ANOTHER ENERGY

Press Release vol.2

APRIL 21, 2021

(OPENING) Another Energy:
Power to Continue Challenging 16 Women Artists from around the WorldAPRIL 22 [THU] - SEPTEMBER 26 [SUN], 2021 MORI ART MUSEUM [53F, ROPPONGI HILLS MORI TOWER]

AGED 71 to 105, ALL ACTIVE AND BUSY AT WORK!
The Mori Art Museum, Tokyo, is proud to present Another Energy: Power to Continue Challenging - 16
Women Artists from around the World from Thursday, April 22 to Sunday, September 26, 2021.
Recent years have witnessed growing moves worldwide to right inequalities around aspects of identity
such as gender, race, ethnicity, and beliefs, and attach greater value to diversity. Also in contemporary art
for the past decade or so, attention has turned increasingly to female artists who began their contemporary
art careers between the 1950s and 1970s and continue to stay active as artists today.
Another Energy focuses on 16 of these female artists in their 70s or older, from across the globe, who
continue to embark on new challenges. Ranging in ages 71-105 with their careers spanning over 50 years,
they are originally from 14 different countries, and equally diverse in their current locations. Nonetheless,what these women share regardless of recognition or evaluation by art museums and the art market is adetermination to pursue their own distinctive creative paths in turbulent environment and times.
Showcasing their wide array of powerful works from paintings, video, sculptures, to large-scaleinstallations and performances, about 130 works to total, this exhibition contemplates the nature of
the special strength or what one may call the driving force - “ another energy ” - of these artists. Amid
the unprecedented condition of the world, perhaps the sight of 16 artists, who all have spent their lives
walking their own paths with such immovable conviction, may offer us just the strength to tackle theongoing challenges and to face the future with resilience and determination.

Carmen Herrera
Diptych1978
Acrylic on canvas
127.6 x 254 x 5.7 cm
Collection: El Museo del Barrio, New York. Gift of Tony Becharapress release

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Nunung WS
Verzon #2
2020
Acrylic on canvas
150 x 125 cm

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

ANOTHER ENERGY

Press Release vol.2

PARTICIPATING ARTISTS* in alphabetical order of the artists ’ surnames

Etel Adnan
Phyllida Barlow
Anna Boghiguian
Miriam Cahn
Lili Dujourie
Anna Bella Geiger
Beatriz González
Carmen Herrera
Kim Soun-Gui
Suzanne Lacy
Mishima Kimiyo
Miyamoto Kazuko
Senga Nengudi
Nunung WS
Arpita Singh
Robin WhiteAPRIL 21, 2021

Born 1925 in Beirut; lives in Paris
Born 1944 in Newcastle upon Tyne, UK; lives in London
Born 1946 in Cairo; lives in Cairo
Born 1949 in Basel, Switzerland; lives in Bregaglia
Born 1941 in Roeselare, Belgium; lives in Lovendegem
Born 1933 in Rio de Janeiro; lives in Rio de Janeiro
Born 1932 in Bucaramanga, Colombia; lives in Bogotá
Born 1915 in Havana; lives in New York
Born 1946 in Buyeo, South Korea; lives in Paris
Born 1945 in Wasco, CA; lives in Los Angeles
Born 1932 in Osaka; lives in Osaka and Gifu, Japan
Born 1942 in Tokyo; lives in New York
Born 1943 in Chicago, lives in Colorado Springs, CO
Born 1948 in Lawang, Indonesia; lives in Yogyakarta
Born 1937 in Baranagar, India; lives in New Delhi
Born 1946 in Te Puke, New Zealand; lives in Masterton

Etel Adnan

Phyllida Barlow

Anna Boghiguian

Miriam Cahn

Lili Dujourie

Anna Bella Geiger

Photo: Gilles Bassignac

Photo: Cat Garcia

Photo: Christopher Mohan

Photo courtesy: WAKO WORKSOF ART, Tokyo

Photo: Rita Vereecke

Photo: Diana Tamane
Photo courtesy: Mendes Wood
DM, São Paulo/Brussels/New
York

Beatriz González

Carmen Herrera

Kim Soun-Gui

Suzanne Lacy

Mishima Kimiyo

Photo: Revista Avianca

Photo: Jason Schmidt
Photo courtesy: Lisson Gallery

Photo: Patrick Bokanowski

Photo: Brittney Valdez

Photo: Iikawa Takehiro

Miyamoto Kazuko

Senga Nengudi

Nunung WS

Arpita Singh

Robin White

Photo: Ron Pollard

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Photo: Christian Siekmeier

Photo: Harry Culy
Photo courtesy: McLeavey Gallery, Wellington

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

ANOTHER ENERGY

Press Release vol.2

APRIL 21, 2021

General Information
Exhibition Title: Another Energy: Power to Continue Challenging – 16 Women Artists from around the World
Organizer: Mori Art Museum
Grants from: Daiwa Anglo-Japanese Foundation, The Swiss Arts Council Pro Helvetia
In Association with: Embassy of Switzerland in Japan
Corporate Sponsors: Toyota Motor Corporation, Accenture Japan Ltd,
Aioi Nissay Dowa Insurance Co., Ltd., LIXIL Corporation, McDonald’s,
Mizuho Securities Co., Ltd., Unicharm Corporation
Support: JAPAN AIRLINES
Curated by: Kataoka Mami (Director, Mori Art Museum), Martin Germann (Independent Curator)
Exhibition Period: April 22 [Thu] – September 26 [Sun], 2021
Venue: Mori Art Museum, 53F, Roppongi Hills Mori Tower, 6-10-1 Roppongi, Minato-ku, Tokyo
Hours: 10:00-22:00 | Tue: 10:00-17:00* As Pre-Emergency Priority Measures to Prevent Infection Spread [COVID-19] have been applied to
the Tokyo’s 23 Metropolitan Wards, Mori Art Museum will close at 20:00 from Thursday, April 22 toTuesday, May 11 (will close at 17:00 on Tuesdays, with the exception of Tuesday, May 4, where it
will close at 20:00). | * Admission until 30 minutes before closing. | * Open every day.
* See the Mori Art Museum website for the latest updates concerning hours. www.mori.art.museum/en* See the Mori Art Museum website for our countermeasures against COVID-19.
https://www.mori.art.museum/en/news/2021/04/4624/index.html

Admission:［ Weekdays ］［ Sat., Sun. & Holidays ］

On-SiteOnlineOn-SiteOnlineAdults¥ 2,000¥ 1,800¥ 2,200¥ 2,000

Students (University/High School)¥ 1,300¥ 1,200¥ 1,400¥ 1,300

Children (Age 4 through Junior High School)

¥ 700

¥ 600

¥ 800

¥ 700

Seniors (Ages 65 and over)¥ 1,700¥ 1,500¥ 1,900¥ 1,700* It is encouraged to make advance booking for a designated date/time slot and purchase the admission ticket on the booking website.
* Kindly note, however, the last timeslot to make a booking/ticket purchase for on the website is 18:30-19:00 daily. Those looking tovisit the Museum after 19:00 are requested to resort to on-site purchase instead. * All prices include tax. * Holiday admission will apply
on April 30 (Fri), May 6 (Thu), and May 7 (Fri).
* Ticket also valid for admission into the Mori Art Museum small programs to run concurrently: MAM Collection 013: Lines Tell
Everything about the Universe - Kusama Yayoi, Prabhavathi Meppayil, Tsai Charwei ; MAM Screen 014: Cyprien Gaillard ; and MAM
Project 029: Oscar Murillo.
* 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

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

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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

ANOTHER ENERGY

Press Release vol.2

APRIL 21, 2021

FEATURES
All 16 Artists in Their 70s or More, with Careers Spanning over at Least 50 Years!
Another Energy shines a light on 16 female artists around the world who began their careers in the turbulent
postwar years from the 1950s to the 1970s, and who remain active today in 2021. This exhibition will offer
a multifaceted look at 50+ years of practice by artists aged from 71 to 105, presenting early works, wellknown works, and new works created for the exhibition.

How Have Artists from 14 Different Countries Seen the World?
Collectively, 16 featured artists represent an incredibly diverse range of birthplaces, current locations, modesof expression as well as lifestyles. Another Energy will also help us see a number of global phenomena andissues including feminism and migrant history through their lenses as revealed in the practices and lives ofindividual artists.

