Agency for Cultural Affairs, Goverment of Japan

Haneda Airport
Narita Airport

For many citizens from all over the world, Japan is the most different place from home there can be. Everything about it is a welcome departure from familiarity––from the food to the sounds of the city, the standards of good manners, and the idea of style and elegance, to name just a few.
In particular, the coexistence of concepts that elsewhere are considered contradictory is exciting and awe-inducing. In the same object, place, or event, a tension can exist tradition and innovation, public and private, natural and artificial, or rigor and abandon.
The fundamental polarity in the eyes of foreign visitors is however that between past and future. Japan is at the forefront of technology and yet no Japanese innovation can launch without the springboard of tradition. No imagination of the future can exist without a deep awareness of the past. Japanese culture is vision, a culture of continuous recreation of objects and concepts.
The installations at Haneda Airport and Narita Airport express this special dimension. Guests arriving from faraway countries will be welcome into a new way of thinking and making, influenced by ancient wisdom and projected towards the future.

Paola ANTONELLI | Curator
Paola ANTONELLI is Senior Curator of Architecture & Design at The Museum of Modern Art in New York, as well as MoMA’s founding Director of Research & Development. Her work investigates design’s impact on everyday experience, often including overlooked objects and practices, and combining design, architecture, art, science and technology.
Following the XXII Triennale di Milano––her 2019 Broken Nature, devoted to the idea of restorative design–– she has recently curated at MoMA the exhibition Material Ecology, on the work of architect Neri Oxman. Her acclaimed Instagram Live series @design.emergency––conceived with design critic Alice Rawsthorn––explores design’s role in building a better future for all.

Exhibition theme



Curator's Statement

Sound defines space and time. Each place has a unique sonic character, an ineffable mixture of words, noises, tones, and tempos that can be immediately felt, even before being recognized and understood. The airport is usually a neutral filter between worlds, but HOSOI Miyu and SUZUKI Yuri’s installation is a veritable open door into Japan.

Location: Haneda Airport Terminal 2, 2nd Floor Departures Lobby, Security Checkpoint D (February 27, 2021-)

Crowd Cloud


Curator's Comment
To transform vision into sound, we turned to sound artist and designer SUZUKI Yuri and to musical artist and composer HOSOI Miyu. In their concept, if different tongues can be walls between people, sound an instead build bridges by providing a soft landing––especially for visitors coming from foreign countries, making them comfortable and gradually conversant with the new environment. Keeping the human voice at the core of their proposal, HOSOI and SUZUKI distilled the sounds of the Japanese language–– distilled "Hiragana" sounds, which consist of 46 base characters with 5 singular vowels, 40 consonant-vowel unions and 1 singular consonant–– and created a unique composition in which the sound emanates from a choir of dozens of standing horns, that are conversing with each other like people waiting for friends and relatives in the Arrival Hall of an airport.
* Hiragana is the basic Japanese phonetic script. It represents every sound in the Japanese language
Artist's Comment
The airport is where different languages and sounds meet. By using the universal medium, sound, we restructured Japanese language and distilled each sound of our mother tongue and separated them from the specific meaning of words. This represents Japan’s soundscape the foreign visitors experience when they step into this country and also creates the unique soundscape of global languages through integrating each and every voice of the guests from all over the world. Audiences become important components of this work and with them, the whole airport can turn into one big installation.

[Technical Direction]
ITO Yuya

[Technical Staff]
TABEI Katsuhiko (MeAM studio), UEDA Shinpei

[Sound System Development]
Technical direction : HORIO Kanta (Ponoor Experiments Inc.)
Sound playback devices : SAITA Kazuki (Kinoshita Laboratory)
Manipulation Software : NIIMI Taiki
Production : IDE Yusuke
Production : FUTAGAWA Nana

[Design /Construction]

Brass Coating: SUGIMOTO Kazufumi (Sugimoto Bisou Co., Ltd.)
Sanding: SANO Hidemitsu(Sanomasa Manufacture Co,Ltd.)
Coordination: HAYASHIGUCHI Sari

