[{"data":1,"prerenderedAt":439},["ShallowReactive",2],{"$fCKcuUn7iTUDykdkGpcufWxFmWU30RwpnY9g4eCvK0lM":3},[4,16,25,34,42,50,59,69,78,85,95,103,111,123,133,142,151,160,168,178,186,195,203,212,224,230,241,251,261,270,279,288,298,307,315,323,331,339,347,356,365,373,381,390,398,406,413,422,430,437,438],{"Artist":5,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":8,"Exhibitions":9,"HTML_Link":10,"id":11,"Images":12,"Links":13,"Techinical Requirements":6,"Title":14,"Year":15},"Ryuichi Sakamoto","","Installation","The work was presented as part of the \u003Ci>‘VOICE & SOUND Collection’\u003C/i> at The Museum Inside the Telephone Network. In this experimental event, the most familiar communication tool –the telephone network– served as an analogy for the museum. The works and messages of nearly 100 artists, writers, and cultural figures were accessed via telephone, facsimile, and computer.","1991 \u003Ci>\"The Museum Inside the Telephone Network\"\u003C/i> exhibition - VOICE & SOUND Collection\n(Inside the telephone network in Tokyo and Kanagawa, Chiba, Saitama, Ibaraki, Tochigi, Gumma, and Yamanashi prefectures)\n\nCurators: Akira Asada, Yutaka Hikosaka, Toshiharu Ito","1991 \u003Ca href=\"https://www.ntticc.or.jp/en/exhibitions/1991/voice-sound-channel-intercommunication-91-the-museum-inside-the-telephone-network/\">\u003Ci>\"The Museum Inside the Telephone Network\"\u003C/i>\u003C/a>\u003Ca href=\"https://www.ntticc.or.jp/en/exhibitions/1991/voice-sound-channel-intercommunication-91-the-museum-inside-the-telephone-network/\"> exhibition - VOICE & SOUND Collection\u003C/a>\n(Inside the telephone network in Tokyo and Kanagawa, Chiba, Saitama, Ibaraki, Tochigi, Gumma, and Yamanashi prefectures)\n\nCurators: Akira Asada, Yutaka Hikosaka, Toshiharu Ito",1,"1. Let_s make the time (1991)","https://socks-studio.com/2018/09/27/the-museum-inside-the-telephone-network-1991/","Let's make the time","1991",{"Artist":17,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":18,"Exhibitions":19,"HTML_Link":20,"id":21,"Images":22,"Links":6,"Techinical Requirements":6,"Title":23,"Year":24},"Ryuichi Sakamoto + Daizaburo Harada","The work was exhibited virtually as part of \u003Ci>\"on the Web\" – The Museum Inside the Telephone Network\u003C/i> in 1995. \n\"In the galaxy of cyberspace, each can design their own star. Using Real Audio and VRML, sound and motion are enabled.\" ","1995 \u003Ci>\"on the Web\"\u003C/i> exhibition \n(Internet, ICC Gallery, Spiral, and P3 art and environment)\n\nCurators: Akira Asada, Yutaka Hikosaka, Toshiharu Ito, Mitsuhiro Takemura","1995 \u003Ca href=\"https://www.ntticc.or.jp/en/feature/1995/The_Museum_Inside_The_Network/revival/gallery/harada-sakamoto-e.html\">\u003Ci>\"on the Web\"\u003C/i>\u003C/a>\u003Ca href=\"https://www.ntticc.or.jp/en/feature/1995/The_Museum_Inside_The_Network/revival/gallery/harada-sakamoto-e.html\"> exhibition \u003C/a>\n(Internet, ICC Gallery, Spiral, and P3 art and environment)\n\nCurators: Akira Asada, Yutaka Hikosaka, Toshiharu Ito, Mitsuhiro Takemura",2,"2. Net Planet (1995)","Net Planet","1995",{"Artist":26,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":27,"Exhibitions":28,"HTML_Link":29,"id":30,"Images":31,"Links":6,"Techinical Requirements":6,"Title":32,"Year":33},"Ryuichi Sakamoto + Toshio Iwai + Koichiro Eto","\u003Ci>RemotePiano installation \u003C/i>is an experimental project to explore the potential for new forms of art expression for the upcoming 21st century, including the Internet, computer graphics, automatic piano performance, etc. The themes of the project are collaboration over the network and interaction through sounds, graphics, and instruments, featuring musician Ryuichi Sakamoto, media artist Toshio Iwai, and network artist Koichiro Eto. Visitors could access the ICC home page to play the grand piano located in ICC remotely. Pressing down a piano key enabled visitors to perform a music session with other players over the Internet simultaneously, and receive an image of the performance.","1997 NTT InterCommunication Center [ICC] 4F Lobby\n(Internet live \u003Ci>\"RemotePiano\"\u003C/i>)\n\ncooperation: \nYAMAHA Inc.\ndigitiminimi Inc.\nInternational Academy of Media Arts and Science\nInternational Media Research Foundation","1997 \u003Ca href=\"https://www.ntticc.or.jp/en/exhibitions/1997/remotepiano-installation-r-sakamoto-t-iwai-k-eto/#about\">NTT InterCommunication Center [ICC] 4F Lobby\u003C/a>\n(\u003Ca href=\"https://www.ntticc.or.jp/en/feature/1997/Piano/Events/event01.html\">Internet live \u003C/a>\u003Ca href=\"https://www.ntticc.or.jp/en/feature/1997/Piano/Events/event01.html\">\u003Ci>\"RemotePiano\"\u003C/i>\u003C/a>)\n\ncooperation: \nYAMAHA Inc.\ndigitiminimi Inc.\nInternational Academy of Media Arts and Science\nInternational Media Research Foundation",3,"3. Remote Piano Installation (1997)","Remote Piano installation","1997",{"Artist":5,"Awards":6,"Category":7,"Collaborators":35,"Country":6,"Description":36,"Exhibitions":37,"HTML_Link":37,"id":38,"Images":39,"Links":6,"Techinical Requirements":6,"Title":40,"Year":41},"Kenji Yasaka","Music plays in a corridor and transforms according to the variation in the data from meteorological sensors set up on the building's rooftop. The device collects data such as light levels, solar radiation intensity, wind direction, wind velocity, and temperature. A computer collects this data and transforms it into real-time sound. ","2001 Miraikan - The National Museum of Emerging Science and Innovation\n\nCurators: Mamoru Mohri",4,"4. Installation for Geo Cosmos (2001)","Installation for Geo Cosmos","2001",{"Artist":5,"Awards":6,"Category":7,"Collaborators":35,"Country":6,"Description":43,"Exhibitions":44,"HTML_Link":45,"id":46,"Images":47,"Links":6,"Techinical Requirements":6,"Title":48,"Year":49},"Music is continuously manipulated by real-time data sent from a wind sensor. Similar to \u003Ci>Installation for Geo Cosmos\u003C/i>, digital technology becomes a \"window\" through which the audience can feel the outer world from within the enclosed environment of an urban building.\n","2002 Dentsu Headquarters, Tokyo","2002 \u003Ca href=\"https://www.artmuseum.dentsu.jp/11/\">Dentsu Headquarters, Tokyo\u003C/a>",5,"5. windVibe (2002)","windVibe","2002",{"Artist":5,"Awards":6,"Category":7,"Collaborators":51,"Country":6,"Description":52,"Exhibitions":53,"HTML_Link":54,"id":55,"Images":56,"Links":6,"Techinical Requirements":6,"Title":57,"Year":58},"Norika Sora, Todd Wood, Fernando Aponte, Artek","\u003Ci>Sonic Mandala\u003C/i> is a sound installation for \u003Ci>The Missing Peace: Artists Consider the Dalai Lama\u003C/i>.\n\u003Ci>The Missing Peace\u003C/i> is a multi-media art exhibition that brings together 88 well-respected artists representing more than 25 countries. In addition to Sakamoto’s \u003Ci>Sonic Mandala\u003C/i>, other artists contributing to the installation include Laurie Anderson, Richard Avedon, Richard Gere, and Sebastiao Salgado.\nAll works in the exhibition have been donated by the artists and will be auctioned to raise funds for the peace initiatives of the Dalai Lama Foundation (DLF) and the Committee of 100 for Tibet (C100), the co-sponsoring organizations. The Dalai Lama, who met with The Missing Peace organizers on several occasions, supports the project and lent a work of art from his personal collection.","2006 Fowler Museum of Cultural History, Los Angeles\n2006 Loyola University Museum of Art, Chicago\n2007 School of Visual Arts [SVA], in collaboration with the Rubin Museum of Art, New York\n2007 - 2008 Yerba Buena Center for the Arts, San Francisco\n2009 Fundación Canal, Madrid, Spain\n2009 - 2010 Patricia & Phillip Frost Art Museum,\nFlorida International University\n2011 Cowden Gallery, San Antonio Museum of Art, Texas","2006 \u003Ca href=\"https://fowler.ucla.edu/exhibitions/the-missing-peace-artists-consider-the-dalai-lama/\">Fowler Museum of Cultural History, Los Angeles\u003C/a>\n2006 \u003Ca href=\"https://www.luc.edu/luma/exhibitions/pastexhibitions/themissingpeaceartistsconsiderthedalailama/\">Loyola University Museum of Art, Chicago\u003C/a>\n2007 \u003Ca href=\"https://sva.edu/events/the-missing-peace\">School of Visual Arts [SVA], in collaboration with the Rubin Museum of Art, New York\u003C/a>\n2007 - 2008 Yerba Buena Center for the Arts, San Francisco\n2009 Fundación Canal, Madrid, Spain\n2009 - 2010 Patricia & Phillip Frost Art Museum,\nFlorida International University\n2011 Cowden Gallery, San Antonio Museum of Art, Texas",6,"6. Sonic Mandala The Missing Peace_ Artists Consider Dalai Lama (2006)","Sonic Mandala \nThe Missing Peace: Artists Consider the Dalai Lama","2006",{"Artist":60,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":61,"Exhibitions":62,"HTML_Link":63,"id":64,"Images":65,"Links":6,"Techinical Requirements":66,"Title":67,"Year":68},"Ryuichi Sakamoto + Shiro Takatani","This sound and video installation revisits the aural and visual elements from \u003Ci>LIFE\u003C/i>, an opera by Sakamoto, first performed in 1999.\n\nNine acrylic aquariums hang in a darkened room to form a 3 x 3 grid. Each carries a small amount of water and has speakers affixed on opposite ends. Fog is artificially created inside each aquarium using ultrasonic waves, creating patterns in the water in varying degrees of transparency. Images are projected into the tanks from projectors that are attached overhead.\n\nThe sounds and images in \u003Ci>LIFE−fluid, invisible, inaudible...