Beyond good and evil, make way toward the wasteland.

Series of White Painting


As a minimal architecture

White Painting series was conducted in various regions/places and sometimes as much as 100 people’s kisses were impressed on a canvas.
White Painting is a collective term for the series and originally each work (canvas) has its own names of the participated peopleーsometimes it is the names of 100 people, 20 people, or three or four people in a family.

1. Icons in a cycle of society
2. Opticality and technology / Invisible objects themselves

1. Icons in a cycle of society
Icon and paintings were surely in a cycle of lives and society once. The way people come in contact with this format is quite similar to the way they do with an icon. Meanwhile, the difference of this series from the icons is that in a White Painting nothing is depictedーor different images appear in the background when people face to it (and it is not God but other individual people). White Painting is a hardware/platforms without an image.



White Paintingシリーズは、様々な地域/場所で行われ、ときに1枚に100名の人びとに及ぶ接吻が刻印されています。
White Paintingはシリーズの総称であり、本来は一枚あたり、それぞれの人々の名前ーそれはときに100名の名前であり、20名程度の名前であり、あるいは家族3,4人の名前でありーが連なります。

1. イコン、社会の循環の中で
2. オプティカルとテクノロジー / 見えない物質そのもの

1. イコン、社会の循環の中で
一方で、差はなにも描かれていないことーあるいはそれによってその背景にそれぞれのイメージが発生する(そしてそれは一つの神ではなく他者の個人たちである)ことーであり、White Paintingは、イメージのないハードウェア / プラットフォームでもあります。


White Painting

This attempt was accepted by many regions and people. (In parallel with the general “reality” of a big unit/scale and division at the global level, there exists actually the fact like this too.)




───“Jabaley, Hrick, Eanfrith, Maaike, Andrew, Abel, Makohejiri, Cody, Miles, Stewvie, Barney, Craig, Meredith, Philip, Sandy, Darryl, Ernest, Hadley, Toby, William, Mick, Nigel, Pat, Desmond, Emmanuel, Giles, Adrain, Alfie, Natasha, Shelly, Beyeler, Mably, Theo, Aleiudo, Faneca, Saalmon, Cadelo, Kacelnik, Biriani, Shapely, Faree, Cawly, Sailer, Dansel, Ghidini, Bhola,Nachtigall, Moby, Claridge, Ullsten, Claris, Sabel, Babbit, Bianki, Talley, Alex, Danieli, Gaylor, Yeack, Johnny, Merry, Urick, Lochoner, Yhency, Hagan, Sablon, Kebin, Michael, Henry, Yura, Faille, Yulsman, Robinson, Eca, William, Blasco, Terry, Penny, Leo, Slevin, Lorry, Seems, Maanen, Reibey, Yuile, Ravi, Belmont, Lally, Rebecca, Sandra, Emily, Angelica, Cristel, James, Kacy, Rachel, Sam, Terry, Helly, Steve”

Size: 915x915mm


───“Danniel, Sofi, Alexsandre, Rebecca, Jess, Lundell, Georg, Matte, Hanna, Paul, Yousef, Casaline, Natalia, Henley, Agness, Dasun, Jillian, V.T, Zach, Laurence, Hendry, Ansel, Sammantha, Curbera, Kea, Ronald, Wally, Ashleigh, Albertan, Ken, Merritt, Pascal, Tasha, Launa, V., Anthony, Jenny, Samuel, Loo family,Venn, Heather, Richard, Max, Dinorah, Catherine, Mckaen, Klasen, Lyden, Sammy, Charlotte, Mackey, Loyola, Gaedel, Vicky, Aaron, Kris, Cathy, Monica, Natasha, Jimmel, Melany, Vince, Lee, Jamie, Stephanie, Brianna, Witte, Stacy, Hi, Yuta, Ken, Julia, Germany Vale, Danne, Juelle, Dickson, Odemar, Kley, G., Max, Nancy, Ricard, Horrobin, Rodmy, Kris, Sally, Peter, Julien, Erick, Austin, Kale, Paul, Sharry, Jim, Pascal, Oddsson, Carrie, Meary, Benny”

Size: 1700x1700mm

───“Juliette, Sandra, Mitch, Wills, Gillies, Ergas, Asheron, James, Lilly, Thomas. P, Elias, Sofia, Victoria, Mackay, Jamin, Amelius, Prince, Cathy, Valerie, Keiny, Peter, Dona, Sam, Zaret, Christina, Laurencie, Owel, James, Kairy , Frances, Thom, Sugay, Marien, Kinbary, Kalen, Morry, Callen, Mut, Elen, Bruno, Peter, Daele, Clara, Benjamin, Charlotte, Michael, Ryan, Ina, Diego, Javia, Candelas, Robin, Rucaro, Daniel, Rumi, Benney, Sarah, Emily, Jack, Peter, Kevin, Safiya, Trisha, Eric, Danielle, Paul, Floyd, Alexis, Carlos, Nydia, Samantha, Daniela, Michael, Dom, Matt, Todd, Ava, Cailin, Melissa, Kirby, Alexandra, William, McGuiness, Liliana, Francisco, Daniel, Patricia, Anna, Dalia, Ricardo, Diana, Maribel, Barbara, Gabriela, Cristel, Kenia, Lorenzo, Gladys, Alberto, Carlos”

Size: 450x450mm


This series was conducted in the US, Mexico, Taiwan, Italy, and Spain and the number of participants was over 600. Even the canvas on which almost 100 people had impressed kisses remained surprisingly white. And in a public space, the canvas interfered with people as a highly mobile, small structure/space.