studio MSR, 8%, Japan Airport Terminal Co., Ltd, Japan Airport Techno Co., Ltd
  • SUZUKI Yuri
    SUZUKI Yuri is a sound artist and experience designer. In 2018 SUZUKI was appointed a partner at Pentagram, the world’s largest independently owned design studio. His practice explores the realms of sound through designed pieces that examine the relationship between people and their environments - questioning how both music and sound evolve to create personal experiences. As an artist, SUZUKI has presented his works in numerous museums and galleries and also actively collaborates with renowned corporations. Recently, he has been working on various public art projects that focus on the relationship between people and the local communities.
  • HOSOI Miyu
    Born in 1993, musical/sound artist HOSOI Miyu has been active in taking various artistic endeavors from creating the installations to bring awareness to the surrounding sound by using multichannel sound systems to the performing arts productions. She particularly is known for the overdubbing works using her own vocals. Her renowned work “Lenna” on 22.2 channels was presented at various venues including NTT InterCommunication Center (ICC) Anechoic Room,Yamaguchi Center for Arts and Media [YCAM], Tokyo Metropolitan Theatre Concert Hall and the Audio Engineering Society. She is the recipient of the New Face Award at the 23rd Japan Media Arts Festival Art Division.


Curator's Statement

Six videos by six different artists usher travelers into Japan’s extraordinarily rich and eclectic culture. Broadcast in synchronized sequence along the path leading from each arrival gate into a new world and also various places all over the terminals, they each highlight a different aspect of Japan’s creativity and reality, arranging distinct styles and contexts in surprising juxtapositions.

Location: Haneda Airport Terminal 3, 2nd Floor Arrivals Concourse; Haneda Airport Terminal 1 & 2 Departure Concourses; Narita Airport All Terminals, Digital Signage monitors (February 27, 2021-)

* Locations for the video works in Haneda Airport are within the security area

Theme Park Tokyo

acky bright

Curator's Comment
Acky Bright is one of the brightest stars in the firmament of manga, the distinctive brand of Japanese comics. He grew up steeped in its sources and inspiration, feeding his own talent with a steady diet of golden-age manga and anime, graffiti, live-action movies, and international pop culture. His quick drawings and live paint performances are demonstrations this unique form of visual expression, traditionally in black and white, and dynamic inside and outside the drawing frame. For VISION GATE, he has chosen to give us flashes of the city that awaits travelers outside of this airport.
Artist's Comment
Shibuya, the evolving cyber city. Harajuku, ground zero of the pop culture. Akihabara, area where you can feel and be lost into the world of anime. In the contrast, many historical areas without much changes in hundreds of years since the Edo period still exist. Tokyo is truly a city of juxtapositions, where the tradition and innovation meet and coexist. I created this work using the format of a traditional picture scrolls such as “Choju-giga (Frolicking Animals)”, which said to be the origin of manga, and combined with the modern manga techniques. Also I’ve used portable tablet for my drawings and mixed them in the videography so that I could merge the concept of “tradition and innovation” to present the city of Tokyo. Welcome to Theme Park Tokyo.

Video direction, Editing: OHNO Satoru
Cooperation: DLE,inc
  • acky bright
    An illustrator and manga artist. He works both in Japan and overseas, focusing on black and white line art. His singular style, which is greatly influenced by Japanese manga and anime from the 1980s to 1990s yet incorporates modern nuances, has also won him many fans abroad. He also releases numerous artworks on social media and at live events under the name, “Doodle.” Currently, he is working on a serial publication of the manga, “Shin Henkei Shoujo” (DLE) online.

Hitoshobu (One Shot)

Jun Inoue

Curator's Comment
Graffiti, an international art form that is animated by local languages and alphabets, is the most contemporary form of calligraphy. INOUE Jun is the son of a Zen monk and a native of Kanagawa Prefecture. While still in Kanagawa, INOUE studied calligraphy––shodo, a traditional and quintessential Japanese art. When he moved to Tokyo and absorbed the influence of the city, of hip hop, of graffiti, he moved from the scroll to the wall, and the power moved from the wrist to the entire body. In his art and in the video he produced for VISION GATE, INOUE interprets and performs the tension between past and present that is at the basis of this exhibition.
Artist's Comment
For me, live painting performances are acts of awakening the inner self that exists within my mind, and a way to challenge myself.   Aware of the ephemeral nature of the world of painting, I express the life that dwells within using lines. I want to set my ordinary self free and create lines that no one has seen. That’s the concept behind my creations.

Artist: Jun Inoue
Video director: SAKAMOTO Naoto (Hangout Company)
Photographer: TANAKA Kazunari
Lighting: KOKUBO Ryosuke, KAGIMOTO Ryo (Anchor), OTOMO Kenjiro (Anchor)
Producer: TAMURA Rie (Hangout Company)
Assistant Producer: MATSUZAKA Kaku (Hangout Company)
Art staff: SATO Chiho, MORISHITA Ryuta, SUGIMURA Takaaki
  • Jun Inoue
    He illustrates the delicate spirituality particular to Japan using abstract lines to create unique “spaces.” His exquisite sensibility blends modern sense and traditional spirit to stimulate the consciousness of the viewer. He also has connections to fashion and music, and has shown his works in a wide range of venues including live painting performances and artwork presentations. Inoue has held numerous private exhibitions in Japan and abroad in places including Melbourne and Paris.

