R.I.P. ARTIST. Seiko Mikami
At Ram De Scop BRIKADE
This is in incomplete. I will more Update.
More detail ( English ) http://www.idd.tamabi.ac.jp/~mikami/artworks/index.html
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"I am deeply grateful to the boys who worked so hard to create the visuals for this barricade, mixing the concrete, carrying the iron, and assembling the wood with their soft bodies."
Seiko Mikami.
Norimizu Ameya × Seiko Mikami norimizu AMEYA × seiko MIKAMI 
Walpurgis Flyer
She suddenly appeared in Walpurgis, the performance after Lychee Hikari Club.
She made Walpurgis' iron coffin, and bolts and gears that looked like they had been scavenged from the ruins were welded to the iron coffin.
Walpurgis's giant, blood-filled, red heart was also her work. ' heart grows larger because he drank the blood of a girl who should not have been drinking it. Blood spurts out like mist from the giant heart.
After the performance, she held hands with Ameya Norimizu and bowed to him in the center of the stage, which was impressive.
Her art has an exclusive image, but you can hear the heartbeat of life.
In her later years, art using digital technology became mainstream.
The symbol mark of EINSTÜRZENDE NEUBAUTEN, the song used in Barricade, is also her work.
[Seiko Mikami Profile]
Born in 1961.
Since 1984, she has been presenting large-scale installation works on the theme of information society and the body.
From 1992 to 2000, she was based in New York and presented numerous works in Japan and the US.
Since 1995, she has presented interactive works on the theme of "perceptual interfaces".
In 2000, she was appointed to the Department of Information Design at Tama Art University. She has exhibited works at museums, galleries, and media art festivals both in Japan and abroad.
In 2013, her work Codes of Desire (commissioned by Yamaguchi Center for Arts and Media [YCAM], 2010) won the Excellence Award in the Art Division of the 16th Japan Media Arts Festival organized by the Agency for Cultural Affairs.
Died on January 2, 2015.
In Memoriam: Seiko Mikami — Was she a media artist?
Noriyuki Sawaragi
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In Memoriam of Seiko Mikami (Extra Edition) - A very personal and critical endeavor
Seiko Mikami + Sota Ichikawa "gravicells~LED version", 2004,
Yamaguchi Center for Arts and Media [YCAM]Pho
"New Formation of Decline", 1985,
Ebisu Beer Factory Research Center Ruins (now Garden Place), Tokyo
Exhibition view of "Seiko Mikami Exhibition: Membrane World: Waste Treatment Containers" 1993, Gallery NW House, Tokyo Photography: Mikio Kurokawa Images provided by Roentgenwerke Co., Ltd. Cooperation: Shigeki Kimura
Exhibition view of "Mikami Seiko and the 80s", 2015, Parabolica Bis, Tokyo. The work on the left in the photo below was assembled by Yamakawa Fuyuki for a performance held for this exhibition using cables (stored in the warehouse of Tama Art University) that are presumably used in Mikami's "Bad Art for Bad People: Cross Sections of the City" exhibition (1986).
Seiko Mikami solo exhibition "Bad Art for Bad People: Cross-Section of the City" 1986, Itakura Atlantic Building, 1st basement floor, Tokyo Photo: Lyu Hanabusa © Lyu Hanabusa
Seiko Mikami, "Radioactive Waste Container," 1991 (from the DM for the 1993 exhibition "Curator's Eye '93 vol.3 Seiko Mikami")
Noi Sawaragi, Art and Current Affairs Series
She suddenly started his artistic career in 1984. In May 1985, She held her first solo exhibition, "Destroyed New Models," a trilogy of iron sculptures. Based on the concept, he spent six months searching for a large-scale installation at the ruins of the former Ebisu Beer Factory Research Center in Tokyo, and used iron, the bones of the city's structure, large amounts of dead technology, and junk radio waves to expose the inner, invisible landscape that is our reality. At the same time, the dead-tech, other-dimensional space that suddenly appeared in the ruins brought about a huge shock that could be called art terrorism. In October 1986, She held his second solo exhibition, "BAD ART FOR BAD PEOPLE." The installation shifts the background from the previous ruins to the underground DED ZONEV of the city (2nd and 3rd basement floors of the Iikura Atlantic Building in Tokyo). The underground cables, which are the nerves of the urban structure, and the online arterial flow are accumulated to create a cross-section of the urban nerves. The landscape of the digital age, including a self-created atmosphere made by sampling urban sounds and noise, gives a deeper impact.
