本作品は、現実と幻想の境界を体験するインスタレーションです。写真を印刷したフィルムで窓を覆い、外界の光と景色を柔らかく拡散させることで、視界の輪郭が曖昧になり、来場者は徐々に幻想へと誘われます。展覧会の最初と最後に通るこの空間は、始まりにおいては異界への序章を示し、終わりにおいてはそこで得た体験を再び現実へと紡ぎ直すための余韻の場となります。
光と影の交錯、透過と不透過の曖昧さが織りなすこの場所は、存在そのものの不確かさや、変化し続ける世界の流動性を象徴しています。訪れる人々は、この空間を通して、自身が境界に立つ存在であることを実感し、その曖昧さの中に新たな発見や内省の機会を見出すことでしょう。この作品は、移ろいゆく世界の中で生きる私たち自身を見つめ直す契機を提供します。
This work is an installation that invites the visitors to experience the boundary between reality and fantasy. By covering the windows in a film printed with photographs and softly diffusing the light and scenery entering from the outside world, the contours of the viewers’ field of vision become blurred, and they are gradually drawn into a fantasy. This space, which the visitors pass through at the beginning and the end of the exhibition, functions first as an introduction to the other world, and later as a place for lingering in contemplation, where memories of the experiences gained in that other world are woven back into reality.
Fabricated out of the interplay of lights and shadows as well as the ambiguity of permeability and impermeability, this pathway symbolizes the uncertainty of existence itself and the fluidity of a world in constant flux. Through their encounter with this space, the visitors will realize that they themselves are beings standing on a boundary, and they will find in this ambiguity ample opportunity to make new discoveries and engage in self-reflection. As such, this work can provide us all with an invaluable occasion to reflect on what it means to live in a transitory and ever-changing world.
本作品は、都市の中で感じられる「いのちの息づかい」をテーマに、鑑賞者を現実と異界の狭間へと誘う作品です。無数に配置された水槽に映像を投影し、揺らめく水面が生み出す幻想的な光景は、美術館内外の境界を曖昧にします。本展では、これまで対象としてきた都市のモチーフに加え、京都特有の風景を映像に取り入れることで、土地固有の文脈とより深く響き合う体験を創出します。
投影される映像は、都市に刻まれた人々の営みや感情、そこに漂う記憶と希望を浮かび上がらせます。電車の窓越しに流れゆく街並みや、高所から見下ろす建物の群れ。こうした都市の景色には、人間の存在が見え隠れします。そこには、過去の記憶が息づき、新たに創られる未来への時間が流れ込んでいます。
夜の京都を想起させるような街の灯り—ネオン、車のヘッドライト、そして室内の微かな光—は、いのちの営みを象徴します。光はときに力強く、文明の先駆けとしての輝きを放ちますが、一方で儚く繊細で、追憶の灯火のような面も持ち合わせています。また、水槽の水面に映る光や影は、川や雨の水滴、霧など心地の良い自然要素を連想させ、それらが街と自然の境界を揺らしながら共鳴します。
鑑賞者自身もまた、この光や映像に自身の息づかいを重ねていきます。過去と未来、儚さと力強さが交錯する空間の中で自らの存在を感じられる本作品は、見る者と都市、そして京都という土地をつないでいきます。
Taking as its theme the “breathing of lives” that can be felt in the city, this work invites the viewers to enter a space between reality and the other world. The images projected onto the innumerable water tanks and the shimmering water surfaces themselves create a fantastic scene that blurs the boundary between the interior of the museum and the outside. Throughout the exhibition, in addition to the urban motifs that have been the subjects of Ninagawa’s work to date, a number of distinctive Kyoto scenes are incorporated into the images, creating an experience that resonates more deeply with the context of the place.
The projected images illuminate the activities and emotions of people who have carved their lives into the city, as well as the memories and hopes that still linger there. A human presence can be glimpsed here and there in these urban scenes, such as the cityscape that flows past the train window and the clusters of buildings seen from an elevated location. In these images, memories of the past live on and time flows into a future that is being newly created.
