『The Shape of Things to Come:
Technology, AI and Humanity』

AGUSI(Aoyama Gakuin University Singularity Institute) is pleased to present The Shape of the Things to Come: AI, Technology and Human. Today we stand at the dawn of the age of the singularity of technology. In the transition stage, the exhibition prospects the views of the forthcoming society and the shape of the human should to be in the future. In conjunction with the works of contemporary artists, Exonemo, Okamoto Mitsuhiro, Konan, Kenta Cobayashi, Yoko Nakamura, Katsuki Nogami+Taiki Watai, Asako Fujikura and Susan Ploetz, a series of talk sessions and conferences with experts and specialists of various genres will be held.

In every era, people have been concerned about technology and its effect on people’s lives. In H.G. Wells’s classic work of speculative fiction “The Shape of Things to Come,” he considers the form of the future starting with the year of writing and moving up to the year 2106; Wells predicts various events, some of which have been realized, such as the development of weapons of mass destruction, and some not, for instance the political enforcement of English as a global language.

2019 is the precise halfway point of Wells’s predictions, and, as such, is an opportune time to reevaluate the future. Wells’s predictions focused on social and political phenomena, but this exhibition places its attention on the individual as the fundamental unit of social and political structures, looking specifically at the relationship between human individuals and the technology they rely on and use for creative expression.

Current technical tools enable artistic expression of novel kinds, some of which will be represented in this exhibition. Further, the development of artificial intelligence and AI applications lets artists introduce a new kind of autonomy to their work, which allows the exploration of new artistic concepts. Finally, the existence of AI and AI-related tools raises questions about the nature of humanity and the proper relationship between the “natural” and “artificial.” This exhibition brings together and creates a dialogue between work in these areas.

Schedule Hours and Admission Venue
November 16 - December 15 (30days)
(Closed on Sunday and National Holidays, except December 15)
11:00 - 17:00
Admission Free
Aoyama Gakuin University Aoyama Campus
Shibuya 4-4-25, Shibuya-ku, Tokyo 150-8366, Japan

Opening Event

Date Venue
November 15, 17:00 - Aoyama Gakuin University Aoyama Campus

Larping AI

Through somatic (mind body centering) techniques and embodied simulation, participants will explore relations to the behaviors and materiality of various different soft robotics/Ai configurations. How do these uncanny devices, who inhabit a space between cognition and consciousness, effect our behavior, and can we effect theirs? What different roles can we all take on together? Can we develop a sense of "skinship" with non-human entities? These are some of the questions we will explore together through four different fictional scenarios and with characters and relationships that we build together and contemplate on afterwards.

※All workshops will be conducted in English.
※Please participate in easy-to-move clothes on the day.

Simulation using the whole body
A new AI robot in this!
Schedule Hours and Admission Venue
November 20
November 27
December 4
December 11
※A special round table session is scheduled following the workshop on December 11.
13:00 - 17:00
Admission Free
Pre-registration required
(Registration is closed when full capacity is reached.)
Aoyama Gakuin University Aoyama Campus



The Japanese artist unit by Kensuke Sembo and Yae Akaiwa formed in 1996 on the internet. Starting in 2000, they started their activities in an actual space, presenting installation work, performenace and event organize. Their experimental projects are typically humorous and innovative explorations of the paradoxes of digital and analog computer networked and actual environments in our lives. In 2006, they won the Golden Nica for Net Vision category at Prix Ars Electronica. In 2012, they formed Internet Secret Society named "IDPW" and have been organizing "Internet Yami-Ichi" in both Japan and abroad since then. They live and work in New York since 2015. Their recent exhibitions include Aichi Triennial (Aichi Arts Center, Aichi, 2019), a group exhibition “ARTPORT: SUNRISE/SUNSET” (Whitney Museum, New York, United States, 2019), a group exhibition "Reincarnation of Media Art" (YCAM, Yamaguchi, 2018), group exhibition "Hello World: For the Post-Human Age" (Art Tower Mito, Ibaraki, 2018), solo exhibition "The Life-Cycle of Interfaces" (New Media Artspace gallery, Baruch Collage Library, New York, United States, 2018), group exhibition "Spirit and Digit" (Electro Museum, Moscow, Russia, 2016), solo exhibition "TO THE APES" (Mitsubishi-Jisho Artium, Fukuoka, 2013) and many more. In an ongoing exhibition "Open Space 2018 - In Transition", they are showing "Natural Process (created in 2004)" in the collection of Google Inc. for the first time in 14 years.