\u003C/i> (including new material made specifically for the installation) are divided into groups of 20 or 30 pieces and stored on a hard drive. A randomized control program uses the audio and visual files in these repositories to create an ever-changing installation. ","2007 Yamaguchi Center for Arts and Media [YCAM], Commissioned by YCAM\n2007 InterCommunication Center, Tokyo\n2010 Le 360, France\n2011 La Pelanda - Centro di produzione culturale, Italy\n2019 piknik / GLINT, Korea\n2021 MWOODS, Beijing\n2023 M WOODS, People's Park - Chengdu\n2024 - 2025 Museum of Contemporary Art Tokyo [MOT]","2007 \u003Ca href=\"https://www.ycam.jp/en/archive/works/life/\">Yamaguchi Center for Arts and Media [YCAM], Commissioned by YCAM\u003C/a>\n2007 \u003Ca href=\"https://www.ntticc.or.jp/en/exhibitions/2007/life-fluid-invisible-inaudible/\">InterCommunication Center, Tokyo\u003C/a>\n2010 Le 360, France\n2011 La Pelanda - Centro di produzione culturale, Italy\n2019 piknik / GLINT, Korea\n2021 MWOODS, Beijing\n2023 M WOODS, People's Park - Chengdu\n2024 - 2025 Museum of Contemporary Art Tokyo [MOT]",7,"7. LIFE - fluid, invisible, inaudible... (2007)","Minimum Space Dimensions\nW 15m x D 15m x H 6.5m\n- water \n- water tanks \n- 18 x speakers\n- 3 x audio interface\n- 4 x computers (macbook pro) \n- 9 x projector and lenses\n- fog system \n*require W 2m x H 2.5m loading door","LIFE−fluid, invisible, inaudible...","2007",{"Artist":70,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":71,"Exhibitions":72,"HTML_Link":73,"id":74,"Images":75,"Links":6,"Techinical Requirements":6,"Title":76,"Year":77},"Ryuichi Sakamoto + Shiro Takatani + Seigen Ono","A tea room created by Ono, Sakamoto, and Takatani, reduces external sounds and internal echoes to an absolute minimum, heightening the senses of the occupant. The sound-absorbing material that lines the interior gives the listener a more intimate space to appreciate the installation's sound.","2012 \u003Ci>\"\u003C/i>\u003Ci>Art & Music - Search for New Synesthesia\"\u003C/i> exhibition, The Museum of Contemporary Art Tokyo [MOT]\nGeneral Advisor: Ryuichi Sakamoto\nChief Curator: Yuko Hasegawa\n\n2013 \"Re: emerge Towards a New Cultural Cartography,\"  Sharjah Biennial 11, commissioned by Sharjah Art Foundation","2012 \u003Ci>\"\u003C/i>\u003Ca href=\"https://www.mot-art-museum.jp/music/seige-ono_ryuichi-sakamoto_shiro-takatani.html\">\u003Ci>Art & Music - Search for New Synesthesia\"\u003C/i>\u003C/a>\u003Ca href=\"https://www.mot-art-museum.jp/music/seige-ono_ryuichi-sakamoto_shiro-takatani.html\"> exhibition, The Museum of Contemporary Art Tokyo [MOT]\u003C/a>\nGeneral Advisor: Ryuichi Sakamoto\nChief Curator: Yuko Hasegawa\n\n2013 \u003Ca href=\"https://www.sharjahart.org/en/sharjah_biennial/sb-11/projects/details/silence-spins/\">\"Re: emerge Towards a New Cultural Cartography,\"  Sharjah Biennial 11\u003C/a>, commissioned by Sharjah Art Foundation",8,"8. silence spins (2012)","silence spins","2012",{"Artist":60,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":79,"Exhibitions":80,"HTML_Link":81,"id":82,"Images":83,"Links":6,"Techinical Requirements":6,"Title":84,"Year":77},"In this work, Sakamoto and Takatani explore the impossibilities of communicating. Words are taken from Plato's \u003Ci>Allegory of the Cave\u003C/i>, W. B. Yeats' \u003Ci>A Dialogue of Self and Soul\u003C/i>, and the dialogue between a gorilla and a man in Daniel Quinn's novel \u003Ci>Ishmael\u003C/i>, and are converted into sounds. Two computer-controlled pianos play notes derived from the words, and a laser projector projects the quoted text onto the wall at intervals.","2012 \u003Ci>\"Art & Music - Search for New Synesthesia\"\u003C/i> exhibition, The Museum of Contemporary Art Tokyo [MOT]\n\nGeneral Advisor: Ryuichi Sakamoto\nChief Curator: Yuko Hasegawa","2012 \u003Ca href=\"https://www.mot-art-museum.jp/music/ryuichi-sakamoto_shiro-takatani.html\">\u003Ci>\"Art & Music - Search for New Synesthesia\"\u003C/i>\u003C/a>\u003Ca href=\"https://www.mot-art-museum.jp/music/ryuichi-sakamoto_shiro-takatani.html\"> exhibition, The Museum of Contemporary Art Tokyo [MOT]\u003C/a>\n\nGeneral Advisor: Ryuichi Sakamoto\nChief Curator: Yuko Hasegawa",9,"9. collapsed (2012)","Collapsed",{"Artist":86,"Awards":6,"Category":7,"Collaborators":87,"Country":6,"Description":88,"Exhibitions":89,"HTML_Link":90,"id":91,"Images":92,"Links":6,"Techinical Requirements":6,"Title":93,"Year":94},"Ryuichi Sakamoto + YCAM","Shiro Takatani, YCAM InterLab team","Trees convert sunlight into energy to sustain themselves. As humans cannot directly experience what the trees feel, Sakamoto transforms the bioelectricity produced by the trees into sounds, which humans can experience. Sensors developed especially for this project were placed in trees around the world to understand the effect of the rotations and revolutions of the Earth on trees globally. ","2013 Yamaguchi Center for Arts and Media [YCAM]\n2014 \u003Ci>Sapporo International Art Festival,\u003C/i> Moerenuma Park, Sapporo\n2020 Joeiji Temple, Yamaguchi \n2021 \u003Ci>YCAM ART–ENVIRONMENT–LIFE, \u003C/i>Joeiji Temple\n2022 Joeiji Temple\n2023 Joeiji Temple\n2024 Joeiji Temple\n2025 Joeiji Temple\n\nCommissioned by YCAM","2013 \u003Ca href=\"https://forestsymphony.ycam.jp/#\">Yamaguchi Center for Arts and Media [YCAM]\u003C/a>\n2014 \u003Ca href=\"https://siaf.jp/2014/en/programs/forest-symphony-in-moerenuma\">\u003Ci>Sapporo International Art Festival,\u003C/i>\u003C/a>\u003Ca href=\"https://siaf.jp/2014/en/programs/forest-symphony-in-moerenuma\"> Moerenuma Park, Sapporo\u003C/a>\n2020 Joeiji Temple, Yamaguchi \n2021 \u003Ca href=\"https://vimeo.com/82765073\">\u003Ci>YCAM ART–ENVIRONMENT–LIFE, \u003C/i>\u003C/a>\u003Ca href=\"https://vimeo.com/82765073\">Joeiji Temple\u003C/a>\n2022 Joeiji Temple\n2023 Joeiji Temple\n2024 Joeiji Temple\n2025 Joeiji Temple\n\nCommissioned by YCAM",10,"10. Forest Symphony (2013)","Forest Symphony","2013",{"Artist":60,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":96,"Exhibitions":97,"HTML_Link":98,"id":99,"Images":100,"Links":6,"Techinical Requirements":101,"Title":102,"Year":94},"A black pool filled with water, creating a reflective surface, sits in the middle of a space surrounded by stones. Rain falls into the water basin from a ceiling-mounted apparatus, controlled by condensed precipitation data from the exhibition’s locality, extracted from global images taken by meteorological satellites. An artificial rain device above the pool uses the data to make rain, creating a variety of ripple patterns that visualize the precipitation data throughout the piece. The lighting in the room also changes according to the volume and location of the droplets, in addition to the sound, which is generated in real-time, reflecting the rain. ","2013 Yamaguchi Center for Arts and Media [YCAM]\n2020 YCAM, Satellite A \n2021 MWOODS, Beijing\n2021 Sumida River Art Festival, Tokyo\n2021 \u003Ci>YCAM ART–ENVIRONMENT–LIFE, \u003C/i>Satellite A \n2022 YCAM, Satellite A \n2023 M WOODS People's Park, Chengdu\n2024 - 2025 Museum of Contemporary Art Tokyo [MOT]","2013 \u003Ca href=\"https://www.ycam.jp/en/archive/works/water-state-1/\">Yamaguchi Center for Arts and Media [YCAM]\u003C/a>\n2020 \u003Ca href=\"https://www.ycam.jp/events/2020/water-state-1/\">YCAM, Satellite A\u003C/a> \n2021 \u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-seeing-sound-hearing-time\">MWOODS, Beijing\u003C/a>\n2021 \u003Ca href=\"https://dotou.tokyo/program/116/\">Sumida River Art Festival, Tokyo\u003C/a>\n2021 \u003Ca href=\"https://vimeo.com/82765073\">\u003Ci>YCAM ART–ENVIRONMENT–LIFE, \u003C/i>\u003C/a>\u003Ca href=\"https://vimeo.com/82765073\">Satellite A \u003C/a>\n2022 YCAM, Satellite A \n2023 \u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-SOUND-AND-TIME\">M WOODS People's Park, Chengdu\u003C/a>\n2024 - 2025 \u003Ca href=\"https://www.mot-art-museum.jp/en/exhibitions/RS/\">Museum of Contemporary Art Tokyo [MOT]\u003C/a>",11,"11. water state 1 (2013)","Minimum Space Dimensions\nW 12.5m x D 12.5m x H 5m\u2028\u2028\n- water \u2028\n- water drop system\n- water basin\n- stones\n- 9 x speakers\n- computer \n- lighting\n\u2028*require water access ","water state 1",{"Artist":60,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":104,"Exhibitions":105,"HTML_Link":106,"id":107,"Images":108,"Links":6,"Techinical Requirements":109,"Title":110,"Year":94},"A fog machine is set up within a dried pond, generating fog that builds and shifts around the grounds of a shrine. Sakamoto associates this pond with the dried-up well in W.B. Yeats' play, \u003Ci>At the Hawk's Well\u003C/i>. Sensors capture the shape of the fog in real-time, converting it into sound. ","2013 Noda Shrine, Yamaguchi, commissioned by YCAM\n2014 Park Hyatt, Tokyo\n2021 MWOODS, Beijing\n2024 - 2025 \u003Ci>LIFE−WELL TOKYO Fog Sculpture #47662\u003C/i>, Museum of Contemporary Art Tokyo [MOT]","2013 \u003Ca href=\"https://vimeo.com/78068565\">Noda Shrine, Yamaguchi, commissioned by YCAM\u003C/a>\n2014 Park Hyatt, Tokyo\n2021 MWOODS, Beijing\n2024 - 2025 \u003Ci>LIFE−WELL TOKYO Fog Sculpture #47662\u003C/i>, \u003Ca href=\"https://www.mot-art-museum.jp/en/exhibitions/RS/\">Museum of Contemporary Art Tokyo [MOT]\u003C/a>",12,"12. LIFE - WELL installation (2013)","\u003Ci>LIFE–WELL TOKYO Fog Sculpture #47662 (2024)\u003C/i>\nMinimum Space Dimensions\nW 50m x D 30m x H (TBD)\n- water\n- water supply \n- fog system \n- high pressure hose \n- 10 x speakers \n- 5 x speaker amps\n- 2 x computer (mac bookpro)\n- 2 x audio interface\n- 4 x camera \n- LED system \n- mirror system\u2028\u2028\n*use large amount of water\u2028","LIFE−WELL Installation",{"Artist":112,"Awards":113,"Category":7,"Collaborators":6,"Country":6,"Description":114,"Exhibitions":115,"HTML_Link":116,"id":117,"Images":118,"Links":119,"Techinical Requirements":120,"Title":121,"Year":122},"Ryuichi Sakamoto + Daito Manabe","18th Art Division Excellence Award at the Japan Media Arts Festival","An expansive LED display, flanked by speakers, spans the space. Electromagnetic wave data, imperceptible to humans, used by mobile phones, Wi-Fi, terrestrial digital, and FM radio, is collected by antennas installed outside the museum and converted into image and sound in real-time through the LED display and speakers. Together, they make visible and audible the invisible streams of electromagnetic waves flying around at all times.