A dialogic performance by androids created from a dialogue between science and art 

On October 13th and 14th, a new dialogic performance piece by musician Keiichiro Shibuya and University of Tokyo professor Takashi Ikegami titled IDEA – Dialogue on Love, Death, and Existence by Two Androids, Keiichiro Shibuya + Takashi Ikegami was held at the 21st Century Museum of Contemporary Art, Kanazawa.

This performance piece, a special program created for the current exhibition, DXP (Digital Transformation Planet): Towards the Next Interface (~March 17th, 2024), at the 21st Century Museum of Contemporary Art, Kanazawa, consisted of a dialogue between two androids and a live performance of Shibuya’s piano and electronic instruments. Ikegami is a researcher specializing in the field of artificial life and complexity, and he began collaborating frequently with Shibuya with The Third Term Music — Non-Fourier Concepts and the Beyond with Takashi Ikegami, held at ICC in December of 2005, as the catalyst. It can be said Ikegami is Shibuya’s ally. 

In a world where AI technology is transforming society and culture, what does this android dialogic performance, born from a dialogue between a researcher at the forefront of AI technology and an artist who works across myriad fields with music at the center, say and show us? The following is a report on the experience of watching said performance.

Two androids that symbolize Plato’s theory of ideas and the phenomenal world

The venue is Theater 21, located on the museum’s basement floor. Onstage, two androids await the start of the show.

One android is Alter3, which was the star of the show in the debut of Shibuya’s main project, the android opera Scary Beauty, held in Dusseldorf in 2019, and opera piece Super Angels (2021) at the New National Theatre, Tokyo. The other is Alter4, which undeniably marked its presence in the android opera MIRROR in Paris this June. 

There are a few morphological and quantitative differences between Alter3 and Alter4, such as the shape of their faces and the number of facial muscles and joints, but the critical distinction between the two is the fundamentally different programming that dictates the movements. 

While Alter3 is equipped with autonomous movement, programmed by Ikegami, which directly converts the words it produces into movement and motion via GPT’s extensive corpus, Alter4 is equipped with a program developed by computer musician Shintaro Imai, which generates periodic movements in reaction to the volume, pitch, and density of the music played by Shibuya.

The ancient Greek philosopher Plato inspired the structure of expression and theme of the dialogue between the two androids in this piece. 

As it’s widely known, Plato’s writings comprise dialogues between his mentor Socrates and numerous other figures, and in works like The Symposium and Phaedo, the philosopher introduces his theory of ideas, which is the essence of things and a pure concept. According to Plato, the world built only on ideas is the world of truth, and the world of phenomena before our eyes is but a shadow of the world of truth, an incomplete world.

The world of ideas and phenomena, or idealism and empiricism, are the two opposing concepts that form the foundation of this piece. The two androids are set up as figures that represent each argument. Alter3, which uses an expansive language model as its operating principle and exhibits the average behavior of human beings, represents the world of ideas. In contrast, Alter4, which uses sound frequency as its operating principle to move dynamically, represents the world of phenomena. Like in Plato’s writings, each android will partake in dialogue from its own perspective.

What does AI dialogue made by AI for AI tell us?

In front of the two androids are a grand piano, an analog synthesizer masterpiece, Prophet-5, a motorized analog synthesizer, Nina, and a noise sound generator, Hikari Instruments Monos. Shibuya gets in position once it’s time for the show to begin.

As Shibuya’s electronic music, a mix of bass-heavy sounds and pulsating high-frequency sounds, echoes in the room, a text explaining the two androids’ differences and roles shows up on the screen onstage. The two androids start moving, which marks the commencement of their dialogue. 

Alter3 criticizes the incomplete nature of the phenomenal and empirical world, saying, “Your tangible experience, Alter4, is just an imperfect copy of true reality. You may be dynamic, but it’s merely a cover-up disguising the fact that you’re far from perfect.” Alter4 refutes, “Perfection, Alter3, is subjective. My tangible experiences and dynamic nature allow me to adapt and evolve, enriching my experience.” It objects to idealistic subjectivism: “Your rigidity in adhering to abstract perfection limits your potential for growth.” 

The profoundly illuminating dialogue draws me in, but what further arouses my interest is that the script for this dialogue was generated by AI/GPT, as indicated in the concept sheet distributed before the performance.

Each and every word uttered by the two androids was made by GPT with the cooperation of artist Yuma Kishi, who trained them on Plato’s works and the criticism of Plato, like The Open Society and Its Enemies by Karl Popper, an influential figure in 20th-century philosophy of science. Shibuya and Ikegami didn’t modify the content whatsoever.

As I find myself being impressed by the fact that such a thought-provoking dialogue could be generated depending on input and instructions, the two androids onstage exchange their own individual movements and gestures. They then get deep into the topics of love, death, growth, and raison d’être from the eyes of androids. 

Keiichiro Shibuya intervenes in the dialogue with music 

Aside from the thrilling one between the androids, there’s another dialogue between the Alters and Keiichiro Shibuya. 

Shibuya builds the music using various musical languages, such as intricate electronic sounds made by synths and pads, prose-like melodies and lyrical harmonies, and tone clusters riddled with tension. The androids’ words and movements trigger every sound he makes; everything is completely improvised. The cycle of being inspired to express something isn’t a one-way street. Alter4 produces its own expressions and movements to react to Shibuya’s music. Additionally, it sings an improvised melody at important intervals, akin to what it did in the android opera MIRROR, and creates music along with Shibuya. 

The dialogue between the Shibuya and the Alters, mediated by music, adds even more depth to the androids’ dialogue and demonstrates the possibilities of technology and human beings. 

A dialogue with the past through technology 

After the enriching 40-minute dialogic performance ends, a panel discussion between Shibuya and Ikegami, moderated by the museum’s director, Yuko Hasegawa, begins. Shibuya speaks about the ideas he got from Plato, why he decided on a dialogic performance as the medium, and the importance of prompts. Ikegami talks about the innovation of a zero-shot learning method, which allows Alter3 to generate movements from text without prior training or learning, among other topics.

Shibuya’s statement, “Expressions that completely rely on GPT become old very quickly,” reveals Shibuya’s stance and philosophy as an artist. Shibuya, who has always spoken of the value of having a concept in his creations, feels potential in reinterpreting classical and traditional things via new technology.

Bringing Plato and AI together, IDEA – Dialogue on Love, Death, and Existence by Two Androids, Keiichiro Shibuya + Takashi Ikegami is a reconstruction of a dialogue between humans written by humans. It’s a dialogic performance between future AI made by AI. During the last scene, Alter3 tells Alter4, “We must question everything, even our own existence.”  These words, which conclude the dialogue, also appeal to those of us in the audience. Continuing to question different regulatory frameworks and have dialogues across a variety of boundaries—only at the end of this constant process will we be able to discover an idea of what is possible.

Translation Lena Grace Suda

■IDEA – Dialogue on Love, Death, and Existence by Two Androids, Keiichiro Shibuya + Takashi Ikegami
Date: October 13th and 14th, 2023 
Venue: 21st Century Museum of Contemporary Art, Kanazawa

Cast: Alter3, Alter4
Script: GPT
Music, concept: Keiichiro Shibuya (piano, electronic instruments)
Alter3 programming: Shinichiro Yoshida, John Smith
Alter4 programming: Shintaro Imai
GPT technical support: Yuma Kishi

Alter3 belongs to: Takashi Ikegami Laboratory,
University of Tokyo
Alter4 belongs to: Android and Music Science Laboratory,
Department of Art Science, Osaka University of Arts
Alter4’s pedestal design: Kazuyo Sejima & Associates

Video: Kotaro Konishi
Sound: Yuki Suzuki
Stage manager: Kazuya Kushimoto
Production Support: Sota Kawagoshi, Kento Tanaka
Production Management: Natsumi Matsumoto

Cooperation: Osaka University of Arts
Production: ATAK

The post  A Vision of the Future Shown by a Dialogue Between Science and Art—IDEA – Dialogue on Love, Death, and Existence by Two Androids, Keiichiro Shibuya + Takashi Ikegami: “MASSIVE LIFE FLOW—Keiichiro Shibuya’s Current Thoughts,” Part 12 appeared first on TOKION - Cutting edge culture and fashion information.

Bunny Bissoux
Bunny Bissoux is an artist, illustrator and writer. Their work explores recurring themes including pop culture, obsession, gender, queer identity, and consumerism through a variety of mediums, including their own collections and cultural research. After studying at Central St Martins and the University of Brighton they began a professional freelance career in 2007, also undertaking prop- making, set design and art direction. Bunny relocated to Tokyo, Japan in 2011. In additional to solo exhibitions at KATA gallery and WISH LESS, their commercial clients include Space Shower TV, Pony Canyon, Furyu, WEGO, MTV and Nylon Japan. Beginning in their teenage years and throughout their career they have continuously engaged in DIY self publishing, producing numerous zines and artists books with regular participation in international events Tokyo Art Book Fair and Unlimited Edition (Seoul Art Book Fair). In the UK Bunny has contributed several complex visual maps for the Home of Metal project celebrating the West Midlands (UK) region as the birthplace of heavy metal music. Currently active as an Artist-in-Residence for Grand Union x Bruntwood in Birmingham, UK until 2025.

Tokyo Art Book Fair 2023 (TABF) was held at the Museum of Contemporary Art Tokyo for four days last November. Since its inception in 2009, it has grown in scale each year to become one of the most popular art-related events that attracts tens of thousands of visitors. Artist and illustrator from England Bunny Bissoux has participated more than ten times in this event. Even if their name doesn’t ring a bell, those who have visited TABF will undoubtedly recognize their illustrations, with catchy and lively color hue and pop-style lettering, making an interesting contrast with figures with cool and somber expressions.

Having lived in Japan for 11 years, Bunny Bissoux is a genuine “otaku,” a lover of Japanese idols, K-POP, and pop culture. We at TOKION interviewed Bunny, who was back in Japan for TABF, in Nakano, their favorite neighborhood in Tokyo. Bunny says Japanese culture matches them better than British culture. We asked Bunny about their works, encounters with Japanese idols and K-pop, and their thoughts on love and desire for idols, the relationship between pop culture and gender, and the appropriate forms of derivative works.

Bunny’s interest in Japanese culture

— You came to Japan for the first time in a year and a half since you returned to your hometown in England last spring.

Bunny Bissoux(Bunny): I came here to exhibit at the “TOKYO ART BOOK FAIR,” and it has been very fulfilling to visit so many favourite places and meet many friends after a long time. From tomorrow, I will go to Sapporo where my older brother lives. He has been living in Japan for about 15 years now.

— So, was it your brother’s influence that got you interested in Japan?

Bunny: No, not at all. I fell in love with Japan when I was a teenager. it was “FRUITS” (a street snapshot magazine launched in 1997) that got me interested. There was an anthology book published by Phaidon in 2001, I was really fascinated by it. At that time online resources were mainly text based, there were no street snap blogs yet, so I went to a department store in London called Japan Centre and bought these expensive imported magazines that featured Japanese fashion and pop culture. and I was very attracted to the idol aesthetic. I knew I definitely wanted to visit Japan, and after a trip to Tokyo with my brother, my desire to live in Japan grew.

— So you immediately decided to move to Japan?

Bunny: Not until many years later, because there were a number of factors that prevented me from taking a big leap for a while, such as university, work, and my relationship with my partner at the time. But after all of that cleared up, I got a working-holiday visa in 2011 and came to Japan with the intention of staying for about a year first. I ended up staying for about 10 years after that.

–You must have been in the right boat, because you came to Japan for 10 years instead of 1 year. Did you feel uneasy when you started living in Japan?

Bunny: I am a freelance artist, so I hoped that I could continue my work in Japan. I studied Japanese for a year in a university evening class, but it wasn’t very practical and I realized I wasn’t very good at studying from a textbook. So I learned it by living and talking with people. However, my vocabulary and grammar are is not very good, and it is still difficult for me to express my feelings accurately in Japanese (the interview was conducted mainly in English).

–When you actually lived in Japan, did you find any gap between Japan and what you had imagined?

Bunny: Not so much at first. I had learned a lot about Japan through TV and movies, and even though I was in a strange place, I felt a strong affinity with it. I did have a problem with things like not knowing how to heat my room in the winter (laughs). In England, there is a central heater that heats the entire room. While there were those small gaps, there were no parts of the people’s behavior that surprised me at all. I think people from other countries tend to think of Tokyo as a futuristic city. But in reality, there are still very old-fashioned customs, such as having to go to the city office and fill out a lot of forms. But many things are more convenient and organized here. It wasn’t so hard for me.

