Solo Exhibition “1/2 Century later.” in Shiseido Gallery

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。



From a re-excavation place to a constructive space

In our exhibition “1/2 Century later”, we mainly placed two works; “Beyond good and evil, make way toward the wasteland.”, a sculpture work which expresses a destructed/weathered room in the last scene of the movie “2001: A Space Odyssey” (Stanley Kubrick, 1968), and “White Painting”, a pure white two-dimensional work, or a minimum architecture, which was impressed with the kisses of 100 people.
The space for the exhibition was like a cube and the longest distance was on the diagonal. Thus we placed these two pieces of work on this vector relatively and made a classical arrangement that centering the destructed sculpture and putting the painting in the back/surrounding. Since the objects in the center themselves are scattering, they cause parallax against the painting in the back.
Audiences first go through the ruined room and then they encounter White Painting in the space behind. The movie “2001: A Space Odyssey” was released in 1968 and this exhibition was held in the end of 2017. The exhibition title “1/2 Century later” means both “half a century from then” and “half a century from now on”.

再発掘現場 → 建設的空間へ

“1/2 Century later”では、 映画『2001年宇宙の旅』(スタンリー・キューブリック、1968年)のラストシーンの部屋を破壊/風化した彫刻作品 Beyond good and evil,make way toward the wast land.と、100名の接吻がなされた、真っ白な平面作品/極小のアーキテクチャー White Paintingを中心に配置。
鑑賞者は、まずはじめに廃墟の部屋を通って、その後ろの空間にWhite Paintingを捉えます。
『2001年宇宙の旅』の公開は1968年であり、この展示は2017年の末でした。タイトル”1/2 Centuly later”は、「あれから半世紀」と「これから半世紀」の2つを意味します。


概要 (本文抜粋)

THE EUGENE Studio 1/2 Century later.


資生堂ギャラリーでは、2017年11月21日(火)から12月24日(日)まで、THE EUGENE Studioの個展『1/2 Century later.』を開催します。THE EUGENE Studio(ザ・ユージーン・スタジオ)は、現代美術を中心に、従来の境界線を押し広げて次の社会を創造していく全く新しいアーティストです。現在、チームラボなどとともに世界が注目する日本のアーティストチームとして脚光を浴びており※1、その活動は、21世紀のアーティスト像を確立するものといって良いでしょう。

本展でTHE EUGENE Studioは、展覧会を終えるとともにちょうど「半世紀」が経過することになる『1968年』※2をひとつのモチーフに、『1/2 Century later.』―つまり、「あれから半世紀(あるいはこれから半世紀)」を主題とした未発表のインスタレーションを展示します。THE EUGENE Studioはいままで、過去の未来像に対比させ、現在の「私(たち)」が現実とのつながりの中で作り出すことのできる新しい鮮やかな未来像を思索してきました。展示会場では、「過去の物語で描かれた未来像の遺産」をモチーフとしたガラス張りの大型インスタレーションと、それを取り囲むように、次の未来を反映する作品群が立ち現れます。

彼らが描く未来は、バイオテクノロジーと農業が融合した穏やかな生活を描いた平面作品(Agricultural Revolution 3.0)、人工知能エージェンシーに纏わる物語の脚本とスケッチボードの一部、そして本展の中心ともいえるソーシャル時代の構造を採り入れた集合的な手法で、新たなグローバリゼーションへのささやかな期待を告げる作品(White Painting)。半世紀前の未来像のレガシーと、私たちの生きる、新しい、しかし地続きの未来の始まりが会場内で対峙し合います。来場者は、洗練された世界観とスペクタクルな展示空間の中で新しい社会と響き合う感情を体感することでしょう。それは、21世紀の科学とテクノロジーの進展とともにアートによって照らし出された新たな未来の価値を知覚することであり、言葉にしていく体験でもあります。

近年THE EUGENE Studioは、本展でそのドローイングが展示されるバイオテクノロジーと農業を扱った作品「Agricultural Revolution 3.0」において、リサーチやカンファレンスにケンブリッジ大学や金沢21 世紀美術館、OMA NY などからゲストが参加し話題を呼び、またアメリカ三大SF賞を受賞したSF作家ケン・リュウとの共同制作のほか、映画制作に本格的に着手するなど活躍の場を国際的に広げています。



※1 今年出版された『アート×テクノロジーの時代』(宮津大輔、光文社新書) ではチームラボやタクラム、ライゾマティクスとともに世界が注目する日本の4つのアーティストチームとして紹介されています。

※2 1968年は、スタンリー・キューブリックの映画『2001年 宇宙の旅』や、映画『ブレードランナー』の原作となったSF小説『アンドロイドは電気羊の夢を見るか?』(フィリップ・K・ディック)が発表された年であり、今日にも残る科学とテクノロジーの発展によって描かれた象徴的な未来像が決定づけられた年ともいえます。


[ Exhibition ]
1/2 Century later.
November 21 – December 24, 2017 Shiseido Gallery

Organized by SHISEIDO Co.,Ltd.
Planned by Shiseido Corporate Culture Department
Exhibition Cooperation: THE EUGENE Studio Co., Ltd.

Cooperation: Object of Null, Inc.,Scovil Galen Ghosh Literary Agency., Ryosuke Uehara (Graphic design)

Curated by Kenichiro Ito

[ Related Event ]
Artist Talk
Kei Wakabayashi (Editor-in-Chief, WIRED Japanese edition)
Teiya Iwabuchi (Bijutsu Techo Editor-in-Chief)
Eugene Kangawa (THE EUGENE Studio)

Date: November 9, 2017 14:00-16:00
Venue: Hanatsubaki Hall