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変異は遺伝子の立場からはエラーだが、進化の素材でもある。 変異は単なる変化ではなく、アイデンティティー、






これは、世界各地を拠点とするアーティストによる グループ展である。








      The earth was born about 4.6 billion years ago, and life appeared on it about 560 million years later.

That primordial life is thought to have taken the form of unicellular bacteria. But why did life arise in the first place? What phenomena did the diverse species inhabiting the earth go through in their journey to the present?

Today, when we are taking another look at the nature of humanity and affluence amid the current pandemic, what sort of meaning does life have?

     In the process of cell division, which is at the foundation of all life, faulty DNA reproduction causes mutations.

Resulting in the appearance of morphological and physiological differences between individuals of the same species, do mutations work to the advantage of life, or are they threats to it?

Although they are errors as viewed from the standpoint of genes, they are also the stuff of evolution. Mutations are not mere changes; they are additionally problems that may entail acceptance of the loss of identity or of the species.

Their uncertainty and ambiguity make mutations both eerie and attractive. They may perhaps be construed as challenges to the existing social structure and thought, heralding the dawn of a new age.


     Is it possible to project this concept of biological and genetic mutation onto the world of art? And what will come into view by so doing?


     Never the Same Ocean is a group exhibition of works by artists based in various parts of the world.

Under the circumstances of a pandemic facing the whole world in common, the exhibition will show works produced in the same period, but in different regions and with different cultural backgrounds, in the same space. It will consequently be a venue for the intersection of universality and locality.

In Never the Same Ocean, we will explore the possibilities of art through mutation in this world of ours in constant flux.

※The exhibiton title 'Never the Same Ocean' is cited from an essay by Gary Zhexi Zhang  for Solitude Journal 3, 2021.

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