CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

(OPENING) CHIM↑POM: HAPPY SPRINGFEBRUARY 18 [FRI] - MAY 29 [SUN], 2022 MORI ART MUSEUM (53F, ROPPONGI HILLS MORI TOWER) ET AL.

CELEBRATING JAPAN'S MOST RADICAL ARTIST COLLECTIVE IN THEIRLARGEST RETROSPECTIVE
The Mori Art Museum, Tokyo, is proud to present Chim ↑ Pom: Happy Spring from Friday, February 18 to
Sunday, May 29, 2022.
Equipped with highly original ideas and impressive energy, artist collective Chim ↑ Pom has undertaken
numerous projects intervening in society in ways that constantly confound our expectations. With themes
ranging from cities and consumerism to gluttony and poverty, Japanese society, the atomic bomb,
earthquakes, images of stardom, the mass media, borders, and the nature of publicness, their works serveas powerful statements on a plethora of phenomena and challenges in modern society, delivered mostly
with a healthy dose of humor or irony.
With seemingly uncanny foresight, Chim ↑ Pom has also addressed in a number of their previous works
the social issues of infection and discrimination against people with contagious diseases, and of bias,
contamination and borders, all thrown into sharp relief by the COVID-19 pandemic. Now more than ever
perhaps is the time to observe their thought-provoking knack for raising issues pertinent to the zeitgeist .
This will be the first-ever retrospective of Chim ↑ Pom, bringing together major works from thestart of their seventeen-year career to more recent years, plus new works produced for this exhibition,
which would total approximately 150 works. Artworks will be arranged by theme - e.g., cities andpublicness, Hiroshima, the Great East Japan Earthquake - highlighting matters consistently addressedby the artists, while examining the collective’s oeuvre in its entirety. Dynamic exhibition design, rich increative ingenuity, will also assist in shedding new light on the ever-surprising world of Chim ↑ Pom.
The title Happy Spring signals Chim ↑ Pom’s hope for a brighter spring even amid this seemingly neverending pandemic, and that we retain our powers of imagination even if that long-awaited season arrives
in the depths of adversity. In these unpredictable times, the powerful, convention-busting works of thisenduring, but equally-unpredictable group of artists are certain to excite the imagination, and serve as a
guide as we join in contemplating a better future.

Build-Burger
2018
Mixed media (3 layers of concrete ﬂoors cropped from “ Ningen Restaurant, ”various furniture and objects from each ﬂoor of the building)
400 x 360 x 280 cm (left), 186 x 170 x 155 cm (right)
In cooperation with Ningen Restaurant, Smappa! Group, Koto Hiroya
Private collection (left)
Courtesy: ANOMALY, Tokyo
Installation view: Grand Open – Marvelous Liberation – , ANOMALY, Tokyo,
2018
Photo: Morita Kenjipress release

1 /11

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

BIOGRAPHY
Formed 2005 in Tokyo, artist collective Chim ↑ Pom (members are: Ushiro Ryuta, Hayashi Yasutaka, Ellie, Okada Masataka, Inaoka
Motomu, and Mizuno Toshinori) has taken part in exhibitions across the globe, in addition to designing and implementing various
projects of their own. In 2015 they opened the artist-run space “ Garter ” in Koenji, Tokyo. They also conceived the idea for Don’t
Follow the Wind (March 11, 2015-), an international exhibition in the Fukushima exclusion zone that “ no one can actually go see ” until
the ban on return is lifted, launched the project off the ground, and participated as artists. Also in 2015, Chim ↑ Pom won the Best
Emerging Artist Award at the Prudential Eye Awards. Their solo exhibitions in recent years include: So see you again tomorrow, too? (The
Kabuki-cho Shopping Center Promotion Union Building, Tokyo, 2016); Non-Burnable (Dallas Contemporary, TX, 2017); and Threat ofPeace (Hiroshima!!!!!!) (Art in General, New York, 2019), while their group exhibitions include: 29th São Paulo Biennial (2010); Asian
Art Biennial 2017 (National Taiwan Museum of Fine Arts, Taichung); Global(e) Resistance (Centre Pompidou, Paris, 2020), HERE AND
NOW at Museum Ludwig: together for and against it (Cologne, 2021-2022) and more.

