Crowds shouldn't stop you from seeing the hit Ryuichi Sakamoto exhibit
The show has been a smash hit, far exceeding the expectations of the curatorial team. At the time of writing, tickets are sold out for the following weekend. For the remaining month of the show, visitors under 18 can enter for free, which may only boost crowds further.
A month into the show's opening, long lines and wait times prompted the museum to introduce additional crowd control measures. On Jan. 29, MOT established date-specific ticketing, and two weeks later began restricting which works could be photographed or video recorded. The museum also rerouted the entry point for 'Life-Well Tokyo, Fog Sculpture #47662' a collaboration with fog artist Fujiko Nakaya and Dumb Type's Shiro Takatan, presumably to decrease congestion while people wait for the installation to start. This is arguably the most Instagrammable work of the video— and sound-heavy exhibit, so it's bound to draw people needing something good for the grid.
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Metropolis Japan
05-07-2025
- Metropolis Japan
Artist Tomei: Curating Transparent Life (+Aesthetic Jelly Recipe)
Interview with mysterious artist Tomei on the beauty of clear things. By Takeshi Dylan Sadachi This article was originally published as 'Artist Tomei and the Beauty of Clear Things' and 'Aesthetic Recipe: Edible Pond Jelly Inspired by Claude Monet' in Metropolis Magazine, 'Water' Summer 2025. Read the full issue here. Obsession with Clarity: Aesthetic Recipes and Beyond Tomei doesn't remember exactly when it began; only that from the moment she became aware of the world around her, she was already mesmerized by the ripples on water, the waves of the ocean and the surface of a pool shimmering in light. She's always been drawn to the transparent. Even as a child, she collected sea glass and marbles. Today, her job title is tomei aikoka —a transparency aficionado. Her favorite color, she says, is 'clear.' She often returns to a line by Antoine de Saint-Exupéry: ' L'essentiel est invisible pour les yeux.' What's essential is invisible to the eye. Water has no shape or color, yet it's omnipresent and vital. She says it's this contradiction of knowing something is there but not being able to see it, that continues to draw her in. Tomei first gained attention through her ethereal recipe videos, which she started posting in 2019, often featuring aesthetic jellies. Her repertoire now includes everything from wagashi and kohakuto (Japanese crystal candies) to soda floats, on which she has published a book. Photography and videography are more than just ways to document her recipes: they are mediums for translating her love of clarity into visual art. She now curates and collects: objects, art, music playlists and fragments of everyday life seen through her lens. She also writes and takes on creative direction. Her newest venture includes launching a jewelry line. While transparency might sound like a specific and niche obsession, it's surprisingly omnipresent and expressible across diverse mediums. Her work is multidisciplinary, yet unmistakably cohesive. In Conversation With Tomei Do your aesthetics influence how you live day to day? Yes. Even when it comes to daily items or room decor, I tend to collect transparent things, often without realizing it. I've probably gathered over a hundred by now. But they're not carefully displayed like collector's items; they're just quietly woven into my everyday life. As for clothing, I find myself reaching for white more and more. White pairs beautifully with transparency, and it holds deep meaning in Japanese culture. It represents purity, and has long been essential in Shinto tradition. Brides wear a white kimono to mark a new beginning, and the deceased are wrapped in white as they depart this world without impurity. It's a color used from start to end, in both celebration and farewell. It is rich in meaning, yet ambiguous. Is there a place in Tokyo you'd recommend? Somewhere that captures the kind of atmosphere you love? One of the places I recommend is the Museum of Contemporary Art Tokyo. There's a quiet space beneath the main exhibition area called the 'Water and Stone Promenade.' It's not a display per se, but the way light flickers across the surface of the water and the shadows of the stones shift softly is ethereal. On sunny days, waves of light ripple across the ceiling, and it lingers with you like an afterimage. I also really love the neighborhood it's in: Kiyosumi-Shirakawa. It used to be a thriving waterway hub during the Edo period, lined with warehouses. Many of those old warehouses have been transformed into cafés or galleries, and over time, the area has revived into a place where people gather again. Do you have any favorite seasons? Lately, I've come to love early summer, especially that moment just before the rainy season begins. The temperature starts leaning into summer, and you can smell the moisture in the air, but the sky still holds traces of spring. Japanese has so many beautiful words to describe this season's rain. Haku-u refers to a sudden evening downpour in summer, when it's