Agency for Cultural Affairs, Goverment of Japan

Tokyo International Cruise Terminal

“Welcome to the terminal that entices you to the spirit of the sea”
While looking out on the sea from Tokyo International Cruise Terminal, in the drifting of the waves that move closer and farther away without ever ceasing, as creators we feel ‘time’ that is measured by a different scale than the hours of human society and imagine new interactions of the spirit within ourselves and others.

+A+ (Plus A Plus) is an exhibit that uses sound and images to appreciate the ‘world’ of +A+, an imaginary code that connects to the port. ‘A’ represents the process of cultural and artistic activities in which ‘A’rtists express and ‘A’rchive the interaction between the existence of the port that encompasses encounters and traditions, and the sea that ‘A’dapts to the contexts of Japanese culture.

The three artists whose works are exhibited here take an introspective cultural view and capture this relationship of the human spirit and the sea as a self-centered world.The work invites you to a vista that touches the spirit, and marks a time that confronts essential questions as rolling waves that surpass the ages. At the Tokyo International Cruise Terminal, discover the ‘sea’ within your ‘spirit,’ and together with the view of Tokyo Bay, appreciate these new perspectives of Japan’s sea culture through artistic renderings.

TAKEKAWA Junichi | Curator
TAKEKAWA Junichi was born in Shinjuku in 1972, and is the representative of David Watts Inc. He primarily works in Tokyo and Kanagawa. He creates moments that give rise to human creativity as experiences that discover links between art and technology that transcend space and time. He is constantly searching for new firsthand experiences through comprehensive planning and staging projects across industries and businesses that differ in thinking. He is director of the General Incorporated Association PEACE NIPPON PROJECT that conducts activities to communicate the beauty of Japan as a message for the future. He is also director of the General Incorporated Association MUTEK Japan and creative director of MUTEK.JP, the only electronic music and digital arts festival in Asia.

Location: Tokyo International Cruise Terminal, 3rd floor, LED display
March 22 - TBA
*This film will be shown approximately three times an hour during the museum's opening hours (9:00-17:00).

Exhibition theme

Interview Movie

Bird’s-eye view of Japan OISHI Hiroaki + NAGASHIMA Minori

sealed aspect

Artist's Comment:
In the latter half of the Edo period (1603-1868), surveys revealed the outline of the land, and Ukiyo-e artists, including KATSUSHIKA Hokusai, used a method called the bird's-eye view to draw famous places from the sky using their imagination. As a maritime nation, Japan has one of the largest stretches of sea in the world, but the seawater does not allow for an overview of the entire ocean floor. In this work, the magnificent invisible landscape of Japan under the sea is dynamically expressed with sound and video based on the digital data from surveying the topography of the seafloor.
Visual:OISHI Hiroaki
Music : NAGASHIMA Minori
Mixing : MOTOKI Kazunari

A picture drawn with bird's eye view method (late Edo period)
Kuwagata Keirin
Bird's eye view of Edo
(Tokyo Metropolitan Central Library Special Collections Room)
Artist
  • OISHI Hiroaki
    OISHI Hiroaki was born in Fukuoka Prefecture in 1984. He graduated from Kyushu University Graduate School of Design. He produces video media art that strives for interactive, organic, and emotional expression with the body and environment through computer graphics and algorithms, and carries out educational and research activities. Recent major projects include the teamLab video production of “Universe of Water Particles” (2013) and a music video production of Minori Nagashima’s “Queen of xxx” (2019). He is a senior lecturer at Design Informatics, Musashino Art University.
  • NAGASHIMA Minori
    NAGASHIMA Minori is an artist who works freely going back and forth between the fields of music and art. She graduated from Tokyo University of the Arts and Keio University graduate school. In addition to being involved in stage performances, fashion shows, and video productions as a composer and arranger, she also participates in the band, QUEEN BEE. She is also active as an exhibition and artwork director. In recent years she has played a key role in major art projects, such as “yorunoyo - YOKOHAMA CROSS NIGHT ILLUMINATION” (Yokohama City, 2020) and “JINTAI NETWORK SYMPHONY at THE BODY—Challenging the Mystery” (National Museum of Nature and Science, 2018). Her work includes music composition and acoustic design for those artworks.

Enoshima Engi (the story of Enoshima’s origins) EHARA Saeko

Hope

Artist's Comment:
The sea around Enoshima is closest to me. This work is based on the motif of "Gozuryu and Benzaiten" that come from "Enoshima Engi" (a story describing the history of the temples and shrines on Enoshima Island). This story is said to be the origin of Enoshima. In it our ancestors expressed awe and gratitude for nature into their faith all of which was relayed as a story of history. The positive attitude expressed in this gives us ‘hope’ through turbulent times. Finally, I would like to express my sincere gratitude for access to the digital data of "Enoshima Engi" owned by the Enoshima Shrine.