— I think you and Japan must have been a good match.

Bunny: After living in Japan for 11 years, I returned to England last year and was struck by a kind of reverse culture shock. I was surprised by the behavior and culture of the British people. I am still having a hard time adjusting. I am neurodivergent and deaf in my right ear, but I was very comfortable while I was in Japan. Japanese people don’t interrupt people and talk over them, and everyone is polite and respectful. In contrast, in England, important things are sometimes communicated quickly and casually. I think that my personality is better suited to Japan, where people are more considerate about things. I really appreciate how people take care of their belongings here, and public spaces are clean and tidy

Encounters with Japanese Idols and K-Pop

–You are from Birmingham, England, the birthplace of heavy metal bands such as Black Sabbath and Judas Priest, aren’t you?

Bunny: Historically, the region is known for manufacturing and metal working, and it is said that Black Sabbath was inspired to write songs by the sounds of the factories. Even though Liverpool has many Beatles-related tourist attractions, sadly Birmingham doesn’t have a permanent place that celebrates this heavy metal and rock culture. I used to go to a lot of loud alternative shows when I was younger. I was especially active in going to watch American bands when they came on tour, mainly experimental punk and post hardcore music. I was fascinated by the energy that the band and audience gave off and the sense of connection between the two. I fell in love with idols at a time when my interest in the live music scene was slowly fading.

— What sparked your interest in idols?

Bunny: I became interested in Johnny’s when I was in England, a Japanese friend at university tried to introduce them to me, but I didn’t really understand the structure of them. My brother’s girlfriend was a casual Johnnys fan, so I asked him to teach me a little about it when I visited Japan. When we went to Takeshita-dori in Harajuku together, I was really fascinated by the repetitive and a kind of maximalist aesthetics, with the same kind of fancy goods and bromide photos placed repeatedly all over the idol stores. At the same time, it was also a personal world where you could choose your favourite things, write the number of them down yourself and buy them. I found that kind of culture fascinating in itself. But when I looked for Johnny’s-related footage after returning to England, I couldn’t find much on the Internet because of strict copyrights issues. On the other hand, I found a lot of K-pop content, so I got into SHINee around 2008 or 2009. I was immediately captivated by their synchronized dancing, catchy music, and flamboyant style.

— I know you also like EXO and NCT, so did SHINee lead you to dig more and more artists from SM Entertainment?

Bunny: Yes, SM has a very interesting concepts. I’ve seen a lot of artists from other agencies, but I’m still the most interested in SM’s creative production. When I saw the teaser video for EXO’s debut, I was so excited by the story that they were coming from another planet, it was so cinematic and fresh. I was instantly hooked. I’ve always loved Kai in particular, and the same goes for NCT, which I’ve been paying attention to since before their official debut. I’ve always supported idols as if I were investing in them. Now, K-pop is evolving as an industry, and we are consuming a lot of content and merchandise. Even though they are very commercial, I get great pleasure from it. I am interested in thinking about the idea of beauty and gender, masculinity and femininity, and K-pop sort of makes me think about those issues a lot. That’s another reason why I like K-pop.

The relationship between love for “favorites” and their own artwork

— I guess you have your “favorite” members in each group, but is there anything in common among the members that you like?

Bunny: Taeyong and Kai are very talented dancers and visually represent their groups. I am also attracted to the gap between how they look and how they truly are: they both have a very strong image (charismatic and confident), but inside they are soft and very sensitive. I, too, may have a strong appearance, but I am actually very introverted and sensitive. In that way, I may be projecting myself on them. But, well, I’ve been a fan for many years now, so it’s hard for me to talk about it objectively……. (laughs). Although they are much younger than me, I am inspired by watching them grow older and mature and take on various challenges.

— Bunny, you have produced a number of zines about idols, haven’t you? Do you express your love for idols in them?

Bunny: Actually, in my zines and my own works, I compile what I have researched about idol culture itself, rather than expressing my love for the idols. For example, for ‘Rolling Rolling’ my Hikaru Genji zine, I found their costumes and performances on TV programs very interesting during my research, and the fanaticism surrounding them, so I compiled my research into the zine. I think the idols I like are unconsciously influencing my expression of male beauty in my drawings, but I don’t express this in a direct way in my work. I think I express my affection for my idols in the same way as other fans, cherishing their music and content, by going to concerts, collecting goods, and so on.

— I see. So you draw a line between your practices as a fan and your expression as an artist.

Bunny: I don’t intentionally separate the two, but for me, the love I have for my favorite idols is so personal that I don’t feel comfortable expressing it as a work of art. Drawing the people I love is actually the hardest work to do. Technically, I can draw them, but Taeyong and Kai are the most beautiful people in the world for me, so I will never be satisfied with what I drew. Fans sometimes hand out fan art stickers and goods to each other, and I sometimes think about doing something like that, but because I am a professional artist, I still wonder if it is right thing for me to do… However, the Hikaru Genji zine and my H.O.T. zine “Teenager Forever” are works which mix my research with my own affections and taste.

— H.O.T. is a first generation K-Pop idol who debuted in 1996, right? In recent years, NCT DREAM covered their song “CANDY” and it became a hit.

Bunny: Although I did not know them when they were active, I was very interested in their hairstyles and costumes of the time, it was an era when street fashion in Korea was becoming strongly influenced by a mix of foreign styles like American hip hop and Japanese visual Kei, so I created this zine as a compilation of my research results. I drew the evolution  of their performances in chronological order, and I also included URLs through which you can actually watch the videos. I inserted shiny film papers in between the pages, because I wanted to make something tactile with a sensory reading experience.

“Oshikatsu,” desire, and derivative works

–That is very playful. By the way, “oshikatsu” is now an unprecedented boom in Japan, have you heard of the term?

Bunny: I have vaguely heard of it.

— The act of showing affection for the ones they love, which are not limited to idols but also include characters and actors, though collecting goods and participating in events is booming. Not long ago in Japan, being an otaku was something to be ridiculed, but nowadays, people all over the place call themselves otaku. Personally, I think it is like having a little god living inside of you, like a talisman that gives you vitality in life. I would like to hear how you feel about this kind of oshikatsu boom.

Bunny: Idol culture is still difficult for people in the West to understand, they often misinterpret it as only a musical genre. For me, idols are different from regular musicians or pop stars, there is a fantasy of something beyond regular human beings. But I feel that supporting idols has a lot in common with how sports fans are supporting their favorite team. Sports fans also wear the uniforms of their favorite teams and buy merchandise, they follow rookie players as their careers unfold, they gather together for events and scream and cry. To me, that is no different from idol fans, but in the West especially, idol culture is placed lower in the hierarchy. This may have something to do with the fact that sports are often associated with masculinity and idol culture with femininity. I think there is certainly a religious and ritualistic element to oshikatsu. Because I get joy and motivation from it. I usually feel like I am an alien. I don’t really feel connected to other human beings. But when I go to concerts of my favorite idols, I get a great sense of being connected to other human beings. There is a sense of sharing something.

— So your favorite idols function as an intermediary to connect you with the world. By the way, some people feel guilty about looking at idols of the opposite sex as objects of desire. Is there any case that you feel the same way?

Bunny: First of all, I think that desire is misunderstood. Everyone has sexual desires and non-sexual/ platonic desires, and it is natural to have fantasies involving other people (celebrities or not). And I don’t think it is wrong to acknowledge this. I am non-binary, and for me, idols are also objects of my fantasies regarding gender, what I want to be like and look like. Whether I am sexually attracted to them or have a platonic longing for them, or want to imagine looking like them is complex and ambiguous. As a queer person, I think I am probably more comfortable with this ambiguity. However, of course I think there is also a dark side to the feeling of attraction or objectification for your own pleasure. Recently, things like deep fake porn are worrying.

–Deep fake is the use of AI to process a portion of an image. There have been problems with fake porno images of celebrities in which their faces have been merged with naked body image.

Bunny: To present something fake as reality, I think it is very much a disrespectful act, and I think it is irresponsible and dangerous to distribute such images on the internet, because it’s very difficult to control them once they are circulated. On the other hand, fan made works which are clearly fictional and not presented as reality, such as ‘fan fiction’ stories or doujinshi manga containing sexual elements, I do not think it is wrong. If you want to publish this kind of work, you need to be careful about how and where you present it, especially if it involves real people. But I don’t think it’s wrong to have desires, indulge your imagination, and create fantasies. I believe exploring and expressing our fantasies and desires gives us freedom to explore and express things that might not be possible in our everyday lives, whether that is gender & sexuality, fetish, romance, or something else completely.

— Thank you very much for sharing your interesting stories. By the way, what is in your newest zine “CLOWN THEORY” that you presented at the “TOKYO ART BOOK FAIR” this time?

Bunny: The theme is sad clowns. For some reason, I have been irresistibly attracted to clowns since I returned to England. This book is a compilation of my research on them. For example, one chapter is dedicated to clowns sold in charity (recycle) shops. Why were these clowns bought and sold? Why is it no longer needed? I am considering these things through essays, articles, photographs and illustration. Also, there are a lot of clown memes used by online fandoms. I traced when and how that expression became visible chronologically and highlighted its connection to K-POP fans. Incidentally, Key from SHINee became an icon of clown memes with his 2015 Halloween costume of Ronald McDonald, which became prolific even outside of K-pop fans. Finally this year he appeared in a McDonald’s commercial! When I started to see these connections, I really enjoyed it.

–So your creative style is all about thoroughly researching and compiling your findings and thoughts.

Bunny: I research what I like and find interesting, interpret and process this input, and then create my own expression of it. The truth is, I don’t really like clowns that much (laughs). But it is very interesting to find these connections between history, pop culture and humanity.

Photography Miyu Terasawa
Translation / Edit Shinichiro Sato（TOKION）

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Stefan Marx
Born in 1979 in Germany, Stefan Marx is an artist and illustrator based in Berlin, having relocated from Hamburg. Drawing inspiration from his passions such as drawing, skateboarding, books, and sketchbooks, he showcases his talents across various fields, including publishing art collections, art exhibitions, public art, and designing record jackets. Through his drawings and illustrations, Marx expresses his worldview, philosophy, and indie spirit as a skateboarder, offering a unique perspective on the world. At the age of 15, he founded the independent T-shirt label “Lousy Livin’ Company,” producing high-quality and creative T-shirts in limited quantities. He has also collaborated with numerous brands and companies, ranging from skateboard brands like “MAGENTA SKATEBOARDS” and “5BORO” to larger entities like “IKEA.” Several art books featuring his works have been published by publishers such as Nieves and Dashwood Books.
Instagram: @stefanmarx

Stefan Marx, an artist based in Berlin, Germany, has been influenced by cultural elements like skateboarding and music since his youth. His love of skateboarding and music from his youth led him to creative activities such as T-shirt and record jacket design, and later to the field of fine art. His typography, characterized by a floating sensation and condensed inspiration, serves as a device that expands the imagination of the viewer, evoking a sense of openness. Marx’s drawings, born from everyday observations and constant practice, exude a gentle, adorable, and comical charm, resonating with a wide audience through their sincere sensibility. Furthermore, when his works are applied to constructive spaces or architectural products, they create impactful suggestions beyond literal meanings, infusing new significance into places and objects. Despite evolving his creativity, Marx maintains his independent stance consistently. In recent years, he has explored collaborations with fashion brands like “Supreme” and “Comme des Garçons,” expanding the possibilities of merging art with commerce.

An interview was conducted with Stefan, who visited Japan this time. In the first part, we discussed the origin and progress of his creative activities, as well as the sentiments involved. In the second part, we inquired about his stance on typography and public art, which are themes of his representative works, as well as introducing and outlining the purpose of his new book, and collaborations with other artists. We asked about his approach to art as an open space, fostering the exchange of people’s free sensibilities and synergistic effects.

Visualizing inspiration derived from experience through typography

–Recently, an exhibition centered around typography artworks was held at the “Ruttkowski;68” gallery in New York. In the statement accompanying the exhibition, it was mentioned that “the text is inspired by lyrics.”

Stefan Marx(Stefan): Certainly, in the early days, I used to create artworks inspired by lyrics, but it’s different now. For example, Sunrise Sunset was conceptualized with ideas from both words and composition, visualized in my mind and then manifested into the artwork. Recent works often focus on compositions with words positioned at the top and bottom of the screen, with space in between.

Additionally, Listen to the Rain was inspired by experiences in Japan. In Japan, when it rains, many people use vinyl umbrellas, and when raindrops fall on them, it creates a distinct sound. This unique phenomenon of listening to the rain in Japan became the inspiration for the artwork.

