COSMIC WONDER Free Press
This year marks 20 years since Cosmic Wonder was founded.
Yukinori Maeda who moved his studio and residence to Kyoto’s Miyama region this winter to “establish a Ryugu” within the village of thatched roof houses, mentioned how he had been rushed off his feet the day before the interview, busily engrossed in shoveling snow from morning to dusk. What I saw in the Skype screen beyond the house’s traditional sliding windows, were rows of pine trees covered in a deep veil of snow. Between the trees were the first traces of blue sky that had experienced in several days.
On the other side of the Skype screen, Maeda proceeded to speak to me about the photography book that he had taken in New York 20 years ago, his first show at Paris Fashion Week, as well as his creative activities and attempts to pursue the world of the mystic and divine. From time to time throughout our conversation I had captured glimpses of Cosmic Wonder’s sharply refined spirit that set out to open up new horizons that have never been explored before, and the fluctuating thoughts that drifted here and there between the past, the current, and that which lies beyond.
“The silent furnace of the unknown gives birth to a new light.”
N.H: Today I would like to begin by reflecting upon the first 10 years of Cosmic Wonder’s activities. You had initiated Cosmic Wonder soon after graduating from university in 1994, yet I believe its actual founding was in 1997.
Y.M: I started Cosmic Wonder with my circle of friends after graduating from an arts university with a degree in architecture. At first we were really just trying to find our way. None of us had experience of working before so we were going about doing things by our own means. By 1997 we had determined our sense of direction, and thus made it into a company.
The dress attachable a wall 1999
We don’t have need walls in our hearts anymore.
Where did the walls in our hearts go?
We attached a wall to the dress.
It’s better to attach a sorrowful wall to the dress or show.
And then be free!!*
N.H: Cosmic Wonder’s first work was a photography book entitled, “The dress attachable a wall” (published November, 1999). At the time there had only been a few people in Tokyo who were aware of Cosmic Wonder’s activities, yet I vividly remember seeing the photography book being in a large display in On Sundays. Could you please tell me how this publication had come about?
Y.M: I wanted to produce “clothing that is not clothing as we know it, but is instead an object of creation.” The intention had been to depict situations of wearing such clothing in the everyday through the context of this photography book. In making the publication I was introduced to members of a New York band called “Actress.” I asked them to wear the dresses with the attachable walls, and then photographed them in their daily lives in New York.
N.H : Four models were photographed over a period of four days?
Y.M: Yes, although the band no longer exists.
N.H: Did you take the photographs yourself?
N.H: At the end of the book the four models are asked the question, “how was it like wearing a dress with an attachable wall?” I thought it was interesting how each one of them had responded in entirely different ways. The answers ranged from, “It was amazing! The walls were much warmer than I thought” and “They really got in the way” to “I took it off at the end of the night. It got in the way of my band practice” and “It gave me a sense of security. Before wearing it I had felt a sense of sadness, but once I tried it on, I felt amazed.” In the early years of Cosmic Wonder, you had two separate lines. There was a collection line that you presented as artwork, and there was Cosmic Wonder Jeans as an everyday wear line. I recall that “The dress attachable a wall” was part of the collection line. How were the dresses with the attachable wall actually made?
Y.M : They were created through a slightly unusual method. A piece of felt that was made to look like a wall was needled and integrated into the see-through body cloth. The body cloth had been left in its rough-hewn state, and resin was applied to the edges to prevent fraying.
N.H: I would further like to ask you about this aspect of the “wall and dress becoming attached.” In Cosmic Wonder’s early years, this idea of “something attaching itself to clothing” seems to be a recurring theme. At the time you had explained this as “combining things that don’t usually go together in a manner like white magic,” and thus attached things to clothing like walls, handkerchiefs, broken electrical and lighting appliances, curtains, and furniture such as curtains, drawers, and coat hangers. These are all familiar objects that we find in our daily lives. From there a sense of beauty with an unexpected air of tension is born, however what actually creates this scene is clothing that can be worn and is in fact more wearable than meets the eye, further instilling those who look upon it with a mysterious experience. Where did this idea of attaching surprising yet familiar objects to clothing come from?
Why had you first decided to attach a wall? Did it have anything to do with the Berlin Wall?