\n    This work manifests as an 'ecosystem,' the artificial flow of electromagnetic waves that, although we are normally unaware of them, form an essential infrastructure for today’s urban activities. It was originally presented at the Sapporo International Art Festival 2014: City and Nature, for which Sakamoto served as Guest Director. On that occasion, it employed a large-scale video display and speakers installed in the Glass Pyramid at Moerenuma Park in the Sapporo suburbs. For the exhibition \u003Ci>Ryuichi Sakamoto | seeing sound, hearing time\u003C/i> (Japan, 2024–2025) at Museum of Contemporary Art Tokyo, the large video display has been replaced with an upgraded version of the elongated LED display first used in an outdoor installation in Beijing in 2021. By means of the oscilloscope-like installation, the invisible infrastructure of the ever-transforming Tokyo megalopolis is depicted in images and sounds.","2014 Moerenuma Park Glass Pyramid “HIDAMARI” at Sapporo International Art Festival 2014 [SIAF2014]\nGuest Director: Ryuichi Sakamoto\nCurators: Shihoko Iida, Yukiko Shikata, Sachiko Namba\n\n2018 Asia Culture Center - ACC, Gwangju\n2020 Joeiji Temple Sesshutei Garden, Yamaguchi\n2021 MWOODS, Beijing\n2022 Japan Media Arts Festival's exhibition, Tokyo\n2023 M WOODS People's Park - Chengdu\n2024 \u003Ci>Sensing Streams 2024 - invisible inaudible (GINZA version), \u003C/i>sakamotocommon Ginza\u003Ci> at \u003C/i>Ginza Sony Park, Tokyo\n2024 - 2025 \u003Ci>Sensing Streams 2024−invisible, inaudible (MOT version)\u003C/i>, Museum of Contemporary Art Tokyo [MOT]\n2025 \u003Ci>Feel the Sound - An exhibition experience on a different frequency,\u003C/i> Barbican Centre","2014 Moerenuma Park Glass Pyramid “HIDAMARI” at \u003Ca href=\"https://siaf.jp/2014/en/\">Sapporo International Art Festival 2014 [SIAF2014]\u003C/a>\nGuest Director: Ryuichi Sakamoto\nCurators: Shihoko Iida, Yukiko Shikata, Sachiko Namba\n\n2018 \u003Ca href=\"https://artsandculture.google.com/asset/sensing-streams-%E2%80%93-invisible-inaudible-2014-ryuichi-sakamoto-daito-manabe/AgFtRTICUUWjRg\">Asia Culture Center - ACC, Gwangju\u003C/a>\n2020 Joeiji Temple Sesshutei Garden, Yamaguchi\n2021 \u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-seeing-sound-hearing-time\">MWOODS, Beijing\u003C/a>\n2022 Japan Media Arts Festival's exhibition, Tokyo\n2023 \u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-SOUND-AND-TIME\">M WOODS People's Park - Chengdu\u003C/a>\n2024 \u003Ci>Sensing Streams 2024 - invisible inaudible (GINZA version), \u003C/i>sakamotocommon Ginza\u003Ci> at \u003C/i>Ginza Sony Park, Tokyo\n2024 - 2025 \u003Ci>Sensing Streams 2024−invisible, inaudible (MOT version)\u003C/i>, \u003Ca href=\"https://www.mot-art-museum.jp/en/exhibitions/RS/\">Museum of Contemporary Art Tokyo [MOT]\u003C/a>\n2025 \u003Ci>Feel the Sound - An exhibition experience on a different frequency,\u003C/i> Barbican Centre",13,"13. Sensing Streams - invisible, inaudible (2014)","https://research.rhizomatiks.com/s/works/sensing_streams/en/","\u003Ci>Sensing Streams 2024−invisible, inaudible (MOT version)\u003C/i>\nMinimum Space Dimensions\nW 40m x D 20m x H 4m\n- 15 x speakers\n- 4 x speaker amps\n- audio interface\n- LED panel mount\n- LED video wall \n- 2 x computers (mac bookpro, galleria)\n*dedicated power supply required for LED video wall","Sensing Streams−invisible, inaudible","2014",{"Artist":124,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":125,"Exhibitions":126,"HTML_Link":127,"id":128,"Images":129,"Links":130,"Techinical Requirements":6,"Title":131,"Year":132},"Ryuichi Sakamoto + Shiro Takatani + Christian Sardet","Marine biologist and photographer Christian Sardet has been photographing and visually recording plankton, which some might call one of the origins of life. This installation consists of twelve 64-inch monitors placed on the floor so that viewers can overlook Sardet's images as if looking through a microscope. \n\nMore than 1,000 species of plankton are projected one after another, sliding away with each transition. During this transition, Sardet's images turn into lines of color, generated by Takatani through a process he calls toposcan. \n\nIndependently of the shifting images, elements of a soundscape are randomly triggered. However, in moments when the images become still, the soundscape synchronizes with the visuals, evoking stillness.","2016 KYOTOGRAPHIE - International Photography Festival Kyoto Municipal Museum of Art \n2016 - 2017 Fondation Cartier pour 'art contemporain Exhibit \u003Ci>\"The Great Animal Orchestra\"\u003C/i> ","2016 \u003Ca href=\"https://2016.kyotographie.jp/en/portfolio/sardet-takatani-sakamoto\">KYOTOGRAPHIE - International Photography Festival Kyoto Municipal Museum of Art \u003C/a>\n2016 - 2017 \u003Ca href=\"https://planktonchronicles.org/en/exposition-a-fondation-cartier-paris/\">Fondation Cartier pour 'art contemporain Exhibit \u003C/a>\u003Ca href=\"https://planktonchronicles.org/en/exposition-a-fondation-cartier-paris/\">\u003Ci>\"The Great Animal Orchestra\"\u003C/i>\u003C/a>\u003Ca href=\"https://planktonchronicles.org/en/exposition-a-fondation-cartier-paris/\"> \u003C/a>",14,"14. PLANKTON_ A Drifting World at the Origin of Life (2016)","http://www.epidemic.net/en/videos/sakamoto-takatani/plankton-video.html","PLANKTON: A Drifting World at the Origin of Life","2016",{"Artist":60,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":134,"Exhibitions":135,"HTML_Link":136,"id":137,"Images":138,"Links":6,"Techinical Requirements":139,"Title":140,"Year":141},"\u003Ci>async–drowning\u003C/i> is a listening room created by Shiro Takatani for Sakamoto's album, \u003Ci>async\u003C/i>. \n\nViewers are surrounded by sound from all directions as they enter a room that contains six 5.1-channel high-performance speakers that play music from \u003Ci>async\u003C/i>. On the walls are eight flat-screen monitors placed vertically, showing videos by Takatani, programmed to produce images in real-time.\nThe videos by Takatani use footage of various objects, such as Sakamoto’s piano, books, and percussion instruments from his New York studio, and potted plants on his balcony. The eight monitors create one landscape together, and the images appearing in the monitors gradually change over time, starting from either the far left or right. Like weaving together a fabric, images are created out of countless numbers of thin, horizontal lines that convert into new images one pixel at a time as if being slowly scanned. Once an eight-panel image is complete, the image is then reverted back into horizontal lines one pixel at a time until, eventually, all traces of the image are decomposed back into countless lines that stretch out like layers of sediment. Once horizontal lines cover all of the screens, they begin transforming into the next image. Takatani's images are not synchronized to the sounds of the album but they change their expressions moment by moment, like the ebb and flow of the tide, and visually insist on its own axis of time that runs parallel to the sounds of the album.","2017 The Watari Museum of Contemporary Art [WATARI-UM], Tokyo\n2019 Piknic, Korea\n2021 MWOODS, Beijing\n2021 The David Ireland House at 500 Capp Street, San Francisco\n2023 M WOODS People's Park - Chengdu","2017 \u003Ca href=\"http://www.watarium.co.jp/exhibition/1704sakamoto/index.html\">The Watari Museum of Contemporary Art [WATARI-UM], Tokyo\u003C/a>\n2019 Piknic, Korea\n2021 MWOODS, Beijing\n2021 The David Ireland House at 500 Capp Street, San Francisco\n2023 M WOODS People's Park - Chengdu",15,"15. async - drowning (2017)","Minimum Space Dimensions\nW 9m x D 6m x H 3m\n- 6 x speakers (geithain)\n- audio interface\n- 8 x OLED displays (55 inches or above)\n- 2 x computers (mac bookpro, mac studio)","async−drowning","2017",{"Artist":143,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":144,"Exhibitions":145,"HTML_Link":146,"id":147,"Images":148,"Links":6,"Techinical Requirements":149,"Title":150,"Year":141},"Ryuichi Sakamoto + Zakkubalan","In a dark room, 24 iPhones and iPads glimmer like small windows, arranged on the walls as they would in a photography exhibition. Sounds quietly emanate from each device, growing distinct only as one approaches each of them.\n\nThe moving images on-screen depict Sakamoto’s home studio, living room, and garden in New York—places where the artist spent much of his time while working on async, his first album in eight years. The fragmented videos join corresponding environmental field recordings and a mix of stems from the album, culminating in this installation piece.\n\u003Ci>async–volume\u003C/i> is the work of Zakkubalan (artist duo Neo Sora and Albert Tholen), whose primary focus has been producing film works. When asked to create a “behind-the-scenes” visual work exploring Sakamoto’s creative process, Zakkubalan eschewed conventional documentary style, opting instead to capture the landscapes that surround Sakamoto and the various traces and evocations of him. They attempted to draw a portrait that would make the presence of the artist felt without showing the artist himself.\n\nThe small screens draw the viewer close, so they are unable to see all of the images at once and can only peek into each window separately. As the viewer moves towards a window, the sound from that device grows more prominent, pushing away the other elements in the soundscape. As a person moves through the room, their path creates a unique mixture within the soundscape—a personal, individual experience for each viewer.\nEnveloped in the womb-like embrace of sound and darkness, the viewer glimpses Sakamoto’s inner life from the inside-out through the many windows that open up into their own small worlds.","2017 The Watari Museum of Contemporary Art [WATARI-UM], Tokyo\n2019 Piknic, Korea\n2021 MWOODS, Beijing\n2021 The David Ireland House at 500 Capp Street, San Francisco\n2023 M WOODS People's Park - Chengdu\n2024 - 2025 Museum of Contemporary Art Tokyo [MOT]","2017 \u003Ca href=\"http://www.watarium.co.jp/exhibition/1704sakamoto/index.html\">The Watari Museum of Contemporary Art [WATARI-UM], Tokyo\u003C/a>\n2019 Piknic, Korea\n2021 MWOODS, Beijing\n2021 The David Ireland House at 500 Capp Street, San Francisco\n2023 M WOODS People's Park - Chengdu\n2024 - 2025 Museum of Contemporary Art Tokyo [MOT]",16,"16. async - volume (2017)","Minimum Space Dimensions\nW 7m x D 3m x H 2.4m\n- black wall\n- black floor\n- 13 x iphone11\n- 7 x ipad mini \n- 5 x ipad pro\n- 15 x charging cables \n- subwoofer\n*the installtion needs complete darkness\n*require behind-the-wall path for routing of the cables","async−volume ",{"Artist":152,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":153,"Exhibitions":154,"HTML_Link":155,"id":156,"Images":157,"Links":6,"Techinical Requirements":158,"Title":159,"Year":141},"Ryuichi Sakamoto + Apichatpong Weerasethakul","\u003Ci>async–first light\u003C/i> is a collaboration with Apichatpong from Sakamoto's album \u003Ci>async\u003C/i>.\n\nPeople at a film screening, the sea, the view of a country road from a car, a sleeping child, an adult, a dog... Thai filmmaker and artist Apichatpong Weerasethakul interpreted Sakamoto's album async as a personal work and asked people close to him to shoot footage using his pocket-sized Digital Harinezumi camera. The images that the camera captured are snippets of people's personal and everyday moments rendered in grainy, low resolution, with uniquely warm colors.