‘All things are impermanent’: Tatsuo Miyajima leaves illusions of control with the latest work structures

The most important lesson from nature, says artist Tatsuo Miyajima, is that humans are invincible. After witnessing one of the worst natural disasters to hit his native Japan in 2011, followed by the global pandemic over the past two years, he says it’s time to reflect on life’s priorities.

“With the development of science and technology, we humans are delusional that we can do anything, and try to manipulate nature at will. But nature and the universe behave in unexpected ways,” Miyajima told Artnet News.

Coming from a prominent sculptor and installation artist who relies heavily on technology, this statement may seem inconsistent at first glance. Miyajima is best known for his “tools” – flashing digital LED counters that chronicle continuous, repeating cycles from one to nine. But in his concept, the constant flash of numbers is a philosophical representation of life’s journey, centered around Buddhist teachings widely understood in Japan and across many parts of Asia. His most recent work expands this thinking at the intersection between technology and philosophy.

People wearing face masks review a preview of Sea of ​​Time – TOHOKU, a project honoring tsunami victims by artist Tatsuo Miyajima. Photo: Philip Fong/AFP via Getty Images.

One of the ongoing projects that Miyajima has developed is Sea of ​​Time – TOHOKU, an initiative to honor the memories of those who experienced the “3.11” earthquake and tsunami that shook Japan on March 11, 2011. The 9.1 East undersea earthquake The Tohoku region was The most powerful in the country’s history, it caused a tsunami with waves up to 132 feet high. The updated figures released last year amounted to 19,747 dead, 6,242 injured, and 2,556 missing.

The final form of the project is not yet known, but it will include Miyajima’s LED counters. “We have been working with 3,000 people affected by the disaster for 10 years to build and install it in the affected areas,” the artist explained.

He glimpsed the work, backed by crowdfunding and the artist’s own money, at a presentation at Tokyo’s Mori Museum of Art in 2020. But the final version won’t be ready until 2027, which marks the 10th anniversary of “Sea of ​​the Series.” Participants from the Tohoku region are invited to adjust the speed of the meters, and the obstetric process is intended to create an opportunity for them to recover. “I wanted to confront the earthquake disaster through art,” said one participant, a 41-year-old man.

Miyajima took a similar path with his own practice, using art to tackle the epidemic. Unable to travel, the artist said he became “mentally lonely”. But the enforced isolation also gave him a chance to do things he didn’t have time to do, like organizing his archives and trying new types of business. (The artist admitted that he was also secretly pleased that he did not have to love at various events and dinners, since most of the shows were canceled.)

Installation view of “Tatsuo Miyajima: Art In You”, 2022. Courtesy of Lisson Gallery, London.

Among the results of this closing period is a new collection of works called “Painting of Change”, in which the artist made his debut in the solo exhibition “Art In You” at Lisson Gallery in London (the show concludes tomorrow, but the show will still be available for viewing online) .

We have a Buddhist concept of ‘all things are impermanent.’ “This is the idea that everything is constantly changing and never staying the same, which fits perfectly with the Japanese climate.” “In this work [Painting of Change]I dared to leave fate to chance, in the hope that men might experience this unpredictable world and think what time is and what nature is.”

The new paintings – oil on canvas or gold leaf on canvas – are still about numbers, but this time, rather than being powered by electronic circuits, the figures are decided by fate: viewers are asked to roll a custom-made die displayed next to the works and change the number displayed accordingly.

Installation view of “Tatsuo Miyajima: Art In You”, 2022. Courtesy of Lisson Gallery, London.

Lisson’s show fitting made Miyajima consider changing again. Japan’s borders were closed to foreign visitors for nearly two years until this week, when the government announced it was easing travel restrictions. It wasn’t easy for the Japanese to travel abroad either – Miyajima just made his first international trip since the pandemic at his London show.

Arriving in the UK, the artist was shocked by the contrast. Unlike most places in Asia, which remain wary about the pandemic, London is thriving with a policy of ‘living with Covid’, and Miyajima said he was happy to experience a vibrant cultural scene again. “Japan has shut down cultural and artistic activities due to Covid. The performing arts in particular have suffered greatly.

He says Japan’s cultural scene should be as active as London’s, but he has rejected the idea of ​​another art gallery in Tokyo, a suggestion recently made by the Japan Agency for Cultural Affairs: “Personally, I don’t think bringing more art fairs into the Asian region will have an impact.” Big “. He said promoting local arts education and public museum exhibitions is more important.

He recounted: “In London, I went to the British Museum, because my work is in the Japan section there. What surprised me was that the museum was free. There were a lot of tourists and school children. I saw some children running around the Egyptian section and touching the mummies. I thought this was cool. I felt that art was liberating.”

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