Okamoto Mitsuhiro

Born in Kyoto, 1968. Received his MA in Art Education from Shiga University, Shiga, 1994. Studied at the Art Students League of New York, 1994-96. Participated in a research artist program in CCA Kitakyushu, 1997-99. After participated in artist-in-residency programs in India, Germany, Spain. Lived and worked in Okinawa and Taiwan, 2004-06. In 2012, Okamoto was back to Kyoto and opened his artist-run-gallery Kunst Arzt in Kyoto. Solo exhibitions include “GEIST” (Gallery Turnaround, Sendai, 2018), “The Dozaemon Exhibition Tokyo 2017” (eitoeiko, Tokyo, 2017), “UFO” (eitoeiko, 2018). Group exhibitions include “Celebration: Japanese Polish Contemporary Art Exhibition” (Rohm Theatre Kyoto, Stary Browar, Poznan, Poland, TRAFO, Szczecin, 2019), “After ‘Freedom of expression?’” (Aichi Triennial, Aichi Arts Center, 2019), “Young Pretty Girls in Art History” (Museum of National Taipei University of Education, Taipei, 2019), “Fukuoka Castle Art Museum” (Fukuoka, 2018), “Love Love Show 2” (Aomori Museum of Art, Aomori, 2017).



Konan/ Kounan/ Ko-nan is an artist collective founded by Daijiro Chiba (Born in 1992, Tokyo). Recently Konan is a solo unit by Chiba. Chiba received his BA in Tama Art University, Tokyo, 2014. And he received his MA from Tokyo University of the Arts, 2016. Solo exhibitions include “Ateburers” (eitoeiko, Tokyo, 2018), “Triple Shorthand” (eitoeiko, 2017), “Triple Network Gel” (eitoeiko, Tokyo, 2015), Group exhibitions include “BARRACKOUT” (Tokyo, 2016-17), “Gen Gen Ten” (Fukushima, 2017), “Odawara Castle Art Project” (Odawara, Kanagawa, 2017), “Immersed Identity/Drifting Poetry” (Yokohama Civic Art Gallery, Kanagawa, 2018), “Multi Shutter” (EUKARYOTE, Tokyo, 2018), “META: Wild Cards in Japanese Art” (As Daijiro Chiba, Kanagawa Prefectural Art Gallery, Kanagawa, 2019)


Kenta Cobayashi

Born in 1992, Kanagawa, Japan. Based in Tokyo and Shonan, Kanagawa. Cobayashi regards photography as to question what it is to capture “truth” and draws an outline of this question through wide variety of approaches. He has had a solo exhibition “Photographic Universe” (Fotografia Europea 2019, Reggio Emilia, 2019), “Insectautomobilogy / What is an aesthetic?” (G/P gallery, Tokyo, 2017), “#photo” (G/P gallery, 2016), and his works have been featured in major group exhibitions such as “Hello World-For the Post-Human Age” (Art Tower Mito, Ibaraki, 2018), “GIVE ME YESTERDAY” (Fondazione Prada, Milan, 2016), “New Material,” (Casemore Kirkeby, San Francisco, 2016). His works have been added to a collection at major institutions like Asian Art Museum, San Francisco. His first photo book “Everything_1” was published by Newfave, 2016.