\n \nAfter receiving a request to collaborate with Sakamoto on async, which was in production at the time, Weerasethakul spent much of his time listening to the music that was sent to him. He finally decided on using the two tracks, \u003Ci>disintegration\u003C/i> and \u003Ci>LIFE, LIFE, \u003C/i>and requested that Sakamoto change their lengths and arrange the transition from one composition to the next to suit the needs of the video. Deconstructed fragments of scenes appear to the sounds in \u003Ci>disintegration\u003C/i>, switching from one moment to another sometimes as if in repetition. Gradually, the music shifts to \u003Ci>LIFE, LIFE,\u003C/i> as the poem \"\u003Ci>And this I dreamt, and this I dream\"\u003C/i> by Russian poet Arseny Tarkovsky is quietly heard against images of people going to sleep.\n \nWeerasethakul describes Sakamoto's music as very “refreshing” and that it gave him the feeling of encountering the sounds of nature for the first time. He says, \"It's like when one opens his or her eyes in the morning and remembers the first light, first image that one sees. Imprinted.”\n","2017 - 2018 The Watari Museum of Contemporary Art [WATARI-UM], Tokyo\n2019 Piknic, Korea 2019\n2021 MWOODS, Beijing\n2021 The David Ireland House at 500 Capp Street, San Francisco\n2021 WATARI-UM\n2023 M WOODS People's Park - Chengdu\n2024 - 2025 Museum of Contemporary Art Tokyo [MOT]","2017 - 2018 \u003Ca href=\"http://www.watarium.co.jp/exhibition/1704sakamoto/index.html\">The Watari Museum of Contemporary Art [WATARI-UM], Tokyo\u003C/a>\n2019 Piknic, Korea 2019\n2021 MWOODS, Beijing\n2021 The David Ireland House at 500 Capp Street, San Francisco\n2021 WATARI-UM\n2023 M WOODS People's Park - Chengdu\n2024 - 2025 Museum of Contemporary Art Tokyo [MOT]",17,"17. async - first light (2017)","\u003Ci>async–first light / Durmiente\u003C/i> (2024)\nMinimum Space Dimensions\nW 6m x D 9m x H 4m\n- black wall\n- black floor\n- grey 20% wall painting screen\n- 8 x speakers\n- 5 x speaker amps\n- audio interface\n- 2 x projectors and lenses\n- 2 x computers (mac bookpro)","async−first light",{"Artist":60,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":161,"Exhibitions":162,"HTML_Link":163,"id":164,"Images":165,"Links":6,"Techinical Requirements":166,"Title":167,"Year":141},"When Sakamoto encountered the piano at Miyagi Prefecture Agricultural High School after the school’s devastation by the 2011 Great East Japan Earthquake tsunami, he interpreted the piano as having been re-tuned by the forces of nature. Sakamoto felt as if the piano were a corpse of an instrument once alive, and reanimated it as a device that expresses earthquakes, or the vibrations of the earth.\n\nWhen exhibited for the first time at NTT InterCommunication Center [ICC] in 2017, five speakers and five LED panels lined both sides of the gallery, and two more speakers stood at the gallery’s front and rear. Music, taken primarily from Sakamoto’s album \u003Ci>async\u003C/i>, re-arranged for the installation, resounded alongside the piano tones generated using earthquake data collected from around the globe. Light from the 10 LED panels, emitted simultaneously with sound from the 14 speakers, offered an experience of sound as an “object” that moved three-dimensionally in the gallery space. On the occasion of the work’s exhibit in Chengdu in 2023, a basin of water and LED panel displaying snow were also added.\n\nFor the presentation of \u003Ci>IS YOUR TIME\u003C/i> at the Museum of Contemporary Art Tokyo, the \u003Ci>async\u003C/i> elements were omitted in consideration of Sakamoto’s will, to exhibit the piano simply with only its sounds being heard. The piano, rendered an object by the forces of nature, without a role or functional ability to play music created by human hands and heart, performs the earth’s rumbling in the interval between sky and ocean.","2017 NTT InterCommunication Center [ICC]\n2019 Piknic, Korea 2019\n2021 MWOODS, Beijing\n2021 Taipei Music Center\n2023 M WOODS People's Park, Chengdu\n2024 - 2025 Museum of Contemporary Art Tokyo [MOT]\n2025 Thailand Biennale 2025","2017 \u003Ca href=\"https://www.ntticc.or.jp/en/exhibitions/2017/sakamoto-ryuichi-with-takatani-shiro-installation-music-2-is-your-time/\">NTT InterCommunication Center [ICC]\u003C/a>\n2019 Piknic, Korea 2019\n2021 \u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-seeing-sound-hearing-time\">MWOODS, Beijing\u003C/a>\n2021 Taipei Music Center\n2023 \u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-SOUND-AND-TIME\">M WOODS People's Park, Chengdu\u003C/a>\n2024 - 2025 \u003Ca href=\"https://www.mot-art-museum.jp/en/exhibitions/RS/\">Museum of Contemporary Art Tokyo [MOT\u003C/a>]\n2025 \u003Ca href=\"https://www.thailandbiennale.org/en/program/artists/ryuichi-sakamoto-with-shiro-takatani\">Thailand Biennale 2025\u003C/a>",18,"18. IS YOUR TIME (2017)","Minimum Space Dimensions\nW 12m x D 25m x H 5m\n- wall covered with black flat curtains\n- black carpeted flat floor\n- black ceiling\n- 14 x speakers \n- microphone\n- contact mic\n- 2 x computers (mac bookpro)\n- 2 x audio interface\n- lighting\n- LED panel or projector for the ceiling\n- 10 x LED panels for side walls\n*must be approved for using water and sand \n*a corridor with soundproofing materials is required before entering the installation space\n*the space must be quiet and dark\n*fresh water access required","IS YOUR TIME",{"Artist":169,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":170,"Exhibitions":171,"HTML_Link":172,"id":173,"Images":174,"Links":175,"Techinical Requirements":6,"Title":176,"Year":177},"Dumb Type","\u003Ci>Playback\u003C/i> is an evolving installation that features a soundscape made by Ryuichi Sakamoto in collaboration with Dumb Type. Sakamoto asked friends from sixteen cities worldwide to record sounds from their urban surroundings. Based on these recordings, Sakamoto and Dumb Type crafted a composition that transforms the space into an ever-evolving musing on the concepts of memory and association; distance and desire, in a further nod towards creating connections across times and geographies. This composition is also part of the Dumb Type installation made for the Japanese Pavilion at the concurrent Venice Biennale.","2022 Haus der Kunst, Munich, Curation by Damian Lentini\n2022 Artizon Museum\n2023 Tribute to RYUICHI SAKAMOTO Music/Art/Media [ICC], Tokyo","2022 \u003Ca href=\"https://hausderkunst.de/en/exhibitions/dumb-type\">Haus der Kunst, Munich, Curation by Damian Lentini\u003C/a>\n2022 \u003Ca href=\"https://dumbtype.com/2022remap/en/\">Artizon Museum\u003C/a>\n2023 \u003Ca href=\"https://www.ntticc.or.jp/en/exhibitions/2023/tribute-to-ryuichi-sakamoto-music-art-media/\">Tribute to RYUICHI SAKAMOTO Music/Art/Media [ICC], Tokyo\u003C/a>",19,"19. Playback 2022 (2022)","https://dumbtype.com/works/playback-2022/","Playback 2022","2022",{"Artist":169,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":179,"Exhibitions":180,"HTML_Link":181,"id":182,"Images":183,"Links":184,"Techinical Requirements":6,"Title":185,"Year":177},"Dumb Type welcomed Sakamoto as a new member of the collective and together created a new work for the Japan Pavilion at the 59th International Art Exhibition - La Biennale di Venezia. The exhibition displays an installation on the theme of \"post-truth\" and \"liminal spaces\", exploring how humans communicate with each other and perceive the world, which has changed dramatically with the evolution and advances of the internet and social media, coupled with the global COVID-19 pandemic. \n\nMirrors on four stands rotate at high speed, reflecting lasers trained on them to project text onto the surrounding walls. The projected texts are taken from an 1850s geography textbook, posing simple yet universal questions. The sounds of voices reading the texts are emitted from rotating parametric speakers, becoming highly directional beams of sound that travel around the room.\nIn contrast to the discourses that surround it, the center of the room is an empty space—a place that exists nowhere, but at the same time, a place that could be anywhere. We live in a time of post-truth and liminal spaces. The center is void.","2022 The Japan Pavilion at the 59th International Art Exhibition - La Biennale di Venezia\n2023 \u003Ci>2022: remap\u003C/i>, Artizon Museum, Tokyo","2022 \u003Ca href=\"https://venezia-biennale-japan.jpf.go.jp/e/art/2022\">The Japan Pavilion at the 59th International Art Exhibition - La Biennale di Venezia\u003C/a>\n2023 \u003Ca href=\"https://dumbtype.com/2022remap/en/\">\u003Ci>2022: remap\u003C/i>\u003C/a>\u003Ca href=\"https://dumbtype.com/2022remap/en/\">, Artizon Museum, Tokyo\u003C/a>",20,"20. 2022 (2022)","https://www.artizon.museum/en/exhibition/detail/563",2022,{"Artist":187,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":188,"Exhibitions":189,"HTML_Link":190,"id":191,"Images":192,"Links":6,"Techinical Requirements":6,"Title":193,"Year":194},"Ryuichi Sakamoto + Tin Drum","\u003Ci>KAGAMI\u003C/i> represents a new kind of concert, fusing dimensional moving photography with the real world to create a never-before-experienced mixed reality presentation. Audiences wear optically-transparent devices to view the virtual Sakamoto performing on piano alongside dimensional art aligned with the music. Presented in surround sound, the experience is both collective and individual, inviting observers to connect to the work––and each other––throughout. While audiences may view the show in a seated format, they will also be free to wander and explore during the event.","2023 The Shed, New York\n2023 Manchester International Festival\n2023 Roundhouse, London\n2024 2024TIFA, Taiwan\n2024 Pesaro 2024 Auditorium Acavolini, Italy\n2024 Esplanade Theatre Stage, Singapore\n2025 Asia Topa, Melborne","2023 \u003Ca href=\"https://theshed.org/program/299-kagami-by-ryuichi-sakamoto-and-tin-drum\">The Shed, New York\u003C/a>\n2023 \u003Ca href=\"https://factoryinternational.org/whats-on/kagami-ryuichi-sakamoto-tin-drum/\">Manchester International Festival\u003C/a>\n2023 Roundhouse, London\n2024 2024TIFA, Taiwan\n2024 Pesaro 2024 Auditorium Acavolini, Italy\n2024 Esplanade Theatre Stage, Singapore\n2025 Asia Topa, Melborne",21,"21. KAGAMI (2023)","KAGAMI","2023",{"Artist":60,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":196,"Exhibitions":197,"HTML_Link":198,"id":199,"Images":200,"Links":6,"Techinical Requirements":201,"Title":202,"Year":194},"A video and sound installation created especially for the outdoor patio of M WOODS (People’s Park) on the basis of the theater piece \u003Ci>TIME\u003C/i>, which premiered at the 2021 Holland Festival. \u003Ci>TIME\u003C/i> borrowed elements of “Mugen Noh,” a type of Noh theater based on dreams. In this form, Sakamoto further explored the asynchronism introduced on his album titled \u003Ci>async\u003C/i> and pursued the question, “What is time?” In a dreamscape inspired by Natsume Soseki’s \u003Ci>Ten Nights of Dreams\u003C/i>, the Noh play \u003Ci>Kantan\u003C/i>, and Zhuang Zhou’s \u003Ci>The Butterfly Dream\u003C/i>, different kinds of time intersect—a moment and an eternity, a fleeting sleep and 100 years lived in a dream—and an attempt was made to reexamine the concept and very existence of time. Also depicted is a human being exhausting himself trying to overcome nature’s overwhelming power.   \n\u003Ci>TIME–déluge\u003C/i> employs the déluge video appearing in the climax of \u003Ci>TIME\u003C/i>. Here, déluge stands to represent the awe inspired by nature whose power transcends human understanding—an emotion expressed in flood myths and legends found in all parts of the world. In such tales, civilizations built over centuries are swept away and come to nothing. With the sound of a Noh flute, played by the late Rokurobyoe Fujita the 11th, accompanying a large-screen projection of violently flooding water, filmed by Takatani on a high-speed camera, a dream world transcending time and space unfolds on a patio filled with water, set up like a garden. ","2023 M WOODS People’s Park, Chengdu\n2023 Forest Festival of the Arts Okayama 2023, Nagi MOCA","2023 \u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-SOUND-AND-TIME\">M WOODS People’s Park, Chengdu\u003C/a>\n2023 \u003Ca href=\"https://forestartfest-okayama.jp/en/exhibitions/artists/rsst/\">Forest Festival of the Arts Okayama 2023, Nagi MOCA\u003C/a>",22,"22. TIME-déluge (2023)","Minimum Space Dimensions\nW 10m x D 4m x H 4m\u2028\n- water\n- water pool (10m x 4m x 0.2m)\n- 3 x wooden benches without backrest\n- 6 x speakers\n- audio Interface\n- 2 x computers (macbook pro)\n- LED video wall (7.5m x 2m)\n*use large amount of water","TIME–déluge",{"Artist":60,"Awards":6,"Category":7,"Collaborators":204,"Country":6,"Description":205,"Exhibitions":206,"HTML_Link":207,"id":208,"Images":209,"Links":6,"Techinical Requirements":210,"Title":211,"Year":194},"ZAK","\u003Ci>async–immersion 2023 \u003C/i>is a site-specific immersive sound and video installation first exhibited in the basement of the Kyoto Shimbun building, a former newspaper printing plant. \nTo utilize the enormous space, Sakamoto's 14th solo album, \u003Ci>async\u003C/i>, was re-mixed to a 6.6.5.2.1.10 channel array (35 speakers) by sound engineer ZAK. Visuals by Shiro Takatani are displayed on 26.4m LED widescreen throughout the old industrial factory.","2023 \u003Ci>async–immersion 2023\u003C/i>, Kyoto Shimbun Building B1F, Japan \nCurators: ZAK\n\n2024 - 2025 \u003Ci>async–immersion tokyo\u003C/i>, Museum of Contemporary Art Tokyo\n2026 M+ Museum, Hong Kong","2023 \u003Ci>async - immersion 2023\u003C/i>, Kyoto Shimbun Building B1F, Japan \nCurators: ZAK\n\n2024 - 2025 \u003Ci>async - immersion tokyo\u003C/i>, \u003Ca href=\"https://www.mot-art-museum.jp/en/exhibitions/RS/\">Museum of Contemporary Art Tokyo\n\u003C/a>2026 \u003Ca href=\"https://www.mplus.org.hk/en/exhibitions/ryuichi-sakamoto-seeing-sound-hearing-time/\">M+ Museum, Hong Kong\u003C/a>",23,"23. async - immersion (2023)","\u003Ci>async–immersion Tokyo\u003C/i> (2024)\nMinimum Space Dimensions\nW 24m x D 9 x H 4m\n- 11 x speakers \n- audio Interface\n- 3 x projectors and lenses\n- 3 x wooden benches\n- 2 x computers (mac bookpro, mac studio)\n- 3 x wooden benches","async−immersion",{"Artist":213,"Awards":214,"Category":7,"Collaborators":6,"Country":6,"Description":215,"Exhibitions":216,"HTML_Link":217,"id":218,"Images":219,"Links":220,"Techinical Requirements":221,"Title":222,"Year":223},"Ryuichi Sakamoto + Toshio Iwai","The Golden Nica prize in Prix Ars Electronica - Interactive Art (For the work in 1997)","\u003Ci>Music Plays Images X Images Play Music\u003C/i> is a collaborative performance by Ryuichi Sakamoto and Toshio Iwai using music and images, first performed at Art Tower Mito in 1996. With Sakamoto striking the keys, performance data sent from his MIDI piano was instantly translated into images projected on a giant screen via Iwai’s programming to visualize the music. Further experiments in fusing music and visual media were also conducted. In one instance, images generated by Iwai bounced from the screen to play a piano and, in another, viewers were able to enjoy a session with Sakamoto using live broadcasting via the Internet, a technique relatively unknown at the time. In September of the following year, 1997, after enthralling the audience with their innovative performance, Sakamoto and Iwai won the Grand Prix (Golden Nica) in the Interactive Art category at Ars Electronica, a global media art festival held in Linz, Austria. In December of the same year, Sakamoto performed on his MIDI piano in a public experiment conducted at the \u003Ci>“MPIXIPM”\u003C/i> concert held at The Garden Hall in Ebisu, Tokyo. There, MIDI data performed by Sakamoto was distributed live to broadcast venues throughout Japan for remote performances on local pianos. These groundbreaking endeavors had a profound impact on subsequent media artists.\nSakamoto, who was always eager to use the new media of the times, incorporated the Internet into his creative practice from the early days of its inception. He also developed an early and active interest in experimenting with MIDI, a format that enabled his piano performances to be recorded and reproduced accurately.\nFor the exhibition at the Museum of Contemporary Art Tokyo, two songs selected from MIDI data actually played by Sakamoto at Ars Electronica ’97, which were discovered among Iwai’s archives, were recreated and presented along with video data captured from the scene at the time. Iwai reconstructed the programming he had employed back then and used Sakamoto’s favorite MIDI piano to revive this legendary performance, which, in the form of an installation, has never aged. The exhibit enables visitors to glimpse—and aurally experience—Sakamoto’s origins as an artist who used cutting-edge media skillfully with playful creativity, and continually pursued and expanded the possibilities of expression through sound.","2024 - 2025 Museum of Contemporary Art Tokyo [MOT]","2024 - 2025 \u003Ca href=\"https://www.mot-art-museum.jp/en/exhibitions/RS/\">Museum of Contemporary Art Tokyo [MOT]\u003C/a>",24,"24. Music Plays Images x Images Play Music (2024)","https://ars.electronica.art/aeblog/en/2023/04/04/ryuichi-sakamoto/","\u003Ci>Music Plays Images x Images Play Music\u003C/i> (2024)\nMinimum Space Dimensions\nW 6m x D 16m x H 4.5m\n- glass \n- mesh screens\n- back PVC screen box\n- MIDI piano\n- MIDI interface\n- projector and lense\n- 2 x computers (macbook pro)\n*periodic piano tuning required during the exhibition","Music Plays Images x Images Play Music","2024",{"Artist":60,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":225,"Exhibitions":216,"HTML_Link":217,"id":226,"Images":227,"Links":6,"Techinical Requirements":228,"Title":229,"Year":223},"\u003Ci>TIME TIME\u003C/i> is a new installation work based on the theater piece \u003Ci>TIME\u003C/i>. In \u003Ci>TIME\u003C/i>, Sakamoto delved deeper into asynchronism, borrowing the structure of “Mugen Noh,” a type of Noh whose story takes place in a dream, to pursue the question, “What is time?” Creating a dreamscape inspired by Natsume Soseki’s \u003Ci>Ten Nights of Dreams\u003C/i>, the Noh play \u003Ci>Kantan\u003C/i>, and Zhuang Zhou’s \u003Ci>The Butterfly Dream\u003C/i>, the theater piece brought different kinds of time into intersection—a moment and an eternity, a fleeting sleep and 100 years of time lived in a dream—and attempted to reexamine the concept and very existence of time. It also symbolically evoked a human being exhausting himself in a futile attempt to create a path, striving against nature’s overwhelming power. The theater piece and this installation were conceived as manifestations of something that cannot exist in reality. \n\u003Ci>TIME TIME\u003C/i> uses “water” as its stage, water being a substance of importance to Sakamoto, which he employed in various forms in his works. The installation combines new footage of Mayumi Miyata (filmed by Takatani for this work) playing a Japanese reed instrument, the sho, and video of Min Tanaka’s appearance in \u003Ci>TIME\u003C/i> to express on three screens the three key elements portrayed in the theater piece—“Creating a Path”, \u003Ci>Ten Nights of Dreams\u003C/i>, and \u003Ci>Kantan\u003C/i>. Sakamoto’s music flows freely in and out of the three screens, and a dream world transcending time and space, with no beginning or end, quietly unfolds.\n",25,"25. TIME TIME (2024)","Minimum Space Dimensions\nW 24m x D 12m x H 4m\n- water \n- water filteration system\n- 20m x 5m shallow water pool\n- black sand (1.2 ton chromite sand)\n- speakers\n- audio Interface\n- 3 x projectors and lenses\n- 2 x computers (mac bookpro, mac studio)\n- 3 x black PVC screen and frame\n- 3 x wooden benches\n\u2028*require water access ","TIME TIME",{"Artist":231,"Awards":6,"Category":232,"Collaborators":6,"Country":233,"Description":234,"Exhibitions":235,"HTML_Link":236,"id":237,"Images":238,"Links":6,"Techinical Requirements":6,"Title":239,"Year":240},"Ryuichi Sakamoto, Shiro Takatani, Zakkubalan, Apichatpong Weerasethakul","Exhibition","South Korea","This South Korean exhibition, the first in the world to focus solely on Ryuichi Sakamoto, was a multimedia art event featuring works by Sakamoto himself and various collaborations.