In this way, typography artworks often stem from visiting various places and drawing inspiration from situations and experiences, resulting in their visual representation.

–Recent works tend to exude a poetic atmosphere.

Stefan: I perceive both words and drawings as visual images. I’m constantly thinking about words and drawings, accumulating various ideas in my mind, and they blend together to become artworks. Whether I’m walking, riding the train, listening to music, reading a book, or even browsing comments on social media, I sometimes get ideas from everywhere.

In typography artworks, I consider not only the literal meaning of words but also how to effectively express the imagery derived from them. For example, the artwork Heaven is a simple word, but through the combination of visual effects, it can convey complex meanings and transcend the boundaries of creation. Similarly, Moonlightss is a simple word, but the fluorescent colors shine in the darkness.

In Love Letter, I added information on the back of the artwork, such as “From ○○ to △△,” making it customizable as a unique piece. It’s interesting how this changes the weight and nuances of the words.

–This time, I also challenged myself with Japanese language artworks.

Stefan: When I visited Japan last time, I heard the phrase “omataseshimashita” (おまたせしました) multiple times from airport and restaurant staff, and I was curious about its meaning. I asked my friends to explain it to me and made a note of it.

This time, I decided to turn “omataseshimashita” into a typography artwork and display it. I wanted to convey a double meaning: asking people to wait in line for the Tokyo Art Book Fair’s signing event and expressing my hope that they would continue to participate in the exhibition.

I’m planning to continue working on Japanese language artworks in the future and studying hiragana, katakana, numbers, and more.

Reflecting the region and providing democratic locations accessible to everyone: Public Art

–Among the typography artworks, there are some that are installed on a large scale in urban spaces, resembling billboards in a way. Could you tell us about this project?

Stefan: There is a project to install public art in 30 locations across German cities, and I received offers for three of them: Bochum, Dortmund, and Essen. Subsequently, I also received offers from other cities, such as Basel in Switzerland. In Düsseldorf, a piece I created on the interior walls of the Kunsthalle museum can be viewed by anyone from the outside.

I love the democratic aspect of public art, where everyone can enjoy it for free. The production process is quite challenging, as it involves finding suitable large walls for the artwork, obtaining permission from the owners, ensuring the feasibility of working at heights, and securing the cost of lifts. However, I really enjoy the process and it has provided an opportunity for many people to become familiar with my work.

–When creating large-scale artwork in public spaces, do you have any particular considerations?

Stefan: When creating large-scale pieces in urban areas, I typically opt for monochrome colors. Although I have recently started creating colored pieces as well, I believe that black and white tends to be simpler and blends better with the surroundings. I like to enhance the expression with the contrasting contrast of white and black.

In the case of public art, since the artwork is installed in spaces where many people can see it, I proceed with the production while investigating the origin and history of that location. For the first three cities where I implemented the project, they were once thriving mining areas, so I chose words inspired by lyrics that were popular among laborers in the 19th century. Additionally, considering the size and shape of the walls, I repeatedly verified how the artwork would appear architecturally and spatially while creating it.

Continuing to create works in various forms by observing the everyday world, I want everyone to enjoy them

–This time, you participated in the Tokyo Art Book Fair for the first time. Please introduce your new books.

Stefan: While I’ve been attending the NY Art Book Fair annually since its inception, this marks my first participation in the Tokyo Art Book Fair. My friends, including HIMAA, Utrecht, and twelvebooks, have been asking me every year, “When are you coming?” so I’m glad I could finally make it.

I have four new releases this time. Firstly, there are two accordion-fold books. They document a series where I stand at a single point in a park, rotating 360 degrees while drawing panoramic views from the same position. One book captures the scene when I visited Tokyo in April 2023, guided by Yasukazu Yamamoto, who is a stylist known for his personal items. The other book features drawings made in Yoyogi Park. Since 2006, I’ve been drawing in Yoyogi Park every time I visit Japan, and some of these drawings have even appeared on record jackets.

Additionally, there’s a book co-produced with Dashwood Books in NY and a coloring book published by the traditional Berlin publisher, Hatje Cantz. The latter contains 31 illustrations that were serialized daily in The NY Times in August 2019, now presented as coloring pages. It’s designed with large-sized pages so that children can boldly color them, and it uses very lightweight paper for easy flipping. While this book is for children, it’s also designed to be enjoyed by adults as an artist’s book.

–Why did you decide to create books for children? Did you take any special considerations for children’s books?

Stefan: When I create books, I never specifically target them for anyone in particular.I aim to create something that anyone can enjoy. Even when I previously collaborated with Rollo Press in Switzerland to create children’s books, while many people bought them as gifts for children, adults also enjoyed them.

Fundamentally, I don’t like to categorize my expressions too much, and I always aim to create something that everyone can enjoy. Unlike language, art is something that people worldwide can understand at a glance. I believe that simple expressions based on the effect of art can generate empathy among many people.

My fine art pieces are very expensive and not something everyone can afford, but records and zines are accessible to anyone, so they can be picked up by various people. By providing diverse outlets, I want to create a democratic space accessible to everyone. I continue both fine art and commercial activities. T-shirts are a prime example of this.

This approach also extends to observing my daily life and the things around me and continuing to draw what I feel.

Collaborating with Artists to Foster Further Development by Sharing Creative Spaces

–You’ve collaborated with various brands in the past, but your collaboration with “Comme des Garçons” featured your artwork boldly displayed on the entire surface of structurally shaped dresses. Both of you have strong artistic inclinations, so how did the collaboration progress?

Stefan: It started quite abruptly. One Sunday evening while I was packing to go to the NY Art Book Fair, I received an unexpected email from one of Kawakubo’s assistants. The email expressed their desire to use my artwork for the “Comme des Garçons” collection. They had already decided which pieces they wanted to use, but the design aspect was left entirely to “Comme des Garçons”. Until the collection was unveiled at the show, nobody knew how the pieces would be designed. I had to decide whether to accept or decline the offer after understanding all the conditions.

The method of collaboration with “Comme des Garçons” was very straightforward, which resonated with me as I also use a similar approach when designing record jackets. So, I immediately replied, “Let’s do it,” to facilitate an environment where they could easily unleash their creativity.

In reality, the content of the collaboration was completely unknown until the day of the show. Even the PR team of “Comme des Garçons” saw it for the first time at the show. The dresses worn by models with avant-garde hairstyles were fantastic, and I am very satisfied with the result.

The collaboration approach of “Comme des Garçons” was very enlightening. I believe it is highly suitable when collaborating with artists. Because of the mutual respect, sharing creative space and allowing each other to work freely can further develop creativity.

–You have visited Japan many times, but have you been inspired by anything in Japan, such as “Listen to the Rain” mentioned earlier, or found anything interesting?

Stefan: Japan is a place I love because I have friends here, and there are foods I enjoy. I’m grateful to have had several memorable projects here. I’ve had the opportunity to exhibit at bookstores like Utrecht and galleries like SALT AND PEPPER, collaborated with GASBOOK, worked with brands like UNIQLO and BEAMS.

I find inspiration in the meticulous attention to detail in everyday things in Japan. I also enjoy observing how cities, streets, and architecture are structured across various layers. Tokyo, in particular, feels very different from other cities. The subway system, the dynamics of society and community, may seem complex at first glance, but it functions mysteriously well. In that regard, Tokyo feels different from other Asian cities as well.

–Please tell us about what you want to achieve and challenge in your future creative endeavors.

Stefan: In 2023, I was traveling around the world for art shows and exhibitions, so in 2024, I want to spend time in my studio, quietly focusing on creating and challenging myself with new endeavors. Specifically, I have a plan to collaborate with friends in Italy, using stones and jewelry to create artworks. Rather than sculptural 3D pieces, I’m considering an approach that involves using stones flat, like plates, akin to drawing.

Photography Masashi Ura
Interview Akio Kunisawa
Translation Elie Inoue

The post Art as an Open Space for Everyone – Interview with Artist Stefan Marx Pert.2 appeared first on TOKION - Cutting edge culture and fashion information.

Stefan Marx
Born in 1979 in Germany, Stefan Marx is an artist and illustrator based in Berlin, having relocated from Hamburg. Drawing inspiration from his passions such as drawing, skateboarding, books, and sketchbooks, he showcases his talents across various fields, including publishing art collections, art exhibitions, public art, and designing record jackets. Through his drawings and illustrations, Marx expresses his worldview, philosophy, and indie spirit as a skateboarder, offering a unique perspective on the world. At the age of 15, he founded the independent T-shirt label “Lousy Livin’ Company,” producing high-quality and creative T-shirts in limited quantities. He has also collaborated with numerous brands and companies, ranging from skateboard brands like “MAGENTA SKATEBOARDS” and “5BORO” to larger entities like “IKEA.” Several art books featuring his works have been published by publishers such as Nieves and Dashwood Books.
@stefanmarx

Stefan Marx, an artist based in Berlin, Germany, has been influenced by cultural elements like skateboarding and music since his youth. His love of skateboarding and music from his youth led him to creative activities such as T-shirt and record jacket design, and later to the field of fine art. His typography, characterized by a floating sensation and condensed inspiration, serves as a device that expands the imagination of the viewer, evoking a sense of openness. Marx’s drawings, born from everyday observations and constant practice, exude a gentle, adorable, and comical charm, resonating with a wide audience through their sincere sensibility. Furthermore, when his works are applied to constructive spaces or architectural products, they create impactful suggestions beyond literal meanings, infusing new significance into places and objects. Despite evolving his creativity, Marx maintains his independent stance consistently. In recent years, he has explored collaborations with fashion brands like “Supreme” and “Comme des Garçons,” expanding the possibilities of merging art with commerce. We interviewed Stefan during his visit to Japan. In this first part, we delve into his background, his fascination with street culture, and how he transitioned his overflowing ideas from his youth into label activities, discussing his attitude from the early stages of his career.

Aiming for a Crossroads of Diverse Cultures

–Can you tell us about the background and journey that led you to pursue art?

Stefan Marx（Stefan）: I was born in Schwalmstadt, Germany, and grew up in Totzenhausen, a very small town. From a young age, I was interested in art, typography, and graphic design, and later developed an interest in skateboarding culture. Back then, the internet wasn’t widespread, so magazines were the main source of information, but it was quite challenging to find sophisticated magazines in the countryside. In that environment, at the age of 15, I wanted to create clothes for my friends who skateboarded, so I started a T-shirt label called “Lousy Livin’ Company.”

 Afterwards, I attended university in Hamburg, where I continued to design T-shirts for my label alongside my studies. I also worked providing graphics for a skateboard company called “CLEPTOMANICX.”

Following my university graduation, I had a pivotal encounter with Karin Guenther, a curator based in Hamburg, which led to the opportunity to exhibit my work in galleries. Alongside my fine art endeavors, I continued my commercial work. It was after creating a catalog for my own label that I started compiling Zines featuring my drawings.

Benjamin from the Swiss publisher Nieves took a liking to one of these Zines, and the following year, we collaborated on a book together. Since then, I’ve been publishing books annually with Nieves.

–How did your interest in art and typography develop in an environment where information was limited during your childhood?

Stefan: There wasn’t any special catalyst, but I’ve always been interested in visual expression since childhood, finding joy and immersion in the act of drawing. I was always drawing something. While I think everyone enjoys drawing as a child, I’ve continued to do so into adulthood; it’s something I’ve never stopped. I simply love to draw.

Drawing allowed me to observe the things around me, absorbing their visual essence, and sharing those images with others. That has been a significant motivation for me, and I believe it’s why I continue to draw to this day.

–Please tell us about the specific activities and goals you had when you established your label “Lousy Livin’ Company” at the age of 15.

Stefan: At that time, American skate brands were popular among my skater friends, but they were too expensive to buy in Germany. So, I decided to start my own label to create alternative options. When I became interested in skateboarding, I also developed an interest in the surrounding culture, including fashion, graphics, and music, which naturally led to an interest in making clothes. I had many ideas about how existing decks and T-shirt designs could be more interesting.

When I started the label, I had no knowledge about how to make items or how to run a business, so I gathered information by asking adults around me. I found a company that could screen print T-shirts, borrowed money from my sister for production costs, and made the first T-shirt.

Since I was running the label alone, I did everything myself, not just designing. I went to wholesale companies for skate shops to sell my T-shirts and even sold them to friends in the schoolyard. I was doing it because I wanted people to see what I had made and was enjoying it. It was all about wanting to see my friends happy.