"New Formation of Decline"
1985 Yebisu Beer Factory Research Institute Ruins (now Garden Place), Tokyo
In addition, in May 1984, he worked with Hajime Tachibana to create art using an accumulation of machines at the Laforet Museum Akasaka. In June 1984, he appeared with Baik, Ryuichi Sakamoto, and others in the "Six Performers Surrounding Nam June Baik." In April 1985, he created the symbol mark and stage art for the West German musicians "Einstürzende Neubauten," and held the "Neubauten Scrap Iron 3D Photo Exhibition" at WAVE TOP GALLERY.
「Cross Section of Cable Neuron System」、1986
likura Atlantic Underground Shelter、Tokyo
In 1987, she set up a studio in an abandoned factory in Osaki, and staged the joint project by Mikami Seiko and Ameya Norimizu, Ameya Norimizu x Mikami Seiko BIS-SEAL-PISHOP "Barricade," made of 30 tons of steel and concrete.
Since the 1980s, he has been presenting large-scale installation works on the theme of the information society and the human body.
In the 1990s, he produced a series of interactive art pieces centered on sensory interfaces.
Her works include "Molecular Informatics: Morphogenic Substance via Eye Tracking" (Canon Art Lab, 1996), "Presence, Membrane, Divided Body" (NTT InterCommunication Center [ICC] permanent installation, 1997-), which uses hearing and internal body sounds, "gravicells - Gravity and Resistance" (Yamaguchi Center for Arts and Media, 2005), which considers gravity as the sixth sense, and "Desire of Codes" (Yamaguchi Center for Arts and Media, 2010), which expresses physicality and desire in the information society. Her works have been exhibited mainly in galleries in Europe and the United States, contemporary art museums such as the Miro Museum (Spain) and the Museum of Fine Arts of Nantes (France), and media art festivals around the world, including Transmediale (Berlin), DEAF (Rotterdam), and Ars Electronica (Linz). "Seiko Mikami Collected Works" was published by the Spanish publisher Diputacion Provincial De Malaga. In 2013, she won the Excellence Award at the Japan Media Arts Festival organized by the Agency for Cultural Affairs. Professor at Tama Art University.
Since 1984, he has been presenting works on the theme of the information society and the human body. He won the Excellence Award in the Art Division of the 2012 Japan Media Arts Festival organized by the Agency for Cultural Affairs for his work "Codes of Desire."
◆Passed away on January 2, 2015 due to cancer at the age of 53◆
December. 2011 Eye-Tracking Informatics～Morphology of the gaze | Seiko Mikami
BARRIKADE 1987
Ameya and Seiko Mikami , joint project
The play begins with the metallic, destructive music of Einstürzende Neubauten.
Tsunekawa Hiroyuki speaks loudly.
"Your future! Your talent! It's fading by the second.
Ef...nept...mysin...10...milli...grams..."
Along with Tsunekawa's words, Einstürzende Neubauten's Seele Brennt 1/2 mensch 5 plays.
Einsturzende Neubauten - Seele Brennt 1/2 mensch 5
Mr. Hiroyuki Tsunekawa
Mr. Sosuke Saito
Barricade Story
The venue is an abandoned warehouse. The floor is entirely concrete, the ceiling is high, and the steel beams are exposed. The stage art was painstakingly created by the late Miss Haruko Mikami, Norimizu Ameya, and the members of Grand Guignol over a long period of time. It is a real art piece made from recycled materials such as concrete and iron, without using any plastic or shoddy materials.
It's a little chilly.