The lights of the city that evoke the image of Kyoto at night, such as neon signs, car headlights, and the faint glow of lights emanating from inside buildings, are symbolic reminders of the activities of life. Sometimes light is powerful, shining as a beacon of civilization, while at other times it is ephemeral and delicate, showing a face like a candle of remembrance. The lights and shadows reflected on the surfaces of the water tanks also evoke pleasant natural elements such as rivers, raindrops and fog, and these elements resonate with each other while blurring the boundary between the city and nature.
The viewers can also superimpose their own breathing on these lights and images. And by allowing the viewers to perceive their own existence in a space where the past and future as well as transience and strength intersect, this work connects the viewers to the city and also to the topography of Kyoto.
この作品は、真紅の彼岸花で構成された空間が鑑賞者を包み込み、日常から異界への移行を体感させるインスタレーションです。壁一面にコラージュされた彼岸花の写真や、赤いライティングの演出は、鑑賞者に没入的体験をもたらします。その鮮烈な赤の世界は、存在の境界を象徴する空間として、美術館の中に突如として現れます。
彼岸花は日本では古くから「彼岸」という言葉と結びつき、生と死、此岸と彼岸の間を漂う象徴的な存在とされています。この空間で、鑑賞者は赤い花々の中に入り込み、視覚だけでなく五感全体でその象徴性を体験します。劇的な色彩の変化は、現実の延長線上にある異界を感じさせ、存在の儚さを呼び起こすきっかけを与えます。
ここでは、生と死、緊張と解放、終わりと始まりといった二項対立の狭間に生じる揺らぎや感情を探求していきます。真紅の空間に包まれる体験は、単なる視覚的美しさを超え、鑑賞者を内省の旅へと誘い、存在そのものについて新たな問いを投げかけるでしょう。
This installation envelops the viewers in a space composed of red spider lilies, creating the sensation of a transition from the everyday world to another world. The photo collages of red spider lilies covering entire walls and the red lighting create an immersive experience for the viewers. This world of vivid red suddenly appears in the museum as a space that symbolizes the boundary between existences.
In Japan, the red spider lily has long been associated with the word Higan (literally, “the other shore”), and it is considered a symbol of the transition between life and death, or between this world Shigan and the next world Higan. In this space, the viewers are immersed in a sea of red flowers and experience their symbolism not with their eyes alone, but with all five senses. The dramatic changes in color give the impression of an otherworldly realm lying beyond the real world, and serve as an invitation to reflect on the ephemeral nature of existence.
Visitors to this installation will explore the fluctuations and emotions that arise in the space between opposites such as life and death, tension and release, and ending and beginning. The experience of being immersed in a crimson space transcends mere visual beauty, inviting the viewers on a journey of introspection and posing new questions about existence itself.
この作品は、花を見るという普遍的な行為を通じて、鑑賞者それぞれの心象風景を呼び起こし、感情の奥底へと誘うインスタレーションです。スクリーンの表裏から投影される映像が重なり合うことで、鑑賞者を奥へ奥へと引き込むような視覚効果を生み出しています。その映像は、光を浴びて幻想的に輝く花々の儚くも力強く咲き誇るいのちの息吹を描き、鑑賞者の感情と響き合います。
作品に登場する花々は、多くが自然の中に咲くものではなく、人々の手で育てられたものです。人と花との共生から生まれた美しさは、ただの装飾や癒しを超え、私たちの暮らしや記憶に深く根ざした存在として映像に刻まれています。散りゆくいのちの儚さや移ろいゆく季節の美しさを感じながら、鑑賞者は自身の過去の感情と結びつく瞬間を体験するでしょう。
《Blooming Emotions》は、花々が紡ぎ出すイメージと鑑賞者の感情が響き合い、個々の心の奥深くに潜む情感を呼び覚ます旅路を提供します。その体験は、花々がもたらす美しさと人間の心の多様性を探る場となるでしょう。
This installation evokes the mental landscape of the individual viewers through the universal act of looking at flowers, inviting them on a journey to explore their own innermost feelings. The overlapping images projected from the front and rear of the screen create a visual effect that draws the viewers deeper and deeper into the work. These images depict flowers glowing fantastically in the light, with an ephemeral yet powerful life force that resonates with the viewers’ emotions.
