The Interplay of Fine Craftsmanship and Visual Impact

• Intricate Details: Upon entering, I encountered a diverse array of works. Oki Junko’s embroidery, which resembles delicate abstract paintings, stood out alongside the contributions of Shoji Asami and Hiro Naotaka.

‍

• Immersive Transformations: Having seen A.A.Murakami’s previous collaborations in Shanghai, seeing The Moon Underwater here was a revelation. This installation uses AI-guided robotics, bubbles, and water to create a space that transcends the boundaries between design and architecture.

‍

• Stunning Glasswork: Kelly Akashi’s piece, Astral Echo, truly took my breath away. Her use of flame-worked borosilicate glass paired with weathering steel and wood creates a sense of fragility and resonance that feels both ancient and modern.

‍

踏入展場，首先感受到的是策展團隊試圖透過「時間」這個主題，重新定義與審視當代的「日本」。展覽副標題取自印尼詩人 Sapardi Djoko Damono 的詩句，寓意在流逝的瞬間中尋找永恆的意義。

‍

• 精湛工藝的視覺衝擊： 一進入會場，Oki Junko 猶如抽象畫般的精細刺繡、Shoji Asami 的作品以及 Hiro Naotaka 的裝置藝術交織在一起。最令我驚嘆的是 Kelly Akashi 的琉璃藝術作品《Astral Echo》，她利用精緻的手工硼矽酸鹽玻璃，在木頭與耐候鋼的襯托下，展現出極致的細節美感。

‍

• 跨越地域的藝術重逢： 曾在上海見過 A.A.Murakami 與 COS 合作的裝置藝術，這次在東京以《The Moon Underwater》之名重新呈現。這件作品結合了 AI 引導的機器人系統、氣泡與水，與過去的呈現方式截然不同，營造出一個超越建築與設計邊界的沉浸式空間。

‍

The Blur Between Reality and Artifice

The exhibition masterfully challenges our perception of the everyday:

• Paper Reality: The artist group ZUGAKOUSAKU & KURIEITO presented Subway Exit 2, a life-sized installation made entirely of water-based paint on cardboard. Its lifelike presence makes you feel as though a real subway entrance has manifested inside the gallery.

‍

• The Brandy Horizon: Wada Reijiro’s MITTAG is a striking square glass structure containing brandy. Positioned against the backdrop of the Roppongi high-rises, the liquid forms a golden horizontal line that dialogues beautifully with the urban landscape outside.

‍

• Multisensory Experiences: From Shooshie Sulaiman’s installation involving roof tiles to Hosoi Miyu’s new sound piece created from her own voice, the exhibition uses varied media to explore geopolitical and personal time. Contributions from Gardar Eide Einarsson, Kim Insook, and Kitazawa Jun further expand this dialogue into social and regional contexts.

‍

現實與超現實的交界

展覽中許多作品挑戰了我們對日常物件的認知：

• 紙造的真實感：ZUGAKOUSAKU & KURIEITO 的作品《Subway Exit 2》，竟是用瓦楞紙和水性漆造出的車站入口，其真實程度讓人彷彿置身於地鐵站中。

‍

• 液體的水平線：Wada Reijiro 的作品《MITTAG》面對著展覽館窗外的高樓風景，他在正方形玻璃內注入白蘭地，形成一道金色的水平線，將物質與景觀進行了詩意的平行對話。

‍

• 多元的感官詮釋：Shooshie Sulaiman 的屋瓦裝置、Hosoi Miyu 利用自身聲音創作的新型聲響作品，以及 Gardar Eide Einarsson、Kim Insook 與 Kitazawa Jun 的作品，分別從地緣政治、個人記憶到社會專案等不同角度，體現了時間的多元面貌

‍

‍

The Interplay of Fine Craftsmanship and Visual Impact

• Intricate Details: Upon entering, I encountered a diverse array of works. Oki Junko’s embroidery, which resembles delicate abstract paintings, stood out alongside the contributions of Shoji Asami and Hiro Naotaka.

‍

• Immersive Transformations: Having seen A.A.Murakami’s previous collaborations in Shanghai, seeing The Moon Underwater here was a revelation. This installation uses AI-guided robotics, bubbles, and water to create a space that transcends the boundaries between design and architecture.