Various Interpretations of Art History
While globalism spreads and understanding towards multiculturalism becomes greater, in the world of art
as well, works that focus on the culture and history of various regions as well as artists from non-Westerncountries have come to the fore, shifting away from the context in which art has been discussed primarily inEurope and the United States. Art history itself, which had been viewed or interpreted rather monistically until
then, now began to be understood more pluralistically, based on respective history, race, ethnicity, genderand more as well. This current of art greatly overlaps with this century (since 2000) in which the activities ofAnother Energy artists started garnering attention.

Prismatic Exhibition Structure Showing the Connections among Artists,
While Emphasizing on Spatial Scale to Fully Present Uniqueness of Each Artist andPresence of the Work
Another Energy is not a so-called survey show, but rather a comprehensive showcase of female artists
with long careers. While paying attention to the international trends of art, the exhibition is structured toemphasize the spatial scale to properly present the artistry of each artist, context and the presence of
the work. In addition, by juxtaposing works by artists of completely different backgrounds, it attempts topresent the visual commonalities and similarities that transcend regions and cultural spheres, while also
highlighting the individual context and uniqueness of each artist.

Two Editions of Exhibition Catalogue to Close in on the Artists and Their Works on Display
For this exhibition, the Museum is publishing two types of exhibition catalogue: “Exhibition Guide Edition”
and full-length edition. The “Exhibition Guide Edition, ” perfectly fit for an exhibition guide as the namesuggests, is to be available for purchase on April 22, the day the exhibition opens to the public. It features
two main critical essays by the two exhibition co-curators and their dialogue, brief explanations of theartists, and the work images. Meanwhile, full-length edition will be published in early June ( exact date
TBD), featuring the above-mentioned two main essays, 16 comprehensive texts by experts from across theglobe, each focusing on the personal history of one of the 16 artists and development of their works andpractices, plus photographic documentation of the exhibition (installation view images). Together with theactual experience of the exhibition at the museum, you can learn more about “another energy” of the artists
through the exhibition catalogue.
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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

ANOTHER ENERGY

Press Release vol.2

APRIL 21, 2021

16 ANOTHER ENERGY ARTISTS* in alphabetical order of the artists ’ surnames

Etel Adnan[B.1925 in Beirut]
Born in French Lebanon (which later gained independence
from France in 1943 ) , Etel Adnan grew up in anenvironment where she spoke French as the official
language, and Turkish and Greek at home. She studied
French literature at École Supérieure des Lettres deBeyrouth, and thereafter pursued her studies in philosophy
at the University of Paris, Harvard University, and the
University of California, Los Angeles. From 1958 to 1972
she taught philosophy at the Dominican University ofCalifornia, and upon returning to Lebanon in 1972, worked
as a journalist and cultural editor for a newspaper until
1976. In 1977 she published the novel Sitt Marie Rose ,based on the Lebanese Civil War, for which she received
the France-Pays Arabes award. The novel has since beentranslated into more than 10 different languages. Adnan’s
paintings came back into the spotlight during the 2000s:
since then, she has been invited to participate in majorinternational exhibitions including documenta 13 (2012),
the Whitney Biennial (2014), and the Sharjah Biennial 12(2015). In recent years she has held solo exhibitions atmuseums such as the San Francisco Museum of Modern
Art (2018) and Zentrum Paul Klee (Bern, 2018).
Adnan, who is a poet, writer, philosopher, and artist,
maintains a cross-disciplinary creative practice that is notbound to existing categories. Having been exposed to thefeminist movement and protests against the Vietnam War
in the United States during the 1960s, and influenced
by the Algerian War (1954-1962), Adnan began writing
poetry in English, as opposed to the French that was theofﬁcial language of the countries where she was educated.
In 1967 her poetry was published in the anthology ofpoems Where is Vietnam . The difficulties of writing in
English, which was an unfamiliar language, however, led her
to pursue painting independently as a form of poetry that
employs a visual language.
Adnan ’s paintings combine geometrical figures tocreate landscapes. Instead of representing the actual
shapes of the sky and mountains, however, they translate
the sensations and emotions felt there into shapes andcolors. Her paintings are small in size, with dimensions
that almost approximate those of manuscript paper. Since
the early 1960s, she has also produced “leporello” works,
paintings in book format with folded concertina-stylepress release

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pages. Both these works illustrate the strong connection
between painting and poetry in Adnan’s practice.
While Adnan’s works are seemingly idyllic, they are
underpinned by her thoughts and emotions regarding the
war that occurred in her home country. The Lebanese
Civil War, which lasted for over fifteen years from 1975
to 1990, caused the nation’s economy to suffer, and its
land to be devastated. The cityscape and cultural heritageof the capital city of Beirut, once referred to as “the Parisof the Middle East,” was also destroyed. At the end of her
signature collection of poems The Arab Apocalypse (1980)
are the words, “knowledge, love, and peace.” Today, at theage of 96, Adnan continues to create works of art while
expressing her hopes for a better world.

Etel Adnan
Untitled2018
Oil on canvas
55 x 46 cm
Courtesy: Sfeir-Semler
Gallery Beirut/Hamburg

Phyllida Barlow[B. 1944 in Newcastle upon Tyne, UK]
Phyllida Barlow graduated from the University College
London Slade School of Fine Art in 1966, and has taught
at various institutions since the 1960s, contributing
significantly to educating and nurturing the younger
generation. She raised five children and retired fromteaching in 2009, after which she decided to focus on
her own art. Barlow’s breakthrough as an artist came in
the wake of her two-person exhibition Nairy Baghramianand Phyllida Barlow (2010) at the Serpentine Gallery in
London, and ever since she has continued to win growing
acclaim both in the UK and internationally. Barlow has held
solo exhibitions at more than ten locations across theglobe, including the New Museum in New York (2012),
Tate Britain (2014), and the Royal Academy of Art (2019).
In 2017, she represented Great Britain at the 57th Venice
Biennale.

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

ANOTHER ENERGY

Press Release vol.2

Barlow deploys inexpensive industrial materials suchas concrete, plywood, and cardboard to create sculptural
works that seem to be on the verge of transforming into
something else – often structures on the brink of collapse,
or forms about to rise up and stand upright. She isconcerned not only with the beauty of surfaces and forms,
but also the materials themselves. At the same time, shealso incorporates the relationship between the work andthe space in which it is presented as an important element.
RIG , presented in 2011, featured works that occupied
the entire architectural space from the basement to theattic, and floor to ceiling of the former bank building thatserved as the exhibition site. Visitors were invited to viewthe exhibition by navigating around, underneath, or above
the series of sculptures. Colorful fabrics and spheres, lumpsof concrete, and exposed wooden structures overwhelmedwith their sheer mass and imposing scale, bringing about
an intuitive and emotional experience to those who viewed
them. This sort of artistic expression is characteristic ofBarlow, and can be consistently observed in her otherworks.
Barlow, who grew up in London as the city was
struggling to recover from World War II amid a shortage ofgoods and commodities, came to make everyday objects
and personal items on her own. Exposed buildings and pilesof rubble caused by air raids also left a strong and lasting
impression on her. Barlow’s passion for making things did
not diminish even in the face of theory-oriented Western
art history and art criticism, including the conceptual art
that has spread worldwide since the 1960s. Her stance,
which consists in exploring infinite possibilities throughworking with her own hands, placing more emphasis on thematerials and forms themselves and personal experiencerather than theory, has resulted in a creativity that remains
unabated.