Photo: Yamaguchi Seiha

General Information
Exhibition Title: Chim ↑ Pom: Happy Spring
Organizer: Mori Art Museum
Grants from: Nippon Donation Foundation, The Obayashi Foundation
Corporate Sponsors: YOSHINO GYPSUM CO.,LTD.,
regist ART / Jitsugyo no Nihon Sha, Ltd., adidas Japan K.K., GO inc.,
PARCO CO., LTD., The Royal Park Canvas - Ginza 8,
UPDATER, Inc. (Minna-Denryoku)
Production Support: MAEDA ROAD CONSTRUCTION CO., LTD.
Curated by: Kondo Kenichi (Senior Curator, Mori Art Museum)
Exhibition Period: February 18 [Fri] – May 29 [Sun], 2022
Venue: Mori Art Museum(53F, Roppongi Hills Mori Tower, 6-10-1 Roppongi, Minato-ku, Tokyo) et al.
Hours: 10:00-22:00 | Tue: 10:00-17:00* Admission until 30 minutes before closing. | * Open every day. | * Open until 22:00 on Tuesday, May 3, 2022.
* See the Mori Art Museum website for our countermeasures against COVID-19.
https://art-view.roppongihills.com/en/info/countermeasures/index.html

press release

2 /11

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

Admission:［ Weekdays ］

FEBRUARY 17, 2022
［ Sat., Sun. & Holidays ］

On-SiteOnlineOn-SiteOnlineAdults¥ 1,800¥ 1,600¥ 2,000¥ 1,800

Students (University/High School)¥ 1,200¥ 1,100¥ 1,300¥ 1,200

Children (Age 4 through Junior High School)

¥ 600

¥ 500

¥ 700

¥ 600

Seniors (Ages 65 and over)¥ 1,500¥ 1,300¥ 1,700¥ 1,500* It is encouraged to make advance booking for a designated date/time slot and purchase the admission ticket on the booking website.
* Admissions without advance bookings will be allowed so far as the time slots have not ﬁlled up on the day of your visit.
* All prices include tax.
* Audio guide combo tickets (+¥500) are also available for purchase.
* Ticket also valid for admission into the following Mori Art Museum small programs to run concurrently:
MAM Collection 014: Gravity and Inversion, Microcosmos and Macrocosmos - Tateishi Tiger, Yin Xiuzhen, Iwasaki Takahiro and Kaneuji
Teppei ; MAM Screen 015: Lu Yang; and MAM Research 008: Suddenly Turning Visible - Art and Architecture in Southeast Asia (1969-1989).
* Admissions to Tokyo City View, Sky Deck and Mori Arts Center Gallery are separate.

General Inquiries: 050-5541-8600 (Hello Dial, within Japan) / +81-(0)47-316-2772 (Hello Dial, from overseas)www.mori.art.museum/en

BLACK OF DEATH
2008
Lambda print, video
81 x 117.5 cm (photo), 9 min. 13 sec. (video)
Courtesy: ANOMALY and MUJIN-TO Production, Tokyo“ A Drunk Pandemic ”

2019-2020
Private collection
Commissioned and produced by Manchester International Festival and Contact,
2019
Curated by Contact Young Curators
Courtesy: ANOMALY and MUJIN-TO Production, Tokyo
Photo: Michael Pollard

The latest exhibition press images are available on our website for downloads:
https://press.mori.art.museum/en/press-img/
press release

3 /11

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

EXHIBITION HIGHLIGHTS
Everything from Earliest to High-Proﬁle and New Works in a Single,
Comprehensive Retrospective
Chim ↑ Pom: Happy Spring will bring together a large selection of the extraordinary sextet’s best-known
work, from early classic “ Thank You Celeb Project - I ’m BOKAN ” ( 2007 ) to the A-bomb-themed Making
the Sky of Hiroshima “ PIKA! ” ( 2009 ) and LEVEL 7 feat. “ Myth of Tomorrow ” ( 2011 ) ; numerous larger
works such as the “ Build-Burger ” series (2016/2018); small, humorous pieces, and an array of immersive/
experiential works, in what will be the world’s first comprehensive retrospective exhibition of work by theinternationally-renowned Chim ↑ Pom.

