GSIX

ART


08

ART INSTALLATION

  • Kenji Yanobe

    《 BIG CAT BANG 》

    2F Central Atrium

    2024.4.5 - 2025.Summer(planned)

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New to the atrium in the middle of GINZA SIX is a work titled BIG CAT BANG by Kenji Yanobe, a leading contemporary artist in Japan. The artwork is his new series of the SHIP’S CAT, which brings good fortune for those on a voyage.
Kenji Yanobe is known for his large mechanical sculptures that juxtapose humor with social commentary.
This work reimagines the large atrium in the middle of GINZA SIX as a galaxy that includes Earth, in which innumerable space cats voyage through space. The large floating ship is an homage to the Tower of the Sun, a tower created by Japanese artist Taro Okamoto for Expo 70. Kenji Yanobe, an heir in the spiritual line of Taro Okamoto, presents a new and whimsical version of the story of our dynamic universe since the Big Bang.

Kenji Yanobe

Contemporary Artist, Professor, Kyoto University of the Arts
Born in Osaka in 1965, Kenji Yanobe began making large mechanical sculptures with functionality at the start of the 1990s on the theme of survival in the contemporary society. His works, which convey social commentary in whimsical presentations, have won high praise both in Japan and abroad. In 2017, taking sailor cats as a motif, he began a SHIP’S CAT series depicting guardian deities for travelers. SHIP’S CAT (Muse) 2021 is permanently installed as the symbol of the Nakanoshima Museum of Art, Osaka, which opened in 2022.

PAST

Jean Jullien

《 The Departure 》

Kohei Nawa

《 Metamorphosis Garden 》

Tokujin Yoshioka

《 Prismatic Cloud 》

Klaus Haapaniemi

《 Celebration of Life in the Astral Sea 》

Chiharu Shiota

《 Six Boats 》

Nicolas Buffe

《 “Fantastic Gift” The Story of the Kingdom of Winter and the Kingdom of Summer 》

Daniel Buren

《 Like a flock of starlings: work in situ 》

Yayoi Kusama

《 Pumpkin 》

©Kohei Nawa | Sandwich Inc.

ART NEWS

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SHOW WINDOW

In Japan, meats can be represented by flowers and plants. For example, horse meat may be called cherry blossoms; boar meat peonies; venison Japanese maple; and chicken kashiwa oak. These are poetic ways of referring to meat by likening their qualities to flowers and plants. The origins of this practice date back to the Edo Period (1600-1868), when eating meat openly was prohibited due to the influence of Buddhism, which resulted in a secret language to avoid explicit mention of its consumption.
A closer examination shows that the colors or textures of individual meats resonate with the colors of the flowers or shapes of the leaves of plants. Avoiding direct reference—likening subjects instead to beautiful flora evocative of nature and the seasons—attaches a certain elegance and beauty to food equivalent to the graceful expression of Japanese poetry.
Likening meats to beautiful flora may also express a sense of gratitude and respect for the animal in question. The greeting itadakimasu, still used today at the start of a meal in Japan, similarly expresses gratitude for all of nature’s blessings.
Today, with the consumption of meat now commonplace, these euphemisms are appealing due to their playful spirit as an ingenious way of indirectly referring to food. The culture of inference of perceiving elegance and refinement in indirect expressions is an aesthetic that may still be alive today.
The work Floral Feast embodies the Japanese sense of incorporating the beauty of nature into everyday life and gratitude for the lives given to us in the form of food. We hope visitors will enjoy the flowers in this work in keeping with the season.

Art director: Yasuko Sato

PUBLIC ART GINZA SIX suggests a rich lifestyle where art can be accessed easily by providing its guests a chance to see various types of art up close. Under the supervision of Mori Art Museum, GINZA SIX exhibits a choice of three globally praised artists and their art pieces at all times.

