsate with energy and color, and floating crystals of solidified light, creating an otherworldly environment. The exhibition challenges conventional notions of art viewing by integrating a physical and mental conditioning process. In collaboration with TikTok, teamLab also developed an augmented reality (AR) piece called 'Every Life Survives in Fluctuating Space,' which can be experienced remotely through the TikTok app. This extends the accessibility of the art beyond the physical exhibition space. The entire experience of 'TikTok teamLab Reconnect' is designed to be unconventional, pushing the boundaries of how art is perceived and interacted with. Further details about the exhibition are available on teamLab's official website. #TeamLab #ImmersiveArt #SaunaExperience #DigitalArt #ArtInstallation #TokyoExhibition #TikTokCollaboration #SupernaturePhenomena

In a world saturated with constant information and demands on attention, Kenya Hara, MUJI's art director, champions a philosophy of "emptiness" as a path to creativity. This concept, distinct from simplicity or minimalism, is explored through MUJI's design principles and product offerings. Hara argues that true emptiness, or 'ku' in Japanese, is not an absence but a rich state of readiness to receive inspiration and possibilities. This contrasts with the Western understanding of emptiness as a void or lack, positioning 'ku' as a fertile ground for new ideas and uses. Hara elaborated on this philosophy during a visit to New York City, coinciding with MUJI's 10th anniversary in the US. He explained that 'ku' is a more fundamental state of being than simply decluttering or shedding elements, as advocated by figures like Marie Kondo. Instead, it represents an open receptacle, a willingness to pose a question and embrace a diverse range of answers. This approach is central to MUJI's brand identity, which prioritizes multi-purpose, generic goods over products with narrowly defined functions. For example, MUJI labels a piece of furniture an "oak table" rather than a "coffee table," inviting users to determine its ultimate purpose and fostering creative freedom in its application. The philosophy of emptiness also serves as a critique against over-engineered objects. Hara illustrated this by comparing a German Henckels ergonomic chef's knife with a Japanese Yanagiba knife. The German knife, designed with specific user grip in mind, anticipates and directs the user's hand. In contrast, the Japanese knife, with its flat handle, offers a less programmed tool, allowing master chefs to adapt it to their individual skills and preferences. This design choice reflects a belief that a simple, unadorned tool is not raw or poorly crafted, but rather an invitation for the user to impart their skill and interpretation. Beyond physical objects, Hara emphasizes a mental dimension to this emptiness. It involves cultivating the humility to engage with and absorb foreign ideas. He posits that "questioning is emptiness," highlighting that the act of formulating a question is itself a creative endeavor. The essence of a good question, according to Hara, lies in its capacity to elicit various replies and gather diverse thoughts. He believes that the richness derived from this kind of thinking is a crucial resource for shaping the future, emphasizing that creativity extends beyond the tangible creation of objects to encompass the conceptualization of inquiry and the embrace of diverse perspectives. #MUJI #KenyaHara #DesignPhilosophy #Emptiness #Ku #Creativity #JapaneseAesthetics #ProductDesign #Lifestyle

Artist Takashi Kuribayashi's newest installation, 'Oya Genkiro No. 6', is located in the Tochigi countryside, just north of Tokyo. This 59-foot-tall structure, crafted from raw hinoki (cypress) trees, appears as a massive, hollowed-out tree stump. Upon entering, visitors discover hundreds of meticulously lined mirrors within its core, leading to a multi-floored sauna encased in bright, dappled wood and glass. The installation emphasizes tranquility, with the delicate layered bark contrasting with the shimmering mirrored surfaces. The sauna space is designed for relaxation, where guests can unwind to the sounds of dripping condensation and a crackling fireplace, located beneath an outdoor cauldron. The water used in the sauna is boiled in a large kiln with medicinal herbs, and the resulting steam is piped into the space, creating a dense atmosphere where visibility is limited and the scents of herbs and medicinal plants awaken the senses. The name 'Oya Genkiro' is significant, combining 'genshiro' (nuclear reactor) and 'genki' (healthy), serving as a direct reference to the Fukushima Daiichi Nuclear Power Station disaster of March 2011. This incident, caused by a devastating