![]() ![]() In Nirvana (1997), she offers three-dimensional video combining imagery taken in the Dead Sea with Mori performing a dance employing mudra, traditional hand positions used in Buddhist art to evoke a particular state of mind. The Mariko Mori-centric art continues, yet takes a religious twist and embraces spiritual thought. The Empty Dream is wickedly magnified and represented into a state of vacuousness and conformity. These works depict the emptiness of consumer culture resulting in part from rapid technological and economic success. Meanwhile, the five-panel cibachrome print installation Empty Dream (1995) situates the artist-turned-mermaid inside a Japanese indoor beach amidst family outings-addressing fantasy, authentic versus counterfeit, and popular culture. An audio CD plays Mori singing Tokyo pop, and the works title alludes to a popular Japanese TV talent show. Birth of a Star (1995) acts prophetically for the artist, and illustrates Mariko Mori adopting the role of pop idol with android eyes. These include her now iconic Tea Ceremony (1995), where Mariko Mori poses as a combined space-age cartoon character and a Tokyo office woman serving tea on a sidewalk-avoided by passing by salarymen. ![]() This spring and summer, Mariko Mori’s work descended from its cosmic heights on New York for an 11-work exhibition of large-scale, compute-generated photographs and timely, big-budget multi-media installations addressing interests in pop culture, tradition, and identity.Įntitled Empty Dream, Mariko Mori’s exhibition included selected works which have saturated international art publications. Another prolific young contemporary art superstar has been making the international rounds.
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