18 Wooster Street
Deitch Projects presented Tom Na H-iu, an exhibition of new work by Mariko Mori, from November 11 - December 22, 2007. The title of the exhibition drew its name from the monumental 4.5 meter sculpture, which was exhibited along with two other large-scale sculptures, Flatstone and Roundstone. The works developed Mori’s continued interest in a fusion of art and technology, and the idea of universal spiritual consciousness. Drawing from ancient rituals and symbols, Mori used cutting-edge technology and material to create a striking vision for the 21st century.
Tom Na H-iu is an ancient Celtic site of spiritual transmigration. According to legend, following death, a soul enters the sprit world, where one day equals 100 years--or 36,525 days by the Julian calendar--before returning to Earth. Ancient people built eternal monuments, or “standing stones,” to guide the return of transmigrating spirits to our world. Mori’s version of a standing stone was a contemporary memorial to the cycle of eternal life, a cycle that has been honored throughout art history by many ancient cultures. Mori’s Tom Na H-iu marked the death of a star with a beautiful light, reminding us not only of our own mortality, but also of the potential birth of another star, memorializing the eternal flow of life and rebirth.
The Tom Na H-iu’s dramatic monolithic glass shape contained an interwoven interior of intelligent LED lighting. The lights were networked to the Super Kamiokande neutrino observatory operated by the Institute for Cosmic Ray Research at the University of Tokyo, enabling it to interact and respond when the observatory captured a neutrino. On detecting a neutrino, such as those emitted by stars in our galaxy as they die in supernova explosions, the Tom Na H-iu visualized the internal light of dying stars. The changing color light patterns of the sculpture corresponded to neutrino readings in the following way: atmospheric neutrinos as blue, solar neutrinos as green, neutrino bursts (supernova) as multi-colored and the muon as pale pink and yellow.
Flatstone was named after the special stones used by the mid-Jomon era people in Japan (3500-2500 BC) in the structures archeologists believe to have housed ancient shrines. The entrance of these early buildings was located specifically to receive sunlight on the winter solstice. Mori used twenty-two ceramic stones to recreate the narrow shape of the shrine entrance, which widened into a circular ceremonial area. Similar to the Tom Na H-iu, the sculpture related to the rituals surrounding death and rebirth. In the center of the stone arrangement was an acrylic cast of a Jomon ceremonial vase. Mori received permission from the Idojiri Archeological Museum to reproduce the vase, which was unique in its decoration. While most vases of this type were decorated with fire shapes, the vase in the Idojiri collection was unusual in that it was ornamented with water imagery, connecting nature to the process of spiritual rebirth.
Roundstone was named after mid-Jomon era stones usually found near the fireplace of ancient homes. Most often paired with standing stones, archaeologists believe this coupling was an intentional way of invoking a bountiful harvest. In the later Edo period (1603–1867), the Roundstones were unearthed by farmers and integrated into their natural folk culture. Mori’s Roundstone was an opalescent lucite orb, which was a reflective monument to the passing of time. Paired with the vertical Tom Na H-iu, Mori suggested the continued importance of our harmony with nature, for future generative rebirth.
Born in Tokyo in 1967, Mariko Mori studied fashion design in Japan and worked as a fashion model in the late 1980s. She attended the Chelsea College of Art, London (1989-92), and the Whitney Museum of American Art Independent Study Program (1993). Her monumental installations have been exhibited throughout the world, including the Museum of Contemporary Art, Tokyo; Centre Georges Pompidou, Paris; the Prada Foundation, Milan; The Brooklyn Museum of Art, New York; Museum of Contemporary Art, Chicago, The Serpentine Gallery, London; the Dallas Museum, the Los Angeles County Museum of Art, and the Groninger Museum, Groningen. Mariko Mori’s remarkable sculpture, Wave UFO, was included in the 2005 Venice Biennale after being exhibited in New York with the Public Art Fund and at the Palazzo Ducale, Genoa. The Wave UFO was on view through January 2008 at the Aros Aarhus Kunstmuseum, Denmark, as part of Oneness, their survey of Mariko Mori’s work. Mori lives and works in New York.
March 8 - 11, 2018
We will present a special solo project by the artist JR.
Image: JR, Migrants, Walking New York City, 2015
April - May 2018
18 Wooster Street
76 Grand Street
New York, NY 10013
Monday – Friday
10 AM – 6 PM
Tuesday – Saturday
Noon – 6 PM
The gallery reopens with People in April 2018.
+1 (212) 343-7300
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