Exhibition in Japan of the Japan Pavilion
at the 58th International Art Exhibition– La Biennale di Venezia“Cosmo-Eggs”
Period：June 23 – October 25, 2020
Venue：Artizon Museum, 5th floor
Publication：Artizon Museum, Ishibashi Foundation
Date of issue：June 23, 2020

June 23［tue.］– October 25［sun.］, 2020

Exhibition in Japan of the Japan Pavilion
at the 58th International Art Exhibition – La Biennale di Venezia“Cosmo-Eggs”List of works and documents* Titles of artworks are written in italic. Titles of‘art documents’are enclosed in single quotation marks.

* Exhibited works and order of display may be subject to change.

Reproduction of the exhbitionat the Japan Pavilion– Motoyuki Shitamichi + Taro Yasuno + Toshiaki Ishikura

Wall 02+ Fuminori Nousaku

Wall 03

The Reproduction of the exhibition at the Japan Pavilion “Cosmo-Eggs”– Yoshihisa Tanaka,‘“Cosmo-Eggs”official poster,’

MDF board, linden plywood, plywood, p tile, cardboard etc.
W13,785 x D17,217 x H4,200 mm
Design: Fuminori Nousaku
Graphic design: Yoshihisa Tanaka
Installation, technical direction: HIGURE 17-15 cas– Fuminori Nousaku,‘Model of Japan Pavilion exhibition
Cosmo-Eggs,”’

Wall 04– Taro Yasuno, Score of COMPOSITION FOR COSMO-EGGS– ‘History of the Japan Pavilion exhibitionat the Venice Biennale International Art Exhibition’Wall 01– Motoyuki Shitamichi
Tsunami Boulder ♯01, 2m, 35.10s, Video (loop), 2016
Tsunami Boulder ♯02, 2m, 08.08s, Video (loop), 2015
Tsunami Boulder ♯03, 1m, 59.14s, Video (loop), 2017
Tsunami Boulder ♯04, 9m, 00.00s, Video (loop), 2016
Tsunami Boulder ♯05, 7m, 14.21s, Video (loop), 2016
Tsunami Boulder ♯06, 1m, 42.05s, Video (loop), 2018
Tsunami Boulder ♯07, 5m, 50.23s, Video (loop), 2018
Tsunami Boulder ♯08, 1m, 36.23s, Video (loop), 2018
Tsunami Boulder ♯09, 7m, 54.20s, Video (loop), 2018
Tsunami Boulder ♯10, 7m, 35.20s, Video (loop), 2018
Tsunami Boulder ♯11, 2m, 26.08s, Video (loop), 2018
Tsunami Boulder ♯12, 12m, 11.21s, Video (loop), 20199 videos selected from the above

Glass cabinet– Motoyuki Shitamichi,‘Reseach file of tsunami boulders,’
A4 file, 2015 –2019– Taro Yasuno,‘Field recording sounds from Miyako island(chirps of Ryukyu Ruddy Kingfisher and Ajisashi),’sound, 2018
– Toshiaki Ishikura,‘Field note [COSMO-EGGS 2018–2020 No.1],’
B5 note, 2018 –2019– Fuminori Nousaku,‘Study models (balloons and screens),’model (styroform, paper, wood etc.), 2018 –2019– ‘The wooden board for the experiment of carving,’
W450 x H300 mm, MDF board, 2019
– ‘Experiment of frottage,’A4 paper, 2019
– Yoshihisa Tanaka,‘Mock-up of“Cosmo-Eggs”official catalogue,’
W235 x H295 x D20 mm, binding dummy, 2019

Table

1/50 model, 2018 –2019* List of the works for The Reproduction of the exhibition at theWooden backdrop

Wall 05

W698 x H1,030 mm, paper, 20192020

Japan Pavilion “Cosmo-Eggs”are appeared in attached A4 paper.

Wall 04out– ‘Working process timeline of“Cosmo-Eggs,”’
paper with pins, 2020

Wall 03“Singing Bird Generator,”  
W257 x H357 mm, Score, 2020
– Taro Yasuno, COMPOSITION FOR COSMO-EGGS“Singing Bird Generator,” The order of the play based

Wall 02on the rule of tweeting communication,
W4,650 x H2,400 mm, paper, 2020
– Motoyuki Shitamichi + Taro Yasuno + Toshiaki Ishikura +Fuminori Nousaku + Hiroyuki Hattori
Frottage of mythological story “Cosmo-Eggs,”
W1,960 x H970 mm (4 pieces)
Awagami paper, graphite
Layout: Yoshihisa Tanaka
Production support: IPPONGI production,

Reproduction of the exhbitionat the Japan Pavilion

the Japan Pavilion staff
2019

Wall 05

Wall 01–‘Video document of working process of “Cosmo-Eggs”’–‘Video document of the installation of “Cosmo-Eggs”’