Many of the flowers that appear in this work are not found in nature, but are varieties that have been cultivated through human effort. The beauty that arises out of the coexistence of people and flowers, which transcends mere decoration or healing, has been etched into these images as a presence deeply rooted in our lives and memories. As the viewers sense the transience of life and the beauty of the changing seasons, they will also experience moments that connect them with their own past emotions.
Blooming Emotions is a work that takes us on a journey in which the images created by the flowers resonate with the viewers’ emotions, stirring up feelings that lie deep within each individual’s psyche. This experience provides us with the opportunity to explore the beauty of flowers and the diversity of the human heart.
このインスタレーションはアーティスト蜷川実花の内面から滲み出る感情の痕跡からなります。作品を構成するオブジェ一つひとつには、アーティストの表現の中で繰り返し現れるモチーフや映像の断片が重ねられ、それぞれが執着や情熱、葛藤を象徴しています。大胆な絵の具の使用や過剰に装飾された額縁は、内面の解放と縛られた思考との間で揺れ動く心の様相を浮かび上がらせます。
複雑に絡み合う形と色彩の相互作用は、感情の波や変化を映し出し、鑑賞者をアーティストの内的世界へと誘います。そこで向き合うのは、抽象と具象が入り混じるアートの景色だけでなく、その向こうにある自分自身の深層でもあります。深淵をのぞくとき、深淵もまたこちらをのぞいている——この空間では、アートがその媒介となり、鑑賞者は解放の可能性と執着の影を共に見つめる体験をします。
This installation is made up of traces of the emotions that well up from the inner world of artist Mika Ninagawa. Each of the objects that comprise the work is layered with motifs and fragments of images that repeatedly appear in her representations, and each of these objects also symbolizes her obsession, passion, and conflict. The bold use of paint and the excessively decorated picture frames reveal a state of mind that vacillates between inner liberation and constricted thoughts.
The complex interplay of form and color reflects the waves and changes of emotions and invites the viewers into the artist’s inner world. What confronts them there is not merely a landscape of art that mixes abstract and figurative elements, but also the depths of their own selves that lie beyond that landscape. When you stare into the abyss, the abyss also stares back. In this space, art becomes the medium through which the viewers can experience both the possibility of attaining liberation and the shadows of their own attachment.
この空間は、鑑賞者を異なる心象風景といのちの輝きの狭間に導く、架け橋のようなものです。人の背丈程度の大きな6枚のガラスパネルには、光と影が織りなす写真が配置され、それぞれが花畑、蝶、藤の花、桜、海中の光景へと展開し、鑑賞者を次第に深遠な世界へと誘います。そして、それらの写真と対を成す6枚のオーロラフィルターが、鑑賞者の動きや視点によって多様な光の表情を映し出し、空間全体に揺らぎをもたらします。
本作品は、その前の2作品（No.5,6）が描き出す個々の感情の深淵と、この後の作品（No.8,9）が表現するいのちの輝きとの間に位置し、二つの世界観をつなぐ空間です。それぞれのガラスパネルに差し込む光は、記憶や感情、時間の流れを象徴し、鑑賞者の心の中にある静けさと、そこから生まれる微かなきらめきを呼び覚まします。この空間は、ただ眺めるのではなく、光を通じて自己と向き合い、未知の内面世界を旅する体験につながっていきます。
This space is like a bridge that leads the viewers to a place somewhere between various mental landscapes and the brilliance of life. Six large glass panels, each about the height of a person, are arranged with photographs that interweave lights and shadows, and the images depicted on each panel unfold to reveal scenes from the natural world, with elements such as a garden of flowers, a landscape featuring a butterfly, wisteria flowers in bloom, cherry blossoms, and underwater scenery, gradually drawing the viewers into a world of profound wonder and mystery. In addition, the six aurora films that are paired with these photographs reflect a variety of expressions of light depending on each viewer’s movements and perspective, giving the entire space an atmosphere of fluctuation.