‍

• Stunning Glasswork: Kelly Akashi’s piece, Astral Echo, truly took my breath away. Her use of flame-worked borosilicate glass paired with weathering steel and wood creates a sense of fragility and resonance that feels both ancient and modern.

‍

踏入展場，首先感受到的是策展團隊試圖透過「時間」這個主題，重新定義與審視當代的「日本」。展覽副標題取自印尼詩人 Sapardi Djoko Damono 的詩句，寓意在流逝的瞬間中尋找永恆的意義。

‍

• 精湛工藝的視覺衝擊： 一進入會場，Oki Junko 猶如抽象畫般的精細刺繡、Shoji Asami 的作品以及 Hiro Naotaka 的裝置藝術交織在一起。最令我驚嘆的是 Kelly Akashi 的琉璃藝術作品《Astral Echo》，她利用精緻的手工硼矽酸鹽玻璃，在木頭與耐候鋼的襯托下，展現出極致的細節美感。

‍

• 跨越地域的藝術重逢： 曾在上海見過 A.A.Murakami 與 COS 合作的裝置藝術，這次在東京以《The Moon Underwater》之名重新呈現。這件作品結合了 AI 引導的機器人系統、氣泡與水，與過去的呈現方式截然不同，營造出一個超越建築與設計邊界的沉浸式空間。

‍

The Blur Between Reality and Artifice

The exhibition masterfully challenges our perception of the everyday:

• Paper Reality: The artist group ZUGAKOUSAKU & KURIEITO presented Subway Exit 2, a life-sized installation made entirely of water-based paint on cardboard. Its lifelike presence makes you feel as though a real subway entrance has manifested inside the gallery.

‍

• The Brandy Horizon: Wada Reijiro’s MITTAG is a striking square glass structure containing brandy. Positioned against the backdrop of the Roppongi high-rises, the liquid forms a golden horizontal line that dialogues beautifully with the urban landscape outside.

‍

• Multisensory Experiences: From Shooshie Sulaiman’s installation involving roof tiles to Hosoi Miyu’s new sound piece created from her own voice, the exhibition uses varied media to explore geopolitical and personal time. Contributions from Gardar Eide Einarsson, Kim Insook, and Kitazawa Jun further expand this dialogue into social and regional contexts.

‍

現實與超現實的交界

展覽中許多作品挑戰了我們對日常物件的認知：

• 紙造的真實感：ZUGAKOUSAKU & KURIEITO 的作品《Subway Exit 2》，竟是用瓦楞紙和水性漆造出的車站入口，其真實程度讓人彷彿置身於地鐵站中。

‍

• 液體的水平線：Wada Reijiro 的作品《MITTAG》面對著展覽館窗外的高樓風景，他在正方形玻璃內注入白蘭地，形成一道金色的水平線，將物質與景觀進行了詩意的平行對話。

‍

• 多元的感官詮釋：Shooshie Sulaiman 的屋瓦裝置、Hosoi Miyu 利用自身聲音創作的新型聲響作品，以及 Gardar Eide Einarsson、Kim Insook 與 Kitazawa Jun 的作品，分別從地緣政治、個人記憶到社會專案等不同角度，體現了時間的多元面貌

‍

‍

Concluding with a Game of Possibilities

The journey ends with an interactive challenge by Kihara Tomo titled What Plays You? — Game of Possible Lives. This installation, which utilises a large language model (LLM) and a game cabinet, invites us to play with the concept of life itself, forcing a final reflection on how we survive in our increasingly complex society.

‍

總結：一場與未來的遊戲對話

展覽的結尾是由 Kihara Tomo 策劃的互動裝置《What Plays You? — Game of Possible Lives》。這不僅是一台遊戲機，更結合了大型語言模型（LLM），透過提問與遊戲的形式，讓我們在離開前再次思考生存與時間的本質。

這場展覽證明了，在日益碎片化的現代社會中，藝術能成為促進同理心與對話的催化劑。

The Interplay of Fine Craftsmanship and Visual Impact

• Intricate Details: Upon entering, I encountered a diverse array of works. Oki Junko’s embroidery, which resembles delicate abstract paintings, stood out alongside the contributions of Shoji Asami and Hiro Naotaka.