Wooden backdrop

Shot and edited by ArchiBIMIng
2019 –2020
inGlass cabinet

Table– Catalogue Cosmo-Eggs, W235 x H295 x D20 mm,LIXIL (Japanese version) / Case Publishing (English version),  2019
– Catalogue Reflections on Cosmo-Eggs at the Japan Pavilion
at La Biennale di Venezia 2019, W182 x H258 x D22 mm,
torch press,  2020

Plan
S ＝1:200

June 23 [tue.] – October 25 [sun.], 2020

List of Works and descriptions for the Reproductionof the exhibition at the Japan Pavilion “Cosmo-Eggs”
The exhibition at the Japan Pavilion is reproduced at 90% its original
size. While the architecture of the Japan Pavilion consisted of reinforced
concrete, here it is recreated with cardboard for the entrance; the exhibition space itself is reproduced with wooden backdrops made of plywood and other materials; the marble floor has been reproduced using
p-tiles. Although the architecture has been abstracted through replaced
materials, each artwork is arranged and placed almost identical to theexhibition at the Japan Pavilion. In addition, the mythological story has
been changed from English to Japanese and carved onto the walls.

video series are located, as well as Taitung, Taiwan, and collected folklore, legends and mythologies about the creation of the world andnatural disasters like tsunamis. He interpreted and rearranged them tocreate a new mythological story in which three tribes live in coexistence with each other. The story can be read as an allegory for ourmethod of collaboration, and as a metaphorical portrayal of the possibilities for coexistence in the Asian region. At the exhibition in Venice,the story was carved onto the walls of the Japan Pavilion in English;
for the exhibition at the Artizon, the text is presented in Japanese.

− Motoyuki Shitamichi
Tsunami Boulder
4 video works (#04 [9m, 0.0s], #05 [7m, 14.21s], #09 [7m, 54.20s],#11 [2m, 26.08s]) (each video loops at its own rate), nautical chart,drawing (map and detailed information of tsunami boulders)Dimensions variable
2015–− Fuminori Nousaku
Spatial design of “Cosmo-Eggs”
Intervention, reaction and connection between each artwork and theJapan Pavilion’s architectural context
Dimensions variable
2019

The boulders carried ashore from the seafloor during tsunamis arecalled tsunami boulders. Motoyuki Shitamichi has been continuing
his research and documentation of the tsunami boulderss after encountering them on Ishigaki island. In 2019, he released the firstvideo work titled Tsunami Boulder. The four videos of tsunami boulders that surround the exhibition space each loop at their own individual sense of time.
The glass case presents a map showing tsunami boulders researched byShitamichi. The drawings above the twelve images of tsunami boulders include the boulders’ given names, their locations and information regarding Shitamichi’s footage.
− Taro Yasuno
COMPOSITION FOR COSMO-EGGS“Singing Bird Generator”
4 soprano recorder flutes, 3 alto recorder flutes, 3 tenor recorder flutes,
2 bass recorder flutes, wires, hoses, air bench (balloon),“zombie music network (ZMN)” (12 original microcomputer boards),
12 acrylic bodies, solenoid, LAN cables, switching hub
Dimensions variable2019

During a major renovation of the Japan Pavilion by Japanese architect
Toyo Ito in 2014, temporary walls made out of MDF board were installed in front of the existing concrete walls of the Japan Pavilion’sexhibition space. Fuminori Nousaku had these parts, as well as thepre-existing architecture, the mobile screens, fixtures and everythingelse created for this exhibition, painted in a green-tinged, dark graycolor. The large wheels attached to the video screens evoke the mobility of the tsunami boulders, while the orange balloons filled withair, an essential element for sustaining life on earth, supply the necessary pressure to play the recorder flutes. The swelling, inorganic orange material evokes a variety of things, such as eggs or lifeboats.

Plan
S＝1:150

Cosmo-Eggs text
Tenor
Bass

Toshiaki Ishikura conducted fieldwork of Yaeyama Island and Miyako
Archipelago, where the tsunami boulders of Motoyuki Shitamichi’s

Cosmo-Eggs text

Tsunami Boulder #05

Taro Yasuno created a composition that is automatically performed by
twelve recorder flutes, as if in conversation to Motoyuki Shitamichi’s
Tsunami Boulder videos. The birdsong of the Ryukyu Ruddy Kingfisher
that Yasuno encountered on a trip to Miyako Island together withthe “Cosmo-Eggs” team in 2019 inspired the main motif of thecomposition. Each recorder is equipped with a microcomputer (its“brain”) and becomes an individual performer participating in theperformance by playing notes in response to each other. The composition is structured to repeat after about one week, but because thesounds played by each recorder are constantly changing, no part ofthe performance is ever played twice.
− Toshiaki Ishikura
Cosmo-Eggs
Mythological story (text engraved directly onto the wall)
Dimensions variable
2019

SopranoTsunami Boulder #09

Alt
SopranoAlt

Tenor
SopranoTenor

Cosmo-Eggs text

Tsunami Boulder #11

Tsunami Boulder #04

BassDrawing map
Alt
SopranoCosmo-Eggs text