This work is situated between the abyss of individual emotions rendered in the preceding two works (Nos. 4 and 5) and the radiance of life expressed in the subsequent two works (Nos. 7 and 8), and can be thought of as a space that connects these two worldviews. The light pouring into each glass panel symbolizes memories, emotions, and the flow of time, and evokes a sense of stillness and serenity within each viewer and the faint glimmer of light that arises out of that calm state of mind. This space is meant to be experienced not just by gazing at it, but also as a window that allows us to face ourselves in the light and to journey into an unknown inner world.
この作品は、1,500本に及ぶクリスタルガーランドが織りなす光と色彩の空間体験です。今回のインスタレーションでは、人工光のみを用いることで、光の強度、色彩、方向を繊細に制御し、訪れる者がいのちのきらめきを深く感じ取れる場を創出します。鑑賞者はこの空間で、刻々と変化する光の表情といのちの儚さを象徴する静謐な瞬間を体感します。
展示の中央を抜ける通路には虹色の色相環に沿って配置されたクリスタルガーランドが囲むように配されています。ガーランドには多様な色彩を帯びたクリスタル、光を散らすサンキャッチャー、蝶、星、ハート、目玉、イミテーションの宝石など様々なパターンのモチーフが散りばめられています。それは子供の頃、おもちゃの宝石箱の中に大切にしまっていたようなキラキラしたもの。他人から見れば、価値を持たないただのガラクタだけれども、本人にとってみれば大切な宝もののように感じていたものです。そうした多様なモチーフがクリスタルの多様な色彩と、サンキャッチャーの輝きとともに浮かんでいます。それぞれのモチーフは、他者が大切にした記憶を象徴し、鑑賞者自身の感情や記憶とも交錯する存在です。遠目には壮大な光の連なりとして輝き、近づけば細部の意匠が浮かび上がり、見る者に多様な発見と感覚をもたらします。
人工光による演出は、時間の経過を超越し、展示空間全体を一つの生きた作品として作り上げます。光の角度や色彩が調整されることで、クリスタルが放つ光は、穏やかな揺らぎから鮮やかなきらめきへと変化し、静と動の交差する空間を提供します。鑑賞者は、この空間を歩むたびに、光の粒子が奏でる変化が次々と呼び起こす新たな感覚によって、いのちの多様性とその儚さを実感するでしょう。この作品は、鑑賞者を単なる観察者ではなく、光と色彩が織りなすいのちの記憶の中を旅する参加者として位置づけます。それは死者の残した痕跡のようでもあり、現世を彷徨う魂の軌跡のようでもあります。人工光が創り出す緻密な美の空間は、いのちの一瞬一瞬が持つ価値を際立たせ、人々に内省の時間を与えます。光と色が描く調和の物語を通じて、鑑賞者はいのちの輝きとその儚さの意味を深く問い直す経験を得ることでしょう。
This is an installation that offers the experience of a space of light and color woven out of as many as 1,500 crystal garland strands. In this work, which is produced using only artificial light sources, the intensity, color, and direction of the light are carefully controlled to create a space in which visitors can deeply perceive the sparkle of life. Within this space, viewers will experience the ever-changing expression of light and the tranquil moments that symbolize the transience of life.
The central aisle of this installation is surrounded by crystal garlands arranged along a rainbow-colored circle. The garlands are decorated with motifs designed in various patterns, including crystals in a range of colors, suncatchers that scatter light, butterflies, stars, hearts, eyes, and imitation jewels. These motifs are the kinds of glittering items that we might have treasured and kept carefully in our toy jewel boxes as children. To other people, they would have seemed like worthless junk, but to the person who kept them, they were precious treasures. These diverse motifs float about the space together with the rich colors of the crystals and the sparkle of the suncatchers. Each motif symbolizes memories that other people have cherished and also exists intertwined with the emotions and memories of the individual viewer. From a distance, they shine as a magnificent chain of light, and on closer inspection, detailed designs come into view, presenting the viewers with a variety of discoveries and sensations.