tsunami, led to the leakage of radioactive materials into the environment. Within this context, the installation functions as a profound reflection on the dual nature of steam. It can be a force of destruction, as seen in the Fukushima event, or a medium for restoration, healing, and calming, as experienced in the sauna. Kuribayashi's artistic practice frequently explores making the invisible tangible. In 'Oya Genkiro', he metaphorically manifests steam, allowing visitors to physically engage with a phenomenon that, in the case of Fukushima, represented "completely invisible radioactive contamination." The artist believes that understanding the existence of an unseen world can fundamentally alter one's perspective on life. 'Oya Genkiro No. 6' is a site-specific installation that cleverly disguises a functional sauna within a mirror-lined tree stump, providing a unique blend of art, nature, and introspection. The installation is open to the public in Japan’s Tochigi Prefecture, with reservations available through its dedicated website. Kuribayashi's work consistently challenges viewers to consider what lies beyond immediate perception, using physical experiences to convey deeper meanings. The contrast between the natural, rustic exterior of the tree stump and the sleek, mirrored interior, coupled with the functional and symbolic use of steam, creates a rich, multi-sensory experience that encourages reflection on both environmental events and personal well-being. This project exemplifies contemporary art's capacity to engage with complex social and environmental themes through immersive and interactive forms. #ArtInstallation #ContemporaryArt #JapaneseArt #TakashiKuribayashi #OyaGenkiroNo6 #Fukushima #EnvironmentalThemes #SaunaArt

This blog post delves into a magical design dimension, drawing inspiration from the legendary illusionist Houdini and Yale’s 2010 book, 'Art and Magic.' The article explores the intersection of illusion, trickery, and creative design, showcasing a collection of decadent design pieces within deep shades and hidden corners. The featured items include furniture, lighting, and decorative objects that evoke a sense of mystery and grandeur. One of the central pieces highlighted is the '1085 Edition' chair by Kristalia, whose leather hide is intricately tied and stitched, reminiscent of Houdini’s iconic straitjacket escape. This piece sets the thematic tone for the entire collection, blending design with the art of illusion. The article then introduces dynamic lighting by Dutch duo Os & OOs, which subtly illuminates the space while its rope-style form creates an ominous, shaping presence. The second room of this curated space is characterized by a "flurry of magical boxes" resting on Philippe Starck-designed checkerboard flooring, adding to the theatrical ambiance. Among the showcased items, an Antonio Citterio 'Febo' chaise longue in dark velvet is noted for its slender form and abstract, secretive quality, enhanced by a hidden backrest. The 'Scrigno' container sideboard by the Campana Brothers for Edra contributes a hallucinatory atmosphere with its fragmented design. A dramatic scene is depicted with a smoking shotgun surrounded by tables resembling chess pieces, evoking the dangerous allure of Russian Roulette. This setup features pieces like the 'Graal' console table by Lapo Ciatti, an antique mirror, and various decorative elements that enhance the mysterious narrative. The article continues to describe how Kvadrat’s seamless blinds are used to conceal scenes, providing a minimalist and restrained finish. A spotlight focuses on the intricate pattern of Tom Dixon’s 'Smoke' rug for Ege, which establishes a deep and engaging mood within the room. Visionary illusions are further created through the strategic use of mirrors, archways, enclaves, and clever lighting, featuring pieces like 'Mirage' mirror panels by Tokujin Yoshioka and a 'Level' table by Cooperativa Panorámica. Another highlight is a thin Glas Italia table, positioned centrally to evoke the classic 'sawing a woman in half' magic trick. The Louis Weisdorf-designed 'Multi-Lite' pendant light by Gubi adds transformative intrigue, as its shape changes depending on the viewing angle. The final room of this magical dimension contains grand treasure chests and magical wares from prestigious brands such as Linley, Agresti, and Bertoni. The 'Bunch of Boxes' hanging cabinet by Ditte Hammerstrøm, doubling as an art piece, tempts viewers to explore its contents, concluding the journey through this illusion-inspired design world. #DesignIllusion #FurnitureDesign #MagicalInteriors #HoudiniInspiration #LuxuryDesign #InteriorStyling #ArtisticFurniture #DesignExhibition #ConceptualDesign

