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Yokoo in Wonderland invites visitors into artist Yokoo Tadanori’s parallel realm, where the boundaries of reality dissolve into a collection of wonders. Drawing inspiration from Lewis Carroll’s classic Alice in Wonderland, the exhibition guides viewers through a journey that begins with a girl falling into an underground kingdom, then continues into space and an unknown world. The experience progresses through “The Looking-Glass World,” where real and virtual images intertwine, and concludes in “The Land of Dreams,” blurring reality and unreality. Through Yokoo’s distinctive artistic vision, this exhibition encourages a deep immersion into an infinitely expanding universe, prompting reflection on how art can transport and reshape our perception of the world.The exhibition delves into a groundbreaking aspect of Russian cultural history birthed from the revolution—mobile propaganda trains. These unique vehicles served as a fusion of art and technology, transforming into vibrant mobile platforms that combined exhibitions, theater, libraries, and cinema on wheels. Launched in 1918 under the directive of the All-Russian Central Executive Committee, these trains traversed vast distances, reaching from Odessa to Irkutsk and engaging communities with their painted exteriors and rich artistic content. Supervised by renowned graphic artist Ignatiy Nivinsky, the trains featured contributions from a diverse array of artists, blending Symbolism with early avant-garde ideas. This exhibition promises an in-depth exploration of their socio-political significance during the Civil War, showcasing archival photos, posters, and various artifacts that capture the ethos of an era where art became instrumental in uniting and inspiring a nation.The exhibition critically examines the evolution of mass mobilization and crowd dynamics in both historical and contemporary contexts, drawing inspiration from Elias Canetti’s “Crowds and Power.” Set against the backdrop of the GfZK’s new architectural space, the exhibition engages with the complexities of collective action, exploring how digital public spheres shape democratic participation while simultaneously being exploited for exclusionary practices. Featuring a rich array of video installations and cinematic works, including the new production “70.001,” which reimagines the 1989 Leipzig demonstrations, “Majorities” invites reflection on the nuances of social behavior and the implications of simulated experiences in gaming and surveillance. Through this thoughtful presentation, Wedemeyer prompts us to consider the intertwining narratives of isolation and community, resonating powerfully in today’s fragmented society.In When I see the future, I close my eyes: Chapter II, Heba Y. Amin critically explores the intersection of colonialism, technology, and modern warfare, drawing attention to the lingering effects of these forces on contemporary society. Through installations, photography, and reconstructions, Amin revisits historical moments, such as early colonial photography and WWII landmines in Egypt, to highlight how visual and technological tools have been used to exert control and perpetuate violence. The exhibition asks us to reflect on how these past dynamics continue to shape narratives of power and oppression, urging us to confront the neocolonial tendencies of today’s technologies.The Raqs Media Collective, founded in 1992 in New Delhi by Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta, operates at the intersection of contemporary art, historical inquiry, philosophical speculation, and political critique. Their work probes the fundamental, often elusive, concepts of time, language, and history, challenging linear narratives and fixed interpretations. Central to their practice is the interrogation of time — not merely as a measurable entity but as a force that governs societal rhythms, disciplines human life, and underpins capitalist structures. In works such as Escapement (2009) and Re-Run (2013), they explore how time shapes experience, asking what it means to measure time and how it intersects with space and history.
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Yokoo Tadanori: Forest in Soul
Yokoo Tadanori Museum of Contemporary Art Arts | Culture | Philosophy
18+

Yokoo Tadanori: Forest in Soul

横尾忠則 原郷の森
Japan Kobe 2023 17

Yokoo Tadanori: Forest in Soul brings to life the artist’s 2022 novel, Genkyo no mori, transforming its narrative into an immersive exhibition. Yokoo Tadanori, a renowned painter and writer, explores art and life through conversations with 280 departed souls. These figures, from celebrated artists like Pablo Picasso and Marcel Duchamp to personal acquaintances and his beloved cat Tama, profoundly shaped Yokoo’s artistic vision throughout his career. The exhibition’s forest-like setting visually embodies these dialogues, inviting visitors to wander through Yokoo’s imagined world. Guests will discover how timeless influences from diverse realms can inspire creativity, prompting reflection on the enduring connections between existence, artistry, and memory.

Why should you watch this?

The film Forest in Soul speaks urgently to our moment by turning absence into conversation, showing how art sustains communities when memory fragments. Yokoo stages a forest where Y meets 280 departed voices — Picasso and Duchamp one moment, Mishima and Tama the next — so that art, history, and the personal overlap. The effect is at once uncanny and consoling: a circle of vanished figures arguing, joking, and offering stubborn truths that unsettle received stories while nourishing imagination. Moments such as the grand forum of the departed and a whispered exchange with Yokoo’s cat create both wonder and intimacy. The takeaway: listening across time renews how we live and make meaning together.

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