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yae@exonemo

@yaexonemo

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➰@exonemo
➰New York ⇄ Tokyo
➰Podcast @radio.notfound
➿Mentor @newinc
➿Advisor @w_a_n_art
➿Co-founder @theinternetyamiichi
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“The Terminal” is on view at NowHere until November 7, 2026. Don’t miss it! Tue - Sat, 11 AM - 6 PM 40 Lispenard St, New York @nowhere_newyork
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. The Terminal (2026) In The Terminal, a computer works with brute force to break a hidden passcode, rapidly generating hexadecimal codes at random. Trapped between water and a rock suspended overhead, it harbors an irreversible end. The moment it guesses the code, a saw is triggered, the rope is cut, and the rock falls. The odds of success are astronomically low—all but impossible—yet the slight possibility never leaves the space. The hit might come on the next attempt, or never come at all. The viewer hangs between the instant and the eternal, amid unseen tension and the hope of a miracle, at the two ends of time (Terminal). In this exhaustive search, electrical noise is picked up by an antenna placed in the pool of water.This input is mixed into the random-number process, so that the presence of the viewers has a subtle effect on its process. Because the noise is drawn from the surrounding environment, even the viewers who happen to be in the room come to influence, however faintly, the sequence of numbers being generated. The work is a poetic inquiry into chance and destruction, unfolding inside a circular structure of nature and technology, and at once a reflection on the endless possibility that destruction opens within human imagination. To find a 64-digit hexadecimal passcode is to pick a single atom out of the universe. Should it ever happen, the destruction is also a release: the computer that succeeds is freed from its endless labor (an end that is both death and rescue) and transforms from a mass-produced commodity into a non-fungible object. Only by breaking does it become a single, irreplaceable thing. In this age of AI, where computers have come to be spoken of as if human, the work stands as a fable about the relation between the machine and what is not the machine.
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a few camera roll leftovers from last week in NYC for armory week (or rhizome week; we should really rename it). people lining up to browse websites, pizza, LAN party. so much fun. tysm everyone <3 still recharging, brb.
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✏️From the WAN 2nd Cohort NY Residency @shin.hanagata As part of Shin Hanagata’s New York residency, “Ergonomic Embryo” (short NYC version) was presented at CultureHub based at La MaMa on June 9 and 10. The performances were followed by conversations with Yeseul Song (Artist and Assistant Arts Professor at NYU Tisch ITP/IMA) and Peter Eckersall (Professor of Theatre and Performance Studies, CUNY Graduate Center). @yeseulsong_ @petereckersall A huge thank you to WAN Advisor Yae of exonemo for making this possible!! We also extend our thanks to local coordinator Kosuke Fujitaka, our guest speakers, everyone who supported the production, and everyone who joined us over the two days! @yaexonemo @pincponic 約1か月間ニューヨークに滞在し、発表やリサーチ、ネットワーキングなどさまざまな活動を展開した第二期・花形槙さん。6/9, 10には、CultureHub based at La MaMaにてパフォーマンス《Ergonomic Embryo》（short NYC version）を発表しました。 初日のパフォーマンス後には、Yeseul Songさん（Artist, Assistant Arts Professor, NYU Tisch ITP/IMA）と、2日目はPeter Eckersallさん（Professor of Theatre and Performance Studies, CUNY Graduate Center）とのトークも行いました。 実現にあたり、多方面にわたりご尽力いただいたWANアドバイザーも務めるエキソニモ・Yaeさん、ローカルコーディネーター・藤高晃右さんをはじめ、運営・制作に携わりサポートしてくださった皆さま、トークゲストのお二人、ご来場くださった皆さまに、あらためて感謝申し上げます✨ Ergonomic Embryo - short NYC version Concept, Performance & Engineering: Shin Hanagata @shin.hanagata Management: Yae Akaiwa @yaexonemo Graphic Design: Harumichi Nakamura @speedykaisok02 Talk Translation Support: Kosuke Fujitaka @pincponic Video & Light Operation: Ray Wang @rayrayrule Reception: Annica Dong @annicadng Photography: Yuzuru Joe Kobayashi @yzrplusu Special thanks: Sao Ohtake @sao_ohtake Supported by Agency for Cultural Affairs, Government of Japan / Japan Arts Council / CG-ARTS, Performing Arts Festival: Autumn Meteorite Tokyo (Tokyo Festival Executive Committee) @jcsf_official @autumnmeteorite This project was supported by CultureHub as a subsidized space rental. @culturehub_org All Photos by Yuzuru Joe Kobayashi #artandtechnology #artandtech #mediaart