Phyllida Barlow untitled: canvasracks; 2018-2019
2018-2019
Concrete, cotton-duck canvas, hardboard, paint, plastic,
plywood, steel, tape, timber Dimensions variable
Courtesy: Cross Steele Collection
Installation view: cul-de-sac , Royal Academy of Arts, London, 2019
Photo: Damian Grifﬁths * Referential image

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APRIL 21, 2021

Anna Boghiguian[B. 1946 in Cairo]
Anna Boghiguian was born in Cairo, Egypt to parents ofArmenian descent. She studied philosophy and politicalscience at the American University in Cairo, and Arts
and Music at Concordia University in Montreal, Canada.
Boghiguian began to receive increasing international
acclaim for her work since her participation in the
Thessaloniki Biennale of Contemporary Art in 2007. She
has since been invited to take part in major international
exhibitions including documenta 13 ( 2012 ) and The
Armenian Pavilion at the 56th Venice Biennale (2015), andin recent years has held solo exhibitions at museums acrossEurope and the United States, such as the New Museum in
New York (2018) and Tate St Ives (2019).
Boghiguian has led a nomadic lifestyle, moving aroundthe globe to create works based on the local culture,
history, and social conditions of each place she has visitedand lived in. Starting with abstract painting, she has
exhibited a wide range of works including sculptures andinstallations, featuring dynamic expressions that combine
various materials such as salt, wax, wood, copper, iron, andcotton.
Her work is interspersed with mysterious images andsymbols such as alchemy, undecipherable text, the Sphinx,
and various characters in Greek mythology. A significant
number of her works also investigate the life and worksof philosophers and poets including Hegel, Karl Marx,
Machiavelli, and Plato. Among them, she has produced atotal of more than 300 works from 1995 to the present
that deal with Constantine P. Cavafy (1863-1933), who isregarded as one of the most important figures in modern
Greek poetry. Boghiguian focused on the historical nature

Anna Boghiguian
Institutions vs Masses
2019
Installation view: The Square, the Line and the Ruler ,Beaux-Arts de Paris, 2019
Photo: Nicolas Brasseur* Referential image

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

ANOTHER ENERGY

Press Release vol.2of Cavafy’s poetry and has treated poetic sentiment andhistorical events as important elements in her own practice.
The Egyptian Revolution (1952) and the Suez Crisis(Second Arab-Israeli War, 1956) that she experienced as achild, the turbulent domestic circumstances that followed,
and the situation in the Middle East including her homecountry, where culture has been destroyed by conflicts
and natural disasters, all continue to have a profoundinfluence on Boghiguian’s work. While the world seems tohave been homogenized as a result of modernization andglobalization, Boghiguian portrays it as a yet mysterious
and ever-changing chaos. Her works appear like a vasthistory of mankind, made by investigating and compilingthe multiple layers of history she has encountered while
traversing the globe.

Miriam Cahn

[B. 1949 in Basel, Switzerland]
Miriam Cahn was born in Basel, Switzerland to Jewish
parents. Her parents had each immigrated to Switzerlandfrom Germany and France respectively in order to escape
the persecution of Nazi Germany. Cahn studied at Schulefür Gestaltung Basel from 1968 to 1973, and held her
first exhibition in 1977 at Stampa, which has long beenrecognized as one of Basel’s leading cultural centers. Since
holding her ﬁrst solo museum show in 1983 at Kunsthalle
Basel, she has continued to take part in numerous
exhibitions. In recent years she has also participated in
major international exhibitions including documenta 14(2017) and the 21st Sydney Biennale (2018), and in 2019
had a large-scale solo show that toured the Kunstmuseum
Bern (Switzerland), Haus der Kunst (Germany), and theMuseum of Modern Art, Warsaw (Poland).
Cahn ’s charcoal drawings, distinguished by theirpowerful lines, as well as her vibrantly-colored oil
paintings are intimately connected to social issues such as
discrimination and violence, war, as well as her own identity
as a Jewish woman. The 1960s through 70s, during which
Cahn spent the most sensitive years of her youth, was alsoa period of heightened political activism around the world.
Women’s suffrage was granted in Switzerland in 1971, andin 1977 the Organization for the Cause of Women wasestablished, which Cahn had participated in for a while.
Cahn also took part in campaigns against theconstruction of nuclear power plants, partly due to thefact that those who had been involved in the developmentof the atomic bomb included Jewish scientists who had
opposed Nazi Germany. Political movements related topress release

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APRIL 21, 2021

war and the development of nuclear power, as well as the
personal relationships that are at the mercy of them, also
overlap with the lives of Cahn’s parents who had fled to
Switzerland. For Cahn, who had grown up listening to thishistory, it was only natural that the 2015 European refugee
crisis would be projected onto her work. In the exhibited
work das schöne blau , dated May 13th, 2017, the vivid
light blue picture plane faintly depicts refugees sinking into
the ocean.
While Cahn’s work emerges from her own identity
as well as specific places and moments in time, theyalso embody a certain universality that permeates ourcontemporary world. Cahn eventually detached herself
from OFRA’s activities, as she came to direct her attention
to a creative practice that transcended differences arisingfrom gender while also remaining aware of her identity
as a woman. A sense of equality in all dimensions runs
consistently through her thinking, such as the world ’s
refugee problems, nuclear issues, and the nature of theentire universe, including all animals and plants. Miriam
Cahn ’s art is a source of undiminishing light for thesetimes, illuminating the world we live in today, whencriticism, judgment, and division, rather than harmony andtolerance, dominate our consciousness.

Miriam Cahndas schöne blau(the beautiful blue)
May 13th, 2017
Oil on canvas
200 x 195 cm
Collection: WAKO WORKSOF ART, Tokyo

Lili Dujourie[B. 1941 in Roeselare, Belgium]
Lili Dujourie began her career as an artist in Belgium
during the 1960s. She resided in Berlin for a year between
1989 and 1990, and has continued to live and work in
Belgium ever since. While she has participated in numerous
exhibitions, her artistic practice came to enjoy increasing
attention starting in the 2000s, with invitations to present
work at major international exhibitions such as documenta

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

ANOTHER ENERGY

Press Release vol.2

12 (2007), the 7th Gwangju Biennale (2008), Sharjah
Biennale 9 ( 2009 ) , and the 21st Biennale of Sydney(2018). In 2015, large-scale solo exhibitions were held
concurrently at S.M.A.K., the Municipal Museum ofContemporary Art, Ghent, and the Mu.Zee ( Ostend,
Belgium).
Dujourie’s work, produced using a variety of techniquesand materials, is characterized by its sophisticated senseof poetic expression fashioned from only a few, limited
elements. During the 1970s, she exhibited pioneering
works in photography and video, and since the mid-1980s
has been producing three-dimensional works that makeuse of heavy materials such as iron, marble, lead, clay, andplaster. Her recent sculptures feature soft clay and papiermâché, evincing a shift to a more delicate and ephemeralmanner of expression. The subjects she deals with range
from political content to literature, music, and Western
art history, while the titles of her works are often derived
from classical literature. Her works depict various motifs
referenced from Western paintings such as drapes (fabric),
windows, painting frames, and the sea.
Dujourie’s photographic and video works from the1970s, which featured her own body, also encompass
within them various contexts, including the history ofWestern painting and feminism. In traditional Westernart, the female nude has been regarded as an objectof desire, or something that belongs to the male artist.
Gender inequality was also still very much present inBrussels during the 1970s, as laws had granted men thelegal right to act and sign on behalf of women who wereunable to rent property on their own. Given this historicalbackground and reality, Dujourie chose to use her own
body as a subject, rather than hiring a nude female model.
The human body became an important motif throughout

Lili Dujourie
Untitled (Balance) 1967
Steel and iron
Plate: 45 x 75 x 0.3 cm, bar: 300.6 x φ 2.2 cm
Installation view: Folds in Time , Mu.ZEE, Ostend, Belgium, 2015
Photo: Dirk Pauwels

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APRIL 21, 2021

her career: it harbored within it multiple layers of meaning,such as notions of home and existence.
The poetic sentiment and abstract expression foundin Dujourie ’ s work neither discloses nor obscures anything
specific. By articulating a state in which multiple elements
antagonize one another, as seen in the exhibited work
Untitled (Balance ) , she draws the viewer’s attention to
the intermediary realms created through the relationshipbetween essential elements such as artist and subject,movement and stillness, and space and time, thereby
prompting new discoveries. This approach is meditative,
while at the same time also being somewhat an Oriental.