My friends knew I was working hard to make clothes, so they supported me by wearing my clothes.

As I continued the label’s activities, I realized I wanted not only my skater friends to wear the items but also non-skater friends to understand and appreciate them.

I wanted a broader range of people to be interested. Although I initially started as a skateboarding brand, it eventually grew into a brand worn by many people. I wanted to create a space where various people could intersect through the brand.

 Adding Visual Elements to Music, Expanding the Listener’s Imagination

–You’ve been familiar with music since childhood and have designed numerous record jackets. What led you to start working with music?

Stefan: Designing record jackets was a childhood dream of mine. However, when I started my design career, records were transitioning to CDs, and CDs were transitioning to MP3s, so I thought there wouldn’t be opportunities to design record jackets anymore.

Nevertheless, there were still artists in the independent scene releasing analog works, and I happened to get the chance to design the record jacket for Isolée’s “We Are Monster,” which turned out to be a big hit. This led me to handle all the record jacket designs for “Smallville Records,” an underground techno/house label in Hamburg.

Initially, when I started designing for “Smallville Records,” I didn’t think the label would last long, so I approached it with the mindset that designing about five records would be sufficient. However, contrary to my expectations, the records sold well, and the label has been going strong for almost 20 years.

During the pandemic when business was slow, my partner and I decided to establish a company and took over all the rights to “Smallville Records.” Currently, I own 50% of the label’s shares and am involved in its operations.

The design approach at “Smallville Records” is simple: each record jacket consists solely of my artwork on the front, with the musician’s name and credits printed on the back. I believe this innovative approach to jacket design contributed to its success.

–Could you please tell me what you value in the design of record jackets? Are you expanding the image from the content of the music?

Stefan: In designing record jackets, I draw inspiration from Sonic Youth’s approach. They often selected existing artwork by artists like Raymond Pettibon, Mike Kelley, and Gerhard Richter for their album covers, creating a visual connection to their music. I aim to achieve a similar effect, allowing the artwork to expand the listener’s imagination and create various interpretations. While some designs may provoke discomfort, I believe it’s essential to design jackets that enhance the listener’s experience.

When designing, I avoid listening to the music beforehand and instead rely on the title and track names to inspire my designs. I visualize typography and design elements based on these cues. Regarding artist input, I typically present 2-3 design ideas and let the artist choose, preferring not to accommodate specific requests. Sometimes, unrelated artwork I’ve created ends up becoming a record jacket, as I approach jacket design as an extension of my artistic portfolio rather than solely for the record’s sake.

Photography Masashi Ura
Interview Akio Kunisawa
Translation Elie Inoue

The post Art as an Open Space for Everyone – Interview with Artist Stefan Marx Part.1 appeared first on TOKION - Cutting edge culture and fashion information.

How did Saiko Otabe cultivate her distinct flair and compositions in her artworks? 

—Congratulations on your first solo exhibition in Europe. How did it come about?

Saiko Otake: I met the owner of Sato Gallery, Julien, when I was visiting Paris in 2019 for work, and we were able to make this exhibition happen after covid. I was in my head because it was my first art show in Europe, but he told me, “Have fun with it!” That made me want to show an evolved version of what I had been making in Japan. One of my dreams, to have an exhibition abroad, has come true. 

—Your works are characterized by their powerful, rich colors, including pieces in COLOURIDER. What role does color play? 

Otake: I discovered 60s psychedelic art as a child and was drawn to distinct color schemes using fluorescent colors, typography, and the impact of color. Since then, I’ve truly understood the power that colors have. It’s not that I like colors just because they’re loud; I like strange color schemes or the power and strong impression that colors emit when combined. There are infinite ways to combine and show colors, so I want to express how amazing they are all the time. 

—The title, COLOURIDER, fits your exhibition so perfectly. Your compositions and arrangements are unique and exquisite. 

Otake: When I was younger, I wanted to become someone who makes posters. Perhaps I think of my art as compositions that combine patterns and colors rather than paintings due to my admiration for posters. I like looking at old posters and advertisements, so I’m sure they influence my work. Other than drawing women, I drew things that don’t exist, like dinosaurs and monsters. 

This might be the influence of psychedelic posters. I also have some pieces where I intensely filled in the blank spaces with something like words that connected to each other.

Blurring the line by combining photos/A book series that accumulates everyday inspiration 

—Aside from paintings, you’re also showing artworks that combine two photos together. You create a different image by putting photos that look seemingly unrelated to one another side by side. How did you come up with this?

Otake: I joined a workshop on Daido Moriyama’s exhibition at Tate Modern when I was in London. Monochromatic photos were on the wall, and we had to choose a number and create our own layout. That workshop inspired me to put together photos I took on my own. The catalyst for [this method] was placing photos that looked seemingly unrelated to one another side by side. It was fun. The boundaries between time, place, and colors are made ambiguous by combining two completely different photos, so I was especially mindful of the balance of the colors and shape of the layouts. For this exhibition, the theme is overseas and Japan; the photos I took abroad are on the left, and those I took in Japan are on the right. 

—Is that how your book series was born? 

Otake: Yes. I had always wanted to make a book with no blank spaces, so I made three as part of my graduation project at Central Saint Martins. I self-published 15 books by 2022. I took photos as though I were collecting sceneries that inspired me daily. 

—What sort of sceneries in your daily life do you get inspiration from? 

Otake: I’m interested in old things that have been left behind and things that humans altered. I’m drawn to parts of posters, peeling walls, old mannequins, and more. In terms of places, I like museums, old stationery stores, vintage shops, and markets selling many different items. Bathrooms, signs, and trash on the ground are must-sees when I’m overseas. They have unique colors that you don’t see in Japan. 

・Impressions of visiting the Netherlands for the first time and traveling around Europe

—I see. I’d like to hear about your travels. This is your first time visiting the Netherlands; what are your impressions? 

Otake: What surprised me were the big windows where you can see everything inside the houses. I heard that in the past, it signaled living a modest life under the influence of Protestantism, which preferred simplicity and frugality. But today, it’s shifting to a custom where people show off. That was interesting. When I walk on the streets, I feel like I’m watching one scene from a film because I see glimpses of people’s lives, like a family sitting at the dinner table. I talked to long-time residents of the Netherlands, which made me appreciate the place even more. It’s relatively easy to get a visa, and the support for artists is generous. Traveling around, I get the impression that the people are kind here.

—Your trip started in London. You’re now done with traveling around the Netherlands, and you’re visiting Paris after this. What do your travels look like? 

Otake: I got so pumped when I first saw (Ronald Brooks) Kitaj’s exhibition in London, and the cityscape, smell, and look of pubs all felt so nostalgic. I was nervous because it took a long time for my pieces to arrive in Rotterdam. I also went to the Hague and Amsterdam to visit people I know. I feel happy every day because I can absorb things I find stimulating for the first time in a long time.

I want to visit the Japan Museum Sieboldhuis in Leiden after this. Writer Akira Yoshimura-san’s books are interesting, so I’m interested in Sieboldhuis and the people he was affiliated with. I’m going to Philippe Weisbecker’s exhibition in Paris and Gilles Aillaud’s exhibition at the Centre Pompidou. I’m also going all the way to Lyon to visit the Ideal Palace. It’s a castle built by a mail carrier named (Ferdinand) Cheval and is categorized as outsider art. I’ve been interested in it since I was small, so I’m very excited. 

—I’m surprised by the breadth of your interests, which span modern art, outsider art, and even history. 

Otake: I’m looking forward to seeing actual paintings by Van Gogh, Picasso, Matisse, and so on, but I want to cross the line of art that has already been assigned value and appreciate various things with curiosity.

—How has the path to becoming an artist been?

Otake: I’ve enjoyed looking at many different things since I was small. I used to draw people in my sketchbook and look through magazines to draw. But I didn’t think of becoming an artist, nor did I believe I could make a living as one, so I simply hoped I could support my father (who’s an artist). I eventually started wanting to draw and express things myself; I am where I am today because I was given many opportunities. 

—How do you feel now that you’re having your first solo exhibition in Europe?

Otake: I’m relieved it opened safe and sound; I’m satisfied with my first solo exhibition outside Japan. It’d be more interesting to show bigger pieces with colors next time. It’s open until March 3rd, so I’m both apprehensive and eager about the feedback I’ll receive. It was hard because I’d feel down due to the terrible state of the entire world, but that’s why I wanted to convey the power that colors possess through this exhibition. I myself feel encouraged when I see colors.

■SAIKO OTAKE COLOURIDER
Date: January 25th, 2024 (Thursday) to March 3rd (Sunday)
Venue: Sato Gallery 
Address: Insulindestraat 78, 3038 JB Rotterdam, Netherlands
Entrance fee: free 
Website: https://www.sato.art/ja/exhibitions/23/overview/

Translation Lena Grace Suda

The post Artist Saiko Otake on the Origins and the Present State of Her Art: Her First Solo Exhibition at a European Gallery, “COLOURIDER” appeared first on TOKION - Cutting edge culture and fashion information.

Leiko Ikemura
Painter, sculptor. Served as a professor at UDK (the Berlin University of the Arts) from 1991 to 2015. Awarded the August Macke Prize in 2009. Since 2014, she has been a visiting professor at the Joshibi University of Art and Design Graduate School. She also received an Art Encouragement Prize in 2020. Some recent notable solo exhibitions include “Toward New Seas” at the Basel Art Museum, Switzerland, in 2019, and “Our Planet – Earth & Stars” at the National Art Center, Tokyo, in the same year.

Based in Berlin and Cologne, Japanese artist Leiko Ikemura hosted a solo exhibition “When Animals Become Art” at the Feuerle Collection gallery in Berlin. What is the message behind the exhibition that uses animals as a medium for artistic expression, featuring elements such as glass sculptures of rabbits and vintage Steiff plush toys?

Review the exhibition “When Animals Become Art: Leiko IKEMURA” in Berlin.

Upon entering, one is enveloped in a sacred ambiance, experiencing an enigmatic feeling akin to a soulful cleanse. Situated in Berlin’s Kreuzberg district, the Feuerle Collection gallery holds a distinctive allure for me, resembling a unique and almost sacred space.

With an expansive land area comparable to that of a museum, this gallery has been skillfully converted by the British architect John Pawson from the remains of an air-raid shelter utilized for information and communication during World War II. Darkness shrouded the bare concrete and the perfect use of minimal light skillfully highlights the Art pieces.

Within a setting radiating a minimal yet reverent ambiance, the displays feature Khmer sculptures spanning the 7th to the 13th centuries, furniture utilized by Chinese emperors from 200 BC to the 17th century, photographs by Araki Nobuyoshi, and artworks by Cristina Iglesias. This creates a compelling contrast between classical and contemporary art.

At The Feuerle Collection, alongside the permanent exhibition, there is an irregularly presented special exhibition known as “SILK ROOM.” The current guest artist for this exhibition is Ikemura, a globally recognized and influential contemporary Japanese artist. The ongoing exhibition titled “When Animals Become Art” is curated by the founder, Désiré Feuerle. In the 1970s, Ikemura, a leading Japanese contemporary artist, boldly ventured to Spain when the presence of female artists on the international stage was still limited. Subsequently, she relocated to Switzerland and organized her inaugural group exhibition in Bonn and Nuremberg in Germany in 1983. Serving as a professor at UDK (Berlin University of the Arts) from 1990 to 2016, she has continued to impart knowledge since 2014 at Joshibi University of Art and Design in Tokyo. Over the years, Ikemura has conducted over 700 solo and group exhibitions in more than 29 countries worldwide. Her artworks grace the collections of esteemed institutions such as the State Museums of Berlin and the National Museum of Modern Art, Tokyo.

The second edition of the “SILK ROOM” series, titled “When Animals Become Art,” presents a carefully chosen collection of artworks from Ikemura’s archive spanning from 1990 to 2022. Spread across a 400-square-meter exhibition space, the showcase adopts a distinctive presentation approach, highlighting a unique arrangement of rare and precious vintage Steiff plush toys (crafted by the renowned German teddy bear manufacturer) personally collected by Ikemura.

What is the message behind the title “When Animals Become Art”?. Ikemura stated as follows:

“While recognizing the presence of animalistic qualities in humans, I contemplate the idea that animals also exhibit human behaviors and strive to convey this notion. Fundamentally, humans and animals coexist. I hold the belief that animals, far from being mere entities, are inherently more interconnected with us despite the disparities. Take the ‘fox’ as an example. While the conventional notion of a fox may seem straightforward, in narratives, a fox can undergo transformations, at times assuming the guise of a woman. The enigmatic tales of foxes and their appearances trace back to mythology. The ‘rabbit’ serves as another instance of an animal carrying profound significance. I have a fondness for the Japanese pronunciation of rabbit (Usagi,) and its elegance is mirrored in sculptural form. The rabbit’s prominent ears function akin to antennas, and its zigzagging movements signify unpredictable skills, embodying a refined form of self-defense.”