A sculpted peice combining Edo-komon-style printed morning glories, Chinese bellflowers, chrysanthemums, and butterflies. Edo-komon is an exquisite Japanese style of print that brings out the uniqueness in detailed, strictly-formatted prints. This design is the end result of Japanese craftsmen competing for a more detailed, smaller, and thinner patterned designs, which was encouraged by the law established during the Edo period to ban extravagant, flashy kimonos. *Writer’s Message “Arranging an eternal flower that will pass on the accumulation of time, memories, culture and emotions that lie here amongst us to the future.”

Shinji Ohmaki

Born in Gifu Prefecture in 1971. Ohmaki continues to announce dynamic installations and public art pieces which awake the viewers’ physical senses.

Photo: Ken Kato

Featuring “Paradise and Boundaries” as the theme, Funai captures the full space as her canvas and expresses the intersection of the painted world and reality through using mirrors. The person standing in front of the piece is reflected in the painting, consequently transforming the viewer into the leading character. By painting a fictional paradise that resides in anyone's mind, people passing by and the scenery of reality mix with the imaginary world, turning over each the ideal and reality – the 2 dimensional and 3 dimensional, the existent and nonexistent, the past and the present – into one, thus creating a new world and vision. This symbolizes that the future is shaped by people’s imagination.

Misa Funai

Born in Kyoto in 1974. Graduated from Tsukuba University with a Master’s degree in art research in 2001. Exhibits include “VOCA An outlook of contemporary paintings – artists with a new dimension” at Ueno Royal Museum in 2009/2010, “Wonderful World” at Museum of Contemporary Art Tokyo in 2014.

The piece newly made for GINZA SIX is painted by layering dramatic shapes onto drifting colors, thus creating a deep and massive space. The spacious and infinite feeling of the piece gives us the impression of the unconscious mind, while the shapes drawn as though they were dancing brings out what we can visualize (our conscious minds). The painting located just steps away from the retail area lures viewers into Domoto’s artistic space where the conscious and unconscious coincide.

Yuumi Domoto

Born in Paris, 1960. After graduating from Tama Art University with a degree in painting, graduated from Cooper Union Art Division (New York). Starting off with her private show at Sagacho Exhibit Space, she participated in numerous exhibitions within Japan and overseas.

LIVING WALL ARTOn the two 12m-long living walls (located on the Chuo-dori side and the Mihara-dori side open-ceiling space) are two paired art pieces, produced by JTQ Junji Tanigawa.

  • teamLab

    《 Universe of Water Particles on the Living Wall 》

    Living Wall Chuo-dori Side Open-Ceiling Space

    Size: H11,810×W1,920 mm
    Art Type: Digital Installation, LED, Endless

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An installation piece portraying a waterfall that changes its appearance according to the changing light of the sun. “In other words, there are 1000 times more water particles behind the countless lines, and the mutual influence among them is what decides the curve of the lines. By creating the rock inside an imaginative three-dimensional space, we let the water fall. The water is expressed by countless particles of water, and is calculated by the mutual influence among the particles. The waterfall is constructed as a physical simulation of water, and through the movement of a randomly selected 0.1% water particle, we draw a line over the space. The waterfall is created by the sum of those lines.”

teamLab

A group of digital technology experts including programmers, engineers, CG animators, illustrators, mathematicians, architects, web designers, graphic designers, and editors. Under the concept of collective creation, they work beyond the boundaries of art, science, technology and creativity.

© KOZO TAKAYAMA

  • Patrick Blanc

    《 Living Canyon 》

    Living Wall Mihara-dori Side Open-Ceiling Space

    Size: H11,020×W2,700 mm

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A Patrick Blanc original, this vertical two-dimensional art piece, which contains no soil, mixes numerous plants including those particular to the Japanese land. As can be seen from the title, the piece expresses a deep, shaded ravine illuminated from sunlight from the top of a cliff. The reason why different plants survive under the ever-changing weather is because each species adapts perfectly to a particular type of light energy. The diversity of vegetation reflects the beauty, creativity, and tactics of the biological world.

Patrick Blanc

Born in 1953 in Paris. A botanist and artist, he is known for creating vertical gardens. His major works include “Green Bridge,” which features plants growing over a glass corridor.

© KOZO TAKAYAMA