Mariko Mori: Sansan

installations, this exhibition comprehensively reviews the numerous conceptual and artistic practices, and re-evaluates its innovative creative activities, positioning them within new frameworks such as popular culture, technological futurism, and philosophy surrounding consciousness. Today, as interest in diverse cultures and civilizations around the world is increasing, creative activities inseparable from ritualistic and traditional practices of indigenous and non-Western cultures are once again receiving attention, while the meaning of the creative process itself is being re-examined due to the accelerated development of technology. In addition, as wars and conflicts occur in various places, and the global economy becomes politicized, the universality of humanity is urgently needed. We believe that reviewing Mori Mariko's practice in this era has a deep necessity. Mori Mariko first gained attention as a rising star in the era with the 'Cyborg' series, which was a photographic and video work based on her own performance in the mid-1990s, and which used computer graphics to create a futuristic image. Her interest then expanded from a critical perspective on contemporary society, such as Japanese anime culture, gender, and posthumanism, to a broader philosophical interest, deeply influenced by Buddhist views on death and the universe, leading to large-scale interactive installations that evoke Buddhist worlds such as Nirvana and Pure Land. Entering the 21st century, as divisions spread around the world, the concept of 'Oneness' (One-ness), which advocates the connection of all life, from ancient times to the infinite universe, became a central value in her practice. In this context, extensive research and exploration of a wide range of themes, based on the collaboration and research with scholars and scientists around the world, from animism, Jomon and Celtic ancient cultures, and Buddhist Vijñaptimātra theory, to particle physics and cosmology, has been realized and experienced as works using the latest technology, such as 'Wave UFO' (1999-2002). In 2010, she established the Faou (Faou) Foundation, aiming to permanently install works that re-recognize the connection between nature and humans, and the mission has already been realized in Miyako Island and Rio de Janeiro. The exhibition title 'Sansan' symbolizes the 'light' at the center of Mori Mariko's practice. Light represents the illumination of compassion and wisdom in Buddhism, the halo that visualizes it, and the deities represented by the sun god in Shinto. In Mori's specific works, it is reflected in 'Tomnafuri' (2006), which converts neutrinos generated by a supernova explosion into visible light, 'Primordial Rhythm: Sun Piller' (2011), which captures the winter solstice sun, and 'Ring: Becoming One with Nature' (2016). 'Mori Mariko: Sansan', which is structured as an immersive experience through light, perception, and consciousness, will be a place for self-reflection in the modern era, symbolized by the acceleration of technology and planetary instability. This exhibition is co-curated by Alexandra Monroe, Senior Curator at Large (Global Arts Department) of the Solomon R. Guggenheim Museum and Foundation, and Mami Kishii, Director of Mori Art Museum. Mori Mariko 'Prayer of the Shamaness' 1996 Video 4 minutes 42 seconds Mori Mariko 'Wave UFO' 1999-2002 Brainwave interface, vision dome, projector, computer system, glass fiber, techno-gel, acrylic, carbon fiber, aluminum, magnesium 528×1,134×493 cm Exhibition view: 'Mori Mariko: Wave UFO' at the Kunsthaus Bregenz (Austria) 2003 Photo: Richard Leirio Exhibition Overview Mori Mariko: Sansan Organizer Mori Art Museum Special Cooperation Solomon R. Guggenheim Foundation Support General Foundation Tanaka Jin Foundation Tai Sin Bank Foundation for Culture and Arts Sponsorship Anthropic Mitsui & Co., Ltd. HUMANTHRUST Co., Ltd. Kajima Corporation Kokusen Kogyo Co., Ltd. Kiden Co., Ltd. Sumitomo Construction Co., Ltd. Mitsubishi UFJ Financial Group, Inc. Toyota Motor Corporation Alphalex Japan Co., Ltd. Bungei-sha Co., Ltd. Terada Warehouse Co., Ltd. Aioi Nissay Dowa Insurance Co., Ltd. Fujitec Co., Ltd. Sanki Kogyo Co., Ltd. Individual Sponsorship Haruo Asahina Miwako Sato James Yi-Rong, Hsu Jonathan and Sachiko Kindred Color and Rurong Lee Takashige Takahashi Others Cooperation L'Oréal Production Support Antiprémia Planning Alexandra Monroe (Senior Curator at Large, Solomon R. Guggenheim Foundation, Global Arts Department) Mami Kishii (Director, Mori Art Museum)