Free admission
Michiko Tsuda
You would come back there to see me again the following day
The installation is composed of suspended frames, mirrors and video cameras. Its title — an English exemplary sentence in free intersect speech — shifts in meaning depending on context, just as the work itself invites viewers to reconsider what "now" and "here" mean in relation to their own image and position in space.
Tsuda’s work explores our perception of time as it is not a measurable duration, but as an experience that arises through attention, through the body, and through the relational space between viewer and image. Her installation encourages us to sense time as something we inhabit — a medium through which we register change, finitude, and continuity.
This exploration is closely tied to space. Tsuda expands the viewer’s field of perception: screens and windows do not just show images, but extend the room into new zones of awareness. Our attention moves between reflections, echoes, and delayed presences, showing how digital spaces reshape the way we inhabit the world — and how our image and consciousness now exist within these mediated environments.
Tsuda’s practice also speaks to a longer lineage of thinking about time and selfhood — not only within Western phenomenology but within Japanese thought and aesthetics, media theory, and performative traditions. Time here is not a linear sequence but a field of relations, a space that opens between images, gestures, and viewers.
The installation invites a reflection on being — not as a metaphysical abstraction but as an embodied condition. Through minimal means, Tsuda constructs a situation in which the viewer becomes aware of themselves as both subject and object of perception. Her experimental approach shows how perception shapes identity and how the act of looking becomes a form of existence.
Depending on one’s point of entry, the installation may be read as a study in media architecture, as an experiment in the choreography of attention, or as a meditation on the instability of presence. What is most compelling is how Tsuda creates a space that quietly unsettles our certainty about when — and where — the self appears. The work becomes a site for contemplating the entanglement of time, reality, and being.
DATE
November 28, 2025 – April 5, 2026
Artist
Born in 1980. Lives and works in Kyoto, Japan.
Born in 1980. Lives and works in Kyoto, Japan.
Michiko TSUDA has persistently examined the volatility of human perception and the glimpse of the richness of illusions afforded by that volatility by manipulating our sensations in terms of understanding space and time. Tsuda's works take a variety of forms, such as installation, performance, and video implying an invisible presence wavering in response to the appreciator's perspective and behavior.
Exhibitions include the solo show Trilogue (TARO NASU, Tokyo, 2020), Observing Forest (zarya contemporary art center, Vladivostok, 2017), and the group exhibition Spektrum Spektrum (Ginza Maison Hermes, Tokyo, 2025), 10th Asia Pacific Triennial (Queensland Art Gallery and Gallery of Modern Art, Brisbane, 2021), Aichi Triennale 2019 (Ito Residence, 2019), Roppongi Crossing 2019: Connexions (Mori Art Museum, Tokyo, 2019). She completed a Doctoral Program in Film and New Media Studies at the Graduate School of Film and New Media, Tokyo University of the Arts, in 2013, received a grant from the Asian Cultural Council(ACC) for a 6-month residency in New York in 2019, received the Tokyo Contemporary Art Award 2022-2024, and an associate professor at Kyoto City University of Arts, Faculty of Fine Art from 2025.