天后 Heavenly Queen
April 17 - May 23
Shanghai-based 天后 Heavenly Queen Gallery is pleased to announce an exhibition of works by Sayuri Michima.
The exhibition will feature new work, large scale plexi mounted color prints, and vector graphics projected on custom built aluminum screens, the largest being 700 x 400 cm.
The surfaces and attention to detail are signatures of Michima. The works in the extended field of photography and painting still contain the elements of Superflat minimalism, abstraction, and representation. As Michima continually emphasises, the boundaries between digital information and fine art is malleable. The patterns and decorations of both can be illuminating. Sayuri Michima articulates an elaborately conceived view combining a thorough understanding of digital contemporary consumer culture.
– Michimas body of work is highly material, even if its subject is virtual. We believe that Sayuri Michima is the Andy Warhol of the digital era. Warhol silk screened cans of tomato soup, Michima deals with streams of digital information. Both artists deal with everyday objects, objects that are so ordinary that we no longer see them. And like Warhol, Michimas work is often large scale and highly seductive. This show will produce a long lasting reference point, says curator/director Michelle Wu.
Sayuri Michima herself will take part in the exhibition in the form of an advanced 3d-hologram, and have a performative lecture on "superstars and hyperfields in the post virtual era".
Opening April 17, 2010
天后 Heavenly Queen
Untitled (Blue Tārā)
Digital data - Modified La Biennale di Venezia website (fully functional, 9922 files).
Sayuri Michima is a conceptual artist who in the beginning of the millennium was associated with the Superflat-movement.
Influenced by the aesthetics of the internet, Sayuri Michima now works in 'the extended field of photography and painting' and her art often depicts swarms of coloured fields with structures and color schemes taken from mainstream websites such as Facebook. Known for her vector graphics drawings, Michima prints large scale images onto photographic paper with heavy-duty printers and mounts them behind plexiglass, but she has also printed directly on materials such as plexiglass and glass. She also works with the same visual patterns in sculpture, installation and net art. 2010 she got attention in the mainstream with her two digital "Facebook Installations". The first one featuring her "trademark", the coloured fields, and the second one being a conceptual text based work with Facebook groups and Facebook events as the medium, featuring artist Terence Koh.
Among other materials Sayuri Michima works with coloured plexiglass installations, cut, finished and polished by machine and distributed in the room through a process based upon deconstruction of Facebook profiles. These transparent coloured pieces of glass filter the light of the room and of each other. The gaze of the spectator gets stuck in the intricate pattern of the navigation they form, or reflect. The work of Sayuri Michima deals with language as programming and organisation as control. Making art for Michima is to create impermanent structures of organised performative articulated identity, levels of consciousness to fly with, as and through. Making art is for Sayuri Michima an ongoing process of constructing languages, and to transfer intuitive abstract equations to material-semiotic-objects. These passing through materials - sculptures - is an ongoing articulation of mind / matter. They are hyper dimensional magnetic fields, structures of communication.
facebook Installation II
Featuring Terence Koh
Digital media, dimensions variable
– All members of the facebook group formerly known as ██████████████████ has been deleted, except artist Terence Koh who has been made administrator of the new group which is a work of the artist Sayuri Michima called Facebook Installation II. As administrator Koh has the option to delete / destroy the installation or simply leave it.
The group is also the administrator of this facebook event that you are currently reading.
The installation starts when Koh together with the other guests are invited to this event by Sayuri Michima. This happens Thursday, September 16, 2010, 10:50pm (New York time)
Everyone is free to bring their friends to the event.
In 2004 Sayuri Michima released the work 11*11 on the Internet.
11*11 is an abstract machine, or in Michimas words a ‘Mind / Matter Interface’ (MMI).
The work is presented in the form of text, audio and image, and can be described as a philosophical or organisational idea, a set of concepts and mappings of relations. The interface can be used to decode streams of information, objects, events and more complex fields that are spread out in time and space. Michima calls the interface 11*11, because it consists of a matrix of 11x11 components. She describes the interface using a couple of trademarks that are part of the work. These trademarks are (among others): ‘R/S Random / Structure’, ‘PPP Point Pattern Picture’ and ‘ESV Eye Screen Vision’.
Every component in the overall 11*11 machine / matrix is to be a work by Michima and every work / component is about decoding audio, text and image material. The machine acts as a map of an organisation or brand and is in itself a decoding device. It is self researching and visualises its theories with its own structure. Every component / work in the interface divides itself into another matrix of 11*11 points. For example, component 5*7 of the overall matrix is an organisation scheme, a three dimensional visualisation of the organisation where the components that existed at that point in time are mapped. In another component (3*2) the organisation scheme has been extended into four dimensions, depicting the overall 11*11 matrix and the matrices of its actualised components, and also the interactions between the components which are drawn as lines between them. For example lines go from component 2*2 which is the trademark ‘PPP Point Pattern Picture’, to component ‘9*9 Text Texture’ which is a document of texts about image space and image creation which has been decoded with the PPP-component.
To understand the purpose of the 11*11 interface we can look to science fiction movies about robots and cyborgs, for example The Terminator by director James Cameron, where in some scenes we are shown the world through the eyes of the Terminator machine. Everything that enters the Terminators field of vision is decoded using a graphical overlay that gives the robot instructions about how to prioritise and engage. The difference is that the 11*11 interface is developed to be carried in the mind of humans, always present to decode all information. Another difference is that the function of the 11*11 interface is very simple: it’s only purpose is to make all fields of information visible, to make the user aware of image creating components.
The first components in the organisation decodes fields of image, audio and text but also more complex fields such as what Michima calls ‘Hyper linear fields’, networks of objects distributed in space and time forming ‘random / structure interactions’ that creates an overall image or brand. ‘RS Random / Structure’ is a a trademark of Michimas organisational project and is defined as ‘a random interaction between a static number of components’.
天后 Heavenly Queen