{"id":2701,"date":"2017-01-20T18:06:00","date_gmt":"2017-01-20T18:06:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=2701"},"modified":"2022-12-04T18:13:11","modified_gmt":"2022-12-04T18:13:11","slug":"tatsuo-miyajima-connect-with-everything","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/tatsuo-miyajima-connect-with-everything\/","title":{"rendered":"Tatsuo Miyajima: Connect with Everything"},"content":{"rendered":"\n<p><strong>\u201cTatsuo Miyajima: Connect with Everything\u201d<\/strong><\/p>\n\n\n\n<p><strong>Museum of Contemporary Art Australia, Sydney. Nov 3, 2016\u2014Mar 5, 2017<br><\/strong><br>Tatsuo Miyajima\u2019s prominence as one of Japan\u2019s leading contemporary artists\u2014known widely for his deeply engaging and technologically driven installations, sculptures and video works founded on the Buddhist philosophy of exploring human cycles of life and mortality, death and renewal, and his three principles of \u201ckeep changing, connect with everything, and continue forever\u201d\u2014precedes any survey presentation of his art. Acclaimed installations such as \u201cMega Death\u201d (1999\/2016) and \u201cArrow of Time (Unfinished Life)\u201d (2016) where the audience is engulfed in signature blue (and red) constellations of flickering and numerically descending LED numbers (from nine to one), and the \u201cCounter Voice\u201d video works in which individual performers count out loud before dipping their heads into a bowl of red wine\/water\/milk\u2014both suggesting the human scale of life, pause and renewal\u2014project the nucleus of three decades of Miyajima\u2019s art. They present the viewer with lambent musings on their own speck of mortality amid mankind\u2019s continuance and demise pointedly, through the agency of numbers. Numbers, both mutely and verbally projected.<\/p>\n\n\n\n<p>The Museum of Contemporary Art Australia\u2019s \u201cTatsuo Miyajima: Connect with Everything\u201d is the continuation of the Sydney International Art Series at the MCA which has previously shown Annie Leibovitz, Rafael Lozano-Hemmer, Anish Kapoor, Yoko Ono, Chuck Close, and Grayson Perry. It is Miyajima\u2019s first major exhibition in the Southern Hemisphere and Sydney (1), presenting the aforementioned installation and video works, and his less imperative but still pensive, meditative paintings (\u201cCounter Painting on Kimono\u2014Gold\u201d and \u201cCounter Painting on Kimono\u2014Yellow\u201d, both 2013), sculptures (\u201cPile Up Life No. 2\u2033, 2009; \u201cWarp Time with Warp Self No. 2\u2033, 2010; \u201cDiamond in You No. 8\u2033, 2010; and \u201cLife [Rhizome] No. 2\u2033, 2012 among others), photographs (\u201cCounter Skin in Hiroshima 2\u2033 and \u201c3\u2033, 2007), and works on paper including sketch books\u2014even blocks of typewriter imprinted zeroes on paper (\u201cEmpty Sets\u201d, 1993). As an exhibition, \u201cConnect with Everything\u201d embodies scales of the micro and the macro, from the beginnings of Miyajima\u2019s contemplations of the fragility of his own life (and life\u2019s remaining time) to the immensity and infinitude of the universe, and from the more spectacular statements to mute and speculative pieces.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-196.png\" alt=\"\" class=\"wp-image-2702\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-196-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-196-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-196-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-196.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201cMega Death\u201d, 1999\/2016, installation view, Tatsuo Miyajima: Connect with Everything, Museum of Contemporary Art Australia, 2016, LED, IC, electric wire, infrared sensor, Domus Collection, image courtesy and \u00a9 the artist, photograph: Alex Davies<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-205.png\" alt=\"\" class=\"wp-image-2729\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-205-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-205-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-205-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-205.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201cArrow of Time (Unfinished Life)\u201d, 2016, installation view, Tatsuo Miyajima: Connect with Everything, Museum of Contemporary Art Australia, 2016, LED, IC, electric wire, iron, image courtesy and \u00a9 the artist, photograph: Alex Davies<\/figcaption><\/figure>\n\n\n\n<p>When young, Miyajima was twice hospitalized with a major illness, during which he experienced the passing of other children. This proximity to death had a resonant impact upon him, leaving him with a deep conviction about the value of life and the time one has to live that life in a meaningful and productive way. When at Tokyo University of the Arts in the early 1980s, he determined that he needed to become his own person, to be neither a mimic of Western art nor mediated by it. This ideology, underscored by Buddhist beliefs, sought self-expression initially through ephemeral performance\u2014standing in a crowded square shouting or lying on the ground in the rain, his \u201cshadow\u201d momentary when he moved away.