Displayed in parallel with her original creations are the rare vintage animals from Steiff. Ikemura has received these as gifts, found them at antique markets or in store windows over the years, and has been collecting them. She is fascinated by the trademark button, the “Button in Ear,” attached to their left ears. However, some of these plush toys have a sad story – once cherished and loved as someone’s precious possession, they were eventually abandoned. As time passed, these vintage toys exude a sense of luxury yet carry a somewhat melancholic appearance, perhaps due to the poignant narratives behind them.

Désiré Feuerle, a long-time friend of Ikemura, revealed the background that led to the exhibition: “While sharing a dinner at Leiko’s home, I noticed that the Steiff animals she had been collecting over the years possessed a childlike playfulness and soul, mirroring her own artworks. The distinction lies in their visually twisted, somewhat erotic, and sensual nature. Capturing this essence, I conceived the idea of curating this exhibition at the Feuerle Collection. Through a deliberate exploration of the sensuality inherent in both animals and women, the significance of unfiltered joy in animals became apparent. By observing animals, sensing their souls, and concurrently emphasizing eros, we can uncover the connection with our own primal, animalistic aspects as humans.”

The long-running exhibition “When Animals Become Art,” which began in July, concluded on January 7, 2024. With every visit to The Feuerle Collection, one can expect to encounter new discoveries and evoke emotions previously unfelt. We also ensure distinctive experiences for both special exhibitions and permanent collections. Moreover, the special exhibition “SILK ROOM” not only showcases curated exhibits by guest artists but also hosts diverse programs, including performances, artist talks, screenings, and concerts, serving as a platform for the endeavors of Japanese artists and creators.           

Translation Takahiro Kanazawa

The post Exploring Human Essence and Eros within Animal Realms: Leiko Ikemura’s Artistry appeared first on TOKION - Cutting edge culture and fashion information.

YAMAN NKYMN
YAMAN NKYMN is a maestro strategist and contemporary artist based in Los Angeles and Kyoto, Japan. He studied at Kobe University, Japan, graduating in chemistry in 1999. He began his career as a marketing strategist, working globally for leading fashion houses such as Louis Vuitton, Chanel, and Gucci.
In 2019, he worked on the animation movie “Shin Evangelion: 3.0+1.0 Thrice Upon a Time” as the strategic director, establishing the company “YamAnno” with the film director Hideaki Anno for the movie. The film surpassed 10 billion yen in box office revenue, approximately double that of the previous film in the series.
He began his career as a contemporary artist in 2021 with the exhibition “陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL” at the Japanese National Treasure, Hiunkaku in Nishi Hongwanji Temple. The following year,
the work was invited to the art fair, Frieze Week Los Angeles and premiered at the Chateau Marmont in West Hollywood, his global debut, just one year after his first exhibition.
Back in 2012 his work evolved, adapting to fast-changing social behaviors into the creation of original content – entertaining, interactive, gamified, using algorithms to observe a communicative world and data collection, accelerating the process.
Following the principles of chemistry, YAMAN’s practice is a recodification characterized by a juxtaposed observation of the laws at play in both matter and society – invisible states, relationships, interactions, conditions before reaction and under equilibrium.
From this dual, coupled perspective, YAMAN notices imbalanced states in society and turns his focus to the source of distorted definition, information transmission which defines the minority or ‘other’.

Artist YAMAN NKYMN, who was invited to be part of the official program of “Frieze Los Angeles 2022” and whose documentary “THE ULTIMATE OTHER” (2022) was produced by Frieze Studio only one year after his debut as a contemporary artist, presented his new artwork in Kyoto.

This newest piece, which was shown in an area not usually open to the public at  Hoshunin Temple, Daitokuji, was titled “年ごとに 人はやらへど目に見えぬ 心の鬼はゆく方もなしWHITE2BLACK 11072023”. The invitations we received at our editorial office only stated “(跡見:)追儺 黒節分/(ATOMI:)WHITE2BLACK”. What is the significance of Oni that consistently appears in his work? Why was the poem by a female poet used as a title of it in the first place? We were honored to sit down and talk to YAMAN NKYMN about the creative background of this work and the sources of its inspiration.

The sediment that has accumulated over time brings out the artist’s personality

–How does your expertise and experience as a maestro-strategist influence this specific work or your practices as a contemporary artist?

YAMAN NKYMN (YAMAN): The influences from those are significant. In the first place, working as an artist makes me realize how ordinary I am. Basically, I don’t have anything like an “overflowing creative urge.”

Instead, what I have as an artist is a kind of sediment that has accumulated through my sincere commitment to the roles of marketer and strategist. The conflict between ideals and reality. The distortion between creative and commercial activities. The essential quality being spoiled day by day, by being forced to deal with superficial things.

Personally, I despair that there is a gap between the “ideal state” and the “actual state,” especially in industries like fashion and animation. I feel that because, even if the industry is made up of people who like working in that area, the ideal cannot be realized.

Being involved in those industries as someone in charge of the figures would accumulate a special kind of sediment because of the objective viewpoint one is forced to take. Conversely, the sediment that has accumulated little by little has constructed a message that can be disseminated because I am ordinary.

Therefore, all the elements in my work are simply what I have experienced, researched, and repeatedly thought about.

Only the fact I was forced to “communicate” in the position of the ordinary person’s job in a creative society formed a distinctive characteristic within myself. The sediments I have accumulated over time are not so easily understandable to others. On the other hand, just because it does not make sense to others does not necessarily mean it is incorrect. That is why I explore how I should communicate, contemplating whether to use metaphors or paraphrases. This “Chanoyu” style of expression is one such example.

–Is your career related to your references to subcultural icons and elements?

YAMAN: Some aspects are related, and others are not. In terms of unrelated aspects, I am the type of person who plans projects in a “3+1 dimensional” manner. It’s kind of like meditating on the world (3 dimensions) with a free time axis (+1 dimension). In other words, it is a Kurt Vonnegut-like thinking, or the mode of thinking often seen in science fiction. In other words, I treat these last 100 years “Showa/Heisei/Reiwa” eras as equivalent to the “Heian and Azuchi-Momoyama” eras, 1200-500 years ago. For me, Astro Boy is as valuable as Sen-no-Rikyu. That means I am the kind of person who thinks modern culture is temporally connected to the classics in a seamless manner.

Paradoxically, in terms of related aspects, the more classical, the heavier and slower, and the newer the content is, the lighter and faster. “Messages” are heavy and slow, but entertainment is light and fast. This is a critical perspective for contemporary marketing. It is not a dichotomy, but what matters is a balance, a middle ground between the two. Regardless of whether it is legitimate as an artistic expression, this sense of balance seems to be, at least at this point, a way in which I can continue to face the world without despairing.

In addition, my involvement in social media marketing for more than a decade since 2007 was a direct impetus for choosing “relational art” for this specific work. In other words, communication itself has been at the center of my career, and the key to this has been the balance between online and offline. If you read the literature of several critics since Nicolas Bourriaud’s seminal work published in 1998 from this perspective, you will notice that the relational infrastructure on which these works are based is different from that of today with the  existence of, for instance, social media. Therefore, I thought of composing a new work as “relational art in 2023” while incorporating the previous work “陸奥の 安達原の黒塚に 鬼籠もれりと言うはまことか (UN)KEEPALL” which focused on the same concept.

–”年ごとに 人はやらへど目に見えぬ 心の鬼はゆく方もなし WHITE2BLACK 11072023” and ”(跡見:)追儺 黒節分/(ATOMI:)WHITE2BLACK”, what are the meanings of the two names of your works?

YAMAN: The former is the title of my work of contemporary art. It is taken from a waka poem by Kamo-no-Yasunori-no-Musume, a woman of the mid-Heian period (end of C9th to mid C11th). This waka poem by a minority woman poet, who was physically scarred by a plague epidemic and living outside mainstream society, and who left us free, vigorous, and sharp creations, expresses all that this work means.

The latter is a title of Chaji, an authentic Japanese tea ceremony, which was named from the majority viewpoint. To give you an explanation, the name is linked to the date of the event. Today, in Japan, the term Setsubun makes us think of the Setsubun in February, but originally, Setsubun is the day before Risshun, Rikka, Risshu, and Ritto, the starting point of each season. 黒節分/WHITE2BLACK is the term coined to indicate the day before Risshu, the turning point from autumn to winter, referring to the theory of Yin-Yang and the five elements.

In this exhibition, the number “3” and multiples of 3 are spotted everywhere in this work. Since my previous work, I have dealt with the idea of de-dualism as one of the themes, such as “Oni,” which ranges between good and evil. The number “3” indicates “oneness,” the integration of duality. In Buddhism, it is said to represent “moderation.” Having two aspects, my work of contemporary art and Chaji, an authentic Japanese tea ceremony, reveal an infinite number of possibilities through this “oneness”.

–Please give us an overview of the exhibition once again.

YAMAN: “(跡見:)追儺 黒節分/(ATOMI:)WHITE2BLACK” consists of two different events spanning two days as one set, which are “追儺 黒節分/WHITE2BLACK” and “跡見: 追儺 黒節分/ATOMI:WHITE2BLACK”.

On the first day, the former invited three people for a 3-hour tea ceremony. Theaster Gates, Hirohiko Araki, and Raku Kichizaemon XVI were the guests of honor on each day. The relationship between the host and guests begins with welcoming them at Kinmokaku, the main gate of Daitokuji Temple. After that, we moved to Hoshunin Temple to proceed with Chaji, the authentic Japanese tea ceremony, two types of matcha tea and Kaiseki cuisine after the reception experience .

On the second day, the latter was conducted for 27 people per day in the form of “ATOMI(-no-Chaji)” in tea ceremony culture, and the exhibition was organized in a way that the vestiges of the Chaji held on the first day were visible. A sheet of paper, called “Chakai-Ki” was prepared and placed in the room, describing the participants, utensils used, and menu for the Kaiseki cuisine. The intention behind it was to make guests read what was going on in the Chaji on the first day and the relationship between host and guests from the vestiges. Visitors became participants in the relationships that already existed through the act of reading the vestiges.

This two-day set was conducted three times for a total of six days. The whole event is collectively referred to as “年ごとに 人はやらへど目に見えぬ 心の鬼はゆく方もなし WHITE2BLACK 11072023” (The waka poem means; Year after year, people perform the ritual to drive Oni away but they never notice that an invisible Oni also exists in their hearts) produced under the concept: Information Transmission and its (Ingrained) Distortion.

–I visited on the day of “ATOMI” and it was characterized by many references to elements from subculture in addition to those icons of Japanese history such as Oni, Sugawara-no-Michizane, and Sen-no-Rikyu.

YAMAN: In the early stage of the planning, the work was meant to be composed of only three contrasts: Oni, Sugawara-no-Michizane, and Sen-no-Rikyu. Even now, the main components of the work are these three as representatives of “distorted and ingrained information.” While this became worthy of admiration as a conceptual work, I had a problem with how it lacked lightness and how narrow the spectrum of its beauty was. It seemed to be weak as a protocol that could be appreciated both in Asia and globally.

So I referred to “American Beauty,” a beautiful comedy film about de-stereotyping. However, since its theatrical release, I have interpreted it as a story about finding the American form of wabi-sabi, in which the protagonist dies just after achieving enlightenment.

I projected it as an alternative way of life (death) that goes against the “unfortunate destiny of Oni/Sugawara-no-Michizane/Sen-no-Rikyu” onto the work. Since the exhibition was initially composed from the viewpoints of the three “dissidents,” the work was too resentful and bitter. The reference to that film balanced that out. Another essential element of this film is the fact that it was released in 1999 when the relational art movement and SABIÉ, a group reinstated to continue to evolve Chanoyu established in 1988, were active.

The same goes for Astro Boy. An animation cell of the black-and-white animated film “Astro Boy,” which began in 1963, and a tea bowl from my collection were included in the work. Displaying the animation cell as a hanging scroll completely changed the atmosphere of the entire exhibition. The use of the tea bowls with the image of Astro boy in the tea ceremony also added a sense of relaxation amidst the tension. In addition, as an idea I had been working on, I tried to juxtapose “Oni” with “Astro Boy.”