The audience in the front are covered with plastic sheets to prevent water from splashing on them. At the first performance, there were no plastic sheets, so many audience members got wet. I was one of those who got wet, and the tape recorder I brought with me got wet and broke, and the venue was chilly, and it was painful to watch the performance in a flooded room. I always watch from the front row, so I was happy when plastic sheets were distributed the second time.
The performance suddenly begins with the song "Einstürzende Neubauten..."
Hiroyuki Tsunekawa, wearing a white coat, shouts one word at a time between songs. "Your future... Your talent... It fades away by the second... ef nept mythic... 10 milligrams."
Tsunekawa Hiroyuki and Ishikawa Naritoshi are on a small box-like cart at a high position at the very back of the audience. There are rails under the box, which connect to the stage in front of the audience (or rather, to a concrete floor and a water-filled pond made of concrete and scrap iron). Suddenly, the cart falls at an incredible speed, and Ishikawa Naritoshi flies through the air and falls into the pond.
There are already several men there who have been dropped in the same way. Naritoshi tries to find an exit, but everyone says there is no exit, it's no use looking, and that they've looked so hard they couldn't find one, but Naritoshi says, "That can't be, there must be an exit somewhere," and searches around. But, "It's no use, it's no use..."
Taguchi: "I told you so."
Taguchi scoops up some water from the pond.
Sousuke: "Come on, you can't drink that water."
Taguchi: "I know that."
Shimada explains why the water is undrinkable, because the chemicals handled by his department have flowed up to this point.
Sousuke: "In short, it's undrinkable after all."
Shimada: "Yeah, that's right."
Sousuke: "Then don't be so stingy about it!"
Taguchi: "Wait a minute! It's weird to say you can drink it or not. It's like you take it for granted that we're here!"
Shimada: "Taguchi-san, I'm Shimada from the 5th Chemical... Taguchi-san!! No one takes it for granted. It's a fact that we're here like this." As soon as he finished saying this, several large capsules suddenly fell into the pond from above. Everyone was confused, wondering, "What is this?!" but Shimada picked up a capsule and put the liquid inside to his mouth.
After a long pause... Shimada looked ahead and opened his mouth. "Water!"
Taguchi begins to laugh. "I see, that's what it is. They must be watching us from somewhere." Then everyone gets angry and starts shouting.
"No way I'm drinking this water!" "Please stop, it's a waste!" "No way!"
Suddenly, along with the Neubauten song, everyone except Narutoshi clutches their heads and rolls around in pain from a severe headache.
And Narutoshi and I are both thinking that if the same pain is going to come, then we should just hurry up, hurry up, hurry up, hurry up, hurry up, hurry up, hurry up, hurry up!!" And Narutoshi rolls around and screams in pain from a severe headache!
And again, Tsunekawa Hiroyuki's voice. "Your talent, your future. It's burning by the second. Don't worry, it's painless. If neptun mysin, 10 milligrams." And then, just like Narutoshi, Ueno falls down.
Ueno finds his acquaintance Tanahashi lying on the ground. "Hey! Tanahashi! Pull yourself together. Hey, wake up. Tanahashi, pull yourself together!"
Tanahashi wakes up. "U-Ueno? Wow! I'm alive, I'm alive!"
Ueno: "Hey, what happened?"
Tanahashi: "I-I fell, there was no way out, water started falling, and then everyone's heads felt like they were going to split open, and I turned into XXX, turned into XXX, XXX, damn it, damn it, damn it!!"
Ueno: "I have no idea what happened."
Tanahashi: "I think it's because of that drug."
Ueno: "What's that?"
Tanahashi: "You know, it's something called Ifnept. They tricked you into coming here, didn't they? You got an injection, right?"
Ueno: "No." Tanahashi: "Everyone got it."
Ueno: "No, even if you say that, ah! That's it! My brain's a little dumb, right? You thought that giving this guy the drug wouldn't work, didn't you? Hahahaha."
Slowly the people around him start to wake up.
Tanahashi: "Hey, pull yourself together, hey! Hey!" Taguchi wakes up.
Taguchi: "What was that just now? My brain went haywire and I was blown away."