Yuko Mohri’s new exhibition, ‘Entanglements,’ at Milan’s Pirelli HangarBicocca, features seven existing works across a 4,000 sq m space. The exhibition explores the concept of interconnectedness, examining how seemingly disparate elements interact within a shared environment and reflecting broader invisible links between living and inanimate objects. Mohri's artistic approach is characterized by innovation, drawing inspiration from everyday occurrences, such as the improvised water-catching systems found in Tokyo's subway. Her work, including 'Compose' at the 2024 Venice Biennale, often incorporates kinetic sculpture, natural elements like rotting fruit, and intricate systems of vessels to create immersive sensory experiences. The artist's creative process is significantly influenced by historical figures and movements. Marcel Duchamp, a French Dadaist, is cited as a key inspiration, particularly 'The Large Glass,' which Mohri found surprisingly handmade and felt a strong connection to. She also acknowledges the impact of South Korean artist Nam June Paik, known for his foresight into the digital age, and the experimental Fluxus movement. Mohri appreciates the Fluxus emphasis on process over polished results and the raw assembly of novel ideas using simple, familiar materials, which aligns with her own practice of embracing imperfection and unexpected developments in her work. Mohri's installations are highly responsive to their immediate surroundings. She often sources materials locally, adapting her creations to the specific architecture and context of the exhibition space. Her pieces are dynamic and evolve throughout their display, with elements undergoing decomposition or accumulation, allowing for unforeseen changes that enrich her artistic perspective. She views these unplanned transformations not as failures but as opportunities for meaningful evolution within her work. This adaptive and intuitive approach ensures that each exhibition is a unique interaction with its environment. A central aspect of Mohri’s exhibitions is the encouragement of a direct, bodily response from viewers. For a previous show at the Artizon Museum in Tokyo, she deliberately omitted extensive explanatory texts, urging visitors to engage their senses and focus on the visual, auditory, and tactile experiences. She hopes this approach fosters a sense of familiarity, as people recognize the everyday objects and sensations presented in her art. Mohri observes that children and pets often engage with her work without needing additional context, highlighting the universal appeal of her sensory-driven installations. The ‘Entanglements’ exhibition at Pirelli HangarBicocca is designed to offer a cacophony of sights, sounds, and smells. Mohri anticipates that while the space may initially appear chaotic, viewers will eventually perceive a hidden order or a moment of profound chemistry, akin to a 'tear in the world.' Her ultimate goal is for visitors to leave with an understanding that the sensations they experience are deeply connected to the complexities of language, matter, and life, and to inspire them to imagine alternative ways of perceiving the world beyond their existing frameworks. The exhibition runs until 11 January 2026. #YukoMohri #ArtExhibition #MilanArt #PirelliHangarBicocca #ContemporaryArt #InstallationArt #MarcelDuchamp #SensoryExperience #JapaneseArt

The article details a new exhibition by Takahiro Iwasaki, the artist-in-residence at the Portland Japanese Garden, focusing on his installations that challenge perception and integrate Japanese cultural concepts. Iwasaki, born and based in Hiroshima, received his Ph.D. from Hiroshima City University and an MFA from Edinburgh College of Art. His work, often categorized into 'Reflection Model' and 'Out of Disorder,' has gained international recognition, including exhibitions at the NGV in Melbourne and representing Japan at the Venice Biennial in 2017. The exhibition at the Portland Japanese Garden, titled 'Takahiro Iwasaki: Nature of Perception,' features a new 'Reflection Model' in the Pavilion and an 'Out of Disorder' installation in the Calvin and Mayho Tanabe Gallery. The 'Reflection Model' at the Pavilion is a detailed, handmade wooden re-creation of the Rashomon Gate, a historical structure at the entrance of Kyoto and central to Akira Kurosawa’s 1950 film of the same name. Iwasaki meticulously crafted the model, with the exception of the laser-cut 'Rashomon' sign, from historical drawings and the film’s set design. This model includes a 3-D mirror inversion, simulating a reflection in water, which creates a perceptual illusion. The physical solidity of the model, combined with its seemingly suspended, inverted twin, challenges viewers’ understanding of reflection and reality. The wood used