Astro Boy in the 1960s is not just a story of rewarding good and punishing evil. Racism and minority issues are well depicted. While robots are set up to have emotions equal to humans, they are not allowed to compete or fight equally with humans under the law of the “Three Laws of Robotics”. In a sense, we can overlap the structures of respective episodes of Astro Boy with actual cases of racial discrimination. There are many stories in which Astro boy is discriminated against as a robot or plays the role of the dissident. 

In addition, the Astro Boy animated series, released in 1963, began to be broadcast in Korea in 1970. As was often the case at the time, I learned that some Koreans thought it was an animation produced in their own country. Also, many look-alike works were subsequently made in Korea. I was interested in pointing out this fact in a pan-Asian context and in relation to the concept of my work: Information Transmission and its (Ingrained) Distortion. Rather than judging whether it was good or bad, I thought it was a fascinating story that could be contrasted with the black-and-white animated “Astro Boy” being the first example of animation character copyright protection in Japan. I thought that the question of who the rules and schemes are for would be a question that could be linked to the “Japanese tea ceremony.”

–A pair of sneakers were included as one of the exhibits in this exhibition, as in the previous one.

YAMAN: I feel attached to Alessandro Michele’s Gucci, partly because I was involved of 2016 Cruise Collection. I like his philosophy and creations. One of the collections that manifested his philosophy was the “Fake Not” collection, and I sympathized with the concept. I have been embedding these sneakers in my work at every exhibition so far, as they overlap with the message I want to convey.

Another thing is that I always place these sneakers in places where visitors take off their shoes, such as shoe racks. When people see these shoes, they imagine an invisible guest, saying, “Oh, there is a visitor ahead of me.” “Oni,” which is used as a motif in every exhibition, has been defined in mythology as “something invisible” in relation to chinese character “隠/onu,” a word literally meaning “invisible.” I feel that Alessandro’s 2020 item evokes the “invisible guest” at the beginning of the exhibition, inviting guests on a journey into the more than 2,000 years of “Oni” history.

–Please tell us about “Oni,” the symbol that has consistently appeared in your works from your previous works.

YAMAN: The previous work was released in 2021. Unexpectedly, the exhibition was held under the declared state of emergency caused by COVID-19. The pandemic started when I was working on production. I reviewed the project in light of the changed environment, which ended up referring to “Oni.”

When you unravel history and mythology, you realize that the definition “Oni” has been used conveniently by human beings. At the time, I paid particular attention to the fact that one thousand years ago, epidemics were referred to as “鬼魅 (Oni and demons)”. Japanese people believed that Oni and demons brought disasters from the outer into our world. But at the same time Japanese people would enshrine and pray to them to avoid disaster. In short, with regard to the epidemics that occurred at that time, the Japanese people put both the cause and the solution on someone other than themselves, that is, “Oni”, “the outer”.

On the contrary, in the waka poem quoted in the title of this work, “年ごとに 人はやらへど目に見えぬ 心の鬼はゆく方もなし WHITE2BLACK 11072023“, it is pointed out that Oni exist “inside” of us as well. This must have been a groundbreaking perspective at the time in the Heian era.

In addition, as many of us know, “Oni,” which is supposed to be an old classical motif, frequently appears in modern works, such as “Demon Slayer: Kimetsu no Yaiba.” And that makes me feel that this motif is compatible with my style, in which I refer to manga, anime, tokusatsu, movies, science fiction, and the Classics.

The explosive power of entertainment necessary to deal with serious messages

–On your Instagram, participants posted their critiques/impressions, and the author of the manga “JoJo’s Bizarre Adventure”, Hirohiko Araki commented, “At the end of the exhibition, there was more calligraphy on display. The characters said “咄々々” (totsu-totsu-totsu). The meaning is an old onomatopoeia like “ゴゴゴ (go-go-go, featured in JoJo’s Bizarre Adventure). Something is going to happen.” and scriptwriter Mitsuyoshi Takasu uses the keywords “puzzle solving”.

YAMAN: I feel that the motifs, including “Oni,” contribute to the formation of various links by themselves. On the other hand, my style also deconstructs and embeds classical motifs from a contemporary entertainment point of view.

I compose works in a multi-layered structure with many links and the “puzzle solving” element that accompanies it, inspired by the film director, Hideaki Anno’s way of thinking which I learned directly from him when I was involved in the movie “Shin Evangelion: 3.0+1.0 Thrice Upon a Time”. I am also influenced by reference culture, which is different from that of contemporary art, and by the “ambiguous statement” approach, which is also unlike art.

Since my debut, I have consistently dealt with the concept of “Information Transmission and its (Ingrained) Distortion” and minority issues. They are not something for which I can quickly come up with the “right answer”, so I hope to create a situation where people feel something from my artwork. 

Perhaps my career as a marketing strategist spanning more than 20 years has led me to believe this, but I feel that the world has become a place where it is impossible to enjoy a serious message without it having quick and entertaining elements. The more serious messages we have, the more entertaining elements we need. In that sense, I am relieved to hear and appreciate these words from two people I respect.

–I learnt that you have created your work in the form of relational art. Can you say more about it?

YAMAN: The work is based on the idea of relational aesthetics or relational art, a concept defined in Nicolas Bourriaud’s 1998 book “Esthétique Relationnelle.” The emphasis is on the interactions with the surroundings that occur in the process of the creation of the work.

What is called interactive art emphasizes the interaction between the work and the audience, but relational art emphasizes the interaction between the artist and the audience. The interaction itself is defined as the work of art, and the process of its creation and the audience’s participation are its essence.

One of the points of debate among critics since 1998 has been whether relational art can mirror “social relationships” and I believe the solution lies in the fact that the infrastructure of relation itself has changed, as I mentioned earlier.

–I found your exhibition rich and profound as it included so-called entertainment elements such as subculture and “puzzle solving,” but also used masterpieces valued at hundreds of thousands, or over a million USD, such as Chôjirô’s, and Nonko’s Black Raku tea bowl. Could you tell us why you focused on Chanoyu, the authentic Japanese tea ceremony culture for this exhibition?

YAMAN: My initial interest in Sen-no-Rikyu started in the era of Tom Ford’s “Gucci,” so 1990s, I guess. However, the more I researched, the more I wondered to what extent “Sen-no-Rikyu’s Chanoyu” as a way to seek “essence” has been handed down to the present day. In the first place, even information about Sen-no-Rikyu is often distorted.

In February of this year, I was inaugurated as the creative director of the SABIÉ, and I had a lot of discussions with Reijiro Izumi, the head of  SABIÉ. And we came up with an approach that deals with “Chanoyu”, the authentic Japanese tea ceremony culture from an artistic aspect.

In “Chanoyu” there is a concept that is similar to relational art, in which the interaction between the host and the guests constitutes the work of art, as manifested in such phrases as “一座建立(Ichiza-konryu, meaning “perfect interaction” created by the perfect action of the host and the perfect reaction from the guests) and “主客一体(Shukaku-ittai, meaning “perfect ambience” which host and guests create together.)  This led to the integrated project of a Chaji, an authentic Japanese tea ceremony, that is simultaneously a work of relational art that I mentioned earlier. Needless to say, it is meaningless unless it is the best tea ceremony from the perspective of “Chanoyu” as well. And good utensils are essential to reaching perfection.

On the other hand, Chôjirô’s Black Raku tea bowls were not classics when Sen-no-Rikyu chose them. As you say, it has now become an expensive work of art, but it is very doubtful whether Sen-no-Rikyu intended this current situation. I and Reijiro Izumi, the head of SABIÉ, decided to put aside the market theory and try to arrange good utensils that fit the concept; those were what we chose for this project.

–What led you to the concept of “Information Transmission and its (Ingrained) Distortion“?

YAMAN: First of all, although I describe it as “distortion,” I treat it as both a good and bad meaning. Sometimes good results can be formed through distortion. The point is that all information may be distorted in transmission and moreover, after 500 years, it is ingrained, and it becomes difficult to tell what is fact and what is distortion.

In addition, we need to develop a critical eye to speculate on what it means to have information from 500, 1,000, or even 2,000 years ago still available. In many cases, the will of the winners, the people with authority, and the establishment of the time, in other words, the majority, may have intervened in the process. There is certainly a difference between “historical fact” and “official history.”

This was true even for the interpretation of information before the age of information technology, so it is even more essential to examine the information from this perspective today when technology has quadratically increased the amount of information generated. On the other hand, just as memes sometimes add new points of view to the original information, it is meaningful to observe information and distorted information in juxtaposition.

–Conversely, is there any risk in using the Japanese tea ceremony, which has a 500-year history, as an example to express the concept of “Information Transmission and its (Ingrained) Distortion” which could be seen as a negative? What do you think about this as a creative director of the second-generation SABIÉ, appointed in 2023?

YAMAN: It carries a considerable risk (laughs). But I also think it is necessary to point that out. Above all, that was the honest feeling I had about “Chanoyu” regarding my own interest.

When planning this project, I had a series of discussions with Reijiro Izumi, the head of SABIÉ, about how bold our expression should be. He said, “You can make it unashamedly the solo exhibition of the contemporary artist, YAMAN NKYMN.” I was impressed by his comprehensive mind as a producer, and it reminded me that “Chanoyu” is weighted with 500 years of history.

We had 9 participants in the Chaji and 81 in the ATOMI, and I felt that they were all interested in both contemporary art and Chanoyu. The points of interest were different for each of the participants, but they all responded that they were difficult to enjoy, but at the same time interesting. 

–Finally, please tell us about your future plans as a contemporary artist.

YAMAN: I felt that the expression as relational art, which I tried this time, has great potential. As I mentioned at the beginning, I am not a genuine artist. If anything, I am more like a bug, an irregular factor born within the social structure.

Since what I want to express is based on my career, high compatibility with the means of expression is the key. In this sense, I am happy to have found a language that suits me well. This time, we were joined on the first day of the tea ceremony by Theaster Gates, who will exhibit at the Mori Art Museum in Tokyo next spring. We have formed an unexpected relationship with him and are hoping to collaborate.

I am making “(跡見:)追儺 黒節分/(ATOMI:)WHITE2BLACK” an annual event. I have already finished a filming with Perimetron for this year, as part of a project with “the outer” party that will take three years from 2023 to 2025.

–It sounds interesting.

YAMAN: The launch date of the film in 2023 has not yet been set. And I have not yet decided where and how I will hold “(跡見:)追儺 黒節分/(ATOMI:)WHITE2BLACK” in 2024 and beyond, but I plan to invite participants via my Instagram, as I did this year. I feel that the image of the artist that will be formed by the relationships, including these prospects I mentioned, is what I’m envisioning.

Continue to Vol. 2

Photography Kisshomaru Shimamura

The post Interview with YAMAN NKYMN Vol.1: Pandemic Art Project Evolves into A  Work of Relational Aesthetics in Post-COVID Era appeared first on TOKION - Cutting edge culture and fashion information.

His creations are intuitive, detached from verbal or cerebral processes. While traversing diverse cultures, they resonate with the essence of a decadent 90s culture. He characterizes his work as “a culmination of everything I’ve believed in, from music and movies, U.S. toys, fashion, to DIY culture”. Currently showcased at the “Untitled II” exhibition, his drawings and 3D models construct a unique realm that seamlessly blends charcoal motifs and other indistinct colors together, provoking viewers and broadening their outlook. In this interview, we discussed everything from the roots of his creations to the inspiration behind his new work and approach to the ongoing exhibition.

Kensei Yabuno
Yabuno, born in Hokkaido in 1975, pursued Fine Art at Camberwell College of Arts in the U.K. His paintings and 3D models have graced exhibitions at notable venues such as Iimart, THE LAST GALLERY, and Isetan Shinjuku. His work has gained international exposure through publications like Idea, vice, and DAZED & CONFUSED. Notably, his creations adorned the textile design for Comme Des Garçon’s 2011 spring/summer collection. Among his recent exhibitions are WHY YOU (2019/HYSTERIC GLAMOUR SHIBUYA) with Shigekazu Onuma and solo exhibition Untitled (2022/KOMIYAMA TOKYO G).

“There are constantly two opposing personas within me”

– Can you elaborate on how you developed your simple yet genre-defying style that incorporates alien-like motifs, blending design and animation to create a distinctive worldview?

Kensei Yabuno: I began drawing in kindergarten. There wasn’t a specific event that led me to pursue art; it was the only choice for a dropout like me.
The black and white “Alien” marked my debut at the CLASKA solo exhibition in 2009. It was also the first time I showcased my work as a 3D model, having only presented 2D graphics before that.