still bright outside and the rain hits the ground with such force that it rebounds as mist, making the air appear white. Ryoku-u describes rain that falls gently over the fresh green leaves of early summer, making the greenery appear even more vibrant and glossy. The fact that each kind of rain has its own name shows just how closely people in the past attuned themselves to its sound, scent and texture. Tomei's Aesthetic Recipe: 'Claude Monet's Pond' Jelly Make a dreamy dessert in the impression of Monet's jardin d'eau, complete with water lilies and koi fish. Ingredients For Water Lilies ・Edible Flowers (soaked in sugar water) — as needed For Koi Jelly ・300ml lactic drink (like Calpis) ・3g agar powder ・30g granulated sugar ・Food coloring (red, black, yellow) — a little of each For Pond Jelly (Umeshu Layer) ・450ml water ・150ml umeshu (plum wine) ・60g granulated sugar ・Gelatin sheets — 12g (soaked in water for 1–2 minutes before use) Food coloring (blue, green, black) — a little of each Instructions 1) Make the koi jelly: Heat the lactic drink and agar powder in a saucepan until just before boiling. Add the sugar and stir until dissolved. 2) Color and set: Strain the mixture and pour a little into four small containers. Add drops of food coloring to create koi-like patterns, and chill in the fridge until firm. 3) Cut out the koi: Use a small fish-shaped cutter to punch out the koi jelly shapes. Keep them in the fridge. 4) Make the pond jelly: In a saucepan, heat the water and umeshu. Gradually add food coloring until the liquid takes on a gentle, watery hue. Add sugar and stir to dissolve. 5) Add the softened gelatin sheets to the warm liquid and stir until completely melted. 6) Remove from heat and place the saucepan in an ice bath to cool slightly. 7) Assemble in layers: Pour a thin layer of pond jelly into a mold, and place the koi jelly and edible flowers on top. Chill to set, then repeat this step 2–3 times to create a floating effect. 8) Once fully set, briefly dip the mold in warm water to release the jelly. 9) Finishing touches: To finish, gently press plastic wrap over the surface of the jelly and chill for five minutes. This creates a soft ripple texture, just like a real pond.
Japan Times
28-05-2025
- Japan Times
Songs, stars and strategy: Japan debuts its newest awards ceremony
Under a wash of blue stage lights inside Kyoto's Rohm Theatre, Haruomi Hosono stood alone. A founding member of influential techno-pop group Yellow Magic Orchestra, he addressed an attentive audience on the closing night of the inaugural Music Awards Japan — not just as a musician in his own right, but on behalf of his late YMO bandmates, Ryuichi Sakamoto and Yukihiro Takahashi, and artists across the country. 'There are two people who couldn't make it here today. It's because of their talent that I'm able to stand here,' said Hosono, adding that he 'felt very honored' the pioneering YMO has been chosen as a kind of 'symbol' to represent that best Japanese music has to offer. Reflecting on the influence of his artistic peers, he expanded on the thing that drives artists to create. 'It's the passion we have for music, our love for it. We tried to come up with something unique to Japan.' J-pop Yoasobi delighted audiences with a performance of 'Idol.' | © CEIPA / MUSIC AWARDS JAPAN 2025 It was a moment steeped in reverence amid a week of celebration as Japan's 'answer to the Grammys' took place in the old capital on May 21 and 22. The Music Awards Japan (MAJ), which also included a YMO tribute concert a day before the ceremonies began, sought to strike a balance between past and present, domestic stardom and international reach. 'This awards ceremony is a source of encouragement for (musicians),' Hosono continued. 'There are many musicians who haven't made it here yet, but I hope they'll continue to mature beyond the boundaries of the entertainment industry. That's what I'm most looking forward to. I truly believe that support from the industry is essential.' Spearheaded by the Japan Culture and Entertainment Industry Promotion Association, a coalition of five major music associations, MAJ brought together around 5,000 musicians, producers and industry experts to recognize achievements in 62 categories. The two ceremonies where the awards were presented — red glass statuettes dubbed 'Rubies' — were broadcast live on NHK and streamed online where they were accompanied by curated playlists, signaling the organizers' intent to not just reward Japanese music but to export it. The launch of MAJ coincides with growing overseas interest in Japanese music thanks to viral hits driven by social media, anime tie-ins, and domestic labels and agencies embracing the internet as a way to reach international listeners. J-pop acts are literally making moves abroad, too. Last year saw a record number of groups — including Yoasobi, Awich, Atarashii Gakko! and Number_i — take the stage at Coachella Valley Music and Arts Festival in California in April, while singer Ado and idol outfits XG and Travis Japan embarked on world tours. This year also sees singer-songwriters Kenshi Yonezu and Kaze Fujii setting out overseas, as well