is untreated cypress, intended to fade to a silver color, a detail that hints at the ephemeral nature of things. The installation connects to the Japanese concept of _mono no aware_, which refers to the understanding of the ephemeral nature of things, but can also be interpreted as a feeling of emptiness or a lack of resolution. This concept is particularly relevant to the Rashomon Gate, which no longer exists historically and was recreated for the film, emphasizing its transient existence. The article discusses how both Kurosawa and Iwasaki use the gate to address historical impacts, including war and nuclear destruction, and the ravages of time and human actions. The film _Rashomon_ itself is known for its exploration of subjective truths and unreliable narratives, with different characters providing contradictory accounts of a crime. The Portland Japanese Garden provided a cautionary note regarding the film's portrayal of women, although the artist intended his work as a cultural metaphor rather than an endorsement of the film's specific content. The author delves into the film's narrative concerning a rape and murder, highlighting the varied, self-serving testimonies, and connects this to contemporary discussions around the 'Me Too' movement and the challenges of discerning truth in biased accounts. A second Japanese concept, _mitate_ (seeing things with fresh eyes or radical re-contextualization), informs Iwasaki’s other installations. These include miniature cranes made from discarded threads, glued into books related to Kurosawa, displayed in acrylic containers. These miniature works, reminiscent of traditional Japanese _netsuke_, use reflections to multiply their images, reinforcing the theme of multiple perspectives. The author notes that understanding these cultural references, such as the film _Rashomon_ and historical poetry, enhances the appreciation of Iwasaki's art. Another installation, 'Out of Disorder (Thread through Time),' features miniature landscapes of Portland bridges and landmarks fashioned from glue-stiffened threads pulled from discarded fabrics, prompting familiarity and recognition for local viewers. The use of everyday materials and miniatures is a recurring theme in Iwasaki’s work, encouraging reflection on perception and the re-contextualization of the ordinary. The article concludes by emphasizing Iwasaki's inspirational invitation to view the world with fresh eyes, drawing parallels between his art and the renewed beauty of the rain-splashed Japanese Garden. #TakahiroIwasaki #PortlandJapaneseGarden #ArtExhibition #JapaneseArt #RashomonGate #ReflectionModel #MonoNoAware #Mitate #PerceptionArt #ContemporaryArt

French artist duo Zim & Zou have unveiled their latest paper installation, "Flying Faubourg," for the Hermès window display in Tokyo’s Ginza Mitsukoshi. This intricate paper sculpture pays tribute to Hermès’ equestrian heritage by featuring a floating, hybrid creature, part horse and part machine, rendered in warm, sunset-inspired hues. The artwork integrates elements of Hermès' iconic Parisian storefront at 24 Faubourg Saint-Honoré, reimagining it as a structure soaring above the cityscape of Tokyo. Zim & Zou, who refer to themselves as "paper pirates," constructed this complex installation specifically for the opening of the Hermès Ginza Mitsukoshi store. The central sculpture represents their most elaborate creation to date, meticulously assembled in their studio in France before being transported and installed in Japan. The piece is innovatively held together by magnets, supporting both smaller vessels suspended above and miniature buildings below. The artists describe "Flying Faubourg" as a potent symbol of intellectual freedom and artistic expression. The installation features the horse-like figure gazing forward, its mane seemingly flowing in the wind, which evokes Hermès' foundational origins in saddlery and equestrianism. Below this fantastical flying structure, viewers can identify iconic landmarks of Tokyo, such as the Tokyo Skytree, the Rainbow Bridge, and the Tokyo Tower, inviting an imaginative exploration of the city. The artists conveyed that the "Flying Faubourg" is momentarily static within the window display, yet it perpetually invites bold exploration of both the real world and the boundless realm of imagination. The artwork showcases Zim & Zou's signature use of paper as a primary medium, demonstrating their expertise in transforming two-dimensional sheets into detailed, three-dimensional forms. Their previous collaborations with Hermès and other notable brands highlight their unique approach to art and design, which often involves crafting entire fantastical worlds from paper. The choice of paper for such an elaborate installation also emphasizes the artists' commitment to a material that is both versatile and environmentally conscious, aligning with contemporary interests in sustainable art practices. The installation serves not only as a promotional display for Hermès but also as a significant artistic statement, merging luxury branding with imaginative craftsmanship and cultural storytelling. #PaperArt #Hermes #ZimAndZou #WindowDisplay #PaperSculpture #TokyoArt #EquestrianSpirit #InstallationArt #GinzaMitsukoshi