\n\nInstallations:\n\u003Ci>LIFE−fluid, invisible, inaudible…\nwater state 1\nasync−first light\nasync−drowning\nasync−volume\u003C/i>","piknic, Korea","\u003Ca href=\"https://piknic.kr/home/include/board_view.php?SEQ=CATEEXHIBITION0012&PROGRAM_CD=&page=1&search_text=ryuichi%20sakamoto\">piknic, Korea\u003C/a>","E1","E1. Ryuichi Sakamoto_ Life, Life (2018)","Ryuichi Sakamoto: Life, Life","2018",{"Artist":242,"Awards":6,"Category":232,"Collaborators":6,"Country":243,"Description":244,"Exhibitions":245,"HTML_Link":246,"id":247,"Images":248,"Links":6,"Techinical Requirements":6,"Title":249,"Year":250},"Ryuichi Sakamoto, Shiro Takatani, Zakkubalan, Apichatpong Weerasethakul, Daito Manabe","China","M WOODS presented the largest and most comprehensive survey exhibition to date devoted to Ryuichi Sakamoto. The exhibition was Sakamoto’s first institutional solo show in China. It included work in various media from the last thirty years and new outdoor site-specific installations made especially for M WOODS. The survey exhibition centered around eight key works and large-scale sound installations made in collaboration with fellow celebrated artists, such as: \u003Ci>Sensing Streams\u003C/i> with Daito Manabe, \u003Ci>IS YOUR TIME\u003C/i> and \u003Ci>LIFE−fluid, invisible, inaudible… \u003C/i>with Shiro Takatani, and \u003Ci>async−volume\u003C/i> with Zakkubalan. Accompanied by an exhibition book and a series of live events and programming, the exhibition \u003Ci>seeing sound hearing time,\u003C/i> provided a critical overview of the artistic practice of Ryuichi Sakamoto. \n\nInstallations: \n\u003Ci>IS YOUR TIME \nLIFE−fluid, invisible, inaudible… \nwater state 1 \nasync−first light \nasync−drowning \nasync−volume \nSensing Streams 2021−invisible, inaudible \nLIFE–WELL Installation\u003C/i>","MWOODS, Beijing\n\nCurators: Sachiko Namba, Victor Wang, Zhang Youdai","\u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-seeing-sound-hearing-time\">MWOODS, Beijing\u003C/a>\n\nCurators: Sachiko Namba, Victor Wang, Zhang Youdai","E2","E2. Ryuichi Sakamoto_ seeing sound hearing time (2021)","Ryuichi Sakamoto: seeing sound hearing time","2021",{"Artist":252,"Awards":6,"Category":232,"Collaborators":6,"Country":253,"Description":254,"Exhibitions":255,"HTML_Link":256,"id":257,"Images":258,"Links":259,"Techinical Requirements":6,"Title":260,"Year":250},"Ryuichi Sakamoto, Shiro Takatani, YCAM","Japan","Installations:\n\u003Ci>LIFE−fluid, invisible, inaudible…\nForest Symphony\nwater state 1\u003C/i>","Yamaguchi Center for Arts and Media [YCAM]","\u003Ca href=\"https://www.ycam.jp/events/2021/art-environment-life/\">Yamaguchi Center for Arts and Media [YCAM]\u003C/a>","E3","E3. YCAM ART-ENVIRONMENT_LIFE 2021 (2021)","https://vimeo.com/82765073","YCAM ART–ENVIRONMENT–LIFE",{"Artist":262,"Awards":6,"Category":232,"Collaborators":6,"Country":243,"Description":263,"Exhibitions":264,"HTML_Link":265,"id":266,"Images":267,"Links":268,"Techinical Requirements":6,"Title":269,"Year":194},"Ryuichi Sakamoto, Shiro Takatani, Daito Manabe, Zakkubalan, Apichatpong Weerasethakul","Two years after the debut of Sakamoto’s artwork in China, \u003Ci>Ryuichi Sakamoto: seeing sound hearing time\u003C/i>, at M WOODS (Hutong), Beijing, the first and most comprehensive overview of his work, Sakamoto, along with his collaborators, decided to develop \u003Ci>SOUND AND TIME\u003C/i> as a progression from the previous exhibition, creating in Chengdu a modified large-scale retrospective that presents a comprehensive review of Sakamoto’s artistic career, highlighting the fundamental ideas about sound, time, and installation art that Sakamoto explored throughout his career. \n\nInstallations: \u003Ci>\nIS YOUR TIME \nLIFE−fluid, invisible, inaudible… \nwater state 1 \nasync−first light \nasync−drowning \nasync−volume \nSensing Streams−invisible, inaudible \nTIME–déluge\u003C/i>","M WOODS People’s Park, Chengdu\n\nCurators: Sachiko Namba, Victor Wang","\u003Ca href=\"https://mwoods.org/Ryuichi-Sakamoto-SOUND-AND-TIME\">M WOODS People’s Park, Chengdu\u003C/a>\n\nCurators: Sachiko Namba, Victor Wang","E4","E4. Ryuichi Sakamoto _ SOUND AND TIME (2023)","https://artnewsjapan.com/article/1340","Ryuichi Sakamoto | SOUND AND TIME",{"Artist":271,"Awards":6,"Category":232,"Collaborators":6,"Country":253,"Description":272,"Exhibitions":273,"HTML_Link":274,"id":275,"Images":276,"Links":277,"Techinical Requirements":6,"Title":278,"Year":223},"Ryuichi Sakamoto, Daito Manabe, Sakamoto Library, Sony, YAMAHA","sakamotocommon is an initiative to share the legacy of Ryuichi Sakamoto. It aims to create a shared (common) resource from Sakamoto's intellectual property, musical instruments, personal library, and a wide variety of other items in his estate, for the benefit of future creators.\n\nGinza Sony Park is an extremely valuable building that embodies the concept of public spaces (or \"commons\") in urban areas, as well as the role of culture and architecture in a new era.\nsakamotocommon resonates deeply with the vision and initiatives of Ginza Sony Park.\n\nThis led to the establishment of a temporary space for shared creativity between sakamotocommon and Ginza Sony Park.\nSo, how should we share the legacy of Ryuichi Sakamoto? There is no definitive answer, and we must continue to explore and ask ourselves this question.\nWe need everyone's support to ensure the activities of sakamotocommon continue to be open to the public.\n\nInstallations: \n\u003Ci>Sensing Streams 2024–Invisible Inaudible (GINZA Version)\nRyuichi Sakamoto Field Recordings & \"12\" by 360 Reality Audio + Sakamoto Library Extension\nRyuichi Sakamoto's \"Opera Piano\" designed for \"LIFE a ryuichi sakamoto opera 1999\"\n\u003C/i>","Ginza Sony Park\n\nOrganized by: \nsakamotocommon Preparatory Committee (Sakamoto Library), Ginza Sony Park Project","\u003Ca href=\"https://www.sonypark.com/e/activity/pre_004/\">Ginza Sony Park\n\n\u003C/a>Organized by: \nsakamotocommon Preparatory Committee (Sakamoto Library), Ginza Sony Park Project","E5","E5. sakamotocommon GINZA","https://www.sonypark.com/e/activity/pre_004/","sakamotocommon GINZA",{"Artist":280,"Awards":6,"Category":232,"Collaborators":6,"Country":253,"Description":281,"Exhibitions":282,"HTML_Link":283,"id":284,"Images":285,"Links":6,"Techinical Requirements":6,"Title":286,"Year":287},"Ryuichi Sakamoto, Shiro Takatani, Daito Manabe, Carsten Nicolai, Apichatpong Weerasethakul, Zakkubalan, Toshio Iwai, \nFujiko Nakaya","A composer and an artist, Ryuichi Sakamoto continuously paved the way for his era through his diverse and cutting-edge artistic activities. Since the 2000s, he devoted himself to creating three-dimensional sound installations in exhibition spaces, which he developed and realized in collaboration with various artists. Focusing on large-scale installation works, the exhibition looks back on Sakamoto's pioneering, experimental creative artworks, including some of his most well-known previous pieces, and new works that he envisioned before his passing.\n\nList of installations:\n\u003Ci>TIME TIME, \u003C/i>2024\u003Ci>\nwater state 1, \u003C/i>2013\u003Ci>\nIS YOUR TIME, \u003C/i>2017/2024\nCarsten Nicolai, \u003Ci>PHOSPHENES, ENDO EXO, \u003C/i>2024  Music: Ryuichi Sakamoto\n\u003Ci>async–first light\u003C/i>, 2017\nApichatpong Weerasethakul, \u003Ci>Durmiente\u003C/i>, 2021\n\u003Ci>async−immersion tokyo\u003C/i>, 2024\n\u003Ci>async−volume\u003C/i>, 2017\n\u003Ci>LIFE−fluid, invisible, inaudible…\u003C/i>, 2007\n\u003Ci>Music Plays Images X Images Play Music\u003C/i>, 1996–97/2024\n*Special Exhibit from Archive - New installation work reenacting a performance from 1996–97\n\u003Ci>Sensing Streams 2024−invisible, inaudible (MOT version)\u003C/i> , 2024\n\u003Ci>LIFE−WELL TOKYO, Fog Sculpture #47662\u003C/i>, 2024\n*Special collaboration with Fujiko Nakaya","Museum of Contemporary Art Tokyo [MOT]\n\nCurators: Sachiko Namba","\u003Ca href=\"https://www.mot-art-museum.jp/en/exhibitions/RS/\">Museum of Contemporary Art Tokyo [MOT]\u003C/a>\n\nCurators: Sachiko Namba","E6","E6. Ryuichi Sakamoto _ seeing sound, hearing time","Ryuichi Sakamoto | seeing sound, hearing time","2024 - 2025",{"Artist":289,"Awards":6,"Category":232,"Collaborators":6,"Country":253,"Description":290,"Exhibitions":291,"HTML_Link":292,"id":293,"Images":294,"Links":295,"Techinical Requirements":6,"Title":296,"Year":297},"Shiro Takatani, Zakkubalan, Apichatpong Weerasethakul, Sony, YAMAHA","In 1970, at the age of 18, Ryuichi Sakamoto encountered a vast array of music and art at Expo ’70 in Osaka, held under the theme “Progress and Harmony for Mankind.” From the national pavilions echoed avant-garde electronic sounds rooted in atonality—Tōru Takemitsu’s\u003Ci> Crossing and Seasons,\u003C/i> Yuji Takahashi’s \u003Ci>Egan \u003C/i>(an early inspiration for Sakamoto), and Jōji Yuasa’s \u003Ci>Music for Space Projection\u003C/i>. At the West German Pavilion, Karlheinz Stockhausen performed \u003Ci>Spiral \u003C/i>daily in a spherical auditorium. The Pepsi Pavilion presented the world premiere of Fujiko Nakaya’s fog sculptures, while Iannis Xenakis created \u003Ci>Hibiki-Hana-Ma\u003C/i> for the Steel Pavilion, which also featured sonic sculptures by François Baschet.\nThese experiences would leave a lasting imprint on Sakamoto—becoming a conceptual spine for his lifelong exploration of sound. The emerging world of synthesizer-based electronic music also profoundly shaped his vision. Beginning in 2016, Sakamoto had the opportunity to perform and record with the original Baschet sound sculptures from Expo ’70, weaving their unique timbres into his own compositions. These experiments culminated in his 2017 album \u003Ci>async\u003C/i>, and echoed once more in his final stage work, \u003Ci>TIME\u003C/i>.\n\nIn 2025, as the World Expo returns to Osaka, we ask: might we pass on the inspiration that once stirred the young Sakamoto to a new generation of creators through the platform of sakamotocommon? With this in mind, we begin our project from “VS.,” a newly opened space in Umeda, Osaka. The exhibition will feature the Baschet sound sculptures originally shown at Expo ’70, along with newly created instruments crafted by the Baschet Restoration Team at Tokyo University of the Arts and Marti Ruiz—made especially for Sakamoto. In addition, using performance data from Sakamoto himself, audiences will be able to experience his beloved grand piano playing once more—offering a quiet echo of the hands that once shaped its sound.\n\nInstallations included: \n\u003Ci>Ryuichi Sakamoto + Shiro Takatani, LIFE–fluid, invisible, inaudible...\nRyuichi Sakamoto: Playing the Piano 2025 - D\nBaschet sound sculptures\nRyuichi Sakamoto, on async\nRyuichi Sakamoto + Zakkubalan, async–volume\nRyuichi Sakamoto + Apichatpong Weerasethakul, async–first light\nApichatpong Weerasethakul, Durmiente\nRyuichi Sakamoto, “Ryuichi Sakamoto: Playing the Baschet”, \"12\" 360 Reality Audio\nRyuichi Sakamoto Archive: 1970‐\nSakamoto Library – Extension\u003C/i>","2025 VS. OSAKA\n\nOrganized by:\nKAB Inc.\nVS. Joint Partnership","2025 \u003Ca href=\"https://vsvs.jp/en/exhibitions/sakamotocommon-osaka/\">VS. OSAKA\n\n\u003C/a>Organized by:\nKAB Inc.\nVS. Joint Partnership","E7","E7. sakamotocommon OSAKA","https://vsvs.jp/en/exhibitions/sakamotocommon-osaka/","sakamotocommon OSAKA \n1970/2025/Osaka/Ryuichi Sakamoto","2025",{"Artist":299,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":301,"Exhibitions":302,"HTML_Link":302,"id":303,"Images":304,"Links":6,"Techinical Requirements":6,"Title":305,"Year":306},"Ryuichi Sakamoto + Akira Asada + RADICAL TV","Performance/Installation","\u003Ci>TV WAR\u003C/i> was an open-air concert in participation with the '85 Expo in Tsukuba. It took place at night in front of the first-ever Sony Jumbotron. Stationed in front of the Jumbotron, a young Ryuichi Sakamoto performed the music while the duo Haruhiko Shono and Daizaburo Harada, under the rubric of RADICAL TV, dealt with live video performance, video editing, and live image manipulation. \u003Ci>TV WAR\u003C/i> is a grim affair, and the music reflects this: pounding rhythms, industrial sounds, and no tunes.