Gallery Baton is pleased to announce “Connect with Everything”, a solo exhibition by Tatsuo Miyajima b.1957 who is one of the international figures of contemporary art, from 26th November 2020 to 8th January 2021. This exhibition will provide a great opportunity to experience the wide spectrum of his overall artistic career including not only his representative LED (Light Emitting Diodes) work series but his recent paintings. Miyajima’s media practice transcends visual functionality of electronic materials including LED and IC and converts them into his authentic formative language. ì Especially, after his solo exhibition at Santa Barbara Museum of Art in 2019, the first major museum presentation in the US, he currently participates in “STARS”, a group exhibition of six most prominent Japanese contemporary artists at Mori Art Museum and “Chronicle 1995–2020”, a solo exhibition at Chiba City Museum of Art. In this situation in which the global art world pays considerable attention to his activities, it is meaningful to have his solo exhibition in Seoul at Gallery Baton. Flickering LED numbers, which is immediately reminiscent of Tatsuo Miyajima, was begun to be used in his work ‘Sea of Time’1988 when he presented the work at the “Aperto '88” section at the 43rd Venice Biennale after the graduation from Tokyo University of the Arts in 1986. The gleam of 300 LEDs repeats the numbers from 1 to 9 except from 0 at different speeds in sequence. On the assumption that ‘time’, the abstract and non-substantial notion, is connected to a single existence, the different countdown speed of each LED unit implies individuality of every existence in the group. In the case of ‘Sea of Time' 98’1998 permanently installed in Kadoya House on Naoshima Island in Japan, its speed of each LED counter was decided by 128 residents of the Island through individual time-setting.
In terms of media, LED is an appropriate device to efficiently deliver Miyajima’s key philosophy, “Keep changing, it connects with everything, it continues forever." Selecting the particular material which we easily come across in an ordinary environment and keeping it as the main part of his works indicate his exceptional sensitivity as an artist. By taking advantage of the trans-generational universality of the LED’s simple mechanism, he deals with metadiscourses about visualizing interpretations of time and the concept itself. As the identical sized LED counters which establish a certain colony can be semantically read as a metaphor signifying a fundamental unit of every object, society, generation and nation, his series supports and extends the artist’s freedom of expression about historical facts and social phenomena as a subject matter. For instance, ‘Mega Death’ 1999 displayed in Japanese Pavilion at the 48th Venice Biennale, was a large-scale installation whose 2,400 blue LEDs counter symbolized numerous casualties of wars and disasters that occurred in the 20th Century.