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TAKASHI MURAKAMI the Artist Blurring the Line Between High and Low Arts the MOMENT

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TAKASHI MURAKAMI the Artist Blurring the Line Between High and Low Arts the MOMENT MARIKO TAKASHI YOSHIMOTO !"!#$% MORI MURAKAMI NARA &'(")'&" !"#$%&'(&)*+, dust fun ash future present from different eyes 2 3 Over the decades, the artist's works have achieved more layers posing generally secular questions concerning the intersection of life, death, the cosmos, and technology. Mori is able to achieve synergies between separate cultures and epochs, and even weave together theoretical physics with Buddhist philosophy. MARIKO MORI sculpture video photograph installation digital imagery performance surreal sci-fi futuristic cyborg “I am interested in circulating past iconography in the present in order to get to the future.” -Mariko Mori 4 5 MARIKO MORI MARIKO MORI “ I must create the world in order to breathe in the world; I don't exist unless I create. ” 森 万里子 ariko Mori is a Japanese artist best known for her sculp- tures, videos, photographs, installation, digital imagery, and Mori is fascinated by the way contemporary Japanese performance pieces which often involve surreal or science society balances technology, fantasy, and humanity. With M an af ectionate perspective on her native country, she fi ction-like objects and imagery. In her videos and performances explores the way fantasy and reality overlap in contempo- Mori appears costumed as a sexy cyborg, pop star, mermaid, futuris- rary Japanese consciousness. Hers is a world where cartoon characters step out of comic books to stalk the real streets tic goddess, as seen in her work Pure Land (1996-1998). The artist’s and real people withdraw from their grim routine to lose ability meld her own image in a series of chameleon-like reinven- themselves in cartoon fantasies. In this piece Mariko is an interplanetary geisha, tions, relates her work to the photographic practice of Cindy Sher- dispensing tea to businessmen. Her ”of ce lady” uniform is man. “I am interested in circulating past iconography in the present regulation black, but her tight-f tting silver cap has pointy in order to get to the future,” she has said of her work. Martian ears. Mariko Mori - Tea Ceremony I, 1994 Nirvana, 1997 Star Doll, 1998 Birth of a Star, 2000 Dream Temple, 1999 Wave-UFO , 2003 Tom Na H-iu, 2006 A stunning sculptural object and viewer partici- patory installation that epitomizes Mori's ongoing exploration of the relationship between the individual and an interconnected cosmos. Set within a golden landscape, a female f gure serenely f oats above a lotus blossom while six alien musicians whirl by on In Star Doll, Mori explores how images of women are presented bubbly clouds. During the seven minute video, the central Inspired by this legend and the fact that through the media and through celebrity f gures. Mori based female f gure would hum and whisper echoed rhythms as if Dream Temple, a complex, ambitious architectural initiative ancient humans have built standing stones in this character on her life-sized sculpture Birth of a Star (1995), meditating, while the little musicians f oated around her. that represents a utopian place, the ideal destination at the many places all over the world, Mariko Mori an image in which she is dressed up as what she has called a end of a path towards spiritual discovery. A journey that created a new monument that symbolizes life “virtual pop star.” Imagined as a celebrity who lives in a cyber culminates in the hi-tech entrance to the f ow of consciousness and death in our time. 6 realm, the f gure is a fantasy that ref ects Japan’s obsession with of each living being. 7 technology. MARIKO MORI Mariko Mori is an internation- to get noticed in the art scene. ally acclaimed Japanese artist However, small praises and whose impressive Curriculum nods were just a taste of great- Vitae consists of numerous er things to come. She gained sculptures and installations massive recognition in the year based on incredible concepts of 2003, when she displayed that vary to an unbelievable her interactive installation Wave amount. Her practice investi- UFO at the Kunsthaus Bregenz, gates endless issues that trouble in Bregenz, Austria. After the all of us throughout our lives, in- initial success, this installation tersecting questions connected traveled around the world, at- to death, reality and technology. tracting much attention wherev- Mori further emphasizes her er it went. In her early work that versatile style with her skillful followed, Mori explored urban usage of photography, fi lm and cyberculture and kitsch, but also performance. This captivating dedicated much attention to the artist is often used as an ex- Japanese culture and heritage. ample to show just how much Ever since her early days one individual’s art can be both as an artist, Mariko was show- unique and fascinating at the