宫岛达男

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source: contemporaryartdaily

Since 1987, Tatsuo Miyajima has been constructing installations using LED digital counting devices. His works combine a performative aspect with architectonic structures, sometimes taking the shape of geometric patterns or organic shapes as well as encompassing vertical and horizontal surfaces. The LED devices count progressively from 1 to 9 or backwards – Miyajima never employs 0 – establishing a rhythm as definitive as repetition itself and the inexorable passing of time. Sometimes the colored numerals run at different speed, synching to the rhythm of natural events or the pulsing of life in individual subjectivities.
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source: uccaorgcn

在日本当代先锋艺术家宫岛达男眼中，数字是抽象的，又是有具象意义的，它们象征着巨大的可能性，时间和空间的永恒，生命、死亡和重生的无限循环。他围绕着 ——“持续变化”、“关联一切”、“永无止尽”为主题进行艺术创作，这些源自古老的东方佛教哲学的概念，结合他运用的LED、计算机集成电路和视频投影技 术后，散发出充满现代感的全新魅力。
宫岛达男的很多作品中都采用了精密的LED设计，使从9到1（或从1到9）的数字——人类最为通用和极简的语言，循环跳转。当他们同时熄灭，整个房间会浸 入一片黑暗，但是在他的作品中却从未出现数字0，因为艺术家认为0意味着否定，否定了人类存在的无限循环，艺术家以让0缺失的方式引发更多对于虚无的思 考。

艺术家自述

从1988 年起，我就开始尝试用LED 和数字化的计算排列方式来进行艺术创作。其中，我想要表达的主旨有三个：“持续变化”,“关联一切”，“永无止尽”。作品的数字排列是从9 到1（或从1 到9），变化的速度因不同数字而异。0 则不被表现出来，用灯光的熄灭来代替。数字运行时所发出的光代表了“生”，而表示0 的黑暗部分则意味着“死”。我把这个计算和排列系统视为生命的象征，这是多年来我一直想表达的观念。这种思想最早源于佛教。中国为佛教的传播做了很大贡 献，因此这次来到中国举办个展，我感到很荣幸。
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source: designboom

japanese artist tatsuo miyajima has presented ‘i-model’, a complex and interactive exhibition at lisson gallery, london. three new bodies of work have comprised the show, all of which underscore miyajima’s relationship to technological mediums such as electric circuits, video, LEDs, and computers. the contemporary digital materials are translated into counters — repetitively blinking cycles of number displays, slowly ticking and counting from 1 to 9 or 9 to 1 that metaphorically represent the journey from life to death. debuting for the first time is ‘life palace (tea room)’, a red leather clad chamber that invites one entrant at a time to step within a hypnotic, cavernous constellation of flickering digital numerals and blue lights. occupying the entire gallery space, the intimate, personal volume is meant to encourage contemplation and isolation, a reinforcement of miyajima’s buddhist-infused philosophies of reflection and time. the show’s namesake refers to a creative collaboration between the artist and professor takashi ikegami of tokyo university, an expert on artificial life. together they have designed a computer program that generates number sequences in response to the rhythm and speed of others ongoing in the system. the result is ‘corps sans organe’: an installation that is made of intelligent data very much like ‘living’ organisms. instead of a collection of randomized circuits, the clusters of flashing digits can function independently from the interconnectivity of its constituent parts. tatsuoa miyajima was born in tokyo in 1957. since the 80s, he has been creating works of varied character, dealing with notions of time and space as central themes. he was introduced to the western world at the 1988 venice art biennale and 11 years later, at the 48th biennale, reigned over the japanese pavilion with a wide sky of blue LED digits.
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source: bamboonet

Em Londres, a Lisson Gallery apresenta a terceira exposição individual do artista japonês Tatsuo Miyajima, I-Model, que conta com uma instalação imersiva e interativa composta por três novos corpos de trabalho com base no uso contínuo de displays numéricos construídos a partir de LEDs. O título da mostra faz referência à colaboração de Miyajima com um especialista em vida artificial, o professor Takashi Ikegami, da Universidade de Tóquio. A exposição apresenta o resultado desta parceria, que originou um programa de computador que gera sequências de números capazes de responder aos ritmos e velocidades de sistemas externos, ou seja, capazes de interagir com o público. Batizada de Corps Sans Organe (Corpo sem órgão), a instalação remete a um “corpo ideal” capaz de funcionar de forma independente em cada uma de suas partes constituintes.