Through the use of artificial lighting, this production transcends the passage of time and creates a single dynamic work of art that encompasses the entire exhibition space. By adjusting the angles and colors of illumination, the light emitted by the crystals changes from gentle undulations to dazzling sparkles, thereby creating a space where stillness and movement intersect. As the viewers make their way through this space, the changes wrought by the play of light particles will arouse new sensations that will deepen their appreciation of the diversity and fragility of life. This work positions the viewers not as merely passive observers, but as active participants traveling on a journey among the memories of life woven together out of light and color. These memories are like traces left behind by the dead, or the trail of a soul wandering through the world of the living. This beautiful and meticulously designed space created through the use of artificial lighting highlights the value of each moment of life, and provides people with an opportunity for introspection. Through the harmonious stories conveyed through the use of light and color, viewers will have an experience that will force them to deeply re-examine the meaning of the brilliance and fragility of life.
本展覧会のハイライトとなる深淵を象った本作は、奈落のように天地が抜ける空間と、その空間を内包する造花が咲き乱れる空間より構成されます。外側に広がる空間は、深い底にありながら突然視界が開け、色鮮やかな花々が広がります。そこは黄泉の奥底のようでもあり天上の世界のようでもあり、空間を共有する鑑賞者同士も互いを多様な形で認識するでしょう。深淵を彷徨う亡者なのか、天国へと至ろうとする魂なのか、その体験を共有する鑑賞者たちも含めて、彼岸の夢という共同幻想が形作られます。
奈落は4面がLEDディスプレイ、上下が鏡で構成される空間です。天地が抜ける異空間の中で鑑賞者は落ちていくのか、登っていくのか、そのどちらとも取れる体験を潜り抜けます。それは肉体を喪失するような、あるいは自分の心の奥底に入るような体験となります。ある種の臨死体験潜り抜けて、深淵の先に何を見るのか。それは、そのときの鑑賞者一人ひとりの心のあり方によって変化するでしょう。古来、世界各地に存在する黄泉巡りは、自身の心の中を巡る体験でもあるのです。
生と死、緊張と解放、儚さと普遍、諦観と希望、終わりと始まりなど、深淵を巡った鑑賞者が地上へと帰るとき、そこで見た夢や感情がどのように現実に影響を与えるのか？ 黄泉巡りにつながる一連の体験は、鑑賞者に様々な感覚と内面的な反応を引き起こします。それが視覚的な美しさにとどまらず、存在や死生観に触れる体験となり、訪れる人々にとって忘れがたいものになることを私たちは願っています。
This work, which is the highlight of the exhibition, is based on the idea of an abyss, and consists of two spaces, namely a space where heaven and earth seem to be falling away as if into a bottomless pit, and a surrounding space in which artificial flowers are blooming wildly. The latter space, which extends outward, represents a deep abyss, in which the view suddenly opens up to reveal a profusion of colorful flowers. The scene is reminiscent of the depths of the underworld, which is called Yomi in Japanese, but at the same time it is like the realm of the gods, and viewers who coexist in the same space will perceive each other there in various guises. Whether as ghosts wandering through the abyss below or souls trying to reach heaven above, viewers who share this experience will become part of a collective illusion consisting of dreams of the other world beyond this world.
The abyss is a space enclosed by LED displays on four sides and mirrors on the top and bottom. In this otherworldly space that separates heaven and earth, the viewers experience a sensation that can be interpreted as either falling or climbing, or perhaps both. It is an experience that feels like one is leaving one’s body or entering the depths of one’s own mind. After passing through a kind of near-death experience, what will you see beyond the abyss? The answer will vary depending on the state of mind of individual viewer at the time. The ancient practice of visiting the underworld, a tour known in Japan as Yomi-meguri, which has analogues in many parts of the world, can also be thought of as a journey into one’s own mind.