Anna Bella Geiger[B. 1933 in Rio de Janeiro]
Anna Bella Geiger was born in Rio de Janeiro to parentsof Jewish-Polish ancestry. Geiger studied painting under
Fayga Ostrower (1920-2001 ) from around the age of
sixteen, and participated in her first exhibition at the ageof seventeen at Salão Nacional de Belas Artes in Rio deJaneiro. In 1952, she enrolled in language and literaturestudies at the Universidade Federal do Rio de Janeiro,
and moved to New York in 1954 to study art history. She
has been attracting attention in Brazil since her twenties,
having exhibited her work at the São Paulo Art Biennial
six times since 1961. In 1980, she took part in the 39th
Venice Biennale, and has since continued to expand thescope of her activities internationally. In recent years
she has held solo exhibitions at major museums acrossEurope and the United States, including Serpentine Gallery(London, 2018), Zachęta National Gallery of Art (Warsaw,
2018-2019 ) , and S.M.A.K., the Municipal Museum ofContemporary Art, Ghent (2021).
Geiger’s practice has gradually developed throughout
her career to encompass media such as painting, print,
collage, video, and installation. While her early works
include paintings inspired by the emotional and abstract
expression of informalism, since 1964 she has depictedfigurative motifs centering on her “Visceral Phase” series
that reﬂect the body ’ s organic forms.
By the late 1960s, Geiger had begun producing
works that employed print, collage and assemblage to
explore the geopolitical identity of Brazil and notions of
the periphery that bear similarities to concepts such as
developing countries and the Global South. She has also
produced works that contemplate Brazilian history andculture by engaging with motifs such as the indigenous

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

ANOTHER ENERGY

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Bororo people as well as her everyday meals. Cartography,
topography, and typography became important elements inmany of her works, inﬂuenced in part by her husband Pedro
Geiger (1923-), a geographer, and her own experience ofstudying languages at university. Furthermore, in the 1970s,
she also explored new forms of expression centering on
conceptualism and video art.
In 1987, with the art critic Fernando Cocchiarale( 1952- ) , she co-authored Geometric and Informal
Abstractionism: The Brazilian Avant-garde in the Fifties ,which became a key text for the study of contemporary
art in Brazil. Geiger’s extensive oeuvre spanning a period of
more than sixty years is underpinned by her geographical,
geopolitical, and historical research. Through her own
distinct perspective, she sheds light on the history ofpolitical turbulence, conﬂict, and exploitation that is hidden
within the world map as we now know it.

Anna Bella Geiger
O espaço social da arte (The Social Space of Art) 1977
Typewriting and photosilkscreen on paper
32.4 x 44.3 cm

Beatriz González[B. 1932 in Bucamaranga, Colombia]
Beatriz González studied architecture at Universidad
Nacional de Colombia and art at Universidad de los Andes.
In 1964 she became the first female artist to hold a solo
exhibition at the Museo de Arte Moderno de Bogotá.
Since then, she has come to receive international acclaim
for her participation in exhibitions such as the 11th São
Paulo Art Biennial (1971) and the 38th Venice Biennale(1978), while also actively working as a curator and art
historian for many years in Colombia. The first large-scale
retrospective exhibition of her work was held from 2019
to 2020: it toured the Pérez Art Museum Miami, Museumof Fine Arts Houston (Texas), and Museo de Arte Miguel
Urrutia (Bogotá).
Throughout her practice, González has articulatedpress release

9 /20

APRIL 21, 2021

a sense of Colombia ’s political and social situation byappropriating images from media such as newspapers andmagazines. Her paintings are not confined to the tableau
format: she has presented experimental works that deploy
everyday objects such as curtains and chests of drawers
as supports. In one of her representative works fromthe 1970s, she painted sections from masterpieces by
Leonardo Da Vinci and other artists onto various itemsof furniture. Inspired by the low-quality imitations ofmasterpieces that became popular in Colombia during the
1960s and 1970s, their sheer inferiority and crudenessrevealed the peripheral identity of her home country, which
was completely and remotely distant from Europe that was
regarded as being the center of art.
While González produced works that referred not
only to the culture of her country and its consumer
society, but also to the political situation in Colombia, therepression of those opposed to the government by thethen-President Julio César Turbay Ayala (1916-2005),
who assumed office in 1978, as well as the Palace ofJustice siege in 1985 which resulted in a large number ofcasualties, had a signiﬁcant impact on her. In reﬂecting on
her thoughts and feelings at the time, González stated, “I
can no longer laugh.” Since the 1980s, she has come toengage more political subjects, depicting another imageof her own country using images from newspapers andmagazines, such as drawings of Turbay, silhouettes ofslaughtered corpses, and scenes of women drowning insorrow.
In a certain sense, González has produced a series ofself-portraits of Colombia through images drawn fromconsumer society and the mass media. As the artist herself
states, “Art says things that history cannot.” Her works
reflect the identity and violence, as well as the voices andsorrows of the unnamed people of her country that lie
concealed within the iconography that saturates the media.

Beatriz González Auras anónimas (Anonymous Auras) 2007-2009
Installation view: Central Cemetery of Bogotá, Colombia, 2007-2009
Photo: Laura Jiménez

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Carmen Herrera[B. 1915 in Havana]
Carmen Herrera studied architecture in Havana, andfollowing her marriage in 1939, moved to New York,
where she attended classes in painting at the Art Students
League. From 1948 to 1953 she lived in Paris, and hassince continued to live and work in New York. Although
her first retrospective exhibition was held in 1984 at theAlternative Museum (New York, closed in 2000), it wasfrom around 2005, when Herrera was over ninety years
old, that her work started to win accolades. Since then,she has held solo exhibitions at major museums across theglobe, while the price of her works in the art market has
also experienced a dramatic increase. When she was at theage of 101, a large-scale retrospective exhibition entitled
Carmen Herrera: Lines of Sight (2016-2017) was held at
the Whitney Museum of American Art in New York.
Since the early 1950s, Herrera has created abstract
paintings depicting geometrical figures using a restrictedcolor palette. In addition to these paintings, starting in
the 1960s she has been producing her “Estructuras ”(structures) series consisting of “sculpture as architecturethat veers towards abstraction.”
Herrera ’s creative output takes its cues from thecontext of Western modern art: it establishes a kind of
correspondence with the New York art scene of the
1950s, while bearing little connection to either the artof her homeland of Cuba, or Latin American art. On theother hand, her interest in Zen philosophy can be seenin the exhibited work Kyoto (Green ) ( 1966/2016 ). In
recent years, Herrera has come to be considered one ofthe pioneers of minimalist painting in the United States,
alongside ﬁgures like of Ellsworth Kelly (1935-2015) andFrank Stella (1936-).

Carmen Herrera Angulo Rojo (Red Angle) 2017-2018
Painted aluminum
109.7 x 153.7 x 26.4 cm
Courtesy: Lisson Gallerypress release10 /20APRIL 21, 2021

Amid the rapid shifts of the art world, Herrera,throughout a practice that spans a period of over seventy
years, has dedicated herself single-mindedly to the
production of geometrical abstract paintings. A certain
austerity and suppleness honed over the years appear
to coexist in her works, manifesting themselves throughan interweaving of exquisite lines and forms. Even today,at the age of 105, she continues to create prolifically,presenting large-scale public art in addition to her ongoing
painting series.

Kim Soun-Gui[B. 1946 in Buyeo, South Korea]
Since her childhood, Kim Soun-Gui became familiar withtraditional culture (her grandfather was a Taoist scholar
while her mother was a calligrapher), as well as traditional
Korean musical instruments like danso flute, and themartial art of archery, due to her grandfather and mother
who were both calligraphers. After completing her Master’s
at the department of Arts at Seoul National University, Kim
moved to France at the invitation of a French government
scholarship in 1971, where she continues to live and work.
She graduated from École Nationale d ’ Art Décoratifde Nice in 1972, after which she undertook studies insemiology and aesthetics. While working as a professor
at École Nationale Supérieure des Beaux Arts, Marseille(1974-2000) and École Nationale Supérieure d ’ Art, Dijon( 2001-2011 ) , she took part in numerous exhibitions.
In 2019, her retrospective Soungui Kim: Lazy Clouds
was presented at the National Museum of Modern andContemporary Art, Korea in Seoul.
Her “multimedia art,” or “open media” as Kim herself
prefers to call it, employs various media such as painting,conceptual drawings, photography, video, installation, andperformance. On display at Another Energy is Forest Poems( 2021 ) , a large-scale three-channel video installation
combined with a real-time online poetr y reading
performance that shows a looped sequence of sixty
random video clips drawn from her recent video works.
These poem-reciting performances will be broadcast
online on a full moon day during the exhibition period witha group of some 100-200 participants consisting of poets,
artists, and philosophers. The Museum, whose name Mori
literally means “forest,” will be transformed into a forest ofpoems. This work, conceived under the current conditionsof COVID-19, is an apt reflection of Kim’s creativity andtheoretical investigations.