Y.M: First of all, the idea of attaching a wall to a dress had initially been inspired by my desire to give a sense of what’s between the body and something else, or what I may call, the existence of the aura. I wanted to channel my interest towards the spiritual world into something that I create, but I didn’t exactly know how to go about doing this. When I look back on those times, I feel that I perhaps had been making work while thinking about the relationship between the familiar things that I see in my surroundings, or in other words, the everyday, and clothing. I may have found myself envisioning something extremely vast within the context of something very small.
Aboard the steamer was a lone woman.
She had a large sharpless bag, which she carried the bag around with her.
She answered that it was her child, as well as a life preserver.
If the ship were to go down, her child would float in the water.
The other passengers thought the woman was very strange.
Did she harbor some terrible loneliness or anxiety?
But actually, the woman seemed more positive than anybody else on board.
Her comical, ridiculous appearance was her way of resolving the loneliness and anxiety occasioned by her ocean voyage.*
This collection was created by her, who is free and emotional in the truest sense. She says: “this is my marine look” *
Steamer Doll 2001
The woman from the steamer was featured in a TV documentary program. She had disembarked from the vessel and was now living in a small country village.
“I don’t like country people,” she said.
“They see me and ask what I’m carrying. They try to feel what’s in my bag, and the worst of them even try to grab it away from me.”
Yes, she was still carrying that big bag.
“But I love this landscape, and I’m fond of my good-luck charm. I feel so calm and happy, and it’s all thanks to this bag.”
A girl who had seen the woman on this program copied her by filling a plastic with air and tying it to her skirt.
Wearing a cynical smile, she murmured: “Can this really make you happy?”*
N.H: “Steamer” is a work that was presented in 2000 on the occasion of Cosmic Wonder’s first ever show at Paris Fashion Week. There were a lot of decorative elements involved and it had quite a different impression to your current works. With “Steamer” followed by “Steamer Doll,” there had been two consecutive seasons that conveyed a similar sense of direction.
Y.M: The models wore high-heels and looked like dressed up old women (laughs). They were like clothes for people who usually don’t pay attention to fashion. Back then, every time I announced a new collection it would be accompanied by a short poetic story, and at this time it had been a narrative about a ghost-like woman. She was the kind of nameless person who you’ve either met somewhere or who you may encounter in some place. I wanted to do something that you might do with found photographs, but in this case using clothing.
N.H: Confronting the abrupt encounter between heterogeneous entities?
Y.M: A sense of wholeness that evokes one to imagine the ambiguous areas.
N.H: What did it mean for you to take part in Paris Fashion Week? Until then you had centered your activities in Osaka, publishing “photography books” and presenting “photographs and video works.”
Y.M: I had decided to create a selection of new works twice every year. I think it was important for us to a have a place where we could present them.
Conversation with Electrical Appliances – Broken Radio, Worn-out TV…. 2001
Dresses for decorating broken radio or worn-out TV, giving a new value to things that have lost function and been forgotten.*
N.H: Since “Conversation with Electrical Appliances- Broken Radio, Worn-out TV…” that followed, you seemed to venture more towards an installation-based approach. I feel that “Conversation…” had indeed served as a turning point of sorts for your practice.
Y.M: Yes. From around this time I had begun to think more strongly about notions of “space” and “art.” What kind of effect does it have on the space when it is inhabited by people wearing clothes? Contemplating a cohesive sense of beauty that involves not only the clothes by also the space is something that persists to this day. At the same time, in addition to the people who come to see the presentation, it also concerns an interest towards how the people who have purchased the clothes appear to look like in the space that they are in.
N.H: I see. I recall that you have continuously engaged in the act of documenting the space in Paris where you have presented your collection, taking photographs of scenes when the model and audience are absent. In this respect, from early on you have held this awareness of “the space itself also being the work.” In retrospect it seems like a natural thing for you to do, but I feel that there must have been a strong sense of will behind the very act of taking these documents in the midst of those busy days in Paris. It was a time, in which the theme of art and fashion had been enthusiastically discussed, and thus in Paris Fashion Week many new collections were presented in the form of installations rather than fashion shows.
Y.M: That had indeed been the case, yet there were rarely any presentations that gave you the feeling of being fashion and art at the same time. My understanding was that you could not call something art simply because it embodies a visually surprising form. I indeed thought that you could create something really interesting if you could take a step further to pursue fashion in the context of its interest as art.
*The poetry texts are the concepts for each collection that were written at the time.
