Mariko Mori has been in her home in Tokyo, Shibuya District, Japan, since March 30.
Mori’s artistic practice explores universal questions at the intersection of life, death, reality, and technology. Throughout her career, #MarikoMori has been at the forefront of technological innovations. She has always been curious about and embraced these advances to emulate a sense of the future in her work. Mori is currently working with computer engineers in Tokyo to create a new animated video for her new work Kojiki. This installation will feature 3D holographic images in mixed reality.
“I researched the world of Kojiki, the Japanese creation myth, to understand the background of the Kofun period. This period was just after Korea brought rice-growing technology to Japan. In order to keep nature in balance, many nature gods were worshiped, and large stones were erected for them to pray. That was one of the origins of Shintoism, which worships nature. The message I discovered during the lockdown was how humble our ancestors were, how much they worshiped nature by connecting with animistic gods.” - @MarikoMori
Critical lexicon of contemporary art. Essay on Janaina Tschäpe by Doris Von Drathen.
The Financial Times, October 20, 2017
Iran do Espírito Santo has been invited by Columbia University - the GSAPP and the School of the Arts - to give a lecture on September 5th from 1-2pm, in Room 114, Avery Hall, Columbia University. The lecture is free and open to all. For more information, please visit the Columbia University website at www.arch.columbia.edu/events.
Robert Hobbs has written this essay to coincide with the 'neither appearance nor illusion', A Selection of Early Works from the 1960's by Joseph Kosuth exhibition. Hobbs is currently working on a major monograph on the work of Joseph Kosuth.