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Similar to Taoism, which seeks to grasp humanexistence amidst the monumental flux of the universe, for
Kim the artwork is a place where “environment, situation,and oneself ” come together and open themselves up
to new possibilities. This may also be a reason that Kim
deploys a cross-disciplinary approach instead of adhering
to a single medium. Her installations that make use ofrobotics and AI in recent years might also be regarded as a
response to our rapidly digitizing social environment.
Kim ’s work has continued to transform throughher wide-ranging practice and exchange of ideas with
important philosophers such as Jacques Derrida (19302004 ) and Jean-Luc Nancy ( 1940- ) , and artists likeJohn Cage ( 1912-1992 ) and Nam June Paik ( 19322006). According to her, the act of finding oneself is nodifferent from that of forgetting this same self. What istruly distinct about her practice can be found in the way
in which she has continued to create and explore througha macroscopic worldview that encompasses everythingfrom the universe and nature to human society and culturalendeavors, without even fearing the changes that she
undergoes herself.

Kim Soun-Gui Lunes (Moons)
2003-2005
Gelatin silver print
82.5 x 60 cm (each, set of 12)
Installation view: As the Moon Waxes and Wanes , National
Museum of Modern and Contemporary Art, Korea,
Gwacheon, 2014-2015

Suzanne Lacy

[B. 1945 in Wasco, CA]
Suzanne Lacy studied psychology at California State
University in Fresno, and art at the California Instituteof the Arts. At the latter, she studied with Judy Chicago(1939-), recognized as one of the pioneers of feminist
art, and Allan Kaprow ( 1927-2006 ) , the founder of“Happenings, ” and came to establish an orientation ofart entirely her own. Over the years she has also heldpress release11 /20APRIL 21, 2021

Suzanne Lacy
Inevitable Associations
1976
Performance
Biltmore Hotel, Los Angeles
Photo: Raúl Vega

several positions at academic institutions, and is currently
a professor of art at the USC Roski School of Art and
Design of the University of Southern California. Having
engaged with social issues such as feminism, Lacy isrecognized as a pioneering figure in the realm of sociallyengaged art ( or social practice ) , which has attracted
attention in an art context since 2000. She has presented
work at major museums including Tate Modern (London),Museum of Contemporary Art Los Angeles, as well as the
Whitney Museum of American Art and the New Museumin New York. In 2019, her large-scale retrospective We Are
Here was held concurrently at the San Francisco Museumof Modern Art and the Yerba Buena Center for the Arts.
Through her work, Lacy has addressed various social
issues pertaining to gender, racism, aging, and violence.
She deploys performance, video, photography, community
activities, and other media in a vast output diverse in termsof both scale and modes of expression, from personal
works that take her own body as their subject to ambitious
projects involving hundreds of participants. Among thefeatures of her work that have remained consistent since
her early performances is their emphasis not only on
content, but also visual beauty.
Lacy began her career in 1970s Southern California,
at a time when social movements seeking equal citizenshipwere ﬂourishing. She joined the feminist movement for theﬁrst time when she entered graduate scool in 1969, and in1972 she presented a performance titled Ablution basedon interviews with female victims of sexual assault. Muchof her work has focused on overcoming social taboos,
including that of aging.
In the performance Between the Door and theStreet (2013), 365 participants discussed intersectional
feminist issues all along a street of Brooklyn in New York

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City, while another 2,500 or so listened. In a subsequentinterview, one of the participants stated that “having a real
conversation with someone and sharing a part of your story
by talking about what’s important in your life... provides
connection, ” and that connection still “stays in the body.”
Lacy's continuous actions devoted to the realization ofan equal society leaves a “connection” in the bodies ofparticipants, and enables a community to be formed
when they come together. Her work demonstrates theusefulness and further potential of socially engaged art incontemporary society.

Mishima Kimiyo[B. 1932 in Osaka]Mishima Kimiyo was born to parents who ran a liquor store
in Juso, Osaka. She began to immerse herself in painting
after graduating from high school, and took up paintingclasses where she met Mishima Shigeji ( 1920-1985 ) ,who would eventually become her husband. She cameinto contact with the latest trends in art through Mishima
Shigeji, who had studied under the guidance of the leaderof the Gutai Art Association, Yoshihara Jiro (1905-1972). A
member of the Dokuritsu Fine Arts Society from 1954 to
1969, she received the Dokuritsu Prize and Suda Prize in
1963, and was awarded an honorable mention at the Shell
Art Award in 1965. Since the 1970s, she has presented
her work at numerous exhibitions in Japan and overseas.
As she produced works using print and ceramics, she wasoften invited to take part in various international print andceramic exhibitions. In recent years, however, she has won
increasing acclaim as a contemporary artist, with her works
also attracting signiﬁcant attention in overseas art markets.
During the 1950s, Mishima produced abstract
paintings influenced by informalism, which had taken theart world of the time by storm, and later began producing
collage works in the 1960s. The materials she used for her
collages included foreign magazines, newspapers, leaflets,
used futons and clothing, and mosquito nets, all of whichwere generally overlooked and thus discarded as waste.
Starting in the late 1960s, she started to incorporatesilkscreen printing into her work, pursuing a distinct formof two-dimensional expression through an integrated
technique involving collage, oil paint, and acrylic paint.
Japan at the time was about to enter a period ofhigh economic growth, and the volume of information
flooding society was burgeoning rapidly. Considering that“all information is destined to become waste material assoon as it is read and consumed,” Mishima felt a sense ofpress release12 /20APRIL 21, 2021

“anxiety and fear towards the vast amount of information
permeating modern society.”Collage and printing served asa means for her to incorporate this influx of information
into her work, and preserve it in a form that was nondisposable. In 1971, she began to produce her signature
sculptural works that model printed matter but ofceramics. By imbuing the information found in newspapers
and magazines with the sensation of mass found inceramics, these objects took on a greater sense of weightand physical substance, thereby exerting an effect on thespace of reality.
Mishima describes her practice as “a continued effort
at creating waste.” This “waste,” the proper appraisal ofwhich had long been delayed because it failed to conformto conventional frameworks like art and craft due to itsvery uniqueness, represents a perpetual confrontation withsociety. At long last, the significance and importance ofcontinuing to capture its essence is becoming evident.

Mishima Kimiyo
Work 92-N
1990-1992
Silkscreen on ceramic
227 x 490 x 390 cm
Photo: Ogawa Shigeo
Photo courtesy: Bijutsu Shiryo Center, Tokyo