The Exhibition Personally Designed by the Artists to Astound and Delight
This will be distinctly different to the usual, chronologically-arranged retrospective. Works will be exhibitedby sections such as “Cities and Publicness,” “Street” and “Don’t Follow the Wind,” and multiple viewing routes
provided to encourage diverse readings of the exhibition. Visitors will also find themselves plunged intosome dynamic exhibition spaces, including a large asphalt-paved street appearing on the bilayer structure
within an exhibition gallery added as part of the spatial design, and an entire gallery space composed intoa single giant installation featuring multiple works. A fascinating lineup of events and performances is alsoplanned on site for the duration of the exhibition.

Seven Newly-Commissioned Works, Including an On-Site Nursery
The exhibition will feature seven (7) new works, including the latest version of “SUPER RAT” which indeed is
Chim ↑ Pom’s self-portrait, a new sound installation conceived around the event of Ellie giving birth in 2020,
a nursery (daycare center) being set up at the exhibition in a new art project Crying Museum inspired by thechild-raising challenges of Chim ↑ Pom’s generation, and more.

Joining Visitors to Ponder the Concept of “ Publicness ”
Not long ago, Chim ↑ Pom built a private road in the grounds of their studio on private land, allowing anyone
to pass through. In Taiwan, they created a long street passing through the interior and outdoor spaces of anart museum, and formulated a set of original rules to apply there. By this use of the “street” as a theme, theyurge us to turn our thoughts to matters of “publicness,” and “the public and individual.”

Revisiting Debates and Dialogues around Works by Chim ↑ Pom
Some of Chim ↑ Pom ’s past projects have ignited debate, those on Hiroshima and the Great East Japan
Earthquake proving particularly controversial. This exhibition will revisit such controversies, examining themfrom multiple viewpoints and presenting not only the works themselves but timelines and related material, andsetting out the arguments for and against the works.

press release

4 /11

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

Things Revealed 10 Years on from the 2011 Quake, and Now amid a Pandemic
Ever since the 2011 Great East Japan Earthquake, Japanese artists have been working more than ever to help
build a better society, and Chim ↑ Pom is no exception, undertaking multiple projects after the disaster. Now,
ten years on, they will revisit these projects.
It so happens that a number of Chim ↑ Pom’s projects of the past decade, such as the “border”-themed
project carried out on the Mexico-US border in 2016-2017, and their large-scale participatory project at the2019 Manchester International Festival, which dealt with the historical connection between a 19th-century
cholera epidemic in the city, and beer, unintentionally deal with social issues highlighted by the COVID-19
pandemic. Chim ↑ Pom also continues their sharp observations on the state of Japanese society, for example,
in a new work set in Tokyo during 2020’s State of Emergency. Chim ↑ Pom: Happy Spring is designed toprovide a platform for discussing these and other Chim ↑ Pom activities, with reference to the current social
climate.

EXHIBITION FRAMEWORKThis exhibition is made up of ten (10) sections plus “Collaborative Space for the Museum and the Artists”
separately set up for the exhibition.

CITIES AND PUBLICNESS
Chim ↑ Pom has favored urban settings for many of their projects right fromthe beginning. In Gold Experience (2012), for example, they turned a garbage
bag into a gigantic, fun piece of sculpture. More recently, their focus on
cities has developed further to encompass discussions of urban theory andcommonality /publicness, including in the “ Scrap & Build ” projects (20162017 ), Street (2017-2018 ), and “A Drunk Pandemic ” (2019-2020 ). Thissection also consists of various works that focus on the “bodies of humans
living in the city.” For Chim ↑ Pom, the human body itself has been the mostfundamental means of expression ever since the group’s formation.

STREET
On the bilayer structure newly built within an exhibition gallery, a large asphaltpaved street comes into view. A Street is a large-scale site-speciﬁc installation
designed and produced for this exhibition. Chim ↑ Pom has also implemented
projects in the past using asphalt to create spaces independent of existingmechanisms and rules. Through the creation of these spaces, they attempted
to discover new possibilities for the city that would be generated by the free
will and autonomous actions of the people who gathered there. The “street”
conceived for this exhibition will also function as a project space for events andhappenings to take place during the exhibition period, and is expected to be
cultivated into a freer and more open space in collaboration with the viewers.

press release

5 /11Gold Experience
2012 Tarpaulin balloon, mixed media
650 x 800 x 600 cm
Courtesy: ANOMALY and MUJIN-TO Production,
Tokyo
Installation view: Chim ↑ Pom , PARCO Museum,
Tokyo, 2012