"We've been turned into rats after all."
Tanahashi: "Should I wake these guys up too?" "Either way is fine."
Tanahashi: "I'll wake you up anyway, hey, get up." Then everyone wakes up and notices the new guy.
Tanahashi: "This guy is my colleague, and his name is Ueno. That's why he was dumped here too..."
Ueno: "Umm, when I was listening to you, I was thinking, I think I was dumped here because I'm a piece of shit. So I guess it's no wonder I was dumped because I'm a piece of shit."
Sosuke: "What the hell is this?"
Ueno: "The company decided that this is a place that's good for piece of shit. Now that I think about it, this isn't a bad place either."
Taguchi: "What are you talking about?"
Ueno: "But you can't get out, can you? Plus they're giving you water, so I'd rather stay here than work."
UenoーJin Ueno
Taguchi: "You can say that because you haven't had a headache yet."
Tanahashi: "That's what I'm talking about, so... it seems like this guy, this guy is the only one who hasn't been given any medicine..."
Ishikawa: "Hey, isn't this guy a company shill?"
Tanahashi: "No way! He's just stupid!"
Ueno: "Listen to me for a second. Can I? I've heard a story about someone who lives in an abandoned building. Apparently, they live in ruins, like wild animals, eating grass roots and larvae. They say it's some kind of fusion between the primitive and the future, and they eat rusted iron and shattered concrete. That's why I think we could live here too. Look, this would taste good if you did some drugs. Hahahahahahahaha." (Note: Ueno Hitoshi actually likes this kind of art, and was an avid fan of Einstürzende Neubauten.) Shimada: "You're a real idiot." Ueno: "Even here doesn't look like a comfortable place, Tanahashi would think so, right?" Tanahashi: "...Maybe so..." Shimada: "Wait a minute! He's not here... Taguchi." Everyone starts looking for Taguchi. "Taguchi, Taguchi!" Ishikawa: "Maybe he just went out looking for the exit..." Realizing this, everyone starts looking for Taguchi even more desperately. "Taguchi! Taguchi! Hey, hey, answer me!" Then someone finds something. Sosuke: "What's wrong? He was there." "He's dead... Taguchi is dead." At a break in the left stage, Taguchi is lying on his back, dead, bleeding from his nose or mouth. Everyone gathers around Taguchi.
-To be continue-
Seiko Mikami, solo exhibition flyer
Einstürzende Neubauten - Yü Gung Fütter Mein Ego
The symbol mark designed by Seiko Mikami
for Einstürzende Neubauten
April 1985: Designed the symbol mark and stage art for the West German band Einstürzende Neubauten, and held the "Neubauten Scrap Metal 3D Photo Exhibition" at WAVE TOP GALLERY.
Barricade fryer (At ram de scop=Tokyo Grand Guignol)
Seiko Mikami gravicells2004
Seiko Mikami desire of codes2010
Seiko Mikami / "Desire of Codes" Pre-release footage
Seiko Mikami: desire of codes installation
Desire of codes’ installation by seiko mikami
the installation ‘desire of codes‘ by seiko mikami is designed to mimic the workings of human memory in our
modern information society, as robotic sensors respond to the presence of visitors and mix together visual recordings
from both the present and past. the piece is on exhibition at the inter communication center in tokyo, japan through
december 18th, 2011.
‘desire of codes’ comprises three parts: first, a wall composed of 90 mechanized rods decked with lights, cameras,
and sensors; second, a set of six large robotic arms suspended from the ceiling; and third, a wall-mounted sculpture
that appears like a large compound eye, divided into 61 hexagonal video screens. the video footage remixed
on the screen consists of footage from both past and present visits to the exhibition, as well as data from public
surveillance cameras throughout the world.
a visitor is greeted by the mechanical sounds of 90 wall-mounted appendages
blinking and turning in unison to gaze her way. highly sensitive cameras and microphones, capable of detecting activity
at levels outside of human perception, record and store visitor interaction. at the same time, in a slightly separate part
of the space, six robotic ‘search arms’, mounted from the ceiling, likewise follow the movements of visitors,
lowering and turning appropriately as they capture video footage to be sent to the project’s database.
