Haruka Kojin (artist), Kenji Minamigawa (director), and Hirofumi Masui (production manager) are the founding trio of 目[mé] (which means "eye" in Japanese). Their approach? "To create works that allow us to relive the 'world as it is' that constantly unfolds before our eyes," they explain on their website. This rather mysterious intention has nonetheless led the Japanese collective, created in 2013, to exhibit at the Japan Society in New York and the Centre Pompidou-Metz, which have presented several of their installations. Japanese private homes seem to be a favorite disruptive space for the artists, who have previously integrated an extremely minimalist art gallery into a dilapidated house on another Japanese island in 2020. Other notable works include giant inflatable faces installed above natural landscapes and the recreation of monumental waves.
Pull back the rickety door inside Yerba Buena Center for the Arts and you'll reveal a tunnel of fast-spinning motorized moths and bats. Turn a few corners to find a classic bedsheet ghost - at first it's unclear whether it's an actor or a sculpture. A few more corners and you might find a curious red-eyed, ghillie-suited woodland creature - a costumed scare actor that is definitely not a sculpture.
The exhibition was inspired by the Obangsaek color spectrum, Korea's traditional palette representing the five cardinal directions, elements and cosmic balance-and it's an absolutely transfixing sight to see. The team at Genesis collaborated with actress and singer Ashley Park who brought her own Korean heritage and her passion for storytelling to the exhibition. See CHROMA: Tales Between Hues for free at Genesis House (40A 10th Ave. in the Meatpacking District) through December 14.
New York loves a spectacle-especially one that glows, hums and vibrates with enough sensory power to make Times Square look understated. Enter reSOUND New York, the latest immersive art experience to land at Rockefeller Center, transforming the iconic rink level into a labyrinth of light, sound and touch. Created by d'strict, the Korean art and design collective responsible for viral digital works like WAVE and Waterfall-NYC, the exhibition marks their official New York debut and will run through October 31, 2026.
With its roots in the conceptual and immersive experiments of the Dadaists and Surrealists in the early 20th century, installation art emerged as its own genre in the late 1950s. The approach gained momentum during the next couple of decades, usually revolving around site-specific responses to interior spaces. Taking many forms, installations sometimes incorporate light, sound, projections, performances, and participatory or immersive elements.
Instead of home repair, this Afrofuturist exhibition explores the concept of reparations, imagining what a "transformed world actually looks like and feels like." The exhibition, titled " Futures of Repair," has brought together six artists to create an entire world set in 2165-about 125 years after theoretical global reparatory actions transformed society. The result? A powerful space filled with interactive installations, sound sculptures, meditation space and healing.
The closing weekend of Neo Kaos Garden at Ibiza's colossal new venue, [UNVRS], was less a party and more a vibrant, collective odyssey into a world where art, music, and technology violently and joyously collided. The event, a partnership between the legendary party organisers elrow and the visionary artist Okuda San Miguel, was described by Okuda as a "digital circus," a 2.0 version of his psychedelic universe brought to life with geometric creatures, moving stages, and a 360-degree immersive spectacle.