Street2017-2018 On-site installation
Dimensions variable
Courtesy: ANOMALY and MUJIN-TO Production,
Tokyo
Installation view: Asian Art Biennial 2017, National
Taiwan Museum of Fine Arts, Taichung, 2017-2018
Photo: Maeda Yuki

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

DON ’ T FOLLOW THE WIND
Don’t Follow the Wind is an ongoing international exhibition held since 2015
inside the restricted Fukushima Exclusion Zone (“difficult-to-return zone”) an area that was evacuated due to the radiation contamination caused by
the accident at the Fukushima Daiichi Nuclear Power Plant. Initiated by
Chim ↑ Pom, the exhibition consists of new works developed by twelve
participating artists from both Japan and abroad including themselves,installed in the zone at various sites that former residents gave them consent
to make use of. The exhibition itself is and will remain to be, however, onethat “no one can actually go see” until the area has been decontaminated andentry restrictions are lifted, thereby enabling residents to return to their homes.
At the moment, it is unclear when we will ever be able to see this exhibition,
however. At Happy Spring , this project is to be showcased at an exhibition
gallery overlooking the outside scenery, meant to encourage visitors to imagine
the present Fukushima while looking at the Tokyo cityscape.

HIROSHIMA
Making the Sky of Hiroshima “ PIKA! ” ( 2009 ) is a work that captures themoment in 2008 when the artists chartered a skywriting plane to write the word
“ Pika ” (evoking the flash of the bomb) above the A-Bomb Dome in Hiroshima.
The artists’ intention was to render visually, and in comic-book style, the growing
indifference to the peace on which contemporary Japanese society is founded,
but when misunderstanding and speculation were added to the mix, the result
was controversy. Having apologized to A-bomb survivors, their families andsupporters for not giving sufﬁcient advance notice of the stunt, Chim ↑ Pom has
subsequently continued to converse and occasionally collaborate with them andthe wider Hiroshima community on a number of projects. Subsequent Hiroshimathemed works include PAVILION (2013-) and Non-Burnable (2017) bothfeaturing origami paper cranes, plus the still-burning ﬂame from the bomb in We
Don't Know God (2018).

Don’t Follow the Wind
2015Courtesy: Don’t Follow the Wind Committee

Making the Sky of Hiroshima “ PIKA! ”
2009
Lambda print, video
66.7 x 100 cm (photo), 5 min. 35 sec. (video)
Courtesy: ANOMALY and MUJIN-TO Production,Tokyo
Photo: Cactus Nakao

THE GREAT EAST JAPAN EARTHQUAKEIn the immediate wake of 2011 ’s devastating Great East Japan Earthquake,
Chim ↑ Pom undertook a number of projects related to the quake, tsunami,
and subsequent nuclear power plant accident. Starting with Never Give Up(2011), this period saw the emergence of some of their best-known works
such as REAL TIMES (2011) and KI-AI 100 (2011), while in LEVEL 7 feat.
“ Myth of Tomorrow ” ( 2011) they added, guerilla-fashion, a panel depicting
the accident at the Fukushima Daiichi Nuclear Power Plant to the bottom
right corner of the existing mural in Shibuya Station by Okamoto Taro, Mythof Tomorrow (1968-1969). An ongoing project in the quake exclusion zone,
among other quake-related ventures, indicates that a decade on the disasterremains an important theme for Chim ↑ Pom.

press release

6 /11

LEVEL 7 feat. “ Myth of Tomorrow ”
2011
Acrylic on paper, PVC panel, video, and others
84 x 200 cm (painting), 6 min. 35 sec. (video)
Collection: The Taro Okamoto Memorial Museum,Tokyo
Courtesy: ANOMALY and MUJIN-TO Production,
Tokyo

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

THE OTHER SIDE
Since 2014, Chim ↑ Pom has been engaged in “The other side” series dealing
with the problem of America’s southern border. The title is taken from thename commonly used for the US by those living on the Mexican side. In 2016,
Chim ↑ Pom visited a slum area known as Libertad (“liberty” in Spanish) locatedin Tijuana along the Mexican border, and with the cooperation of local residents
built “U.S.A. Visitor Center,” a DIY tree house just beside the border wall. “Borders”
is one of the themes that Chim ↑ Pom has tackled consistently throughout theyears, and one perhaps even more important than ever in there pandemic days oflockdowns and restrected mobility.