the ‘compound eye’ remixes all of the stored recordings, alongside those taken from public feeds of video surveillance
cameras across the world, into a impressionistic compression of space and time: ‘the compound eye visualizes a new reality
in which fragmentary aspects
of space and time are recombined, while the visitor’s position as a
subject of expression
and surveillance at once indicates the new
appearances of human corporeality and desire.‘
mikami cites the concept behind the installation as an investigation into the changes to identity brought by
the modern proliferation of information: ‘what new desires do we have, now that we live in an information-oriented
environment and have perceptions shaped by that environment?‘
Yaso より Seiko Mikami Project v.1 “Seiko Mikami & 80’s”
From Kizaki Ibara, chairman of the Dark Art Research Group,
an underground subculture research group at Kansai University:
She said⬇︎
"I rushed over to the Parabolicavis "Seiko Mikami and the 80s" exhibition after hearing that it had been extended. I was thrilled to have the opportunity to look back on scenes that had been sealed away. Fragments of "Walpurgis" and "Barricade" were also on display, and I was able to get a glimpse of Ameya's work. It was amazing..." THANK YOU Ms.Kizaki Ibara ❣️
Photo provided by Kizaki Ibara
Comments from Seiko Mikami
(from people who have passed through Tokyo Grand Guignol)
Seiko Mikami. May you rest in peace.
Thank you for inspiring us with so much wonderful art.
We will pass on your art and achievements to future generations
and never forget you.
[Publication list 1996-2011]
Seiko Mikami "Desire of Codes" Book 2011
Exhibition Catalog:National Art Museum of China/NAMOC "TransLife"Beijing,
China 2011, Liverpool University Press ISBN-10: 1846317460
Exhibition Catalog : Kuenstlerhaus Vienna "SPACE INVENTIONS"2010
Exhibition Catalog:Dortmund Center for Art and Creativity
"TRUST"2010 ISBN 978-3-86828-158-3
Exhibition Note:YCAM/ Yamaguchi Center for Art and Media 2010
Book:: Sztuka interaktywna by Ryszard W. Kluszczynski from Poland 2009
Book :"Art + Science Now" by Stephen Wilson <Thames & Hudson>
2010 ISBN-10: 0500238685
Book "Seiko Mikami Art Works" Diputacion Provincial De Malaga, Spain, 2004.
Exhibition Catalog "gravicells"YCAM 2004
Book "Information Arts" MIT Press 2002, USA. 
Book and Publication – “Vision Machine",
Musee des Beaux Arts de Nantes, Nantes FRANCE, 2000.
Book and Publication -,V2 Organisatie, Rotterdam Holland,
1996,1998,2001 and 2002.
Exhibition Catalog - ICC/ NTT Intercommunication Center'ｓ
permanent correction. Tokyo JAPAN. 1997.
Exhibition Catalog and Book - Canon ARTLAB, 1996 and 2000, Tokyo Japan.
Exhibition Catalog - Maison des Arts CRETEILFrance, 1998.
Exhibition Catalog - Miro Foundation,Barcelona Spain, 1999.
Exhibition Catalog & Publication – “International media art festival Berlin”, Berlin GERMANY.
[Other Exhibition Catalog and Publication list of 1985-1995]::::::::::::Under Construction
SEIKO MIKAMI [ALL HYBRID] Atelier Peyotl I nc 1990
＠seiko mikami art works
🙏💐2012 Seiko Mikami💐
💐2013 Seiko Mikami💐
↓This work by Seiko Mikami is very similar to the stage set of
Tokyo Grand Guignol's Litchi Light Club. ↓
↓This art is similar to the barricade at Tokyo Grand Guignol↓
↓This art is almost the same as Walpurgis from Tokyo Grand Guignol.↓
↓Other works↓
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Please read Walpurgis below for a synopsis.
Click on this link.
★Thank you ! ★
Keiko Olds X @misopichopo