Private room

家の中、家族のためのWhite Painting。(コレクター蔵)



The figure above /
Drawing of structures

2. Opticality and technology / Invisible objects themselves
That "this work is blank" is only the result of visual perception and indeed it is not that there is nothing.
This is not the story of an invisible (written) process but seen from the viewpoints of biotechnology, IHT (In Human-Technology) and nanotechnology this painting is clearly a material object itself.

2. オプティカルとテクノロジー / 見えない物質そのもの


Excerpted from discussion

Excerpted from the introduction of “Shiseido Gallery 1/2 Century later.”

“The canvas in the exhibit has no trace of paint or ink on it; however, it is impressed with the kisses of about 100 people. This work, which consists of asking randomly selected people around town to plant a kiss on the canvas, is being carried out in the USA, Mexico, and Taiwan, and the total kiss count has exceeded 600, with as many as 50 people participating on busy days.(*November 2017)”

資生堂ギャラリー “1/2 Centulya later” 紹介文より抜粋



“This attempt looks contrast to big units or a division at a global scale such as nations, religions, races, organizations and so on ― for example, the situations including Brexit, border walls, refugee problems, etc. ― and enables us to feel a great potential of the revival of connection/globalization in a different form which comes into existence only in a small unit. It is also possible to look for the similarities to today’s social media such as YouTube and Instagram.

However the biggest feature of this work is that, besides the contemporary aspect like this, it can be interpreted in many ways connecting closely to the history of western art history.
For example, the scenery of this action is very similar to the kissing act to the icons (paintings in which Crist, the Holy Mother and others are depicted) seen in Christianity and Russian Orthodox. However, nothing is painted here and there is no one object to be worshiped.”




“It also approaches to the relationship between paintings and viewers. What kind of the experience is that to be exposed to paintings? It is also possible to see these kisses as brushstrokes as in action paintings. Or it is an artwork that is not completed only with the canvas as a medium but is in a network.

Changing the point of view, this two-dimensional work is the assembly of DNA, cells etc. Although it cannot be seen clearly now, it can be said that this is also an archive of people. In the exhibition, besides one of the works in this series, the film shot in each place and pictures were exhibited. The film was shown in the iPhone which had been used for the actual shooting.

In the first space, there was the installation destructed and broken apart, and in the space behind on a diagonal line, there was this work. This composition can be said to show a will to overcome the problems in this half a century, regenerate and combine them into one different form.”





A documentary film of the series held in Los Angeles, the US.
People were asked what love is after they kissed on the canvas.


Director of photography / Editor
Megan Clark
Sound technician / Designer
Kylie Lacour


Selected Q&A

Q. なぜ真っ白なのでしょうか。

Q. どのようにして声がけを行ったのでしょうか?
A. インストラクションには、演劇/映像的要素が多分に含まれています。



Materialization of a fiction / To make the image of technology the foreground

ーTo make the image of science and technology the foreground.
“Beyond good and evil, make way toward the wast land.” is a sculpture work made for the exhibition “1/2 Century later”. The work reproduced a pure white room in the final scenes of Stanley Kubrick’s 1968 film 2001: A Space Odyssey and made it go through the process of destruction.
Within a large glass case are dust-covered chairs, a bed, cabinets, chipped marble pillars, oil painting, and other weathered items which appear to be from an old forgotten room.

フィクションの実在化 / テクノロジーのイメージを前景化するー

「Beyond good and evil, make way toward the wast land.」は、「1/2 Centuly later」に際して作られた、映画『2001年宇宙の旅』(スタンリー・キューブリック、1968年)のラストシーンに登場する、真っ白な部屋を原寸大で再現し、破壊/風化のプロセスを経た彫刻作品です。



[ Image ]
Model of the room from the final scene of the film 2001: A Space Odyssey by Stanley Kubrick.
Exhibit at LACMA





Clothes and the center of the artwork were made originally and for some parts furniture made in the 18th century and real marble stone were used.
The room was set in a studio that shoots special effect films and was burned. Then it was divided to pats, recorded and recomposed.



From rediscovery of history to a constructive place

In the exhibition 1/2 Century Later, this work was exhibited in a place opposite to the White Painting where the monolith was originally located.
The detailed information is here.


1/2 Century later.では、(本来モノリスが位置する場所に置かれた)White Paintingと対置して展示されました。 展覧会の詳細はこちら


Selected Q&A

Q.題名「Beyond good and evil, make way to ward the waste land. 」の意味はなんでしょうか?
A. 作品の題名を直訳すると、「善悪を超えて、なお荒野を歩く」というものとなります。
フリードリヒ・ニーチェは、「ツァラトゥストラはかく語りき」(独: Also sprach Zarathustra 英: Thus Spoke Zarathustra)のあと、「善悪の彼岸」(独: Jenseits von Gutund Böse 英: Beyond Good and Evil)を著しています。

Q. どうやってセットを作ったのですか?
A. 中央部や布部はオリジナルで制作しています。一部は18世紀に作られた家具を使用しています。

Q. どうやって燃やし、保管したのでしょうか? 
A. 特撮などを撮影する場所でセットを組み、燃焼しています。そのあとユニットごとに分割して記録し、再度組み立てています。

Q. なぜガラス張りなのでしょうか?
A. 劇中の前後のシーンでは、宇宙服のガラスに自身が反射するシーケンスや、鏡越しに老いた自身を見たあと、老いた老人そのものの視点に切り替わるシーケンスなど、「2Dから3Dへの移行(≒次元の移行)」を読み取ることができます。

Q. 一部がハリボテなのはなぜですか?
A. アーサー・C・クラークの『2001年宇宙の旅』原作によると、このモノリスが作った真っ白な部屋は、家具は棚は開かず、水も出ないなど、徹底して表面のみを模ったものとして描かれています。

Q. 油絵は本物ですか?
A. 古典的な麻布を使用した技法で描いています。

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