‍

• Immersive Transformations: Having seen A.A.Murakami’s previous collaborations in Shanghai, seeing The Moon Underwater here was a revelation. This installation uses AI-guided robotics, bubbles, and water to create a space that transcends the boundaries between design and architecture.

‍

• Stunning Glasswork: Kelly Akashi’s piece, Astral Echo, truly took my breath away. Her use of flame-worked borosilicate glass paired with weathering steel and wood creates a sense of fragility and resonance that feels both ancient and modern.

‍

踏入展場，首先感受到的是策展團隊試圖透過「時間」這個主題，重新定義與審視當代的「日本」。展覽副標題取自印尼詩人 Sapardi Djoko Damono 的詩句，寓意在流逝的瞬間中尋找永恆的意義。

‍

• 精湛工藝的視覺衝擊： 一進入會場，Oki Junko 猶如抽象畫般的精細刺繡、Shoji Asami 的作品以及 Hiro Naotaka 的裝置藝術交織在一起。最令我驚嘆的是 Kelly Akashi 的琉璃藝術作品《Astral Echo》，她利用精緻的手工硼矽酸鹽玻璃，在木頭與耐候鋼的襯托下，展現出極致的細節美感。

‍

• 跨越地域的藝術重逢： 曾在上海見過 A.A.Murakami 與 COS 合作的裝置藝術，這次在東京以《The Moon Underwater》之名重新呈現。這件作品結合了 AI 引導的機器人系統、氣泡與水，與過去的呈現方式截然不同，營造出一個超越建築與設計邊界的沉浸式空間。

‍

The Blur Between Reality and Artifice

The exhibition masterfully challenges our perception of the everyday:

• Paper Reality: The artist group ZUGAKOUSAKU & KURIEITO presented Subway Exit 2, a life-sized installation made entirely of water-based paint on cardboard. Its lifelike presence makes you feel as though a real subway entrance has manifested inside the gallery.

‍

• The Brandy Horizon: Wada Reijiro’s MITTAG is a striking square glass structure containing brandy. Positioned against the backdrop of the Roppongi high-rises, the liquid forms a golden horizontal line that dialogues beautifully with the urban landscape outside.

‍

• Multisensory Experiences: From Shooshie Sulaiman’s installation involving roof tiles to Hosoi Miyu’s new sound piece created from her own voice, the exhibition uses varied media to explore geopolitical and personal time. Contributions from Gardar Eide Einarsson, Kim Insook, and Kitazawa Jun further expand this dialogue into social and regional contexts.

‍

現實與超現實的交界

展覽中許多作品挑戰了我們對日常物件的認知：

• 紙造的真實感：ZUGAKOUSAKU & KURIEITO 的作品《Subway Exit 2》，竟是用瓦楞紙和水性漆造出的車站入口，其真實程度讓人彷彿置身於地鐵站中。

‍

• 液體的水平線：Wada Reijiro 的作品《MITTAG》面對著展覽館窗外的高樓風景，他在正方形玻璃內注入白蘭地，形成一道金色的水平線，將物質與景觀進行了詩意的平行對話。

‍

• 多元的感官詮釋：Shooshie Sulaiman 的屋瓦裝置、Hosoi Miyu 利用自身聲音創作的新型聲響作品，以及 Gardar Eide Einarsson、Kim Insook 與 Kitazawa Jun 的作品，分別從地緣政治、個人記憶到社會專案等不同角度，體現了時間的多元面貌

‍

‍

Concluding with a Game of Possibilities

The journey ends with an interactive challenge by Kihara Tomo titled What Plays You? — Game of Possible Lives. This installation, which utilises a large language model (LLM) and a game cabinet, invites us to play with the concept of life itself, forcing a final reflection on how we survive in our increasingly complex society.

‍

總結：一場與未來的遊戲對話

展覽的結尾是由 Kihara Tomo 策劃的互動裝置《What Plays You? — Game of Possible Lives》。這不僅是一台遊戲機，更結合了大型語言模型（LLM），透過提問與遊戲的形式，讓我們在離開前再次思考生存與時間的本質。

這場展覽證明了，在日益碎片化的現代社會中，藝術能成為促進同理心與對話的催化劑。

async–Immersion Tokyo

Based on Sakamoto's seminal album Async, this immersive installation brings his visionary music into the spatial realm. Visitors are surrounded by evolving soundscapes and abstract visual elements, creating a multisensory journey through themes of existence, death, and the beauty found in the ordinary. Async–Immersion Tokyo is a poignant exploration of how sound and space can evoke profound emotional connections.