Gravity Garden

KODAMA Sachiko

Curator's Comment
KODAMA Sachiko’s background in science––in physics, to be precise––shines through in her elegant work with ferrofluids, colloidal solutions of magnetic nanoparticles suspended in liquid. In KODAMA’s art, the liquid comes alive and is tamed in elegant dynamic sculptures that are as mesmerizing as they are exact in their geometric convolutions. In the video she created for VISION GATE, the normally dark colloidal fluid is dyed in red, blue and fluorescent green paint, and the moving forms looks covered in lacquer, and an ideal Japanese natural landscape emerges out of the inorganic matter.
Artist's Comment
Instead of using the black ferrofluid I’m used to, I used the recently developed red, green, and blue fluorescent ferrofluid and created video with my artwork, such as “Protrude, Flow” and “Morpho Towers/Two Standing Spirals”, as the subjects. In a garden of magnetic energy and gravity on a fictional planet, organic shapes are forcefully born and unique textures with a lacquer-like appearance split apart and fuse while gleaming. In the dim light, a bubble-like pattern expands outward. While having a strong influence from Japanese nature, beauty of form, and color palette, I created, in the vision of a window, a Japanese garden that uses ferrofluid objects in a way that resembles landscape of mountains and ocean, and plants.

Producer: KOBAYASHI Hiroaki (TFC)
Camera: NISHIOKA Akira (TFC Plus)
DIT: HANAZAWA Kazuhiro (TFC Plus)
Lighting: ARATA Ijichi
Editing: KODAMA Sachiko
The Fluorescent Ferrofluids are courtesy of Ferrotec Holdings Corporation.
Special thanks to: TAKENO Minako (“Protrude, Flow”), KORI Kazuko (Chofu Glass Studio) This work was supported by The University of Electro-Communications, Sachiko Kodama Studio, Inc.
  • KODAMA Sachiko
    She graduated from the School of Science at Hokkaido University, and completed graduate studies and earned a doctorate in Art at the Graduate School of Art and Design at the University of Tsukuba. She has been promoting art projects using ferrofluid since 2000. Her artwork “Protrude, Flow” (selected by SIGGRAPH Art Gallery 2001) won the Grand Prize in the 5th Japan Media Arts Festival Digital Art (Interactive Art) Division. Her artwork has been exhibited in over 20 countries at art museums, galleries, public spaces, and private homes. She has impacted not only art and design, but also a wide range of fields.



Curator's Comment
A creative agency of sparkling imagination and polyhedric experience, PARTY has worked with clients of all sizes and backgrounds, from museums and governmental institutions to multinational brands and small, independent artists. PARTY producers and designers have planted digital vegetables in the middle of Tokyo and transformed an airport terminal into a track-and-field stadium, to mention just two projects. In other words, they have almost seen it all. When we asked chief creative officer and cofounder ITO Naoki to offer us his vision of Japan, he characteristically synthesized a universe in a powerful gesture. With the poetic help of technology and the force of imagination, a traditional crafts technique can express the urgency of the environmental crisis and of our planet’s predicament, and move us to formulate and pursue a vision of a better future for all.
Artist's Comment
Since the Muromachi period, Japanese people have used a method called kintsugi, or “golden repair” to beautifully and artistically mend broken pottery. By decorating the damaged areas with a gold powder, the artist is able to repair the piece and create a new appearance called keshiki, which are often considered to be even more beautiful than the original. Captured via satellite, images of earth’s surface resemble that of cracked pottery. In this idealized artwork, the planet’s “cracks”, such as Antarctica’s melting ice caps or forests lost to wildfires, are slowly being mended by humanity’s efforts - kintsugi on a global scale. Through strong resolve and concerted effort, we hope that humanity can mend earth’s cracks in order to pass a more beautiful keshiki to the following generations.
    PARTY is a creative collective that cuts across art, science, design, and engineering to install in society experiences of the future. Notable projects include space design for Narita International Airport Terminal 3, creative direction for “WIRED JAPAN” magazine, and “VARP” virtual music experiences through collaborations with artists including RADWIMPS and kZm. PARTY also develops businesses such as Stadium Experiment and The Chain Museum.