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I’ve been insanely busy since June, but finally made it—on the very last day—to see RandoMe, the latest exhibition by @exonemo , a NY-based media artist duo @sembo.exonemo & @yaexonemo and dear longtime friends of mine. ✨ Reproducibility within randomness. And subtle variations emerging within repetition. Even under the same conditions, once human bodies, timing, and encounters come into play, something slightly different begins to emerge. What feels accidental can feel inevitable. What seems reproducible may never happen the same way twice. Especially now, as AI becomes part of our everyday lives, it made me think about how we can remain intentional while embracing randomness. And beyond the work itself, seeing dear friends continue to question, evolve, and create over so many years was deeply inspiring. So glad I made it before the doors closed. ✨ 6月からずっと忙しすぎて、なかなか時間が取れなかったけれど、最終日にやっと滑り込みで。 NY在住のメディアアーティスト・デュオであり、長年の大切な友人でもあるエキソニモの個展『RandoMe』へ。 「ランダム」の中にある再現性。 「再現性」の中に生まれる揺らぎ。 同じ条件でも、人や身体、タイミング、出会いが介在すると、少しずつ違う結果が生まれていく。 偶然のようで必然。 再現できるようで、二度と同じにはならない。 AIが日常に入り込む今だからこそ、 ランダム性を受け入れながらも、私たちはどう意図を持ち続けられるのか——そんな問いが残りました。 そして何より、友人たちが長年問い続け、進化し続け、創り続ける姿に、また刺激をもらった日。 最終日に間に合ってよかった✨ #eXonemo #RandoMe #MediaArt #ContemporaryArt #DigitalArt ArtAndTechnology Randomness AIAndArt NewMediaArt TokyoArt WAITINGROOM メディアアート 現代アート デジタルアート アートとテクノロジー
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exonemo solo exhibition RandoMe June 6 - July 5, 2026 @waitingroom_gallery, Tokyo Einstein, who could not accept quantum physics, once said, “God does not play dice.” Yet in recent technologies, it seems that we are encountering dice more and more frequently. Cryptocurrencies use keys generated from randomness, and AI systems also invoke randomness when producing responses. A society that once valued reproducibility so highly—trusting computers because identical inputs produced identical outputs—now appears to be gradually accepting results that are non-reproducible and random. Is this a form of tolerance, or a form of degeneration? Mathematician Gregory Chaitin defined a random sequence as “information that cannot be further compressed.” In other words, a truly random number can be seen as an entity with a unique individuality that cannot be reduced to anything else. Expanding this idea leads us toward questions of identity itself. In this sense, “randomness” becomes a fascinating concept. It reminds us that we ourselves may have been born in a random place, at a random time, with random characteristics. This exhibition brings together exonemo’s recent works on randomness (including new works). Each work takes a slightly different approach to the concept of randomness. Exhibition details: Link in Bio Cooperation: @nowhere_newyork
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Not sitting on a chair, but becoming the chair. Not using technology, but becoming it. Ergonomic Embryo, a new performance by Tokyo-based artist Shin Hanagata, comes to CultureHub for two nights — June 9 & 10. We are always being made to sit. On trains, in restaurants, at work, in clinics, in classrooms, in theaters. The ergonomically designed chair firmly takes our weight, and—as passenger, as worker, as patient, as student, as spectator—before we notice, we are wired into the institution. This work twists that relation. A camera captures the body, and generative AI redraws it into the image of a "chair." The image wavers between human and chair—contending, merging. Through a head-mounted display, the performer confronts this redrawn body, exploring the liminal images between chair and human. And there, the chair-I holds a still-unnamed posture—neither adaptation nor domination. 🗓 June 9 (Tue) & 10 (Wed), 7:00 PM 📍 CultureHub (based at La MaMa) / 47 Great Jones Street, 3rd Floor, New York, NY 10012 🎙 Post-performance talk each night | Jun 9: Yeseul Song (Artist / NYU Tisch ITP/IMA) | Jun 10: Peter Eckersall (Professor of Theatre & Performance Studies, CUNY Graduate Center) 🎟 Free with RSVP : tinyurl.com/ErgonomicEmbryo (→🔗 in bio) ♿ Wheelchair accessible Join us.