This exhibition is more than a retrospective; it brings together famous artists and curators to build the exhibit ideally. It is a dialogue between past and future, honouring Ryuichi Sakamoto's genius and enduring impact. Seeing Sound, Hearing Time offers an unparalleled journey into the transformative power of sound, making it an essential experience for art and music enthusiasts alike.

Collaboration artists | Shiro Takatani, Daito Manabe, Carsten Nicolai, Apichatpong Weerasethakul, Zakkubalan, Toshio Iwai
‍Special collaboration | Fujiko Nakaya

The Interplay of Fine Craftsmanship and Visual Impact

• Intricate Details: Upon entering, I encountered a diverse array of works. Oki Junko’s embroidery, which resembles delicate abstract paintings, stood out alongside the contributions of Shoji Asami and Hiro Naotaka.

‍

• Immersive Transformations: Having seen A.A.Murakami’s previous collaborations in Shanghai, seeing The Moon Underwater here was a revelation. This installation uses AI-guided robotics, bubbles, and water to create a space that transcends the boundaries between design and architecture.

‍

• Stunning Glasswork: Kelly Akashi’s piece, Astral Echo, truly took my breath away. Her use of flame-worked borosilicate glass paired with weathering steel and wood creates a sense of fragility and resonance that feels both ancient and modern.

‍

踏入展場，首先感受到的是策展團隊試圖透過「時間」這個主題，重新定義與審視當代的「日本」。展覽副標題取自印尼詩人 Sapardi Djoko Damono 的詩句，寓意在流逝的瞬間中尋找永恆的意義。

‍

• 精湛工藝的視覺衝擊： 一進入會場，Oki Junko 猶如抽象畫般的精細刺繡、Shoji Asami 的作品以及 Hiro Naotaka 的裝置藝術交織在一起。最令我驚嘆的是 Kelly Akashi 的琉璃藝術作品《Astral Echo》，她利用精緻的手工硼矽酸鹽玻璃，在木頭與耐候鋼的襯托下，展現出極致的細節美感。

‍

• 跨越地域的藝術重逢： 曾在上海見過 A.A.Murakami 與 COS 合作的裝置藝術，這次在東京以《The Moon Underwater》之名重新呈現。這件作品結合了 AI 引導的機器人系統、氣泡與水，與過去的呈現方式截然不同，營造出一個超越建築與設計邊界的沉浸式空間。

‍

The Blur Between Reality and Artifice

The exhibition masterfully challenges our perception of the everyday:

• Paper Reality: The artist group ZUGAKOUSAKU & KURIEITO presented Subway Exit 2, a life-sized installation made entirely of water-based paint on cardboard. Its lifelike presence makes you feel as though a real subway entrance has manifested inside the gallery.

‍

• The Brandy Horizon: Wada Reijiro’s MITTAG is a striking square glass structure containing brandy. Positioned against the backdrop of the Roppongi high-rises, the liquid forms a golden horizontal line that dialogues beautifully with the urban landscape outside.

‍

• Multisensory Experiences: From Shooshie Sulaiman’s installation involving roof tiles to Hosoi Miyu’s new sound piece created from her own voice, the exhibition uses varied media to explore geopolitical and personal time. Contributions from Gardar Eide Einarsson, Kim Insook, and Kitazawa Jun further expand this dialogue into social and regional contexts.