Day of a Full Moon

MOGI Monika

Curator's Comment
MOGI Monika’s unique vision of Japanese femininity is filled with grace and fierceness. Conscious of the stereotypes attached to traditional images of Japanese women, she plays with them and alters them delicately but powerfully, sometimes using old-school photographic techniques and tools that confuse the viewer’s ability to place the image in time, and leads them to look for details that can anchor them. The video Monika filmed in 16mm expressly for the VISION GATE project is an ode to some of her favorite natural landscapes in Japan, explored and exalted together with the help of two beloved friends and models, in a magical road trip across the country.
Artist's Comment
This work combines my love of Japan’s natural landscapes that I find otherworldly and mystical, with my admiration of strong, unique women. The film is entirely shot handheld on a 16mm film camera in Owakudani, a volcanic valley in Hakone, and Onioshidashi Volcanic park in Gunma. The film is weaved with personal motifs in my life, with the full moon as a symbol of the rhythm of time, and kimonos worn by generations of women passed down in family. Sayaka plays her grandmother’s shamisen while wearing her mother’s favorite purple kimono. My friend, Kiko, wears a dress suit out of an old kimono which was handmade by my grandmother, representing change in tradition.

Director, Cinematography, Editing: MOGI Monika
Cast: Sayaka Botanic, MIZUHARA Kiko
Owakudani, Hakone
Sengokuhara Pampas Grass Field, Hakone
Kustatsu Onsen
Onioshidashi Volcanic Park
  • MOGI Monika
    MOGI Monika is an artist, photographer and director, born in 1992. She is a self taught photographer and her career started as a teenager shooting for art and fashion magazines such as Vogue Japan, ArtReview, Numero Tokyo, etc. While acting as a creative director behind all of her work, she began to cast her friends and youth culture of Tokyo which has been highlighted in her work. Growing up between the U.S. and Japan, MOGI blends her unique view of both cultures. In recent years she has also participated in photo exhibitions in Tokyo and New York and has directed TV commercials and fashion campaigns worldwide. Her work with Paola Antonelli began in 2016, when MOGI was commissioned to photograph contents for the Museum of Modern Art exhibition ‘ITEMS: Is Fashion Modern?” catalog.

Kojiki – Amenomanai

MORI Mariko

Curator's Comment
Few artists convey the idea of vision as naturally as MORI Mariko. From her early work, in which she famously created a lasting archetype of an alluring cyborg, through her current explorations of Japanese myths––the video presented here explores Kojiki, the oldest record of creation myth in Japan ––she has animated past and future visions of Japan with her own body and interpretation of Japanese femininity. Running the gamut from irony to solemnity, she has interpreted many vastly different characters, from priestess to princess, hostess, and anime star, using all the tools at her disposal, from video and photography to sculpture and performance. Her polyhedric and multidisciplinary work portrays the quintessence of Japanese culture, animated by the breath of ancestral traditions and at the same time projected toward the future.
Artist's Comment
In this artwork I took scenes from the “Kojiki” and turned them into computer-generated images. According to mythology, Amaterasu-Omikami (Sun Goddess) purified the sword of the deity, Susanoo-no-Mikoto with sacred water from Manai. Today, disinfection has become the norm, but the action not only purifies physical objects, it also exorcizes unclean spirits and is also regarded highly in traditional culture, such as Shinto worship and the tea ceremony. The movement of the form reflected on the water’s surface is turned into 3D data using motion capture and depicted as an incorporeal figure.

UCHIKAWA Takashi (Kokugakuin University), MATSUBAYASHI Toyoki (Saitobaru Archaeological Museum of Miyazaki Prefecture), NAKANO Kazuhiro (History and Folklore Museum of Ebino City, Miyazaki Prefecture), CyberHuman Productions, KIRISHIMA Rowland, ASHIDA Naoki, NAKANO EMI, KODAMA Hideyuki, YANAGISHIMA Hideyuki, Kim Yong-ju
  • MORI Mariko
    She has been internationally active since the latter half of the 1990s. Mori has participated in international exhibits in various countries and held numerous private exhibitions at art museums. Her artworks have been placed in many collections in sites such as art museums. Her major public artworks are “Sun Pillar” on Miyakojima Island in 2010, “Ring: One with Nature” at the Cultural Program of the 2016 Rio Olympics and Paralympic Games, and “Cycloid V” at the Toranomon Hills Business Tower entrance. The major awards she has received are Honorable Mention in the 47th Venice Biennale in 1997 and the Award to a Promising Artist and Scholar in the Field of Contemporary Japanese Arts at the 8th Japan Arts Foundation Award in 2001. She received an honorary degree from the University of the Arts London in 2014.


Haneda & Narita Airport Japanese Vision Travel

Culture is a
vision extending
from the past to the present,
and into the future.


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