This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Nunc at arcu sodales nisi porta euismod non vel neque. Phasellus at lobortis ante, in suscipit justo. Proin non purus vitae nisi molestie consectetur. Vestibulum volutpat lobortis interdum. Vestibulum pretium ligula lorem, egestas ultricies lectus ultricies ac. Curabitur venenatis vulputate dolor.
The gallery is painted black and darkened. Two halves of the gallery are divided by a wall and encircled by 160 feet of diodes, green on one side of the wall and red on the other. The diodes, picked up by the camera as colored lines, are continually changing number strings. The sequences of numbers could keep going into infinity. They are a kind of international language, almost organic in their continuity. In collaboration with the 1991 Carnegie International.
When
1991
Tatsuo Miyajima is a Japanese sculptor and installation artist who lives in Moriya, in Ibaraki prefecture, Japan. His work frequently employs digital LED counters and is primarily concerned with the function and significance of time and space, especially within the context of Buddhist thought.