U.S.A. Visitor Center(from the project “ The other side ” )2017 Giclee print 66 x 100 cm
Courtesy: ANOMALY and MUJIN-TO Production, Tokyo
Photo: Matsuda Osamu

MAY, 2020, TOKYO
Chim ↑ Pom installed canvases painted with cyanotype sensitizer on various
billboards located across the capital for a project undertaken in May 2020,
during Japan ’s COVID-19 State of Emergency. The texts “ TOKYO 2020 ”
and “ Atarashii Seikatsu-Youshiki (New Normal) ” on these were designed to
be unexposed, and left white. Incorporating sun, shadow, wind and rain, theseworks could be described as the open air and time, etched in blue, of streets
almost deserted during the state of emergency, when people were urged to“ stay at home. ” With deceptive simplicity, these works express the bizarre
reality of Tokyo whose blueprint for a bright future was now lost.

ELLIE
Through her actions over the years, including a Cambodian mine-clearing andfundraising project with a theme of charity and celebrity culture; and applying
to city authorities for permission to stage a demonstration, then staging awedding parade for herself through the streets in a social scrutinizing of themarriage system, Chim ↑ Pom member Ellie has consistently offered new
perspectives on some of the world ’s most deep-rooted social issues. Fromoccasional appearances in the mass media, where she is viewed as a pop icon,
to authorship of high-brow articles for a literary magazine, and everything in
between, Ellie’s activities, and indeed the very nature of her presence, defy
categorization. At first glance she may also seem to serve as the face ofChim ↑ Pom, but in this show we examine the many aspects of Ellie that do
not ﬁt neatly into conventional gender norms, feminist discourse, or the usual
image of an artist.

May, 2020, Tokyo (Hey-rasshai ) - Drawing a
Blueprint 2020 Cyanotype print, gelatin, canvas, iron frame
175.5 x 352.3 x 4.5 cm
Takahashi Ryutaro Collection, Tokyo
Courtesy: ANOMALY and MUJIN-TO Production, Tokyo
Production view: Shinjuku, TokyoSPEECH( from the project “Thank You Celeb Project - I ’m
BOKAN ” )2007 Video 1 min. 53 sec.
Courtesy: ANOMALY and MUJIN-TO Production, Tokyo
Production view: Shinjuku, Tokyo

KANE-ZANMAI
It is a shop project where they independently develop and sold originally-designed goods, along with somewhat
nonsensical experimental “products” and “works” that challenge the notion of use value. At ﬁrst glance, some of these
items may simply look like junk. However, the fact that most have previously sold out testifies to their mysterious
power that stimulates the desire to buy and consume. For Happy Spring , KANE-ZANMAI will be featured inside the
MORI ART MUSEUM SHOP 53 (located within the Museum) - therefore comprising a part of the exhibition.
press release

7 /11

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

CRYING MUSEUM
A nursery ( daycare center) will be opened at this exhibition as a newart project inspired by the child-rearing experiences of Chim ↑ Pom ’s
own members and parents of their generation, and the various barriers
they experience when going out with their children. The purpose of
the project is to increase opportunities for people raising children to
actively visit the museum and engage with art. Today, kids are forbiddenfrom playing loudly in parks and public streets, and spaces for children
are gradually disappearing from public areas. By letting children playand cry in the museum, supposedly a “ place that should be kept quiet, ”
Chim ↑ Pom raises questions regarding child-rearing environments, notonly within the art world, but also society as a whole.