When they return to this world after their journey through the abyss, during which they can sense life and death, tension and release, transience and universality, resignation and hope, and ending and beginning, how will the dreams and emotions the viewers witnessed there affect their reality? The series of adventures that comprise the tour of Yomi will elicit a variety of sensations and internal reactions. For visitors to the exhibition, we hope that this will be an unforgettable experience that goes beyond the appreciation of visual beauty and touches on their views on the nature of existence and of life and death.
光を主題にしたこの映像作品は、感覚の輪郭をなぞりながら、光とその中に潜む時間的つながりを探求するものです。これは例えば、祈りという普遍的な体験を通じて、鑑賞者が心象風景の中にある「光」にまつわる記憶や感情と対話するようなことです。渓谷の奥にある清らかな水面、深い森に射す木漏れ日、厳寒の中で輝くダイアモンドダスト、夕陽に照らされる海など、映像では過去から現在まで人々が祈りを捧げてきた空間が重なっていきます。また本作品では特定の文化、宗教という枠組みではなく、その背景に共通する自然や感覚に焦点を当てています。
本作品において光は、単なる視覚的要素ではなく、生命の源泉としての意味も帯びています。地球上の大多数の生命が太陽光というエネルギーの上で育まれていることを踏まえると、光と生命の本質的なつながりを探求したアートであるともいえます。映像では光の瞬きの移り変わりを捉え、その中にある時間の流れや生命の儚さ、そこに息づく（個体の死という概念も含んだ）未来へのつながりを結んでいきます。この作品では光という素材を通して、人と人、人と世界の関係性を問うています。
また鑑賞者が同じ空間に存在し、時の流れと存在について多様な洞察を行っていることも重要な要素になります。つまり本作品の体験は、映像だけでなく、空間を同時に共有する人々とランドスケープを含んだものとなります。ここでの光は、物質と感覚の境界を曖昧にし、見る者自身の存在とその周囲の世界を再考させる効果ももたらすでしょう。それはときに見る者の感情を反映した光となり、ときに周囲の空間をも包み込むような光になります。こうした空間体験は知覚と現実、物質と感情の狭間を彷徨うかのような感覚を呼び起こすものになります。境界が揺らぐ知覚の中で、人と人、人と世界のつながりを多様に結ぶ光が、さらにその先につながることで本展は終幕を迎えます。
Taking light as its theme, this video work traces the contours of the senses while exploring light and the temporal connections concealed within it. What this means is that, for example, through the universal experience of prayer, the viewers to interact with memories and emotions related to light that are present in their mental landscape. Many of the images in this work are views of scenic beauty in places where people have been offering prayers from ancient times down to the present day, such as the crystal clear water of a stream flowing at the bottom of a valley, the sunlight filtering through the trees in the depths of a forest, diamond dust sparkling in the coldest of winters, and the sea illuminated by the setting sun. This work also focuses on natural phenomena and sensations that are common to people of all backgrounds rather than on the framework of a specific culture or religion.
In this work, light is treated as not just a visual element but is also considered to symbolize the source of life. Considering that the vast majority of living things on earth are nurtured by the energy of sunlight, this work can also be described as an artistic exploration of the essential connection between light and life. The video captures the changing patterns of light and links them to the flow of time, the transience of life, and the connection to the future (including the concept of the death of the individual) that exists within these patterns. Through the medium of light, this work questions human relationships, both between people, and with the wider world.
Another important element is that multiple viewers will present in the same space and each of them will be in a position to gain diverse insights into the flow of time and existence. In other words, the viewers’ experiences of this work are not limited to the images, but also include the other people and the landscape they are sharing the space with. The light here blurs the boundary between matter and sensation, producing an effect that encourages the viewers reconsider their own existence and the world around them. At certain times, the light will reflect the emotions of the viewers, and at others it will engulf the surrounding space too. This spatial experience awakens a sense of wandering somewhere between perception and reality, and between matter and emotion. Against this backdrop of shifting boundaries, the exhibition concludes with a light that continues to connect people with each other and with the world in many different ways, and to point the way toward new connections that reach ever further afield.