ing what will later become her same time. signature – a fascination with fu- Mariko Mori was born in turistic themes and characters. Tokyo, Japan, during the year of Fantastic deities, robots, alien 1967. Her father was an inven- creatures and spaceships will tor and a technician, while her all fi nd their way into this art- mother was an art historian that ist’s portfolio over time. Mori’s specialized in the fi eld of Euro- diverse style includes video and pean art. With such infl uences photography, works on paper, hovering above her, it presents sound, sculpture and large-scale Pure Land (1998) no wonder that Mori grew up installations, all with goals of Pure Land captures a moment of into an outstandingly unique exploring the junction between this experience, enabling the viewer artist. During her young years, art and science, antiquity and a longer, perhaps more meditative, relationship with the work. she was attracted to the world modernity. Mariko Mori uses Birth of a Star (1996) T rough her imaginative reinterpreta- tion of symbols steeped in tradition, of fashion and designing. Desir- her art to explore themes such ‘Birth of a Star”, named for a television the artist creates a timeless setting ing to one day become a part as individual spirituality, over- talent show, she is the demonic punk appropriate for meditation on death, incarnation of the look-alike, sound-alike purif cation, and rebirth. of that universe, Mori started whelming technology, feminism ingenue singers who are Japan’s premier attending Bunka Fashion Col- and sexuality. She often turns to teeny-bop idols. T is piece is a prime example of Mori's lege in the 1980s, focusing much the usage of futuristic images early style of en inserting herself into the of her attention to designing. In and photo editing in order to center of her works, clad in an innovative costume. In this case, she is emulating the between classes, Mori used to enable the maximum level of idea of a Japanese "teeny bopper" pop star. Wave UFO (2003) earn cash as a model, getting correspondence with the audi- In this piece, her acclaimed cap- sule-shaped structure resembling her fi rst taste of the industry she ence. Mori likes to make sure her a spaceship that exhibited at the was so desperate to crack into. art is fully authored by placing 2005 Venice Biennale; visitors can enter attached to electrodes that After she was done with school, her own photos on the works, gather brainwave data and turn it into real-time visualizations viewable on Mariko decided to further her making the entire concept screens within the space. knowledge and understand- of absorbing art much more ing of design by leaving Japan personal. However, inserting and committing to the Chelsea Mariko’s face via photography College of Art and Design in is not the only way this artist London, United Kingdom. Upon incorporates herself with her art graduation, Mori set her sails for – Mori often chooses to per- New York, hoping that The Big form personally in or around her Apple would prove to be the pieces. These decisions have led right place for her to develop many critics to compare Mariko and achieve all the goals she with the ideas of Cindy Sher- set for herself. She got involved man, a fellow artist who also with the Whitney Museum’s likes experimenting with her Independent Study Program appearance. One of the defi nite 8 and it was then that she started highlights of Mori incorporating 9 MARIKO MORI herself inside her pieces are the the Field of Contemporary Jap- Plasma Stone III (2017) fascinating quirky photographs anese Art in 2001 from Japan Plasma Stone represents a memory of fantastical Manga-inspired Cultural Arts Foundation. of the beginning of the universe. Right afer the Big Bang, the environments. Mariko has also Comparing conflicting cul- universe was in the state of plasma, from which atoms emerged. examined Jomon and Celtic tures and systems such as Bud- Tat is to say, the whole universe traditions and belief systems, dhism and science, Mori creates emerged from the plasma state. Te universe’s plasma state is a blending ancient symbols and a visual vocabulary that points physical evidence that all were one in the beginning. Various colors rituals with advanced digital simultaneously forward and will be refected by the sculpture technologies. backward. These kinds of con- to suggest the plasma state, a memory of the Big Bang. During the early 2010s, Mori tradictions have really become Cycloid V (2017-2018) seems to put much effort into the focal point of Mariko’s work Titled ‘Invisible Dimension’, the exhibition is comprised of seven new developing her sculptures. Her – she will intentionally abandon sculptures, including the monumental large piece Sun Pillar from 2011 you inside her installations, leav- Cycloid V — a large-scale, abstract organic form, wrapping the internal is a nice example of Mariko’s ing you to wonder if you agree column of the gallery.
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