![]() In her latest work, part of the Celebra Cultural Program of the Rio 2016 Olympic and Paralympic Games, employs the rich cultural heritage of the ring that is synonymous with the Games, and remains the grandest and most far-reaching symbol of unity, completeness, and the unstoppable eternal rhythm of nature that we possess. ![]() Transcendence is something that has always preoccupied Mariko Mori, and her art is an enquiry into collective consciousness. Mori’s more recent work in sculpture and installation follows in this prophetic style, and requires continued collaboration from archeologists, scientists, and engineers to create her out-of-this world work.Rendering of Mariko Mori’s Ring: One with Nature (2016) presented by the Faou Foundation. The flow of Mori’s gaze also echoes the tai chi-like patterns she completes with the glass sphere in hand, further embodying the overall “one-ness” her song proclaims. ![]() Connecting back to the video’s lyrics, Mori’s attire might suggest that she remains respectfully attentive to the overwhelmingly streamlined present and a potentially dystopian future. Wearing the color white in Eastern cultures can also refer to death and mourning. The choreographed movements of the orb combined with Mori’s all-white ensemble may reference the post-WWII Japanese tradition of butoh, an avant-garde style of dance performed in white body makeup with slow, hyper-controlled movements motivated by the unconscious. Mariko Mori, Miko no Inori, 1996 Color video and sound Collection of Pérez Art Museum Miami, Courtesy of Dennis and Debra Scholl Photo Laura Hoffman The overwhelming visual motifs of bright whites, illuminating background lighting, and mirror images created with the glass ball and Mori’s tiara augment the video’s meditative, transfixing aesthetic. Travelers can be seen in the background of the video continuously passing by Mori, perhaps unaware of the artist’s presence amid the airport’s shiny, reflective surfaces. Mori also incorporates the Japanese public and their environment. For Miko no Inori, Mori enlisted the help of a videographer, two choreographers, a make-up artist, a stylist, and a composer (her husband) to establish her calming but eerie presence. ![]() The artist’s elaborate designs often require collaboration. Interested in portraying the tensions and connections between the old and new worlds of Japanese culture, Mori often integrates spiritual, otherworldly motifs with advanced technological techniques and modern aesthetics. Wearing skimpy anime- and sci-fi-inspired costumes while interacting with the Japanese public on the subway or in business districts, Mori exaggerated the limiting, stereotypical roles available to Japanese women, while also acknowledging the growing creative role of technology. Mariko Mori, Miko no Inori, 1996 Color video and sound Collection of Pérez Art Museum Miami, Courtesy of Dennis and Debra Schollīeginning her career as a high-fashion model in Japan in the 1980s, Mori quickly transitioned to the New York art world in the ’90s, producing large-scale Cindy Sherman-esque photos of herself as various imagined characters. Perhaps using the capsule to channel energy and knowledge from the past, perhaps meditating on events of the future, the artist envisions herself as an intermediary between visible (present) and invisible (past/future) worlds. Dressed in a sleek, futuristic white dress, wearing mirrored contact lenses and a wispy white wig, all crowned by a reflective moon-shaped tiara, Mori sits in Osaka’s impressively modern Kansai International Airport rolling a clear glass orb between her manicured hands. 1967, Tokyo) sings on a hypnotic loop in Miko no Inori (The Shaman-Girl’s Prayer)(1996), currently on view at NMWA in Total Art: Contemporary Video. This Zen-apocalyptic chant is a translation of the Japanese lyrics artist Mariko Mori (b. “The world is melting the world is melting, becoming one.
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