‍

現實與超現實的交界

展覽中許多作品挑戰了我們對日常物件的認知：

• 紙造的真實感：ZUGAKOUSAKU & KURIEITO 的作品《Subway Exit 2》，竟是用瓦楞紙和水性漆造出的車站入口，其真實程度讓人彷彿置身於地鐵站中。

‍

• 液體的水平線：Wada Reijiro 的作品《MITTAG》面對著展覽館窗外的高樓風景，他在正方形玻璃內注入白蘭地，形成一道金色的水平線，將物質與景觀進行了詩意的平行對話。

‍

• 多元的感官詮釋：Shooshie Sulaiman 的屋瓦裝置、Hosoi Miyu 利用自身聲音創作的新型聲響作品，以及 Gardar Eide Einarsson、Kim Insook 與 Kitazawa Jun 的作品，分別從地緣政治、個人記憶到社會專案等不同角度，體現了時間的多元面貌

‍

‍

The Interplay of Fine Craftsmanship and Visual Impact

• Intricate Details: Upon entering, I encountered a diverse array of works. Oki Junko’s embroidery, which resembles delicate abstract paintings, stood out alongside the contributions of Shoji Asami and Hiro Naotaka.

‍

• Immersive Transformations: Having seen A.A.Murakami’s previous collaborations in Shanghai, seeing The Moon Underwater here was a revelation. This installation uses AI-guided robotics, bubbles, and water to create a space that transcends the boundaries between design and architecture.

‍

• Stunning Glasswork: Kelly Akashi’s piece, Astral Echo, truly took my breath away. Her use of flame-worked borosilicate glass paired with weathering steel and wood creates a sense of fragility and resonance that feels both ancient and modern.

‍

踏入展場，首先感受到的是策展團隊試圖透過「時間」這個主題，重新定義與審視當代的「日本」。展覽副標題取自印尼詩人 Sapardi Djoko Damono 的詩句，寓意在流逝的瞬間中尋找永恆的意義。

‍

• 精湛工藝的視覺衝擊： 一進入會場，Oki Junko 猶如抽象畫般的精細刺繡、Shoji Asami 的作品以及 Hiro Naotaka 的裝置藝術交織在一起。最令我驚嘆的是 Kelly Akashi 的琉璃藝術作品《Astral Echo》，她利用精緻的手工硼矽酸鹽玻璃，在木頭與耐候鋼的襯托下，展現出極致的細節美感。

‍

• 跨越地域的藝術重逢： 曾在上海見過 A.A.Murakami 與 COS 合作的裝置藝術，這次在東京以《The Moon Underwater》之名重新呈現。這件作品結合了 AI 引導的機器人系統、氣泡與水，與過去的呈現方式截然不同，營造出一個超越建築與設計邊界的沉浸式空間。

‍

The Blur Between Reality and Artifice

The exhibition masterfully challenges our perception of the everyday:

• Paper Reality: The artist group ZUGAKOUSAKU & KURIEITO presented Subway Exit 2, a life-sized installation made entirely of water-based paint on cardboard. Its lifelike presence makes you feel as though a real subway entrance has manifested inside the gallery.

‍

• The Brandy Horizon: Wada Reijiro’s MITTAG is a striking square glass structure containing brandy. Positioned against the backdrop of the Roppongi high-rises, the liquid forms a golden horizontal line that dialogues beautifully with the urban landscape outside.

‍

• Multisensory Experiences: From Shooshie Sulaiman’s installation involving roof tiles to Hosoi Miyu’s new sound piece created from her own voice, the exhibition uses varied media to explore geopolitical and personal time. Contributions from Gardar Eide Einarsson, Kim Insook, and Kitazawa Jun further expand this dialogue into social and regional contexts.

‍

現實與超現實的交界

展覽中許多作品挑戰了我們對日常物件的認知：

• 紙造的真實感：ZUGAKOUSAKU & KURIEITO 的作品《Subway Exit 2》，竟是用瓦楞紙和水性漆造出的車站入口，其真實程度讓人彷彿置身於地鐵站中。

‍

• 液體的水平線：Wada Reijiro 的作品《MITTAG》面對著展覽館窗外的高樓風景，他在正方形玻璃內注入白蘭地，形成一道金色的水平線，將物質與景觀進行了詩意的平行對話。

‍

• 多元的感官詮釋：Shooshie Sulaiman 的屋瓦裝置、Hosoi Miyu 利用自身聲音創作的新型聲響作品，以及 Gardar Eide Einarsson、Kim Insook 與 Kitazawa Jun 的作品，分別從地緣政治、個人記憶到社會專案等不同角度，體現了時間的多元面貌

‍

‍

The Interplay of Fine Craftsmanship and Visual Impact

• Intricate Details: Upon entering, I encountered a diverse array of works. Oki Junko’s embroidery, which resembles delicate abstract paintings, stood out alongside the contributions of Shoji Asami and Hiro Naotaka.