<\/p>\n\n\n\n<p>Miyajima has said of Buddhism\u2019s role in his art, \u201cBuddhism allowed me to clarify my vision and direction, and helped me to understand why I was creating art and had become an artist. In other words, it clarified for me that I was making art for people, not for art.\u201d For him, Buddhist thinking is about \u201cnot killing\u201d, and \u201cfighting against the evil\u201d of human self-infliction. In his youth, Miyajima was deeply shocked during a school visit to Hiroshima which left him despairing for humanity. Such experiences and knowledge of other twentieth-century human tragedies have underscored the subject matter inherent in his major installations and videos. Looking at works in this exhibition such as \u201cCounter Voice in the Water at Fukushima\u201d (2014), \u201cMega Death\u201d (1999\/2016), \u201cCounter Coal\u201d (2008\u20132016) and \u201cTrain Time to the Holocaust\u201d (2008) for example, despite Miyajima\u2019s rejection of his work being interpreted as activist or political, do extend such sensibilities.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-198.png\" alt=\"\" class=\"wp-image-2708\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-198-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-198-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-198-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-198.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201cCounter Voice in the Water at Fukushima (still)\u201d, 2014, digital video, image courtesy the artist, Akio Nagasawa Gallery and SCAI THE BATHHOUSE \u00a9 the artist<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-199.png\" alt=\"\" class=\"wp-image-2711\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-199-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-199-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-199-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-199.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201c100 Time Lotus (detail)\u201d, 2008\/2016, installation view, Tatsuo Miyajima: Connect with Everything, Museum of Contemporary Art Australia, 2016, LED, IC, electric wire, glass, water, Nymphaea lotus, Qiao Collection, image courtesy and \u00a9 the artist, photograph: Alex Davies<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"350\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-200.png\" alt=\"\" class=\"wp-image-2714\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-200-300x199.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-200-150x99.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-200-453x300.png 453w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-200.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201cCounter Coal (detail)\u201d, 2008, installation view, Kunsthalle Recklinghausen, LED, IC, electric wire, coal, image courtesy the artist and Buchmann Galerie \u00a9 the artist, photograph: Ferdinand Ullrich<\/figcaption><\/figure>\n\n\n\n<p>In \u201cCounter Voice in the Water at Fukushima\u201d, the artist is the enumerator, a salaryman seemingly hermetically sealed in a waterproof suit and tie, sitting at a table before a clear bowl of radioactive seawater at the rear of a small boat bobbing off the coast of the damaged Fukushima Daiichi Nuclear power plant. The boat pitches cyclically in the waves, disengaging the camera\u2019s point of view (and thus the viewer\u2019s) of the performer and power plant in the background, reminding us of the tsunami that swept ashore in March 2011. Whereas in his other Counter Voice works the individual enumerators display various behavioral dispositions\u2014application, commitment, resignation, hope, exasperation, affectation, exhaustion and so on\u2014in \u201cCounter Voice in the Water at Fukushima\u201d, Miyajima\u2019s Everyman appears almost as a tragicomic figure, a farce, of man\u2019s capacity for folly or idiocy. Miyajima (reminiscent here of his countryman Toshiro Mifune scowling his way through countless Kurosawa films) theatrically shouts and mouths the descending numbers, agitated and excitable, growling and grimacing one moment, placid and subdued the next, before violently crashing or mildly immersing his head into the bowl of seawater. The histrionic quality of this performance of course belies gravity of its subject matter, with lingering radiation and suffering over Miyajima\u2019s shoulder and beyond.