\n\n\"\u003Ci>TV WAR \u003C/i>does not promise anything. The signal is momentarily interrupted by the intervention of foreign agents. What we see is not pleasant or funny.\"","1985 The International Exposition, Tsukuba, Japan","P1","P1. TV WAR (1985)","TV WAR","1985",{"Artist":308,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":309,"Exhibitions":310,"HTML_Link":311,"id":312,"Images":313,"Links":6,"Techinical Requirements":6,"Title":314,"Year":24},"Ryuichi Sakamoto + Daizaburou Harada","Ryuichi Sakamoto and computer graphic artist Daizaburo Harada shared a special interest in abandoning the use of traditional media for newer methods of communication. Their use of computer-based technology throughout their careers has consistently expanded the boundaries of their respective art forms.\n\nResponding to the accelerating technological developments of the time, Sakamoto and Harada explored the interface of music and the visual arts via a collaborative multi-media concert tour for Japan entitled \u003Ci>D&L '95\u003C/i> for the Mitsubishi Electric Corporation concert series \u003Ci>'Super Selection.'\u003C/i>\n\nSakamoto and Harada believed the Internet is the most sophisticated media form emerging at the time, capable of overcoming the limitations of exhibiting or performing art in a set time, location, and setting. This belief led to the establishment of the Internet Live Experimental Association (ILEA). Working with Japanese cutting-edge cyber freaks, ILEA furthered the goal of broadcasting the fine arts via the Internet.\n\nSakamoto and Harada's \u003Ci>D&L '95\u003C/i> concert was broadcast worldwide live via the Internet with the help of Japanese commercial servers and software companies such as M-Bone (for worldwide video & audio broadcast), Streamworks, Real Audio, Peephole, The WWW Page, Bekkoame, Rapid Systems, Aston, and the ILEA team.\n\n*ILEA is a non-profit organization and its activities are funded by private contributions.","D&L\n1995 Oct 25 Fuchu-no-mori Geijutsu Gekijo Fuchu-city, Tokyo\n1995 Oct 30 Aichi-ken Geijutsu Gekijo Nagoya-city, Aichi\n1995 Oct 31 Kagawa Kenmin Hall Takamatsu-city, Kagawa\n1995 Nov 2 Osaka Jo Hall Osaka-city, Osaka\n1995 Nov 4 Ishikawa Koseinenkin Kaikan Kanazawa-city, Ishikawa\n1995 Nov 6 Nigata Tersa Nigata-city, Nigata\n1995 Nov 11 Ohmiya Sonic city Ohmiya-city, Saitama\n1995 Nov 13 Shimane Kenmin Kaikan Matsue-city, Shimane\n1995 Nov 14 Hiroshima Kousei Nenkin Kaikan Hiroshima-city, Hiroshima\n1995 Nov 15 Fukuoka Sun Palace Fukuoka-city, Fukuoka\n1995 Nov 18 Sendi Sun Plaza Sendai-city, Miyagi\n1995 Nov 20 Hokkaido Kosei Nenkin Kaikan Sapporo-city, Hokkaido\n1995 Nov 29 Nippon Buddhokan, Tokyo\n1995 Nov 30 \u003Ci>D&L Internet Live Concert, \u003C/i>Nippon Buddhokan, Tokyo + online\n1995 Dec 3 NHK Hall, Tokyo\n\nSupported by Mitsubishi Electric Super Selection\n","D&L\n1995 Oct 25 Fuchu-no-mori Geijutsu Gekijo Fuchu-city, Tokyo\n1995 Oct 30 Aichi-ken Geijutsu Gekijo Nagoya-city, Aichi\n1995 Oct 31 Kagawa Kenmin Hall Takamatsu-city, Kagawa\n1995 Nov 2 Osaka Jo Hall Osaka-city, Osaka\n1995 Nov 4 Ishikawa Koseinenkin Kaikan Kanazawa-city, Ishikawa\n1995 Nov 6 Nigata Tersa Nigata-city, Nigata\n1995 Nov 11 Ohmiya Sonic city Ohmiya-city, Saitama\n1995 Nov 13 Shimane Kenmin Kaikan Matsue-city, Shimane\n1995 Nov 14 Hiroshima Kousei Nenkin Kaikan Hiroshima-city, Hiroshima\n1995 Nov 15 Fukuoka Sun Palace Fukuoka-city, Fukuoka\n1995 Nov 18 Sendi Sun Plaza Sendai-city, Miyagi\n1995 Nov 20 Hokkaido Kosei Nenkin Kaikan Sapporo-city, Hokkaido\n1995 Nov 29 Nippon Buddhokan, Tokyo\n1995 Nov 30 \u003Ca href=\"https://www.sitesakamoto.com/projects/DandL/netLIVE/press_e.html\">\u003Ci>D&L Internet Live Concert, \u003C/i>\u003C/a>\u003Ca href=\"https://www.sitesakamoto.com/projects/DandL/netLIVE/press_e.html\">Nippon Buddhokan, Tokyo + online\u003C/a>\n1995 Dec 3 NHK Hall, Tokyo\n\nSupported by Mitsubishi Electric Super Selection\n","P2","P2. D&L Internet Live Concert (1995)","D&L Internet Live Concert",{"Artist":213,"Awards":316,"Category":300,"Collaborators":6,"Country":6,"Description":317,"Exhibitions":318,"HTML_Link":319,"id":320,"Images":321,"Links":220,"Techinical Requirements":6,"Title":222,"Year":322},"The Golden Nica prize in Prix Ars Electronica - Interactive Art","\u003Ci>Music Plays Images x Images Play Music\u003C/i> is a multi-media concert that uses the system of Toshio Iwai's piano piece and visualizes a real-time musical performance by Ryuichi Sakamoto. During Sakamoto and Iwai's correspondence, the concept for the collaboration expanded rapidly, developing from the simple idea of \"Sakamoto playing Iwai's \u003Ci>Piano ­- as image media\u003C/i>\" to a performance that links, in various ways, musical sounds with visual images.","1996 Art Tower Mito in Mito City, Tokyo\n1997 Posthof, Linz at Prix Ars Electronica\n1997 The Garden Hall in Ebisu, Tokyo (NETLIVE \u003Ci>\"MPIXIPM\"\u003C/i>)","1996 \u003Ca href=\"https://www.ntticc.or.jp/pub/ic_mag/ic020/intercity/asada_E.html\">Art Tower Mito in Mito City, Tokyo\u003C/a>\n1997 \u003Ca href=\"https://webarchive.ars.electronica.art/en/archives/prix_archive/prix_projekt.asp%3FiProjectID=2494.html\">Posthof, Linz at Prix Ars Electronica\u003C/a>\n1997 The Garden Hall in Ebisu, Tokyo (NETLIVE \u003Ci>\"MPIXIPM\"\u003C/i>)","P3","P3. Music Plays Images x Images Play Music (1997)","1996 - 1997",{"Artist":5,"Awards":6,"Category":300,"Collaborators":324,"Country":6,"Description":325,"Exhibitions":326,"HTML_Link":326,"id":327,"Images":328,"Links":6,"Techinical Requirements":6,"Title":329,"Year":330},"Shiro Takatani, Daizaburo Harada, Anthony Rizzi","\u003Ci>LIFE\u003C/i> premiered to seven sold-out shows in Tokyo and Osaka. The work, an attempt to examine the music and events of the 20th century with a macrocosmic/microcosmic view of the entire flow of art and civilization, was an unconventional opera without a libretto. The production featured contributions and performances by over one hundred performers such as Bernardo Bertolucci, Salman Rushdie, Pina Bausch, and His Holiness the Dalai Lama. It spanned nearly all forms of media, including a live performance with a full orchestra, soloists, choir, folk musicians, human voice & other samples, and a live global internet relay. It was also Sakamoto’s first collaboration with the visual artist and director Shiro Takatani as the opera’s visual director. \nModeled on various factors in the opera \u003Ci>LIFE (\u003C/i>1999), Sakamoto and Takatani went on to create their installation \u003Ci>LIFE–fluid, invisible, inaudible... \u003C/i>conceived by the two artists in 2007.","1999 Osaka-jo Hall, Osaka\n1999 Nippon Budokan, Tokyo\n\nCommissioned by Asahi Shimbun for its 120th anniversary and TV-Asahi's 40th anniversary","P4","P4. LIFE (1999)","LIFE","1999",{"Artist":60,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":332,"Exhibitions":333,"HTML_Link":334,"id":335,"Images":336,"Links":6,"Techinical Requirements":6,"Title":337,"Year":338},"In June 2005, the live performance\u003Ci> Garden Series vol. 1: Experimental Live at Honen-in Zen Temple\u003C/i> in Kyoto, was conducted through laptops and images, overlooking the garden of the Buddhist abbot's quarters.\n\nOn July 5, 2007, \u003Ci>Garden Series vol. 2\u003C/i>, a live performance style of sound installation, was held in the Daitokuji sub-temple of Yotokuin to a limited audience.","2005 Honen-in Temple, Kyoto\n2007 \u003Ci>Garden Series vol. 2: Experimental Live at Daitokuji-temple, Yotoku-in, \u003C/i>Kyoto","2005 \u003Ca href=\"http://shiro.dumbtype.com/works/gardenlive\">Honen-in Temple, Kyoto\u003C/a>\n2007 \u003Ci>Garden Series vol. 2: Experimental Live at Daitokuji-temple, Yotoku-in, \u003C/i>Kyoto","P5","P5. Garden Series vol.1_ Experimental Live at Honen-in Zen Temple (2005)","Garden Series: Experimental Live","2005",{"Artist":340,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":341,"Exhibitions":342,"HTML_Link":343,"id":344,"Images":345,"Links":6,"Techinical Requirements":6,"Title":346,"Year":68},"Ryuichi Sakamoto + Alva Noto + Ensemble Modern","Commissioned by the city of Mannheim (Germany) for its 400th anniversary, \u003Ci>utp_ \u003C/i>was co-composed by Carsten Nicolai (aka Alva Noto) and Ryuichi Sakamoto. The flowing ten-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608, and the title is derived from the word \"utopia.\"\nThe world premiere at The National Theatre in Mannheim included the group Ensemble Modern and combined images, acoustic sounds, electronics, and improvisation. During the performance, the music was accompanied by a visual score projecting computer-generated amorphous structures resulting from complex mathematical colour progressions, a slow-paced tableau of stretched-out octaves and skeletal motifs.\n\u003Ci>utp_\u003C/i> was originally released (2009, NOTON) on a CD+DVD set, the CD included a concert stereo version of the 75-minute work, while the DVD included a video of the performance in 5.1 surround sound and a 40-minute “making of” with interviews of the artists and musicians.\nThe recording documents the work’s debut, performed by Ensemble Modern at The National Theatre in Mannheim, with the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards.","2007 The National Theatre in Mannheim","2007 \u003Ca href=\"https://www.ensemble-modern.com/en/projects/utp-2007\">The National Theatre in Mannheim\u003C/a>","P6","P6. utp_ (2007)","utp_",{"Artist":348,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":349,"Exhibitions":350,"HTML_Link":351,"id":352,"Images":353,"Links":354,"Techinical Requirements":6,"Title":355,"Year":94},"Ryuichi Sakamoto + Mansai Nomura + Shiro Takatani","\u003Ci>LIFE WELL\u003C/i> is a collaborative stage performance by Sakamoto, Takatani, and Noh performer Mansai Nomura and other leading figures in the contemporary Noh world. The production was staged where \u003Ci>LIFE−fluid, invisible, inaudible…\u003C/i> was installed. The piece is partially based on the works of the Irish poet and playwright W.B. Yeats, which were influenced by Noh, in addition to modern Noh pieces influenced by Yeats. \u003Ci>LIFE WELL\u003C/i> created an entirely new piece, cohering the two works into one.