‍

• Immersive Transformations: Having seen A.A.Murakami’s previous collaborations in Shanghai, seeing The Moon Underwater here was a revelation. This installation uses AI-guided robotics, bubbles, and water to create a space that transcends the boundaries between design and architecture.

‍

• Stunning Glasswork: Kelly Akashi’s piece, Astral Echo, truly took my breath away. Her use of flame-worked borosilicate glass paired with weathering steel and wood creates a sense of fragility and resonance that feels both ancient and modern.

‍

踏入展場，首先感受到的是策展團隊試圖透過「時間」這個主題，重新定義與審視當代的「日本」。展覽副標題取自印尼詩人 Sapardi Djoko Damono 的詩句，寓意在流逝的瞬間中尋找永恆的意義。

‍

• 精湛工藝的視覺衝擊： 一進入會場，Oki Junko 猶如抽象畫般的精細刺繡、Shoji Asami 的作品以及 Hiro Naotaka 的裝置藝術交織在一起。最令我驚嘆的是 Kelly Akashi 的琉璃藝術作品《Astral Echo》，她利用精緻的手工硼矽酸鹽玻璃，在木頭與耐候鋼的襯托下，展現出極致的細節美感。

‍

• 跨越地域的藝術重逢： 曾在上海見過 A.A.Murakami 與 COS 合作的裝置藝術，這次在東京以《The Moon Underwater》之名重新呈現。這件作品結合了 AI 引導的機器人系統、氣泡與水，與過去的呈現方式截然不同，營造出一個超越建築與設計邊界的沉浸式空間。

‍

The Blur Between Reality and Artifice

The exhibition masterfully challenges our perception of the everyday:

• Paper Reality: The artist group ZUGAKOUSAKU & KURIEITO presented Subway Exit 2, a life-sized installation made entirely of water-based paint on cardboard. Its lifelike presence makes you feel as though a real subway entrance has manifested inside the gallery.

‍

• The Brandy Horizon: Wada Reijiro’s MITTAG is a striking square glass structure containing brandy. Positioned against the backdrop of the Roppongi high-rises, the liquid forms a golden horizontal line that dialogues beautifully with the urban landscape outside.

‍

• Multisensory Experiences: From Shooshie Sulaiman’s installation involving roof tiles to Hosoi Miyu’s new sound piece created from her own voice, the exhibition uses varied media to explore geopolitical and personal time. Contributions from Gardar Eide Einarsson, Kim Insook, and Kitazawa Jun further expand this dialogue into social and regional contexts.

‍

現實與超現實的交界

展覽中許多作品挑戰了我們對日常物件的認知：

• 紙造的真實感：ZUGAKOUSAKU & KURIEITO 的作品《Subway Exit 2》，竟是用瓦楞紙和水性漆造出的車站入口，其真實程度讓人彷彿置身於地鐵站中。

‍

• 液體的水平線：Wada Reijiro 的作品《MITTAG》面對著展覽館窗外的高樓風景，他在正方形玻璃內注入白蘭地，形成一道金色的水平線，將物質與景觀進行了詩意的平行對話。

‍

• 多元的感官詮釋：Shooshie Sulaiman 的屋瓦裝置、Hosoi Miyu 利用自身聲音創作的新型聲響作品，以及 Gardar Eide Einarsson、Kim Insook 與 Kitazawa Jun 的作品，分別從地緣政治、個人記憶到社會專案等不同角度，體現了時間的多元面貌

‍

‍

The Interplay of Fine Craftsmanship and Visual Impact

• Intricate Details: Upon entering, I encountered a diverse array of works. Oki Junko’s embroidery, which resembles delicate abstract paintings, stood out alongside the contributions of Shoji Asami and Hiro Naotaka.

‍

• Immersive Transformations: Having seen A.A.Murakami’s previous collaborations in Shanghai, seeing The Moon Underwater here was a revelation. This installation uses AI-guided robotics, bubbles, and water to create a space that transcends the boundaries between design and architecture.