Yoko Nakamura

Born in 1950, Ishikawa. Received her double BA from Toyoko Gakuen Women’s Junior College (present: Tokyo City University), 1971 and 1972. She started her carrier as a ceramic artist from 1976 after meeting with Kimpei Nakamura. Recently she is an sculptor/installation artist. Group exhibitions include “Amabiki” (Ibaraki, 2019, 2015, 2013, 2011, 2008 and 2006), “Auspicious Celebration of Lives” (Oita Prefectural Art Museum, Oita, 2016), “House on the Sea” (with Ryo Kato, Toki Art Space, Tokyo, 2018). Collectioned in Fred Marer Collection, Scripps College, United States, Aichi Prefectural Ceramic Museum, Kyung Hee University, Seoul, Korea, Minka Museo de Arte Moderno La Casa de Japón, Buenos Aires, Meguro Museum of Art, Tokyo, Soed Te Museum, Korea, Niki Club,Tochigi. Her book “MESH/CLAY/FIRE” was published by Bijutshu Shuppansha, 2001.


Katsuki Nogami + Taiki Watai

Katsuki Nogami

Born in 1992, Niigata. Received his BA from Musashino Art University, Tokyo, 2015. Member of Topological Media Lab, Concordia University, Montreal. Studied at Berlin University of the Arts, participated in Institute für Raumexperimente by Olafur Eliasson. Nogami won a New Face Award of the 19th Japan Media Arts Festival, Entertainment Dividion, with Baku Hashimoto, 2016. Selected 30 under 30 Japan by Forbes, 2018. Participated in FILE, WRO, Scopitone, International Festival Spain, and many other international exhibitions/festivals include Roppongi Art Night (2014), Future Catalysts Hakuhodo×Ars Electronica, an event in conjunction with Sapporo International Art Festival.

Taiki Watai

Born in 1985, Shizuoka. Watai is a media artist as well as a technical director. Received his MA from Waseda University. As an technical director, he directed a lot of fashion shows by global brands, installations, live performances for advertisement and entertainment regions. As an media artist, Watai handles various electric devices and programming for making the alternate and futuristic world of technology. His work was selected in recommendation of the 18th Japan Media Arts Festival. Watai won an honorary mention by Prix Arz Electronica.


Asako Fujikura

Born in 1992, Saitama. Received her BA of Language and Culture Studies from Tokyo University of Foreign Studies, Tokyo, 2016. Received her MA of Film and New Media, Tokyo University of the Arts, 2018. Fujkura attempts to depict a scenery of an industrial world. In the world, the machines begin their dysfunctional, autonomous movements. Her work reveals the blurred existence of the metropolis, with erasing the availability of the industrial products. Selected in recommendation of 22th Japan Media Arts Festival, 2019. Solo exhibitions include “colony Highway Broadcast” (ICC, Tokyo, 2018), “fnctional, primitive” (Ask?P, Tokyo, 2018). Group exhibitions include “PHENOMENON: RGB” (Laforet Museum, Tokyo, 2019), “Artists in FAS 2018” (FAS, Fujisawa, Kanagawa, 2018), “I.wall” (Guardian Garden, Tokyo, 2018), “MEC award 2018” (Skip City Visual Museum, Saitama, 2018). Screened in “TOKYO ANIMA! 2019” (National Art Center Tokyo, Tokyo, 2019), “Young Perspective 2018” (Image Forum, Tokyo, 2018)


Susan Ploetz

Susan Ploetz conducts artistic research through embodied simulations and co-creative world building using techniques from progressive larping and somatic practices. Her work is multi-disciplinary and multi-sensory, and deals with bodymind-technology interactions, imagination as interface and technology, perceptual expansions, procedural expression, and emancipatory emotional dissonance. She has presented work, spoke or taught at Martin Gropius Bau/Berliner Festspiele, Stroom den Haag, Universität der Künste Berlin, The Pervasive Media Studio (Bristol), Sophiensaele, ABC Art Fair, Dutch Art Institute, Saas-Fee Summer Institute of Arts, dOCUMENTA (13), Portland Institute for Contemporary Art, and Performa amongst others.