TATSUO MIYAJIMA

宫岛达男

mega death

source: cilwoodwordpress

L’artiste contemporain japonais Tatsuo Miyajima présente un projet intitulé “Ashes to Ashes, Dust to Dust”, au UCCA (Ullens Center for Contempory Art), à Beiking.

Il utilise des compteurs à DEL, ordinateurs, circuits électriques et des vidéos de projection pour faire défiler des chiffres de un à neuf.

Ces installations laissent transparaître des idées de la philosophie bouddhiste (continuer à changer, être en connection avec le Monde) symbolisant un vaste royaume de possibilités existentielles, la nature éternelle de l’espace et du temps, et le cycle infini de la vie, mort et renaissance.
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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.
The series Counter Fragile Lifestructurism is a reflection on the becoming of life. Each human being is constituted by over 60 billion cells, testifying at every moment the miracle of living. Each LED panel, with its individual flashing element counting in reverse from the digit 9 to 1, represents one cell. As the numbers progressively count down and start anew, they renew each time the cycle of death and life.
Tatsuo Miyajima identifies the brain as the centre of life, the element that identifies a human being. The clusters Counter Fragile Counter Brain represent the network of cells where synapse activity takes place, in the transmission of a pulse.
The Pile Up Life series was originally conceived for Prospect. 1 New Orleans and is presented here for the first time in Europe. Observing how large scale natural disasters affect human beings and the sense of powerlessness that we share on these occasions, Miyajima created the work Pile Up Life as a requiem for the lives lost in these disasters. This series of towers is made of natural stones with embedded LED lights called ‘counter gadget’. The works reference traditional commemorative monuments, found in different cultures from Eastern Asia to Canada and America as well as the concept of eternal life celebrated in Buddhism. The ‘counter gadget’ are made in two colors, red and blue, each programmed to count up from 1 to 9 and down from 9 to 1. Their speed is determined by the people who pray for requiem, and translates subjective individuality into rhythm.
About the artist
Tatsuo Miyajima (b. 1957, Tokyo, Japan) lives and works in Ibaraki, Japan.
Miyajima’s works have been shown as part of 10th Havana Biennal – Meeting Point (2009); Prospect. 1 New Orleans (2008); at Instituto Valenciano de Arte Moderno, Valencia, Spain (2007); Neue National Gallery, Berlin (2006); the Contemporary Art Museum, Kumamoto, Japan (2005); the Museo d’Arte Contemporanea Rome (2004); the Venice Biennale (1988/1999); the International Centre for Contemporary Art, Montreal (1997); the San Francisco Museum of Modern Art, CA (1997); and the Solomon R. Guggenheim Museum, New York (1995). His most recent solo installations include Art in You at the Art Tower, Mito Arts Foundation in Japan.
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source: artnetfr

Tatsuo Miyajima is a contemporary artist highly acclaimed internationally for his distinctive works utilizing digital counters made from light-emitting diodes (LEDs). He is well known in Japan thanks to such works as Counter Void, which is permanently installed on an outside wall of the TV Asahi building in Roppongi Hills, Tokyo, and Sea of Time ’98, an installation in a centuries-old Japanese house on Naoshima Island in the Seto Inland Sea. All of Miyajima’s works share a sense of time and space. Viewers are struck by the digital counters because they discover the rhythm of life’s dynamism within the blinking, ceaseless display of numbers. Today, LEDs are an ordinary part of our daily surroundings, but back in the latter half of the 1980s when Miyajima first used them in his art, they were still an unknown material that merely hinted at their future potential.
For more than twenty years since his early adoption of the LED medium, Miyajima has continuously used these digital counters as his language of expression, but now he is developing a new theme—a free state of time and space that is uncontrolled by simple algorithms, one that constitutes a leap forward. Until now, his art has been appreciated in the context of the order and calm that emerged through the repeated blinking of LEDs in accordance with a regular, well-ordered rhythm. His new works exhibited here, however, reveal an ambitious challenge that smashes the tranquil image of his previous work.

Key concepts of the new works are the relationships between numbers that evolve where the regularity of time and space is transcended, and the leaps of imagination achieved through the incidental events they produce. Under these conditions, events and life refuse to stand still. Instead, they constantly and continually evolve as they transcend the frameworks of existing ideas and interact with many different things. Nevertheless, this new world view is in line with the three basic concepts that Miyajima has put forth from the beginning—”Keep Changing,” “Connect with Everything,” and “Continue Forever”—and can be seen as a further development of that world.
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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。