‍

• Stunning Glasswork: Kelly Akashi’s piece, Astral Echo, truly took my breath away. Her use of flame-worked borosilicate glass paired with weathering steel and wood creates a sense of fragility and resonance that feels both ancient and modern.

‍

踏入展場，首先感受到的是策展團隊試圖透過「時間」這個主題，重新定義與審視當代的「日本」。展覽副標題取自印尼詩人 Sapardi Djoko Damono 的詩句，寓意在流逝的瞬間中尋找永恆的意義。

‍

• 精湛工藝的視覺衝擊： 一進入會場，Oki Junko 猶如抽象畫般的精細刺繡、Shoji Asami 的作品以及 Hiro Naotaka 的裝置藝術交織在一起。最令我驚嘆的是 Kelly Akashi 的琉璃藝術作品《Astral Echo》，她利用精緻的手工硼矽酸鹽玻璃，在木頭與耐候鋼的襯托下，展現出極致的細節美感。

‍

• 跨越地域的藝術重逢： 曾在上海見過 A.A.Murakami 與 COS 合作的裝置藝術，這次在東京以《The Moon Underwater》之名重新呈現。這件作品結合了 AI 引導的機器人系統、氣泡與水，與過去的呈現方式截然不同，營造出一個超越建築與設計邊界的沉浸式空間。

‍

The Blur Between Reality and Artifice

The exhibition masterfully challenges our perception of the everyday:

• Paper Reality: The artist group ZUGAKOUSAKU & KURIEITO presented Subway Exit 2, a life-sized installation made entirely of water-based paint on cardboard. Its lifelike presence makes you feel as though a real subway entrance has manifested inside the gallery.

‍

• The Brandy Horizon: Wada Reijiro’s MITTAG is a striking square glass structure containing brandy. Positioned against the backdrop of the Roppongi high-rises, the liquid forms a golden horizontal line that dialogues beautifully with the urban landscape outside.

‍

• Multisensory Experiences: From Shooshie Sulaiman’s installation involving roof tiles to Hosoi Miyu’s new sound piece created from her own voice, the exhibition uses varied media to explore geopolitical and personal time. Contributions from Gardar Eide Einarsson, Kim Insook, and Kitazawa Jun further expand this dialogue into social and regional contexts.

‍

現實與超現實的交界

展覽中許多作品挑戰了我們對日常物件的認知：

• 紙造的真實感：ZUGAKOUSAKU & KURIEITO 的作品《Subway Exit 2》，竟是用瓦楞紙和水性漆造出的車站入口，其真實程度讓人彷彿置身於地鐵站中。

‍

• 液體的水平線：Wada Reijiro 的作品《MITTAG》面對著展覽館窗外的高樓風景，他在正方形玻璃內注入白蘭地，形成一道金色的水平線，將物質與景觀進行了詩意的平行對話。

‍

• 多元的感官詮釋：Shooshie Sulaiman 的屋瓦裝置、Hosoi Miyu 利用自身聲音創作的新型聲響作品，以及 Gardar Eide Einarsson、Kim Insook 與 Kitazawa Jun 的作品，分別從地緣政治、個人記憶到社會專案等不同角度，體現了時間的多元面貌

‍

‍

Concluding with a Game of Possibilities

The journey ends with an interactive challenge by Kihara Tomo titled What Plays You? — Game of Possible Lives. This installation, which utilises a large language model (LLM) and a game cabinet, invites us to play with the concept of life itself, forcing a final reflection on how we survive in our increasingly complex society.

‍

總結：一場與未來的遊戲對話

展覽的結尾是由 Kihara Tomo 策劃的互動裝置《What Plays You? — Game of Possible Lives》。這不僅是一台遊戲機，更結合了大型語言模型（LLM），透過提問與遊戲的形式，讓我們在離開前再次思考生存與時間的本質。

這場展覽證明了，在日益碎片化的現代社會中，藝術能成為促進同理心與對話的催化劑。

The Interplay of Fine Craftsmanship and Visual Impact

• Intricate Details: Upon entering, I encountered a diverse array of works. Oki Junko’s embroidery, which resembles delicate abstract paintings, stood out alongside the contributions of Shoji Asami and Hiro Naotaka.