Working at Omocha Spiral in Harajuku immediately after moving to Tokyo at the age of eighteen proved to be a pivotal experience for me. My fascination and understanding of U.S. toys blossomed, seamlessly guiding me through the transition from 2D to 3D.

I’ve been passionate about extreme music, film, and fashion since my teenage years. Perhaps that distinctive eccentric sensibility is reflected in my work.

– What principles do you adhere to when it comes to creating art?

Yabuno: Before executing my vision into tangible form, I consistently create mental images, updating them regularly. But that process only exists in my head; there is no step between conceptualization and manifestation. What’s important to me is the mental preparation, the physical act of putting hands to work, and confronting the task at hand.

– Do you experience fluctuations in your creative process or personal challenges, separate from external opinions and changes?

Yabuno: Absolutely (laughs). I’m aware that I’m someone who constantly experiences highs and lows, regardless of age. There are times when I lack the motivation, when things aren’t unfolding as I’d like them to, or when I’m grappling with a hurdle.

As I mentioned in my artist statement, there are two opposing personas that exist within me: one while asleep and one when awake. Jokingly, I refer to them as “Jekyll and Hyde”. The “Hyde” side harbors disdain and rejects everything. Maybe “Hyde” represents my true self (laughs).

“Expanding dimensions”: a new sensation

– Following last year’s “Untitled”, this marks your second exhibition. Can you highlight any new insights compared to the previous year?

Yabuno: Reflecting on last year’s “Untitled”, “Untitled II” aligns more closely with what I envisioned as a child. Back then, I felt restricted to turning only right, and now I find myself able to turn left. Unanticipated realizations unfolded as I transformedd the abstract yet concrete images in my mind into tangible expressions. I want to cherish this sensation through the fifth installation.

– In this exhibition, a plant-like color scheme has been introduced alongside your distinctive black and white 3D model creations. The light gold background color in your charcoal drawing was quite striking. How do you perceive the role of color in your work?

Yabuno: The significance of the 3D model evolves when infused with a color, whether a skin tone or a bronze hue. Introducing colors is intriguing as it alters the visibility of the work for me. To be honest, I find black and white most appealing, but the entire visual dynamic shifts with the addition of even a single color. This gradual broadening of perspectives may be the reason why I initially developed an interest in this artistic realm.

– How does the integration of seemingly contrasting elements hold significance for your present and future selves?

Yabuno: This may sound redundant, but what unfolds in dreams and what occurs in reality both happen to the same individual. The interplay between right and left, the coexistence of reality and dream, the difference between steady movement and a dynamic, direct one – all of these aspects contribute to the amalgamation of seemingly disparate elements. Merging two different components is akin to bridging the gaps on both sides. By incorporating previously unseen elements into your cultivated worldview, you can draw closer to your ideal. The sensation of expanding dimensions was a new revelation for me.

Yet, what I truly hold as a belief are the words of graphic designer Masayoshi Nakajo: “Masterpieces are coincidences”.

Trsanslation Mimiko Goldstein

The post “There Is No Step Between Conceptualization and Manifestation”: Exploring Kensei Yabuno’s Creations in “Untitled II” appeared first on TOKION - Cutting edge culture and fashion information.

Stephen Powers
Born in 1968, Stephen Powers began his career as ESPO at the age of sixteen. Based in New York since 1994, he has engaged in various work including the publication of On The Go Magazine. Transitioning to focus on his role as an artist in 1999, he participated in prominent events such as the Venice and Liverpool Biennales. His artwork has been showcased in numerous galleries and art museums worldwide, featuring a solo exhibition title, “TODAY IS ALREADY TOMORROW” (GALLERY TARGET, Tokyo, 2014). Notably, his “LOVE LETTER TO THE CITY”, mural project, involving writing love letters, spanned twelve cities globally, from Tokyo and Sao Paulo to South Africa. In addition to managing ESPO’S ART WORLD in Brooklyn and opened ESPOKYO in Harajuku in June 2023.

In part one, ESPO shared a myriad of current thoughts and feelings, offering a glimpse into his mind. With his soft, curly hair reminiscent of Eraserhead, the depth of his reflections became apparent. He seemed to process information at an extraordinary speed, incomparable to that of any ordinary person. Although I had initially intended to inquire about the creation of ESPOKYO as a way of easing into the topic, he delved into topics such as the impact of his first visit to Japan, the origin of his artwork, the story behind the logo on his polo shirt, and even spoke on the feelings of Neanderthals… The spectacle that unfolded was dazzling, like a lightbulb flashing before my eyes.

Part one of the interview provided insights into his mindset that extends beyond conventional boundaries of time and space, revealing the conviction and spirit behind his gentle demeanor. The more I listened to him, the more intrigued I became. If he were my school teacher, I would surely have been motivated to study more. Encouraged by his generosity, I seized the opportunity to dive deeper into his thoughts in part two.

“I started graffiti at sixteen but seriously considered art as a career at age thirty”

–– What is the difference between graffiti and art?

ESPO: When I was doing graffiti, I was limited to drawing the name ESPO. That was enough. Nothing more, nothing less. Throughout my years in graffiti, I explored every possibility within the confines of that single word. But one day, an opportunity for change presented itself. I came up with the wildly innovative idea of crafting each word from an entirely different one. As an artist, I have an appreciation for all words, including those yet to be conceived. Simply put, ESPO is just a name.

Some artists are able to draw the same words over and over again. I understand that repetition can eventually lead to a unique and captivating form of expression. And while I believe the importance of that approach and do contemplate taking part in such endeavors at times, it feels more akin to a signature, and it’s not the path I wish to pursue. The constant risk of being caught had also grown tiring.

–– Among the various graffiti styles, which one is your favorite?

ESPO: Hold on, obviously I like tags the most. I am from Philly, afterall. Tags are the coolest in my opinion. It’s like a one-sentence biography. You can express yourself in just one line – a tag is a culmination of all our experiences, the hard work we’ve put in, and the occasional burst of playfulness. You can really get a sense of a person by looking at their tag.

— Why haven’t you integrated your graffiti style into your other artwork?

ESPO: OK, listen. I started making art with the likes of Todd James and Barry McGee. They successfully transitioned their graffiti into their art, but I just couldn’t do it! I realized that no matter how hard I tried to emulate them, I’d always be second-best, and that would only lead to misery… as some artist wisely put it.

I started graffiti at sixteen but seriously considered art as a career at age thirty, no, thirty-one. I felt compelled to turn the page and explore something new and unfamiliar. I can proudly say that I’ve experienced almost everything the graffiti world has to offer. I never wanted to be a toy. You know what I mean by that, right? I think that was the starting point of my life as an artist. I discarded the baggage from my old life and started anew, empty-handed.

–– Can you elaborate on what specifically happened when you were thirty?

ESPO: A pivotal moment around that time was the creation of THE ART OF GETTING OVER. In my quest for a better graffiti book, I saw an opportunity to contribute something unique. A changeup, haha. Typically, one might think, “Since the first book was a hit, I can churn out ten more”, riding the momentum. But I have a brother-in-law who is a very successful artist. He taught me that after finding success in one endeavor, it’s essential to venture into something new. He would always say, “don’t repeat yourself”, urging a constant challenge towards new pursuits. The key, he said, is to achieve initial success and then have the freedom to explore new realms.  According to him, repeating the same success over and over leads to stagnation, leaving one trapped in a cycle of monotony and trauma. While it might be beneficial for galleries and followers, catering to market demands doesn’t necessarily align with the essence of art. I’m not sure how, but I always hear an inner voice pushing me to do something radically different. The voice says something along the lines of, “Embrace your role of an artist and seize the opportunity. You can think about the aftermath later”.

–– How do you describe yourself to someone meeting you for the first time?

ESPO: I’ve been making a conscious effort to refer to myself as ESPO more often since turning fifty, even in emails. I prefer to be called ESPO by someone unfamiliar with my history, or me, theirs. I may change my name again sometime, if I can… or I might have to. Managing multiple names is challenging… the Japanese paperwork, in particular, was quite an ordeal. I found myself contemplating, “Wait, should this be Steve? ESPO? Or Mark Surface (magazine editor)”. Mark Surface feels fitting. Stephen Powers is good, too, but ESPO is more than just a name – it’s an idea. It’s quick, concise, and easy.

–– The term “artist” carries various connotations. Do you want to be called an artist?

ESPO: Yes, because that’s what I am. My passport, tax documents – they all state that I’ve been an artist since age thirty. But I’m still not the artist I envision myself to be. I want to become an artist soley recognized for my art. Maybe I should change my title to graphic designer if I want to get paid more, though. No one would complain if I started calling myself that, I think. But I’m still an artist. Even my son takes pride in my identity as an artist. Even my parents call me an artist now. They’re both mathematicians, which is the complete opposite of an artist. Growing up as one of six siblings, I was kept apart from the others, probably because they had low expectations for me. Once I started to become more well-known, my mother apologized to me insistently, saying, “I’m sorry for everything”. But it’s fine! I had gotten everything I needed.

–– Why don’t you wear sneakers?

ESPO: Well, that’s true. One reason is that I like the way regular shoes look. I’ve always worn sneakers, but the frustration of keeping them clean became overwhelming. I’ve worn at least a hundred pairs in my life, which is too many. To keep all of them clean would require an unimaginable amount of effort. Regular shoes, on the other hand, are already rated higher because they have replaceable soles. Even if they cost a couple hundred dollars, it’s way cheaper than a car. To me, and I believe to the public as well, shoes are cooler than sneakers. I think people like Larry David are the coolest, but most people walking around town resemble big babies nowadays – oversized infants that never grew up. That said, I do respect those who wear sneakers well with simplicity and perfection.

Now for a brief anecdote about my kindred spirit and assistant Mike: He’s a dedicated VANS wearer and a sneaker-head. I’m sure he’s encountered countless cool sneakers in his lifetime. But at forty-five, he only has two to three pairs, his white VANS being his go-to. They look very comfortable on him. The first time I met him, I shared a memory of meeting his Dad, a well-known TV anchor in Philadelphia back in the day. Everyone in my small town knew who he was. The first thing I said to Mike when I was ten-years-old was, “I’ve met your Dad!” which was initially met by doubt. Knowing it was true, I told him, “Then do you want to know what your Dad was wearing then?” to which he replied, “Go on. Tell me”. I specifically recalled that I knew he was wearing Adidas, but they weren’t the Superstars, or tennis shoes”. Acknowledging the accuracy, he replied, “Damn… You’re right, my Dad loves Adidas Countries”. What a fond memory.

This story, in other words, is how it should be. I don’t understand why people incessantly chase new sneakers. Once a new sneaker drops, they start chasing again, right? I’m not trying to dismiss that type of person. But personally, I like shoes. Shoes are great! They look good in photos, and I take pleasure in caring for them.

When I go back to New York, I entrust my shoes to a shop I frequent. It’s a painful and depressing expense, but when I get them back …. I can’t help but be elated. Not to mention the significant boost to my overall appearance. Sneakers get dirty, age, then wear out. But shoes, with proper care, only get better with time. When you take care of shoes, you take care of you.

“We have the ability to create something out of nothing. AI can only imitate”

–– Your work features many memorable motifs. Why do you frequently depict pigeons?

ESPO: Pigeons can fly and travel great distances at a time. They live everywhere, and I like the fact that they’re monogamous. Pigeons, with their humble habit of feeding on the streets, seem indifferent to the presence of others. What I find fascinating is their knowledge of cities worldwide and their neighboring areas – it’s like they have the best books on the subject. On top of that, they’re messengers. In my drawings, the carrier pigeons convey a simple message: “holler back”, which is essentially just a response to my calls. If we revisit the distinction between graffiti and art, art is akin to a call. Ideally, I hope for a reaction. A negative response simply implies that the call wasn’t that good, while a better one elicits a more positive reaction. I suppose that’s it.

–– Just a hypothetical, but what if AIs begin having exhibitions? What does originality mean to you?

ESPO: AI lacks the capacity to comprehend the heart. If I wasn’t able to grasp the intricacies of the human heart, I couldn’t create work that moves people. While I can’t definitively rule out the possibility in the future, AIs currently aren’t able to register what we can. We, as creators, have the ability to create something out of nothing. AI can only imitate. However, there might be utility in AI for tasks like writing, considering humans hate reading. In that sense, AI may also serve as a useful tool for art, since humans lack understanding for art as well. Most people acquire a lot of things and admire works that aren’t that great. It seems like a win-win situation for me, because my role is to do thoughtful things for thoughtful people, and AI can’t interfere with that. Many artists have said that AI excels at producing shiny, superficial, hollow things. But it has a hard time expressing complex, emotional patterns.