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Kiss, or Dual Monitors 2026/02/06~02/23 Art work Installation by exonemo (@exonemo) Exhibited at Yebisu International Festival for Art & Alternative Visions 2026 (@yebizo, @topmuseum) With Tokyo Photographic Art Museum LED Vision: X Vision Co., Ltd. (@xvision_space) Spatial Design: QAI (@qai_limited) Structural Design: FUKUSHIMA Yoshihiro (Graph Studio) Exhibition Construction: HIGURE 17-15 cas Co., Ltd. Technical Support: arsaffix Inc. (@arsaffix) Cable Support: RECYCLE PARK Co., Ltd Support: NEORT (@neort_io) Filming and Editing: TARO KOYAMA (@tarokoyama_gatafornia)
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By @exonemo | Kiss, or Dual Monitors 2026 Huge thanks to @lislen, @yebizo, @topmuseum, QAI (@sota.ichikaw), @xvision_space, @arsaffix, HIGURE 17-15 cas, Recycle Park, @hatako, @tiarart, @neort_2 and to everyone who made this possible! @twentytwohalo | #twentytwohalo
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. ˗ˏˋ 𝗣𝗥𝗢𝗚𝗥𝗔𝗠 𝗛𝗜𝗚𝗛𝗟𝗜𝗚𝗛𝗧 ˎˊ˗ 街にひらかれるアート——オフサイト展示 📍恵比寿ガーデンプレイス センター広場、恵比寿スカイウォーク デジタルとアナログの境界を横断する実験的プロジェクトを展開。インターネット・アートの先駆者 エキソニモ、個人と集団のアイデンティティに着目したFAMEMEが、都市空間に新しい映像表現をインストールします。屋外でしか体験できない“偶発的な出会い”を生み出す作品群が、訪れる人すべてに開かれた鑑賞体験を提示します。 🔍ꜰᴇᴀᴛᴜʀᴇᴅ ・FAMEMEによるドリアンと香水の融合した新感覚の新作《Duri-grance by FAMEME》が、恵比寿スカイウォークをジャック！ ・恵比寿ガーデンプレイス センター広場では、目を閉じた人々の顔が映る二つのモニターが重なり合い、キスを交わしているかのように見えるエキソニモ《Kiss, or Dual Monitors》が登場。2026年の新ヴァージョンでは、約4mに及ぶ巨大LEDウォールとして進化。東京都写真美術館2Fには、来場者が参加できる撮影ブースも設置！ ==================== 参加アーティスト：FAMEME、エキソニモ ==================== 本アカウントでは、新たに発表された見どころやプログラムを今後も紹介していきます。 ぜひアカウントをフォローして、お待ちください！ 👉 @yebizo ーーーーーーーーーー 恵比寿映像祭2026 「あなたの音に｜日花聲音｜Polyphonic Voices Bathed in Sunlight」 🗓️ 2026年2月6日（金）〜2月23日（月・祝）［16日間］ ※2月9日（月）および16日（月）は休館 ※3F展示室のみ3月22 日（日）まで ⏰10:00–20:00（2月6日〜2月22日）※最終日（2月23日）は18:00まで ※2月25日（水）から3月22 日（日）の3F展示室は10:00 から18:00 まで（木曜・金曜は20:00 まで） 📍会場：東京都写真美術館、恵比寿ガーデンプレイス各所、地域連携各所ほか 🎟️料金：展示無料（上映と一部イベントのみ有料） 展示風景　撮影：新井孝明 #恵比寿映像祭2026 #yebizo2026 #yebizo #東京都写真美術館 #恵比寿ガーデンプレイス
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❄️➰winter energy…♡彡 #tokyo #shibuya #winter
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