as groups Wednesday Campanella and Hitsujibungaku. MAJ's aim is to cultivate more of these kinds of stars who have the potential to shine outside of Japan. While focused on current global ambitions, MAJ took the unusual move of awarding past hits, too, as if to say "Japanese music isn't just good now, it has always been good" ... or maybe it was a ploy to try to get some extra star power in attendance. Older songs such as Hikaru Utada's 'Automatic' (1999) and Kurousa-P's "Senbonzakura" (2011) won awards in the best Japanese R&B/contemporary song and best Vocaloid culture song categories, and even Teriyaki Boyz' 2006 track 'Tokyo Drift (Fast & Furious)" got a shout-out in the top Japanese song in Europe section. Rapper Chanmina delivered a rowdy set at the grand awards ceremony at the Music Awards Japan. | © CEIPA / MUSIC AWARDS JAPAN 2025 Meanwhile, the MAJ Timeless Echo award was presented to 75-year-old rocker Eikichi Yazawa, who burst onto the Rohm Theatre stage in a shiny, dark red suit, flipping over his mic stand with flair and swiveling his hips as he sang 'It's Up to You!,' 'Tomaranai Ha~Ha' and 'Yes My Love.' With a nearly 50-year-long career behind him, Yazawa's presence encapsulated the enduring power of Japanese rock. Musical heritage aside, the bulk of the awards went to newer acts like Hitsujibungaku, King Gnu and tuki., and hip-hop duo Creepy Nuts took home a total of nine statuettes — the most of any act — including song of the year for their viral hit 'Bling-Bang-Bang-Born.' Members DJ Matsunaga and R-Shitei earned one of the biggest laughs of the awards when, at the earlier ceremony where they won their first seven awards, a trolley of Rubies was rolled out onto the stage and the pair struggled to hold all the hefty trophies in their arms. MAJ's goal of demonstrating Japan's soft-power supremacy also came in the form of awards presenters — 'The Solitary Gourmet' actor Yutaka Matsushige, figure skater Mao Asada, contemporary author Mieko Kawakami and veteran actor Koji Yakusho all handed out Rubies. The show's live performances also ran the gamut of musical genres. At the May 21 ceremony, audience members were treated to sets ranging from koto player Leo's contemporary approach to traditional Japanese music and the atmospheric beatboxing of Show-go to the powerful vocals of Azumi Takahashi belting the 'Dreamgirls' show tune, 'And I Am Telling You I'm Not Going.' Rocker Eikichi Yazawa received the MAJ Timeless Echo award. | © CEIPA / MUSIC AWARDS JAPAN 2025 The following night upped the ante. In addition to live performances from Yoasobi and Creepy Nuts — as well as a pretaped recording from Hikaru Utada — rapper Chanmina, at one point suspended in the air alongside two acrobats, delivered a rowdy set that included an audacious split. Kaze Fujii, sat at a piano with one foot propped on his knee, exuded a cool charisma as he played a stripped-down 'Michiteyuku.' Later, Awich performed with fellow rappers Ai, Nene and MaRi on a rousing version of 'Bad Bitch Bigaku,' followed by a duet with Ai on 'Not So Different Remix.' The highlight performance came from rock band Mrs. Green Apple toward the end of the night, as two full rows of string players were dramatically revealed for a lush, emotional rendition of 'Darling.' The show was not without its quirks, though. At times, the backstage crew's voices and shifting set pieces were audible during speeches and presentations. A mismatched video package played after one award was announced, forcing presenters to improvise. Awich performed with fellow rappers Ai, Nene and MaRi. | © CEIPA / MUSIC AWARDS JAPAN 2025 The aforementioned Mrs. Green Apple bookended the ceremonies by winning both the first and last awards presented over the two days — best Japanese song artist and artist of the year, respectively. 'This year marks our 10th anniversary since our debut, and we've been talking nonstop about what to do in the future, what kind of interesting things we can do and what the future holds,' said Mrs. Green Apple vocalist Motoki Ohmori while accepting the artist of the year award. 'We've been focusing on the long-term vision for over a decade, but this year, we finally took the time to reflect on the past 10 or so years and truly appreciate each other. We've been able to keep going thanks to the support of so many people, but above all, because I truly love creating music with these members. It's been a blessing. Thank you so much.' Mrs. Green Apple bookended the Music Awards Japan ceremonies by winning both the first and last awards presented over the course of two days — best Japanese song artist and artist of the year, respectively. | © CEIPA / MUSIC AWARDS JAPAN 2025 Amid the domestic bliss was also plenty of love for overseas acts with genre-specific prizes going to Coldplay, Kendrick Lamar and Ariana Grande, among others. Country-specific awards rewarded artists from Japan's Asian neighbors, including Seventeen (South Korea), Zhou Shen (China) and Lola Amour (the Philippines). It's too early to tell if a Ruby will one day be as coveted as a Grammy, but as far as debuts go MAJ had something for pretty much everyone. The real test will be if next year's celebration is able to live up to the first. For more information about the Music Awards Japan, visit