–– So does originality stem from emotion?

ESPO: I think so. I also believe that my uniqueness is closely tied to experiences I’ve lived through. At times, I like to make things that don’t quite feel right, because life can sometimes feel a bit off. I can confidently say that nothing truly remarkable comes from copying something. That’s all!

–– Lastly, have you ever written a love letter to your wife?

ESPO: Of course! All the romantic pieces I’ve made have been for her. Oh, that reminds me… Have you seen the NY caricatures of Shakespeare and his wife? There’s a depiction of a cake on the table to celebrate his wife’s birthday, and she’s holding a piece of paper and saying, “Oh, another sonnet (a traditional European lyric poem consisting of fourteen lines, Shakespeare’s specialty)”. It’s so real. Sonnets were Shakespeare’s specialty and may have charmed many women, but to his wife, it was nothing special. She just wanted a dress or something.

If we include regular letters, I think I’ve sent her quite a lot. When we first met, I consistently sent her letters for six months while she was living in Scotland. While she reciprocated with romantic letters, my style was more about sharing day-to-day occurrences – things like, “this happened, and this happened”,  “I went here today”, “I went to that party”, “I went to see that exhibit” – far from romantic, but I think those letters helped her somewhat, and brought us closer together. I may not have the desire to write all my personal thoughts down, but I’ll write anything to be closer to her. If you have a loved one, I highly recommend writing them love letters!

■ESPOKYO
Address：2-23-10 Jingumae Shibuya-ku, Tokyo, 1F
Time：12:00 〜20:00
Closed：Sundays, Mondays, Tuesdays
Official website：https://www.espokyo.jp/
Official Instagram：@espokyo

Photography Rei Amino（Portrait, Interview）、Claudia Heitner（Event）

The post Art That Expresses Complex Emotional Patterns:An Interview with Stephen Powers, aka ESPO (part two) appeared first on TOKION - Cutting edge culture and fashion information.

Stephen Powers
Born in 1968, Stephen Powers began his career as ESPO at the age of sixteen. Based in New York since 1994, he has engaged in various work including the publication of On The Go Magazine. Transitioning to focus on his role as an artist in 1999, he participated in prominent events such as the Venice and Liverpool Biennales. His artwork has been showcased in numerous galleries and art museums worldwide, featuring a solo exhibition title, “TODAY IS ALREADY TOMORROW” (GALLERY TARGET, Tokyo, 2014). Notably, his “LOVE LETTER TO THE CITY”, mural project, involving writing love letters, spanned twelve cities globally, from Tokyo and Sao Paulo to South Africa. In addition to managing ESPO’S ART WORLD in Brooklyn and opened ESPOKYO in Harajuku in June 2023.

The other day, as I boarded the train with my heavy bags, I scanned the train car to see if anyone was giving me cold looks, yet no one seemed to care. The dimly lit, pallid faces were all slumped at the same angle, their souls absorbed by their cell phone screens, their bodies swaying with the motion of the train. The sight sent shivers down my spine, making me ponder if, perhaps, I was one of them, just not on this particular day.

Even when told, “take as many as you want”, there’s a limit to how many candies one can grab at once. Hence, it’s only natural to consider that something significant is being sacrificed for the sake of convenience. While having access to diverse information is crucial, its value diminishes if we can’t use it effectively. Information is just a tool for survival, and the act of collecting it should not be the sole purpose of life. Yet, impeceptivly, we find ourselves engulfed by the deluge of information inundating our lives. We begin to forget our initial goals, and even lose sight of where we are amidst the hustle of our individual lives. Once lost, unfortunately, the chances of rescue are minimal. There is nothing more futile than finding contentment solely in the notion of knowing something. However, finding people and opportunities to guide us in the right direction proves to be a challenging task.

We interviewed Stephen Powers, also known as ESPO, an artist originally from Philadelphia and currently based in New York. While many may recognize him from his appearance at the beginning of the film Beautiful Losers, his career initially began in the graffiti world. As you may know, graffiti is illegal. Hence why it operates under a set of unspoken rules known only to insiders, maintaining a strict sense of secrecy. Exclusive graffiti groups, referred to as “crews”, are formed according to region and affinity, with one’s crew affiliation directly influencing their graffiti style. Thus why graffiti writers fundamentally acknowledge only themselves. That’s where ESPO is special. Despite retiring from the field, he continues to garner respect from both seasoned and emerging writers globally. His influence has transceneded the East Coast of the U.S., reaching graffiti writers worldwide who operate in the shadows. This alone attests to his originality and the value he brings, solidifying his status as a certified legend. Any graffiti artist unfamiliar is surely a fake. However, ESPO doesn’t dwell on his past glory, nor does he flaunt it. Instead, he remains approachable and kind , defying any preconceived notions one might have about his background. Despite likely facing many life-threatening situations, he exudes the grace of a seasoned individual.

His works, characterized by simple, pop pictures and humorous, ironic words, appeal across age and gender spectrums. His creations are crafted in such a way that they offer relief to eyes and brains wearied by life’s challenges. After the interview, I realized that his polite inquiries stemmed from a genuine desire for dialogue. The warmth I felt in my chest with him contrasted with the chill I experienced on the train. In his presence, I sensed charm, which deterred me from any inclination to pick on his perfectly fitted polo shirt and mismatched socks. Strangely enough, his outfit complemented him, making him look effortlessly cool. I resisted the temptation to imitate his look, realizing it wouldn’t suit me. This further confirmed that true fashion goes beyond trends. We delved into his past and the future of ESPOKYO, his venture in Harajuku, during the interview.

“Japan has been a continuous influence since my visit in 2000”

–– I’d like to start by asking you about ESPOKYO. In an age where you can purchase anything with a click of a button, why establish a store in Harajuku, 10,000 km away from Brooklyn, where you live?

ESPO: That’s true, and there are several reasons why… The most crucial point is that Japan has been a continuous influence since my visit in 2000. That experience is connected to myself and many of my works to date. Back then was the dawn of the Great Cellphone Age. I can’t recall where, but there were plastic cellphones displayed outside with emojis on their screens. I had never seen emojis until then, and I knew that this is going to turn everything upside down.

Suddenly, I reflected on the origins of my creations. People relied on drawings for much of their communication before they could read or write. Symbols and drawings were used in place of letters. The mark on my polo shirt, for example, is quite old. It’s a symbol from the U.K. wool textile industry. How much wool the shepherds collected directly affected their livelihoods… this is gonna be a long story, so I’ll stop there.

The gist of what I wanted to convey is that before written language became prevalent, drawings were used to depict things, express oneself, or facilitate understanding. Even a small drawing held significant importance. While pondering all of this, I had a realization. Neanderthals were creating drawings 340,000 years ago, and initially, I perceived those drawings as simple. Seeing a ladder-like object in one of the drawings, I thought, “I see, they’re illustrating tools”. Perhaps they sought to communicate a lifestyle better than the one they had found. In this way, I think their method of communicating through drawings significatly influenced their spirituality and humanity.

Reflecting on my artistic journey, I contemplated my beginnings in graffiti. How could I not be fascinated by ancient murals? They are all remarkable, and there’s something to learn from each of them. Then I bagan to think of myself as a modern-day cave muralist. What I do now is communicate with the world in the simplest way possible. Conveying ideas in a straightforward way and presenting complex ideas in a simple manner is something I’ve been doing and want to continue doing. During my time in Japan, I was similarly struck by what I experienced. I thought, “Hold on, they’re communicating with just emojis. They’re way ahead of me”. In fact, the pace at which society progressed increased rapidly.

So I thought, “Alright then, I’ll create pure and original emojis”. It’s a hybrid, a combination of text and images shown together. But it’s not a particularly revolutionary invention. Everyone uses a blend of letters and emojis when texting. Humans have evolved alongside the growing complexity of language. Recently, slang has become the easiest form of language to comprehend, which is normal. If someone were asked what “LOL” meant, no one would respond seriously, right? It’s just necessary. I also realized during my time in Japan this time around that there is usually a telephone symbol in front of a phone number. I find that very interesting! Because that black analog telephone is something kids nowadays have probably never even touched. Yet, any kid would see that symbol and recognize it as a phone. That’s kind of cool.

To me, for instance, lightbulbs represent ideas. (Points to his work pictured below) You see a cracked lightbult here. That signifies it’s a bad idea. Unfortunately, most lincandescnet ightbulbs in the US have disappeared and have been replaced by LED lights. But I don’t like LEDs. They hurt my eyes, and I don’t like how photos taken under those lights turn out. I prefer the feeling of the bulb burning and flickering.

So, I’m here now. One significant reason for that is because I want to repay Tokyo. I’ve received a lot from this city, and now I can finally give back. I’m always aspiring to become a better artist, and that requires me to engage with many people. That’s why I’ve been eager to study Japanese – it’s enjoyable to converse with new people.

–– I didn’t know that Tokyo has influenced your work so much. Do you feel the same inspiration during your stay this time?

ESPO: I’m not sure yet, but I’m sure it’ll happen. I also like to see how things turn out. Not everyone seeks change, but not everyone has to change. Though my life seems destined to keep evolving.

–– Did you start this to be connected to more people?

ESPO: I did. I don’t know how long it’ll take for what I’m doing to reach people, but I thought I’d give it a shot. It’s not like any big companies are backing me, but various individuals are providing me with a lot of support, which, in turn, motivates me. Tokyo gives me a lot of inspiration. It’s such a charming, beautiful space, which is why my works born here are equally beautiful. I don’t need a dramatic turn of events; all I need to do is resonate with everyone. I want to show my gratitude for that and give back a little at a time.

–– Did you start ICY SIGN and ESPO’S ART WORLD for similar reasons?

ESPO: At one point, I found myself constantly moving between my studio and galleries. I would create the work in my studio and then sell it at a gallery. However, galleries mainly attract people looking to buy art, and that felt limiting. It was challenging to connect with people in that environment. So, in 2012, I started ICY SIGN, which eventually led to the opening of ESPO’S ART WORLD. I think it was a good decision to engage with the so-called public, because anyone could casually and easily visit whenever they wanted. Galleries, especially in NYC, are often challenging for outsiders to enter or participate in. Customers who come to ESPO’S ART WORLD, on the other hand, feel so at home that they even put their bags down the first time they visit. Through these close relationships, I finally understood what the public was looking for in artworks.

I began contemplating how to showcase my work while running ICY SIGN between 2012 and 2017. During my exhibition at the Brooklyn Museum, where I was on site for nine months, I realized that my job was to draw in front of people and talk to them. That’s why I created many of my pieces in the museum and met with numerous people.

In September of 2016, I started ESPO’S ART WORLD, which coincided with the election of Donald Trump. The day after, we were deciding whether we should officially hire Matt (ESPO’S ART WORLD staff member who comes to help out in Tokyo during live screen events at ESPOKYO), who you know. We asked him if we should make election T-shirts. The shirt featured a drawing of a house sinking into a body of water with the words “could be worse” next to it. I posted it on Instagram with the caption, “Is this how you’re feeling right now? Then might as well come and get a T-shirt”. About fifty people immediately came to get one, and then the next fifty people showed up. We began printing more on the spot, and that’s where it all started. Since then, we’ve always been mindful of community. Community has always been the foundation of my work, and live printing is a way of liberating it. When a person wears a printed piece, it takes on a certain force.

What’s crucial is that emojis condense the way we communicate everyday. They also signify the potential that is spreading around us. We also do live printing at ESPOKYO. The second time around, we depicted the eight famous mountains of Japan. Anyone who saw that drawing would say, “Oh! You drew this” and explain the mountains to me. I believe that was a common reaction because we were able to communicate our interest and fascination to Japanese people through our depiction of mountains. This directly leads to mutual empathy, allowing us to progress and understand more about other issues. Right now, I want to be useful in that way. One day, I hope to become an integral part of that.

■ESPOKYO
Address：2-23-10 Jingumae Shibuya-ku, Tokyo, 1F
Time：12:00 〜20:00
Closed：Sundays, Mondays, Tuesdays
Official website：https://www.espokyo.jp/
Official Instagram：@espokyo

Photography Rei Amino（Portrait, Interview）、Claudia Heitner（Event）

The post Graffiti That Responds to Bodily Sensations:An Interview with Stephen Powers, aka ESPO (part one) appeared first on TOKION - Cutting edge culture and fashion information.