* Enoshima is a small island in the Kanagawa prefecture. “Enoshima Engi” is a legend that remains in the Kamakura / Enoshima area, and is the story of a dragon with five heads and a celestial maiden who came down from the heavens. Benzaiten in the text refers to this celestial maiden.
Music: YASUKOCHI Shuta
Mastering: TANAKA Haruhisa (PURRE GOOHN)
Special thanks: AIHARA Kunihiko (Enoshima Shrine Chief Priest)・“Enoshima Engi” owned by Enoshima Shrine

Enoshima Engi Emaki, color printing on paper
Artist
  • EHARA Saeko
    EHARA Saeko was born in Tokyo in 1985. She is an artist and a video jockey. After graduating from the Royal Academy of Art, The Hague (KABK) in the Netherlands, for over ten years she has been involved in the entertainment world, working in various stages, primarily in concerts, in roles such as video production and operation as a video jockey. She began her activities in earnest in Japan and abroad in 2020. Under the theme, ‘the unspoiled landscape in my memories,’ she creates artworks in the field of digital art. Her latest major activities include “MUTEK.JP” (2021) and “XRE's Ars Electronica Festival Garden NYC Portal” (2021).

Edo eel TAKIDO Dorita

The Sigh of Eels

Artist's Comment:
There are some extinctions that cannot be prevented and some that can. Eels can be saved, because overfishing is clearly the reason for that. Eels lead to everything that is at stake environmentally, such as sustainable food resources, water quality of the seas and rivers, as well as the diversity of ecosystems. I created a robot of the eel larva ‘leptocephalus’ and it has an actual eel otolith (ear stone). Otoliths are used to identify not only eels but also fish. In addition, recent underwater footage of Tokyo Bay is also used in the video. Some things can be changed by technology and hope. Thinking about eels seems to me like a signpost to save us.

* Eating eel is a popular summer tradition even in modern times. During the Edo period, eels caught in the sea near Edo Castle were called Edo eel and were popular back then.

* This long-format video is only available online.
MOVIE:
Director,Editor : TAKIDO Dorita
Movie Supervisor : IWAGUCHI Tetsuya
Underwater scene Director Of Photography : IKEYA tomohide
2nd Camera : HOSHINO Kosaku
Technical Assistant : KAWASE Keiju(TAIL)
Still Photographer & Assistant : TANITSU Sho
Underwater Assistant: NAKAMURA Ayuko,HIGUCHI Ryohei
Lighting Assistant: OHYAGI Leo,UCHIDA Chitose,OTA Tsugumi
Underwater Model : IIJIMA Ayako
Production : IIJIMA sayaka
Drone : WATANABE Akio
Costume: HATRA

ROBOT:
Robot Design,Development : TAKIDO Dorita
Electronics Tutor:YOSHIDA Tomofumi(of Sheep inc.)
Robotics technical support: NIIYAMA Ryuma
Electronics Supervisor: SAITA Kazuki(Kinoshita laboratory)

Music : TOKUSASHI Kengo

Eel provided by : A Zero inc.
Eel ear stone picking support : Ashley Rinka Smith

Special Thanks : Shiryu Kirie

photo by IKEYA Tomohide, TANITSU Sho

Eel
Artist
  • TAKIDO Dorita
    TAKIDO Dorita is a Tokyo-based artist and designer. She creates new hands-on experiences that disrupt the senses by combining different functions and senses. She builds portals to thoughts while pursuing technology and sophisticated designs side by side. She earned Honorary Mention at the Digital Musics & Sound Art of Prix Ars Electronica and was nominated for the 2017 Ars Electronica STARTS Prize for “Bug’s Beat” (2017). “Slime Synthesizer” (2014) won the New Face Award in the Entertainment Division at the 18th Japan Media Arts Festival. She is active in Japan and internationally, with her work having been exhibited in Singapore and the Netherlands.

The Concept Behind the Logo

It represents the architectural structure of the terminal, the site for this exhibition. A landscape that symbolizes the port and Tokyo Bay. Through the imaginary code +A+, a space-time gate that releases cultural and artistic resources is linked to the cruise terminal and projected to the world. Like the waves that come and go, the ocean and Japanese culture are both constantly innovating and timeless.

Design
  • TACHIBANA Hajime
    TACHIBANA Hajime is a musician, graphic designer, artist, and poet born in Tokyo in 1951. He joined the graphic group Workshop MU!! in 1974. In 1976, he led the legendary band Plastics on a world tour across Europe and the United States, making it the first Japanese group to be managed by a foreign company. They made a global debut through the UK label Rough Trade Records. In 1981, Plastics released Welcome Back on Island Records to a worldwide audience. Tachibana launched a solo career once Plastics broke up, also appearing in the film The Last Emperor in 1987. In 1991, he was presented with the top prize at the 35th Tokyo Art Directors Club Awards for his graphic design work. He has also earned a solid reputation for his numerous exhibitions as a media artist. Tachibana’s work was selected for the “Future” section of the Japan Media Arts Festival 10th Anniversary Special Exhibition titled “The Power of Expression, JAPAN” in 2006. He also published his first autobiographical collection of poems, Origato Plastico, in 2021, and is currently acting as a kind of “one-man Plastics.”

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