Miyamoto Kazuko[B. 1942 in Tokyo]
After graduating from the Gendai Bijutsu Kenkyujo inTokyo, Miyamoto Kazuko moved to the United States in
1964, where she attended the Art Students League. Since
then she has continued to live and work in New York. In
1968, she met Sol Lewitt ( 1928-2007 ) , who kept a
studio in the same building, and came to work as his firstassistant. From 1974 to 1983, she belonged to the A.I.R.
Gallery, a non-proﬁt organization of female artists. In 1986
she founded her own gallery, called “Onetwentyeight,”
and remains involved in its operations. From the 1970s up
until the present, she has presented her work at numerous
exhibitions mainly in New York. In recent years, however,Press Contact Details: Machino Kayo (Ms.)
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her activities have once again attracted attention, including
invitations to take part in international exhibitions suchas the 2nd Kochi Muziris Biennale ( India, 2014 ) , andManifesta 12 (Palermo, 2018).
Miyamoto ’s artistic output, which spans twodimensional and three-dimensional pieces, installations,and performances, can be broadly divided into works dating
up until the 1970s, and those produced during 1980s andafter. During the 1970s, she produced works that reﬂected
the influence of Minimalism, such as the exhibited works
Black Poppy (1979) and Wheel (1976), which consists ofa series of geometric figures and straight lines. Since theappearance of these three-dimensional spaces constructedentirely out of string and nails changes depending on the
point from which they are viewed, the participation andphysical presence of the viewer are important elements of
the work. Miyamoto herself has said that “being Japanesemeans being a minimalist.” True to these words, she has
considered and explored Minimalism from her own distinct
perspective while drawing connections between it andJapanese forms of artistic expression that are refined byeliminating the superﬂuous.
Starting in the 1980s, Miyamoto ’s interest shifted
towards human relationships with nature and society,partially inﬂuenced by her experience of childbirth. Moving
away from mechanical and inorganic forms of artistic
expression, she began producing organic installations using
natural materials such as tree branches, leaves, and ropes.
She also actively staged performances, including works inwhich she disguised herself as various figures, such as an
astronaut, a homeless person, or a prostitute on the streetsof New York. In these performances she has conveyed therelationship between individuals and society as a key motif
through her own body, while engaging with those who arealienated from that society, such as occupational and racial
minorities.
Since leaving Japan, Miyamoto has pursued her
own creative practice in the New York art scene, which
is predominantly white-male-centered. Her gallery“Onetwentyeight ” has actively offered artists of various
races, ethnicities, and genders an equal opportunity topresent their work, regardless of whether they are famousor unknown. Miyamoto’s wide range of works and activities
are her response to society: they can be regarded as
the very traces of her endeavors in confronting various
struggles and challenges.

press release13 /20APRIL 21, 2021
Miyamoto Kazuko
Black Poppy
1979
String and nails
274 x 183 x 213 cm
Courtesy: EXILE, Vienna; Take
Ninagawa, Tokyo
Installation view: New Work , A.I.R.
Gallery, New York, 1979

Senga Nengudi[B. 1943 in Chicago, IL]
Senga Nengudi grew up in Pasadena and Los Angeles in
California, and studied dance and sculpture at California
State University. In 1966, she moved to Tokyo and studied
at Waseda University for a year, having developed aninterest in the culture of Japan as a non-Western region,and the Gutai Art Association that she had learned aboutfrom Michel Tapié’s book Avant-Garde Art in Japan (1962).
While in Japan she was exposed to traditional Japanese
performing arts such as Kabuki, Noh , and Gagaku . In theearly 1970s, she became an important artist in the Black
Arts Movement ( 1965-1975 ) , and since then she has
exhibited at numerous exhibitions across the United States.
In recent years she has received increasing international
acclaim, participating in the 57th Venice Biennale in2017. A large-scale retrospective of her work was heldfrom 2019 to 2021, starting at the Lenbachhaus (20192020) in Munich, before touring the São Paulo Museumof Art (2020), Denver Art Museum (2020-2021), and thePhiladelphia Museum of Art (2021).
Nengudi ’s work, which combines sculpture andperformance, is inﬂuenced by performing arts, West African
rituals, contemporary music such as jazz, and the civilrights movement that peaked in the mid-1960s. However,
Nengudi pursued improvisation and theatricality in aconceptual way instead of directly expressing cultural andpolitical content, and thus established her own mode ofabstract expression.
In the mid-1970s Nengudi began the productionof the “R.S.V.P ” series for which she is best known.
These works feature everyday objects like pantyhoses,
and was sparked by her interest in the elasticity of thePress Contact Details: Machino Kayo (Ms.)
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body following the pregnancy and birth of her child. The
pantyhoses are stretched, twisted, knotted, and ﬁlled withsand, and although they do not represent specific bodyparts, their organic forms are reminiscent of the humanphysique.
With regard to her work, Nengudi has stated, “myart responds to being Black, being a woman, and beingof a certain age. Artworks you’ll see on display represent
someone who has had children, cared for her mother, andexperienced many of the things life has to offer.” In one
artist statement she has also written, “my work says ‘yes’ toall those who have been told ‘no’ by the majority [society].”
While Nengudi’s work is often associated with feminism,
post-minimalism, and the Black Arts Movement, strictly
speaking they do not ﬁt within any of these frameworks, as
they are deeply rooted in her personal experience, and arealways open to a wide variety of people.

Senga Nengudi
Studio Performance with R.S.V.P.
1976 Gelatin silver print
Photo: Ken Peterson
Photo courtesy: Sprüth Magers; Thomas Erben Gallery; Lévy Gorvy

APRIL 21, 2021

artistic expression through abstract paintings composedof limited colors and rectangular forms. She owes a great
deal of her inspiration to the daily life, architecture, andnatural environment of Java, underpinned by over 20 years
of independent research on traditional textiles such as
woven, songket , and batik fabrics, as well as the customsof various temples and communities, including the remains
at Borobudur.
Nunung ’s practice appears to bear an affinity to
the Minimalist painting that emerged in Europe and theUnited States during the 1960s. In contrast to Minimalism,
however, which rejects emotional expression and illusion
in favor of the sole pursuit of pure color, her paintings
lead with the colors of her motifs and are unique in how
they depict rich emotions and a deep spiritual quality. For
Nunung, the red color of the Minangkabau fabric made inWest Sumatra and the red color of Aceh fabric native tonorthern Sumatra are completely different in spiritual value.
Her exhibited work Dimensi Tenun #1 (Dimension of a
Weaving #1) (2019) serves to convey the diverse spiritualvalues associated with the colors of textiles.
Nunung describes painting as a “spiritual journey,”and life as a “landscape of the soul.” Looking to her daily
life, the rich cultures that people have built over time, andthe magnificence of nature as a starting point, she hascontinued to express the inner spiritual world of humanbeings through sophisticated colors and shapes. These
works are a reflection of her own life, while at the sametime seeming to allude to the infinite expanse that lies
hidden within each individual life.

Nunung WS[B. 1948 in Lawang, Indonesia]
Nunung WS was born into a devout Islamic family. Her
involvement in sports and strict religious ceremonies on adaily basis from an early age cultivated in her a strong senseof independence. By the time she graduated from highschool, she had decided to pursue a career as an artist.
She studied at the Surabaya Fine Arts Academy, during
which time she became influenced by Kartika Affandi(1934-), one of the few Indonesian female artists at thetime, and Nashar (1948-1994), who was known for his
abstract landscape paintings. She has shown at numerous
exhibitions in Indonesia since the 1970s, and has also
participated in exhibitions in Europe since the 1990s.
Nunung explores the infinite possibilities of color inpress release14 /20

Nunung WS
Dimensi Tenun #1 (Dimension of a Weaving #1)
2019
Acrylic on canvas
425 x 180 cm (set of 5)

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Arpita Singh

Press Release vol.2[B. 1937 in Baranagar, India]
Arpita Singh was born in Baranagar in Kolkata, West
Bengal, and moved to Delhi at an early age. She studied
art at Delhi Polytechnic in the 1950s, shortly after India’s
independence from Britain. After graduating, Singh
worked at the Weavers Service Centre operated by the
Indian government, where she acquired knowledge andtechniques related to textiles. Since holding her first solo
exhibition in New Delhi in 1972, she has taken part innumerous exhibitions both in India and overseas. She haspresented work abroad at institutions such as the Royal
Academy of Arts at London ( 1982 ) , Centre Georges
Pompidou (1986), the Art Gallery of New South Wales(1993), and in 2019, a large-scale retrospective held at
the Kiran Nadar Museum of Art in New Delhi. In 2011
she was awarded the Padma Bhushan, one of the highest
orders of India, and is recognized as a leading national
artist.
Singh ’s paintings are distinctive for their symbolic
narratives, constructed by interweaving various fragmentaryelements. These works deal with a wide range of themes,
from mythological and historical subjects to issues
concerning India’s rapidly developing contemporary society,and even autobiographical content that suggests ties tofeminism, including her relationship with her own daughter.
While Singh’s early work centered on landscape paintings,
starting in the mid-1970s she began to tackle a more
abstract form of expression, as seen in the exhibited work
Untitled (1976). By the 1990s, her works had evolved
into her current idiom in which the abstract and ﬁgurative,
symbols, text, and numbers are blended together to forma harmonious whole. The spatial compositions reminiscentof traditional Indian miniature painting, and her vibrantcolor palette based on pink and blue hues, come together
to create a unique worldview. In addition, her detailed
depictions and repeated patterns overlap with the artistic
idiom of kantha, a type of traditional Indian embroidery
craft that she had learned while working at the Weavers
Service Centre.
In the exhibited work My Lollipop City: Gemini Rising(2005), airplanes hover in the sky above a symbolically
depicted pair of twins, while men that look like politicians
are depicted on top of a map of Delhi. The text in themargin reads, “57 men and 12 women ( rest aborted,
burnt, and banished).” Closer inspection reveals 17 women
half buried in the ground among the crowds of men. Also
written in the margin is the phrase “THIS MAP IS FAULTY
press release15 /20APRIL 21, 2021

