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Possible Futures: Japanese postwar art and technology

October 21–December 25, 2005

Possible Futures: Japanese postwar art and technology


This year, the sixtieth since the end of World War II, provides many occasions for reflecting upon our history. During the postwar years, Japan has successfully rebuilt its economy largely through policies emphasizing the development of new technologies; the result is the material abundance we enjoy today. During those years, progress in science and technology also directly benefited the lives of people in general. The excitement of trying out new imaging and audio media and of successfully connecting - whether by radio or over the Internet - never palls. Even before the rise of computers, those tools we take for granted today, a host of artists had been keenly interested in technology and in using it as a means of expression. That desire arose from more than curiosity about the new and the satisfactions of consumption; it was driven by the joy of rediscovering the familiar world, of seeing time and space in new and lively ways.

This exhibition both offers a retrospective of those artists' many and varied experiments using technology and presents recent work in this vein by Japanese artists. The exhibition thus offers a valuable opportunity to engage in an interdisciplinary review of postwar art, spanning imaging, sound, and other domains, and to examine the many trends, from industry to the counterculture, that have contributed to the directions in which the artists of today are moving into the future.

Date: October 21–December 25, 2005
Venue: NTT InterCommunication Center [ICC] Gallery A, B, 5F Lobby, Entrance Lobby
Hours: 10:00 am–6:00 pm (Admission until 30 minutes before closing)
Closed: Mondays (If Monday is a holiday, then Tuesday)
Admission: Adults 800 Yen (600Yen), University / High school students 600 Yen (450 Yen), Junior high school / Primary school students 400 Yen (300Yen)
*Rates shown in parentheses are for groups of more than 14 persons.

Organizer: NTT InterCommunication Center [ICC]


“Form Is Created” [1953]

“Adventures of the Eyes of Mr. W.S., a Test Pilot” [1953]

“Another World” [1953]

“Work (Bell)” [1955/2005]

“Untitled (Study for “Bell”)” [1955]

“Untitled (Study for “Bell”)” [1955]

“Kuzu (Junk)” [1962]

“On Eye Rape” [1962]

“AI (Love)” [1962]

“A Dance Party in the Kingdom of Lilliput” [1964]

“Shutter” [1971]

“Timing 1,2,3” [1972]

“Fantasy in Indeterminate Form” [1963/2005]

“A Tribute to John Cage” [1973/1976]

From “Nam June Paik, Charlotte Moorman 1964-1974” [1974]

“Mano-dharma, electronic” [1967/2005]

“Shot Kennedy No.2” [1968]

“Return to a Square (a)” (rainbow version) [1968]

“March of Polygons” [1968]


“Kennedy in a Dog” (fluorescent colored version) [1968]

“Kennedy in the Net” [1968]

Poster of “exhibition of computer art—media transformation through electronics” (“Return to a Square” version) [1968]

“Running Cola is Africa!” [1968]

The control box for “APM No.1” [1968]


“Tardiology” [1968/1995]

“rape-blossoms, devil-fish, iron-y” [1975]

“Bisexual Flower” [1970]

“Synthesizer Jacket” [1974/2000]

“Metastasis” [1971]

“Expansion” [1972]

“Fly” [1974]

“Mona Lisa” [1973]

“Enigma” [1978]

“White Hole” [1979]

“Video Game “Gomokunarabe”” [1973]

“Electronic Raga” [1967/1980]

“Over the Waves” [1974]

“Otedama (Juggling Sacks)” [1974]

“Rotating Seesaw” [1974]

“Gifu Susuki Clump ’99 (Susuki: Pampas Grass)” [1999]

“Friends of Minamata Victims — video diary” [1972]

“Old People’s Wisdom” [1973]

“Statics of an Egg” [1973]

“Kunitachi Video Hiroba” [2005]

“Com Tree” [1973]

“Time Stratum II” [1985]

“Torso [GEOMETRIC LOVE]” [1987]

“Forbidden Fruits” [1990]

“LOVERS” [1994]

“fluid” [2005]

“Removable Reality” [1992/2005]

“4 Pieces for Object, Sound, Space and Body” [2003–05]

“gravicells — gravity and resistance” [2004–]

“Description Instability” [2005]

“Modulobe” [2005]


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