<\/p>\n\n\n\n<p>This incidental political dimension is extended in \u201cCounter Coal\u201d, coupled with \u201cTrain Time to Holocaust\u201d. Referring to the extraction and systematic freighting of coal and its attendant WWII connotations of transportation to Nazi death camps, their union here also points to the often polemic domestic debate surrounding coal mining and climate change, the work\u2019s blinking lights seemingly suggesting, as the toy train circumnavigates the seven tonnes of coal from Newcastle (north of Sydney), that \u201cour days are numbered\u201d, its dedicated tracking \u201crailroading\u201d us towards our collective demise. And of course, its LED lights require power to operate; Queensland and New South Wales bituminous coal is used for domestic power while Australia is the second largest exporter of coal in the world, with most of that trade going to Japan.<\/p>\n\n\n\n<p>For all the conscious (and otherwise) responses Miyajima\u2019s immersive, colored cipher constellations and spaces solicit\u2014to the life cycle of humanity and the exploration of our mortality\u2014I found the Counter Voice videos more intensely luminous. In these corporeal performances, repeated delivery and fluid cessations of the individual condition serve to enlighten conflicts between body and mind in ways that are truly humanizing.<\/p>\n\n\n\n<p>1 Alan Cruickshank, as Executive Director at CACSA: Contemporary Art Centre of South Australia in Adelaide, commissioned Tatsuo Miyajima to produce 33 new video works\u2014\u201cCounter Voice in Milk Adelaide\u201d, which exhibited Sep 9\u2013Oct 30, 2005 at the CACSA, with three other works, \u201cCounter Voice in Water\u201d (1995), \u201cCounter Voice in Air\u201d (1995), and \u201cCounter Voice in Wine\u201d (2000).<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-201.png\" alt=\"\" class=\"wp-image-2717\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-201-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-201-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-201-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-201.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201cFloating Time\u201d, 2000\/2016, installation view, Tatsuo Miyajima: Connect with Everything, Museum of Contemporary Art Australia, 2016, computer graphics, pc, projector, image courtesy and \u00a9 the artist, photograph: Alex Davies<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-202.png\" alt=\"\" class=\"wp-image-2720\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-202-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-202-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-202-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-202.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201cFloating Time(detail)\u201d, 2000\/2016, installation view, Tatsuo Miyajima: Connect with Everything, Museum of Contemporary Art Australia, 2016, computer graphics, pc, projector, image courtesy and \u00a9 the artist, photograph: Alex Davies<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"528\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-203.png\" alt=\"\" class=\"wp-image-2723\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/P0XhviOE-image-203-300x300.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-203-150x150.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-203.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201cPile Up Life No. 2\u2033, 2009, waterproof LED, fibre-reinforced plastics, electric wire, transformer, image courtesy the artist and Lisson Gallery \u00a9 the artist, photograph: Ken Adlard<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"528\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-204.png\" alt=\"\" class=\"wp-image-2726\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/uLmobqao-image-204-300x300.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-204-150x150.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-204.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Tatsuo Miyajima, \u201cPile Up Life No. 4\u2033, 2009\/2016, waterproof LED, fibre-reinforced plastics, electric wire, transformer, image courtesy the artist and Lisson Gallery \u00a9 the artist<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cTatsuo Miyajima: Connect with Everythin &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/tatsuo-miyajima-connect-with-everything\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":2732,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[149,415,67,1031,102,620,1032,416,1033,239,374,393,520,1034,1035,1036,419,1037,210,460,230,421,1038],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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