Japan Today
22-05-2025
- Japan Today
Hijabs on screen, critics off screen for Iran film in Cannes
Iranian film director Saeed Roustayi said he had to follow censors' orders on the government-mandated hijab to get a permit By Adam Plowright A state-approved Iranian movie featuring women constantly in headscarves premiered at the Cannes film festival on Thursday, with director Saeed Roustayi defending his decision to bend to the diktats of national censors. The Cannes Festival has long offered a platform for independent Iranian filmmakers whose work is lauded on the French Riviera but usually banned at home. Roustayi has previously defied his country's authorities. His last film in Cannes -- "Leila's Brothers" in 2022 -- landed him a six-month suspended jail term and film ban. "It affected my whole life, my family, and those around me," the 35-year-old told AFP. Three years later, he is back again with "Woman and Child", again chosen for the main competition -- but this time with official approval. The script was approved by Iranian censors, and the actors follow Iranian law, with women wearing the government-mandated hijab at all times on screen -- even during scenes at home, where headscarves are typically taken off. "I'd love to make films without the hijab. I truly want to do that because I know my films would be more real and natural," Roustayi told AFP. He added: "I didn't want a permit, but they force you to get one. If you want to film in big locations like hospitals or schools or use professional cinema equipment, they require a permit." The women actors in Roustayi's movie did not wear hijabs when the film's team walked the red carpet for the Cannes premiere, though the lead actor, Parinaz Izadyar, wore a discreet headpiece. Ahead of its screening in Cannes, his work was hailed in Iran's state media, with the IRNA agency calling it "a happy and important moment for Iranian cinema". Roustayi's films often focus on the plight of women and "Woman and Child" is no exception, following a widow who struggles to balance the demands of her children, love life and work as a nurse. The director said he wants to make socially conscious dramas, and was seeking to "save" Iranian cinema from the low-quality commercial features that most of his compatriots are forced to watch. But his desire to make a film that can be viewed in cinemas in his homeland, not just at international film festivals and cinemas abroad, has been condemned by some exiled Iranian film figures. The hijab has become a politically charged symbol since the 2022 "Women, Life, Freedom" demonstrations that saw women openly defy the security forces and remove their mandatory headscarves. "The women on the screen (in hijabs) are following the most discriminatory law in Iran. People were killed to dismantle it," California-based exiled Iranian film critic Mahshid Zamani told AFP. She helps run the Iranian Independent Filmmakers Association, a collective of 300 exiled Iranian cinema figures which has condemned Roustayi's decision to seek permits and permission. "Roustayi is in the tradition of what the Iranian government has been doing for 40 years: they have been sending out films to the international stage and saying 'look everything is rosy, there is freedom of speech'," she added. "We're not saying the film is a propaganda film. The government is using films like his film as a propaganda tool." Roustayi's approach stands in stark contrast to that of his compatriot Jafar Panahi, whose latest production "It Was Just An Accident" features several women without headscarves and is also competing for the top prize in Cannes. Panahi is a symbol of defiance, someone who has continued to make films despite receiving a 20-year ban in 2010. He spent nearly seven months behind bars in 2022-2023 and smuggled a copy of a previous film to the Cannes Festival hidden in a cake. "It Was Just An Accident" was shot in secret and tackles political repression and torture head-on, with a story about four ordinary Iranians who believe they have found their jail interrogator. When asked on Wednesday how Iranian filmmakers should approach the censors, Panahi said: "Everyone finds their path, their way of doing things relative to their abilities and knowledge. I don't have any advice to give." He added that, "despite everything, I have always found a way". Another Cannes favorite from Iran, Mohammad Rasoulof, fled the country last year for fear of being jailed for a third time, after making a film about the 2022-2023 protest movement. He has defended Roustayi, telling Variety magazine that there's a "clear distinction between the propaganda films of the Islamic Republic and the films that are made under the constraints of censorship". Last month, Iranian directors Maryam Moghadam and Behtash Sanaeeha were given suspended sentences for their acclaimed romantic drama "My Favourite Cake", which competed at the 2024 Berlin film festival. They were convicted of "spreading lies with the intention of disturbing public opinion". © 2025 AFP