DO NOT FOLLOW IT,” indicating that the work might
indeed be regarded as a criticism against the power
structures and hierarchies that govern the capital of Delhi.
Also presented in this exhibition is the work Searching
Sita Through Torn Papers, Paper Strips and Labels (2015),
which depicts women being attacked, with the words “Sita
You I US” written across the top. This work is a responseto the current situation in India, where there are countlessincidents of young women being kidnapped and sexuallyassaulted. Furthermore, as inspired by the Japanese tropeof the thousand paper cranes as a prayer for peace, theword “ORIGAMI” can be seen floating on the river thathas been created by joining strips of paper together.
Underlying these narratives woven with a rich imaginationand outstanding sense of color is the artist’s sincerity inpraying for a better society and way of human life.

Arpita SinghMy Lollipop City: Gemini Rising2005
Oil on canvas
152.4 x 213.3 cm
Collection: Vadehra Art Gallery, New Delhi

Robin White[Born 1946 in Te Puke, New Zealand]
Robin White studied painting at Elam School of Fine
Arts, the University of Auckland, where she was taught by
Colin McCahon (1919-1987), one of New Zealand ’ s(Aotearoa ’ s) most prominent modern artists. By the late1970s, she had come to be recognized as a key figure of
New Zealand Regionalism. In 1982 White and her family
moved to the Republic of Kiribati, settling in its capitalof Tarawa. In Tarawa, she began to incorporate traditional
craft techniques and materials into her work, such as local
everyday items and ornamental objects. She returned to
New Zealand in 1999, and ever since has continued to live
and work in Masterton. A large-scale retrospective of her
work is scheduled to take place in 2022 at the Museum of

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New Zealand Te Papa Tongarewa.
White’s two-dimensional work, which incorporates
traditional craft techniques and materials, represents an
expanded space of painting. The exhibited work, Seen
Along the Avenue ( 2015-2016 ) is made using tapa , abarkcloth that is essential to the local lives of the people
living in the Pacific islands. Since tapa is produced byseveral women working together in a collaborative fashion,
White, too, also came to incorporate collaborative work
into her practice. Tapa is not only deployed for practicaluses as a building material for houses and the interiorsof homes, but also for ceremonial uses such as wrapping
newborns, or the bodies of the deceased. Even in White’swork, the women involved in the production sit, lie down,
and dance barefoot on it during special occasions.
These works not only expand the space of painting,but also serve as an extension of the individualistic values
that have prevailed since the modern Western era, which
only regards the figure of the individual artist as the soleauthor of a work. White has also worked collaboratively
with Japanese women in addition to women from
communities in the Republic of Fiji, the Kingdom of Tonga,
the Republic of Kiribati, and Aotearoa.
For the people of Tarawa, the sea is a source of food,a means of communication with other islands, and a sacred
presence. White’s work, which responds to both the ocean
and its environment while incorporating traditional crafts
and lifestyles within it, contains multiple layers of meaning
pertaining to identity issues, critical perspectives onmodern society, and a consideration for the environment.
Underlying all this is White’s belief in the Baha’i faith andits teachings on peace, gender equality, the spirit of social
contribution, and a deep compassion for humanity.

press release16 /20APRIL 21, 2021

Robin White and Ruha Fiﬁta
Seen Along the Avenue (from the series “ Ko e Hala Hangatonu: The Straight Path”)
2015-2016
Earth pigments and natural dyes on ngatu (barkcloth)
2,400 x 380 cm
Installation view: Seen Along the Avenue , The National Gallery of Victoria, Melbourne,
2016
Photo: Michael Fudakowski

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APRIL 21, 2021

Exhibition-Related LEARNING Programs
CURATOR TALK * Conducted online; Japanese-English simultaneous interpretation available
The Another Energy co-curators will talk about the concept of the exhibition, the process involved in putting the exhibition
together, and other points of interest.
Appearing: Martin Germann (Independent Curator), Kataoka Mami (Director, Mori Art Museum)
Moderator: Tokuyama Hirokazu (Associate Curator, Mori Art Museum)
Date & Time: 17:00-18:30, Thursday, April 22, 2021 (livestreaming) Fee: free Booking: Not required

ARTIST TALK

* Conducted online; Japanese-English simultaneous interpretation available

Another Energy artists talk about their artistic activities to date, including the showcased artworks in the exhibition.
Appearing: Phyllida Barlow (Another Energy Artist)
Discussants: Martin Germann, Kataoka Mami
Date & Time: 18:00-19:30, Friday, May 28, 2021 (livestreaming) Fee: free Booking: Not required“ MEET THE ARTISTS ” WORKSHOP SERIES“ YAMAMOTO TAKAYUKI ’ S ICHTHYS ”

In this project, children will learn about the diverse manifestations of sex determination in the world of fish, and join artist
Yamamoto Takayuki and musicians to express these. Children will write songs and make costumes, sets etc., in a series ofworkshops, and ﬁnish by staging a musical, which will be ﬁlmed and made available for viewing.
Appearing: Yamamoto Takayuki (Artist)
Date & Time: June-August 2021 (details TBD)
Venue: Mori Art Museum (53F, Roppongi Hills Mori Tower), Goethe-Institut Tokyo, and others
For: Children aged 6-10 Organizers: precog co.,LTD., Mori Art Museum
Planning: Tanaka Miyuki (Independent Curator), precog co.,LTD., Mori Art Museum Learning
Planning Cooperation: The Nippon Foundation DIVERSITY IN THE ARTS
Support: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture; The Nippon Foundation
Cooperation: Goethe-Institut TokyoCOMMUNITY ENGAGEMENT PROGRAM“ART CAMP FOR UNDER 22 VOL. 6 - IN/BETWEEN: CONNECTING MUSEUMS ”* Conducted in JapaneseIn this program, the Sakamoto Zenzo Museum of Art in Oguni, Kumamoto Prefecture, and the Mori Art Museum willconnect online. Leading efforts to make that link will be young people recruited by each museum, who will meet curatorsfrom the museums and artists online to get a close-up look at art in practice, and discuss in their own words just what
exactly constitutes art. A wonderful opportunity to make online connections with youth in a different part of Japan,
through art.
Appearing: Namstrops (Contemporary dance company), Okayama Naoyuki (Artist), Sakazaki Ryuichi (Artist), Yamashita Hiroko (Curator,
Sakamoto Zenzo Museum of Art), Tokuyama Hirokazu (Associate Curator, Mori Art Museum), Shiraki Eise (Associate Learning Curator, Mori Art
Museum) and others
Date & Time: May-July 2021 (details TBD)
Venue: Online program using Zoom (video conferencing/meeting)
For: Youths aged 13-22
Organizers: Mori Building Co., Ltd., Mori Art Museum, Sakamoto Zenzo Museum of Art

press release17 /20Press 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

ANOTHER ENERGY

Press Release vol.2

APRIL 21, 2021

COMMUNITY ENGAGEMENT PROGRAM “ART CAMP FOR UNDER 22 VOL. 7 HUMAN BEGIN: WHAT ARE WE DOING TOMORROW? ”
In this program, we will join members of the upcoming generation to think of messages that update previously accepted
norms around sex and gender, and use our bodies to express these. This will be a chance to scrutinize, through dance,
how we can be our authentic selves in gender terms, and explore societal values around sex and gender. Dance andchoreography that would come out of this program will be distributed widely by social media platforms and others in an
attempt to share them with a larger audience even after the workshop.
Appearing: Tsujimoto Tomohiko (Dancer/Choreographer), Sugawara Koharu (Dancer/Choreographer)
Date & Time: June-August 2021 (details TBD)
Venue: Mori Art Museum (53F, Roppongi Hills Mori Tower)* During the process, Zoom (video conferencing/meeting) may also be used for online communication and dialogue.