Crying Museum illustration/referential image* See the Mori Art Museum website for operation and booking details of the Crying Museum . www.mori.art.museum/en

COLLABORATIVE PROJECT SPACE FOR THE MUSEUM AND THE ARTISTS
The space is where we together aim to further discussions from various perspectives in a constructive manner,which essentially stem from the differences in various positions and views that became apparent between theartists and the Museum in the process leading up to the realization of this exhibition. We will invite a variety ofexperts to speak on the issues that arose throughout the exhibition production process; from those related toart such as the relationship between artists and contemporary art museums, the history of the possibilities andlimitation of contemporary art, and freedom of expression and the artistic independence of art museums, to a wide
range of social issues behind them - in addition to the exhibition of the works below.
Works on View
+ SUPER RAT (CHIBAOKAKUN) (2006)+ SUPER RAT (2006/2011; work on video)+ EDI MAK, HYPER RAT (2022; work on video commissioned by Chim ↑ Pom)
* The details of the talks and programs will be announced on the Mori Art Museum website once decided.
www.mori.art.museum/en

To Visit the “Collaborative Project Space ”
All visits will be by appointment only; and your visit to the Project Space has to be on the same day as your visitto
the exhibition. Booking for the same-day visit to the Project Space can be made at the Booking Counter set up
inside the Mori Art Museum (53F, Roppongi Hills Mori Tower). Please note that the premise will be vacated completely
in between each time slot.
Upon completing your booking, you will be handed your booking details and a map.
Access: Approx. 10-minute walk from Tokyo Metro Hibiya Line “Toranomon Hills Station”
Hours: 11:00-17: 00* For notes on the individual works, see the following Mori Art Museum webpage:https://www.mori.art.museum/en/exhibitions/chimpom/04/index.html

press release

8 /11

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

RELATED INFORMATION
Crowdfunding for New Art Project Crying Museum :The Original Coloring Book Named a Hot Reward, with a Coloring Contest Also Scheduled
For the new art project entitled Crying Museum where Chim ↑ Pom opens a nursery (daycare center) at the exhibition,
there has been a crowdfunding currently underway for the purpose of raising funds for its operation. This new art project
was essentially inspired by the social circumstances of Japan today where it is difficult for the child-rearing generation
to casually visit museums, but how many days it can be operated in fact will depend on your support. The target amountis 4 million yen with a stretch goal set. There are six different support amounts: from 1,000 yen to 330,000 yen (taxincluded), and there will be various rewards. The most notable reward will be the Original Coloring Book by Chim ↑ Pom(common reward across the board). With the provided Coloring Book data, you will be able to not only color as you like,but also apply for the “Coloring Contest” scheduled as a project-related event. Aside from the members of Chim ↑ Pom,
Aida Makoto, Higashimura Akiko and Kawamura Kosuke will be the judges to decide the winners.
Crowdfunding Campaign Period: Currently ongoing (0:00, Saturday, January 15 - 23:59 on Thursday, March 31, 2022)
Details: See the MOTION GALLERY web page * Japanese-language only
https://motion-gallery.net/projects/moriartmuseum_chimpom_2022
Inquiries about the Crowdfunding: happyspring@mori.art.museum (E-mail)

Audio Guide
A web-app-based Chim ↑ Pom: Happy Spring audio guide is available for the Museum visitors.
As the guide is via web application, visitors are requested to bring and use their own devices (e.g. smartphones, tablets)and earphones.
* Neither devices nor earphones will be available for rent on-site.

Available in: English / Japanese
Length: Approx. 30 min.
Number of Tracks: 12
Fee: ¥500 (incl. tax)

Exhibition Catalogue
Vol. 1 (LP ver.)Content: Essay by Kondo Kenichi (Curator of the exhibition), commentary on the sections and individual works, plates,
illustrations by Chim ↑ Pom, and an LP record (Side A: Excerpt from the Happy Spring audio guide / Side B: Remix by
Wakui Tomohito)
Size: 37.5 x 37.5 cm Number of Pages: 48 (plus a large-sized poster) Languages: Japanese-English bilingual
Production: Culture Convenience Club Co., Ltd., Bijutsu Shuppan-sha Published by: Mori Art Museum, Tokyo
Date of Issue: Early April 2022 (TBD) Price: ¥2,450 (incl. tax)
* The Exhibition Catalogue Vol. 1 ( LP ver. ) will be available for purchase ONLY at the MORI ART MUSEUM SHOP 53 ( 53F,
Roppongi Hills Mori Tower), MORI ART MUSEUM SHOP (3F, Roppongi Hills West Walk) and MORI ART MUSEUM ONLINESHOP (https://shop.mori.art.museum/).
* The Exhibition Catalogue Vol. 2 is to be published after the exhibition period ends, and it will be a complete collection of
documentation including installation view images along with archival records of events organized during the exhibition.

press release

9 /11

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

Original Goods and Merchandise @ KANE-ZANMAI
Chim↑Pom’s aforementioned shop project KANE-ZANMAI will appear inside the MORI ART MUSEUM SHOP 53 (locatedwithin the Museum), therefore comprising a part of the exhibition. In addition to completely brand-new exhibition-original
goods, various items will also be available.
* All prices include tax; the images are for referential purposes only.