The exhibition 'Malware' at London's Pippy Houldsworth Gallery features artist Qualeasha Wood's tapestries, tuftings, and videos, which explore the concept of the digital glitch and its implications for the Black female experience. Wood, based in Philadelphia, focuses on internet malfunctions as a metaphor for vulnerability and change within systems. She merges contemporary digital culture with traditional crafts, translating digital pixels into stitches in her tapestries and creating intentional glitches in her video works through data compression. Wood notes that in the pursuit of authenticity, many fabricated images are produced, and her work aims to highlight imperfection and decomposition as more natural states. Her artistic process also involves incorporating strings of code into her images, shifting the focus from her physical body to its interaction within digital spaces. Wood's work investigates the disruption caused by 'glitches,' interpreting them both as digital viruses and as the presence of the Black female body within established systems. Her webcam self-portraits, in particular, consider the body as a site for both exploitation and resistance. Her interest in these themes began during her studies at the Rhode Island School of Design, where she observed the pervasive influence of social media. She found that online platforms provided a space for conversations about her experiences as a Black woman, which then informed her art. This led to her first tapestry, 'Cult Following,' which likens social media to a cult or religion due to its ability to simultaneously exalt and scapegoat individuals, a duality Wood experienced as one of the few Black students on campus. The artist's personal experiences with doxing, where her personal information was published online, further solidified her artistic direction. These incidents, occurring before she began creating her tapestries, motivated her to reclaim control of her narrative by weaving her own image into her artwork. Wood sees the digital and traditional realms not as opposing forces but as interconnected systems. Her childhood exposure to her great-grandmother's and great-aunt's crocheting sparked her interest in craft and textiles, recognizing their familiar and accessible nature. Similarly, she views computers as integral to her generation's experience, shaping pervasive relationships with technology. She identifies commonalities between traditional crafts and digital systems, both having inherent rules and offering opportunities for exploitation and creative manipulation. Wood employs a computerized loom to create her artworks, which interprets digital files to produce woven replicas of images. This method was inspired by a tapestry depicting her brother and cousins, a gift that demonstrated how images could be woven without strict adherence to stylistic conventions, utilizing scanned and collaged digital images. The most labor-intensive part of her creative process involves sifting through an extensive collection of personal phone screenshots, numbering in the tens of thousands, to select images for recreation. The actual weaving process, conversely, is less hands-on and typically takes a few weeks, often resulting in unexpected outcomes. She describes this as a release of control, relying on prayer for the desired result. As an avid consumer of digital content, with approximately 14 hours of screen time daily, Wood emphasizes the need for rapid artistic production to keep pace with the fast-evolving internet culture. Her use of pixels in her work deliberately moves beyond conventional beauty standards, embracing an aesthetic that is imperfect and raw. She views her tapestries as a 'double-edged sword,' allowing her to control the perception of her body while also being conscious of the voyeuristic gaze it might attract. The glitch, in this context, serves as a symbol of vulnerability, yet it also empowers her by subverting expectations of perfection and femininity, thereby creating a space for artistic expression and exploration. 'Malware' will be on display at Pippy Houldsworth Gallery in London until April 26. #QualeashaWood #DigitalArt #TextileArt #LondonExhibition #PippyHouldsworthGallery #BlackFemaleExperience #SocialMediaImpact #DigitalCulture