For: Youths aged 15-22
Organizers: precog co.,LTD., Mori Art Museum, Mori Building Co., Ltd.
Planning: precog co.,LTD., Mori Building Co., Ltd., Mori Art Museum Learning
Support: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture; The Nippon Foundation
Planning Cooperation: The Nippon Foundation DIVERSITY IN THE ARTS
* Please note that the programs are subject to change without prior notice.
* A series of Artist Talks by Another Energy artists, Talk Sessions by experts and specialists, along with School Programs and Access
Programs are currently in planning. Visit the Mori Art Museum website for the program details, latest information and updates.
www.mori.art.museum/en
Inquiries on the Programs: Learning, Mori Art Museum
Tel: +81-(0)3-6406-6101 (11:00-17:00, Weekdays only) Fax: +81-(0)3-6406-9351 E-mail: mam-learning@mori.co.jp

挑戦しつづける力──世界の女性アーティスト 人

アナザーエナジー 挑戦しつづける力──世界の女性アーティスト 人

Etel Adnan
エテル・アドナン
フィリダ・バーロウ Phyllida Barlow
・
アンナ ボギギアン Anna Boghiguian“Exhibition
For this exhibition, the Museum is publishing two types of exhibition catalogue,
Miriam Cahn
ミリアム・カーン
Lili Dujourie
リリ・デュジュリー“・Exhibition
Guide Edition” and the regular, full-length edition. As the name suggests,
the
・ベラ
アンナ
ガイゲルAnna Bella Geiger
トリス・ゴンザレスBeatriz González
Guide Edition” is perfectly ﬁt for exhibition guide, available for purchase onベア
April
22.
・ヘレラ
Carmen Herrera
カルメン
Kim Soun-Gui
キム・スンギ・ヌレイシー Suzanne Lacy
Exhibition Catalogue [Exhibition Guide Edition] スザン
Mishima Kimiyo
三島喜美代
Miyamoto Kazuko
宮本和子
The edition features two main critical essays by the two exhibition co-curatorsandィtheir
Senga Nengudi
センガ・ネングデ
Nunung WS
ヌンWS
dialogue, brief explanations of the artists, work images, and list of works. アヌ
Arpita Singh
ルピタ・シン・Robin White 16
ロビン bilingual
ホワイ
トSize: A4 variation (28.2 x 21 cm) Number of Pages: 168 Languages: Japanese-English

EXHIBITION CATALOGUE

16

Another Energy Power to Continue Challenging 16 Women Artists from around the World

Another Energy

Edited and Published by: Mori Art Museum, Tokyo | Film Art, Inc.
Date of Issue: April 22, 2021 (exhibition opening day) Price: ¥1,870 ( incl. tax )アナザーエナジー

RELATED INFORMATION

Another
EnergyPower toContinue Challenging
16 Women Artists
from around the World

フィルムアート社

フィルムアート社

Another Energy Exhibition Catalogue
The full-length exhibition catalogue features two main critical essays by the two exhibition co-curators, 16 comprehensive
texts contributed by experts from across the globe, each focusing on the personal history of one of the 16 artists anddevelopment of their works and practices, photographic documentation of the exhibition (installation view images), list ofworks, plus artists’ biography and bibliography.
Size: A4 variation (28.2 x 21 cm) Number of Pages: 368 Languages: Japanese-English bilingual
Edited and Published by: Mori Art Museum, Tokyo | Film Art, Inc.
Date of Issue: Mid-June 2021 (TBD) Price: ¥5,500 ( incl. tax )press release18 /20Press 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

ANOTHER ENERGY

Press Release vol.2

APRIL 21, 2021

EXHIBITION-ORIGINAL GOODS AND MERCHANDISE
アナザーエナジー展

ロゴグッズ

At the “Mori Art Museum Shop 53” located within the Museum, exhibition-original goods and merchandise including
T-shirts, sacoche (shoulder bag) with the with Another Energy logo are for sale.
In addition, the Exhibition Catalogue [Exhibition Guide Edition] and the above-mentioned sacoche will be sold as a set
for a bargain price of 2,500 yen.
T シャツ

サコッシュ

・T-Shirt (2 color variations: white or silver gray) ¥2,640 (each))Bagロゴグッズ
・Sacoche (Shoulder
アナザーエナジー展
・Tin pin

アナザーエナジー展¥1,100
¥550
¥540

ロゴグッズ

T シャツ

・TGlucose
Ramune Fizzy Candies
シャツ

缶バッジ
サコッシュ

(All prices include tax)
ホワイト

シルバーグレー

缶バッジ

缶バッジ

ラムネ

ラムネ

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

SPECIAL DISCOUNT CAMPAIGN“ ONE-COIN ADMISSION FOR STUDENTS AND CHILDREN FOR A LIMITED-TIME ONLY ”
Mori Art Museum is launching a special discount campaign to show support to students and children for a limited time
only - from Thursday, April 22 (exhibition opening day) through Monday, May 31, 2021, students and children are eachadmitted to the Mori Art Museum for just “ one coin,” i.e., 500 yen across the board. Usually, student admission is 1,300
yen [weekdays] / 1,400 yen [Sat., Sun., and holidays] and child admission is 700 yen [weekdays] / 800 yen [Sat., Sun., andholidays]. Targeting a number of many students and children currently affected by the spread of COVID-19, Mori Art
Museum is running this campaign in hopes of providing them with opportunities for physical learning and experiences.
Period: Thursday, April 22 - Monday, May 31, 2021
Campaign Admission: 500 yen, across the board for students and children[Admission for a student usually is 1,300 yen [weekdays] / 1,400 yen [Sat., Sun., and holidays] and for a child 700 yen [weekdays] /800 yen [Sat., Sun., and holidays].
* Students: University, College/Jr. College, High School Students* Children: Those from Age 4 up to those in Junior High Schoolpress release19 /20Press 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

ラムネ

ANOTHER ENERGY

Press Release vol.2

APRIL 21, 2021

[ALSO ON VIEW] MORI ART MUSEUM SMALL PROGRAMS TO RUNCONCURRENTLY WITH ANOTHER ENERGY EXHIBITIONAPRIL 22 [THU] - SEPTEMBER 26 [SUN], 2021 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 013:
Lines Tell Everything about the Universe- Kusama Yayoi, Prabhavathi Meppayil,
Tsai Charwei
Organizer: Mori Art Museum
Curated by: Kumakura Haruko (Assistant Curator, Mori Art Museum)https://www.mori.art.museum/en/exhibitions/mamcollection013/index.html
Tsai Charwei Circle II2011 Video, color, silent 56 sec.

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

MAM SCREEN 014: Cyprien Gaillard
Organizer: Mori Art Museum
Curated by: Tsubaki Reiko (Curator, Mori Art Museum)https://www.mori.art.museum/en/exhibitions/mamscreen014/index.html
Cyprien Gaillard Ocean II Ocean2019 High-deﬁnition video, sound
10 min. 56 sec.
Courtesy: Sprüth Magers, Berlin, London and
Los Angeles; Gladstone Gallery, New York andBrussels

MAM PROJECTS IS A SERIES OF PROJECTS COMMISSIONED
BY THE MORI ART MUSEUM PRESENTING CONTEMPORARY ART IN ALL ITS DIVERSITY.

MAM PROJECT 029: Oscar Murillio
Organizer: Mori Art Museum
Curated by: Yahagi Manabu (Assistant Curator, Mori Art Museum),Mori Art Museum Learning
In Association with: The Embassy of the Republic of Colombia in Japan
https://www.mori.art.museum/en/exhibitions/mamproject029/index.html
Oscar Murillo
disrupted frequencies (Turkey, Colombia, Germany)
2013-2019
Ballpoint pen, fountain pen, graphite, felt tip pen, highlighterpen, permanent marker, paint, crayon, staples, natural pigments,
debris, oil, oil stick and other mixed media on canvas
170 x 185 cm
Photo: Tony Prikryl Photo courtesy: Aspen Art Museum

press release20 /20Press 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