+ Long-Sleeve Shirts (2 color variations: white or lilac / 4 size variations: M, L, XL, or XXL): ¥8,250 (each)+ Totes (3 color variations; yellow, blue, or pink): ¥3,190 (each)+ Tin Pins (9 kinds): ¥550 (each)+ Doodle Notebook: ¥1,980+ Key Chain [Chim ↑ Pom] (2 color variations: purple or yellow): ¥1,540 (each)+ Key Chain [KANE-ZANMAI] : ¥1,650+ Pake® Zipper Bags: ¥1,100+ WE ARE SUPER RAT T-Shirts (2 color variations: white or black /4 size variations: M, L, XL, or XXL): ¥4,950 (each)and more.
Tin Pins

Long-Sleeve Shirt

WE ARE SUPER RAT T-Shirt

Tote

Key Chain [KANE-ZANMAI]

Inquiries: MORI ART MUSEUM SHOP 53
Tel: +81-(0)3-6406-6118 (Hours subject to those of the Museum)press release

10 /11Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en

CHIM↑ POM: HAPPY SPRING

Press Release vol.2

FEBRUARY 17, 2022

[ALSO ON VIEW] MORI ART MUSEUM SMALL PROGRAMS TO RUNCONCURRENTLY WITH CHIM↑ POM: HAPPY SPRING EXHIBITIONFEBRUARY 18 [FRI] - MAY 29 [SUN], 2022 MORI ART MUSEUM (53F, ROPPONGI HILLS MORI TOWER)

MAM COLLECTION IS A SERIES OF DIVERSE, THEME-BASED EXHIBITIONSSHOWCASING THE MORI ART MUSEUM'S PERMANENT COLLECTION.

MAM Collection 014:
Gravity and Inversion, Microcosmos andMacrocosmos - Tateishi Tiger, Yin Xiuzhen,
Iwasaki Takahiro and Kaneuji Teppei
Organizer: Mori Art Museum
Curated by: Tsubaki Reiko (Curator, Mori Art Museum)https://www.mori.art.museum/en/exhibitions/mamcollection014/index.html
Tateishi Tiger
FUJI HI-WAY
1992 Oil on canvas 194 x 194 cm

MAM SCREEN FEATURES OUTSTANDING SINGLE-CHANNELVIDEO WORKS FROM AROUND THE WORLD.

MAM SCREEN 015: Lu Yang
Organizer: Mori Art Museum
Curated by: Tokuyama Hirokazu (Associate Curator, Mori Art Museum)https://www.mori.art.museum/en/exhibitions/mamscreen015/index.html
Lu Yang
The Great Adventure of Material World - Game Film
2020 Video 26 min. 22 sec.

MAM RESEARCH , FOCUSING ON SPECIFIC ARTISTS AND TRENDS
PREDOMINANTLY IN ASIAN CONTEMPORARY ART, DISPLAYS MATERIAL TO
CONTEMPLATE ALONGSIDE THEIR HISTORICAL AND SOCIAL CONTEXTS.

MAM PROJECT 008:
Suddenly Turning Visible Art and Architecture in Southeast
Asia (1969-1989)
Organizer: Mori Art Museum
Curated by: Seng Yu Jin, Shabbir Hussain Mustafa, Joleen Loh,
Cheng Jia Yun (National Gallery Singapore),
Kumakura Haruko (Assistant Curator, Mori Art Museum)
Curatorial Support: National Gallery Singapore
https://www.mori.art.museum/en/exhibitions/mamresearch008/index.html

press release11 /11

José Maceda
Cassettes 100
Cultural Center of the Philippines, Manila, 1971
Courtesy: UP Center for Ethnomusicology
Photo: Nathaniel Gutierrez

Press Contact Details: Machino Kayo (Ms.)
Public Relations, Mori Art Museum Tel: +81-(0)3-6406-6111 Fax: +81-(0)3-6406-9351
E-mail: pr@mori.art.museum Web: www.mori.art.museum/en