Mariko Mori’s Tokyo Retrospective Asks What Technology Can Make Us Feel
Opening October 31, All That Shines connects cyborg imagery, Buddhist thought and participatory art across three decades.
Mariko Mori’s All That Shines opens October 31 at Tokyo’s Mori Art Museum, tracing three decades of art that brings technology, spirituality and human connection into the same space.
The exhibition, scheduled through March 28, 2027, brings together approximately 40 works, from photography and video to sculpture and interactive installations. Organized with the Solomon R. Guggenheim Foundation, it is described by the museum as Mori’s first major retrospective in Japan since Pure Land in 2002. Alexandra Munroe and Kataoka Mami co-curate the presentation. That long interval makes this a chance to follow a practice through its changes, rather than encounter one spectacular object in isolation. Exhibition details
The future arrives wearing a costume
Mori’s early imagery drew on anime, fashion, video games and cosplay. In works including Birth of a Star and the Cyborg series, she placed a transformed version of herself within recognizable urban environments. The friction between the figure and her surroundings makes identity feel constructed, something that can be dressed, performed and revised.
The museum’s announced sequence follows that work into Buddhist imagery and eventually participatory environments. It also includes Tom Na H-iu, a sculpture whose illumination responds to data from Japan’s Super-Kamiokande neutrino observatory. Across these different approaches, the visible object becomes a way of thinking about what ordinarily escapes the senses. Explore the exhibition’s structure
That is a useful lens for the retrospective. The polished surfaces and futuristic silhouettes invite an immediate response, but they also introduce slower questions. How does a body relate to its surroundings? Can an image suggest a connection that cannot be directly seen? What happens when a viewer becomes part of an artwork’s operation?
A shared space inside Wave UFO
Wave UFO gives the last question a physical setting. According to the museum’s visitor guide, three participants enter the pod-like structure together, wearing equipment that detects their brainwaves. They watch an approximately seven-minute sequence that begins with imagery responsive to that activity and continues with Connected World.
Participation is limited, and the museum says an exhibition ticket does not guarantee an interior session. A simulation dome in the same gallery provides another way to view the work’s video. Anyone planning specifically around the pod should read the museum’s participation conditions and check-in details before arriving. Wave UFO visitor guide
The arrangement offers an intriguing complication for an age of highly individualized screens. Here, a technical interface puts people in the same enclosure. Its appeal lies partly in that shared situation: a visitor’s presence changes what other participants can see. Whether someone experiences that as intimacy, curiosity or awkwardness remains their own response.
Listening to Mori’s own account
In her statement for the exhibition, Mori connects her artistic inquiry to questions about mortality following her father’s death. She describes studying Buddhism and astrophysics, traveling to sacred and ancient sites, and working with scientists and engineers. Her speculation about light and existence belongs to the artist’s philosophical outlook; it should be encountered as an invitation to reflection rather than a scientific conclusion. Read Mori’s statement
An earlier museum conversation provides another accessible entry point. In The Met’s 2015 Artist Project film, Mori discusses Botticelli’s The Annunciation, focusing on reciprocal respect and art’s capacity to suggest an unseen world. The short video offers her own voice alongside the forthcoming exhibition’s institutional framing. The Met’s film and transcript
All That Shines has yet to open, so its atmosphere and installation cannot honestly be reviewed in advance. Its announced scope nevertheless supplies a compelling reason to pay attention: it places the artist’s evolving ideas beside the changing tools she has used to express them. For visitors, the richest approach may be to let the spectacle start the conversation, then stay with the questions it leaves behind.
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