‍

• Immersive Transformations: Having seen A.A.Murakami’s previous collaborations in Shanghai, seeing The Moon Underwater here was a revelation. This installation uses AI-guided robotics, bubbles, and water to create a space that transcends the boundaries between design and architecture.

‍

• Stunning Glasswork: Kelly Akashi’s piece, Astral Echo, truly took my breath away. Her use of flame-worked borosilicate glass paired with weathering steel and wood creates a sense of fragility and resonance that feels both ancient and modern.

‍

踏入展場，首先感受到的是策展團隊試圖透過「時間」這個主題，重新定義與審視當代的「日本」。展覽副標題取自印尼詩人 Sapardi Djoko Damono 的詩句，寓意在流逝的瞬間中尋找永恆的意義。

‍

• 精湛工藝的視覺衝擊： 一進入會場，Oki Junko 猶如抽象畫般的精細刺繡、Shoji Asami 的作品以及 Hiro Naotaka 的裝置藝術交織在一起。最令我驚嘆的是 Kelly Akashi 的琉璃藝術作品《Astral Echo》，她利用精緻的手工硼矽酸鹽玻璃，在木頭與耐候鋼的襯托下，展現出極致的細節美感。

‍

• 跨越地域的藝術重逢： 曾在上海見過 A.A.Murakami 與 COS 合作的裝置藝術，這次在東京以《The Moon Underwater》之名重新呈現。這件作品結合了 AI 引導的機器人系統、氣泡與水，與過去的呈現方式截然不同，營造出一個超越建築與設計邊界的沉浸式空間。

‍

The Blur Between Reality and Artifice

The exhibition masterfully challenges our perception of the everyday:

• Paper Reality: The artist group ZUGAKOUSAKU & KURIEITO presented Subway Exit 2, a life-sized installation made entirely of water-based paint on cardboard. Its lifelike presence makes you feel as though a real subway entrance has manifested inside the gallery.

‍

• The Brandy Horizon: Wada Reijiro’s MITTAG is a striking square glass structure containing brandy. Positioned against the backdrop of the Roppongi high-rises, the liquid forms a golden horizontal line that dialogues beautifully with the urban landscape outside.

‍

• Multisensory Experiences: From Shooshie Sulaiman’s installation involving roof tiles to Hosoi Miyu’s new sound piece created from her own voice, the exhibition uses varied media to explore geopolitical and personal time. Contributions from Gardar Eide Einarsson, Kim Insook, and Kitazawa Jun further expand this dialogue into social and regional contexts.

‍

現實與超現實的交界

展覽中許多作品挑戰了我們對日常物件的認知：

• 紙造的真實感：ZUGAKOUSAKU & KURIEITO 的作品《Subway Exit 2》，竟是用瓦楞紙和水性漆造出的車站入口，其真實程度讓人彷彿置身於地鐵站中。

‍

• 液體的水平線：Wada Reijiro 的作品《MITTAG》面對著展覽館窗外的高樓風景，他在正方形玻璃內注入白蘭地，形成一道金色的水平線，將物質與景觀進行了詩意的平行對話。

‍

• 多元的感官詮釋：Shooshie Sulaiman 的屋瓦裝置、Hosoi Miyu 利用自身聲音創作的新型聲響作品，以及 Gardar Eide Einarsson、Kim Insook 與 Kitazawa Jun 的作品，分別從地緣政治、個人記憶到社會專案等不同角度，體現了時間的多元面貌

‍

‍

Concluding with a Game of Possibilities

The journey ends with an interactive challenge by Kihara Tomo titled What Plays You? — Game of Possible Lives. This installation, which utilises a large language model (LLM) and a game cabinet, invites us to play with the concept of life itself, forcing a final reflection on how we survive in our increasingly complex society.

‍

總結：一場與未來的遊戲對話

展覽的結尾是由 Kihara Tomo 策劃的互動裝置《What Plays You? — Game of Possible Lives》。這不僅是一台遊戲機，更結合了大型語言模型（LLM），透過提問與遊戲的形式，讓我們在離開前再次思考生存與時間的本質。

這場展覽證明了，在日益碎片化的現代社會中，藝術能成為促進同理心與對話的催化劑。