\"","2013 Yamaguchi Center for Arts and Media [YCAM]","2013 \u003Ca href=\"https://special.ycam.jp/10th/term2/525/\">Yamaguchi Center for Arts and Media [YCAM]\u003C/a>","P7","P7. LIFE WELL (2013)","https://www.ycam.jp/en/events/2013/life-well/","LIFE WELL ",{"Artist":357,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":358,"Exhibitions":359,"HTML_Link":360,"id":361,"Images":362,"Links":363,"Techinical Requirements":6,"Title":364,"Year":94},"Ryuichi Sakamoto + Stephen Vitielllo","As part of the Smithsonian American Art Museum's \u003Ci>Strange Music for Nam June Paik,\u003C/i> Ryuichi Sakamoto and electronic musician and media artist Stephen Vitiello performed \u003Ci>Violin 2\u003C/i> and \u003Ci>One for Violin, \u003C/i>and \u003Ci>Untitled: Tribute to Nam June Paik.\n\u003C/i>Sunday, April 14, 2013.","2013 Smithsonian American Art Museum","2013 \u003Ca href=\"https://americanart.si.edu/blog/eye-level/2013/09/627/nam-june-paik-musician-and-media-artist-stephen-vitiello-interviews\">Smithsonian American Art Museum\u003C/a>","P8","P8. Strange Music for Nam June Paik (2013)","https://americanart.si.edu/videos/strange-music-nam-june-paik-performed-ryuichi-sakamoto-stephen-vitiello-and-steina-vasulka","Strange Music for Nam June Paik",{"Artist":366,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":367,"Exhibitions":368,"HTML_Link":369,"id":370,"Images":371,"Links":6,"Techinical Requirements":6,"Title":372,"Year":132},"Ryuichi Sakamoto + Alva Noto","Ryuichi Sakamoto and Alva Noto were invited to perform for the opening of Yayoi Kusama's installation \u003Ci>Dots Obsession—Alive, Seeking for Eternal Hope\u003C/i> at Philip Johnson's Glass House.\nThe performance - later released as the live album \u003Ci>GLASS\u003C/i> - is an improvisational piece that includes as part of their performance, Sakamoto and Noto playing Johnson’s glass and steel home like an instrument, sweeping rubber mallets over its contact mic’d surfaces.","2016 The Glass House","2016 \u003Ca href=\"https://theglasshouse.org/media/alva-noto-and-ryuichi-sakamoto/\">The Glass House\u003C/a>","P9","P9. Alva Noto + Ryuichi Sakamoto at The Glass House (2016)","Alva Noto + Ryuichi Sakamoto at The Glass House",{"Artist":5,"Awards":6,"Category":300,"Collaborators":374,"Country":6,"Description":375,"Exhibitions":376,"HTML_Link":377,"id":378,"Images":379,"Links":6,"Techinical Requirements":6,"Title":380,"Year":141},"Shiro Takatani","\u003Ci>async live\u003C/i> was an intimate two-day performance of the album \u003Ci>async\u003C/i> at the Park Avenue Armory. Suspended above Sakamoto in the middle of the room was a downward-facing projection screen whose visuals changed with each piece of music by Shiro Takatani's videos. Alongside the piano, guitar, a table containing an oscillator, and a Prophet-5 synthesizer, Sakamoto played Bertoia's sound sculpture and a large pane of glass with a bow and an assortment of mallets. \nThe performance was filmed and subsequently released worldwide as \u003Ci>Ryuichi Sakamoto: async at The Park Avenue Armory.\u003C/i>","2017 Park Avenue Armory\n\nCurators: Jason Moran","2017 \u003Ca href=\"https://www.armoryonpark.org/programs_events/detail/artists_studio_ryuichi_sakamoto\">Park Avenue Armory\u003C/a>\n\nCurators: Jason Moran","P10","P10. async live (2017)","async live",{"Artist":382,"Awards":6,"Category":300,"Collaborators":383,"Country":6,"Description":384,"Exhibitions":385,"HTML_Link":386,"id":387,"Images":388,"Links":6,"Techinical Requirements":6,"Title":389,"Year":141},"Fujiko Nakaya","Shiro Takatani, Ryuichi Sakamoto, Min Tanaka","Fog sculptor, Fujiko Nakaya, transformed the South Terrace of Tate Modern with an immersive fog sculpture in collaboration with Shiro Takatani and Ryuichi Sakamoto. Takatani designed the lighting, and Sakamoto created the sounds, which reacted to the movement of fog.","2017 Tate Modern","2017 \u003Ca href=\"https://www.tate.org.uk/whats-on/tate-modern/bmw-tate-live-exhibition-ten-days-six-nights\">Tate Modern\u003C/a>","P11","P11. LONDON FOG (2017)","LONDON FOG ",{"Artist":391,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":392,"Exhibitions":393,"HTML_Link":394,"id":395,"Images":396,"Links":6,"Techinical Requirements":6,"Title":397,"Year":141},"Ryuichi Sakamoto + Camille Norment + Yuko Mohri","Sound Performance by Camille Norment and Ryuichi Sakamoto in the installation \u003Ci>Breath or Echo\u003C/i> by Yuko Mohri at Sapporo City University Geijutsu-no-Mori Campus, Skyway.\nThis performance was made as part of the program of the Sapporo International Art Festival 2017.","2017 Sapporo International Art Festival 2017 [SIAF2017]","2017 \u003Ca href=\"https://mohrizm.net/works/breath-or-echo/\">Sapporo International Art Festival 2017 [SIAF2017]\u003C/a>","P12","P12. After The Echo (2017)","After The Echo",{"Artist":399,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":400,"Exhibitions":401,"HTML_Link":402,"id":403,"Images":404,"Links":6,"Techinical Requirements":6,"Title":405,"Year":141},"Fujiko Nakaya + Min Tanaka + Ryuichi Sakamoto + Shiro Takatani","Sakamoto provided an atmospheric sonic accompaniment to dancer Min Tanaka's performance within Nakaya's fog sculpture. The lighting was designed by Takatani.","2017 Oslo Kunstforening","2017 \u003Ca href=\"https://kunstkritikk.com/museum-without-walls/\">Oslo Kunstforening\u003C/a>","P13","P13 a·form (2017)","a·form",{"Artist":5,"Awards":6,"Category":300,"Collaborators":374,"Country":6,"Description":407,"Exhibitions":408,"HTML_Link":409,"id":410,"Images":411,"Links":6,"Techinical Requirements":6,"Title":412,"Year":240},"Sakamoto presented a production combining sound installation and musical performance. The music was taken from his album \u003Ci>async \u003C/i>(2017) together with new material. Sakamoto and Shiro Takatani developed unique visuals and a site-specific acoustic installation. The “cinematographic” music echoes both the visuals and sounds from the original acoustic elements, plunging the viewer into a universe of quasi-meditative discovery.","2018 Center Pompidou-Metz","2018 \u003Ca href=\"https://www.mcjp.fr/fr/agenda/ryuichi-sakamoto--display\">Center Pompidou-Metz\u003C/a>","P14","P14. dis·play (2018)","dis·play",{"Artist":414,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":415,"Exhibitions":416,"HTML_Link":417,"id":418,"Images":419,"Links":420,"Techinical Requirements":6,"Title":421,"Year":240},"Yuko Mohri + Ryuichi Sakamoto","Sakamoto performed with Yuko Mohri in her exhibition \u003Ci>Voluta\u003C/i> at the Camden Arts Centre, London, UK.\nThe title of the exhibition – \u003Ci>Voluta\u003C/i> – refers to the spiralling shell of a sea snail and calls on multiple visual associations from sacred geometry, architectural ornamentation and the treble clef in musical notation. In two new sculptures from the eponymous series, recorded music is directed through lengths of cable draped into coils that translate musically-coded signals into electro-magnetic fields. Metallic objects and magnets are compelled by this force, creating subtle sounds as they tremble and move.\nThe performance was presented in association with 33:33 as part of\u003Ci> 'MODE JAPAN | LONDON 2018\u003C/i>,' curated by Ryuichi Sakamoto","2018 Camden Arts Centre, London, UK","2018 \u003Ca href=\"https://camdenartcentre.org/whats-on/voluta\">Camden Arts Centre, London, UK\u003C/a>","P15","P15. Voluta (2018)","https://mohrizm.net/exhibitions/voluta/","Voluta \nLive: Ryuichi Sakamoto and Yuko Mohri",{"Artist":5,"Awards":6,"Category":300,"Collaborators":374,"Country":6,"Description":423,"Exhibitions":424,"HTML_Link":425,"id":426,"Images":427,"Links":6,"Techinical Requirements":6,"Title":428,"Year":429},"\u003Ci>fragments\u003C/i> is a performance set on the stage of \u003Ci>ST/LL\u003C/i>, a theatrical piece by Shiro Takatani. On the stage is a thin layer of water. Sakamoto's instruments, such as a piano, guitar, synths, and percussion, including a large pane of glass, sit in the water. As Sakamoto performs music on this stage, a video camera captures and projects the ripples of water created as he moves around the stage. ","2019 Esplanade, Singapore","2019 \u003Ca href=\"https://sifa.sg/archive-programmes/ryuichi-sakamoto-in-concert\">Esplanade, Singapore\u003C/a>","P16","P16. fragments (2019)","fragments","2019",{"Artist":60,"Awards":6,"Category":300,"Collaborators":6,"Country":6,"Description":431,"Exhibitions":432,"HTML_Link":433,"id":434,"Images":435,"Links":6,"Techinical Requirements":6,"Title":436,"Year":250},"Ryuichi Sakamoto teamed up with director and visual artist Shiro Takatani to make a wordless theater piece. Taking inspiration from a Mugen Noh - a traditional Japanese dance theatre with magical elements - Sakamoto explores the phenomenon of time and the relationship between humankind and nature. Against a dreamlike backdrop that seems to go on forever, the dancer Min Tanaka portrays “humanity,” and shō player Mayumi Miyata represents “nature” through movement and sound/music. Sakamoto: ‘We live and we die. And after we die, our body becomes part of the next being. This is saṃsāra itself, the life circle of life on earth. In dreams, those temporal structures are not linear. Everything is condensed.","2021 Holland Festival, Curator: Annet Lekkerkerker\n2024 National Taichung Theater, Taiwan\n2024 New National Theatre Tokyo\n2024 ROHM Theatre Kyoto\n2025 The 53rd Hong Kong Arts Festival, Lyric Theatre, The Hong Kong Academy for Performing Arts","2021 \u003Ca href=\"https://www.hollandfestival.nl/en/time\">Holland Festival\u003C/a>, Curator: Annet Lekkerkerker\n2024 \u003Ca href=\"https://www.npac-ntt.org/en/program/events/c-erbDY59qpaO\">National Taichung Theater, Taiwan\u003C/a>\n2024 \u003Ca href=\"https://stage.parco.jp/web/play/time/en/\">New National Theatre Tokyo\u003C/a>\n2024 \u003Ca href=\"https://stage.parco.jp/web/play/time/en/\">ROHM Theatre Kyoto\u003C/a>\n2025 \u003Ca href=\"https://www.hk.artsfestival.org/en/programme/TIME_by_Ryuichi_Sakamoto_Shiro_Takatani\">The 53rd Hong Kong Arts Festival, Lyric Theatre, The Hong Kong Academy for Performing Arts\u003C/a>","P17","P17. TIME (2021)","TIME",{"Artist":6,"Awards":6,"Category":7,"Collaborators":6,"Country":6,"Description":6,"Exhibitions":6,"HTML_Link":6,"id":6,"Images":6,"Links":6,"Techinical Requirements":6,"Title":6,"Year":6},{"Artist":6,"Awards":6,"Category":232,"Collaborators":6,"Country":6,"Description":6,"Exhibitions":6,"HTML_Link":6,"id":6,"Images":6,"Links":6,"Techinical Requirements":6,"Title":6,"Year":6},1775179320533]