January 17, 2017
Nakako Hayashi and Yukinori Maeda
English translation by Kei Benger
Show at Centre Pompidou, Paris
Photography by Nakako Hayashi
In my room overlooking the lush green mountains of Gifu,
Feeling the breeze from the river gently against my cheek,
I savor the touch for example, of COSMIC WONDER’s
Organic cotton circle T-shirt.
Its round form.
Material imbued with the soft light.
Each time I pass my arms through its sleeves,
The ancient times and the future
Cross and overlap across my body,
And a “new feeling”
Enriches my mind.
COSMIC WONDER’s garments,
In their entirety,
Embody the sensations inborn but completely forgotten
That we trust and love our whole selves,
And signs of the sensations we would experience in the future.
The moment you see them, your mind gets free.
The moment you wear them, your body feels great.
Then your sense of time and space only concerns the “here and now,”
And your new self comes to emerge.
(The new self is not unknown to you,
Because She / He is your true self,
Sleeping within you ever since the ancient times.
That is the yourself in whom
The divinity continues to glow.)
The overwhelming freshness of your new self
Makes feelings of joy flow from the bottom of my heart.
The experiences of your new self,
Produce the inherent rhythm of the universe,
Like when you use an ancient calendar.
This world is discontinuous, invisible, irrational, and non-dual.
It is a dream, invisible but visible,
That we modern people almost forgot.
As soon as we know it,
As if our whole body both inside and out
Becomes filled with beautiful water,
(Actually, we have always known that sense −−)
When COSMIC WONDER’s garments
Made in a mountain village
Come to find themselves
In another little town surrounded by mountains
This World finally begins
To ascend into the next realm of consciousness.
COSMIC WONDER’s garments
Are with this new consciousness
And create a new world.
Today, now, and at this very moment.
The way the softness of the light streaming through the shoji,
Brings forth a great effect
Upon the body, mind, and soul of human beings.
We now, return to nothing.
With the particles of light serenely released from the water
August 8, 2015
English translation by Kei Benger
In Japan’s mountains there had once been people known as Soma.
Soma are those who make a living by entering the mountains and cutting down trees, and further transporting the timber.
Unlike our current day that has seen the progression of mechanization, such work that dealt with confronting the harshness of nature and engaging with enormous trees purely by means of human strength, wisdom, and horsepower had once been extremely dangerous.
These however, are things that are now difficult for us even to imagine.
For such work of the Soma, there is an essential tool called a ‘Yoki.’
The tool is the same as what one would generally recognize as an axe, yet the people of the Soma refer to it as a Yoki.
A Yoki always has three lines engraved on its left side, and four lines on its right side.
A tale states that the four lines on the left side portray the four ‘Ki’ (spirits) of earth, water, fire, and wind, which itself became the origin from which the word Yoki was derived.
Furthermore, it is said that the three lines on the right side represent ‘Miki,’ or in other words, ‘Omiki’ (sacred sake).
When cutting a tree down the Yoki is first placed leaning up against the tree with the Omiki side facing the bark, and the Soma engage in a ‘Kashiwade’ (clapping of one’s hands in prayer) before commencing their work.
Some feeling of inquiry had lingered within me however.
Was this really all that there is to it? It was at such a time that I had coincidentally, and somewhat abruptly come to learn of two things.
I had learnt of a snowy village in the deep mountains of Akiayamago in the Nagano prefecture, where the Soma revere the numbers of three and four.
It is said that they never enter the mountain on the third and fourth days counting from their zodiac.
Nevertheless, the Soma themselves do not know any more than the fact that this is something that had always and naturally been practiced.
Elsewhere it is mentioned that in the way of the yin and yang, three is an odd number that signifies the yang, and four is an even number that signifies the yin.
I was therefore told that the opposing relationship of the yin and yang are present within both sides of the Yoki.
It was here that I sensed something of a connection.
Yin and yang are different things, yet are always together.
From its very nature as a tool the Yoki is something that divides one thing into two, yet by dividing it into yin and yang one could say that it serves to create a division while simultaneously forming a connection.
In terms of felling trees then, the Yoki perhaps means to form a connection between the side that is felled and becomes timber, and something (a memory of sorts) that lies within the tree trunk that has been cut.
Do the Soma not enter the mountains in reverence towards those numbers and in feeling a sense of divinity from them?
What if each and every tree that is distributed as timber still persists to be connected to the mountains?
What if these people known as Soma engage in their work under the pretext of such a wish?
One questions whether our treatment of trees should really remain as we see it now.
March 6, 2016
English translation by Kei Benger
Japan was originally attached to the eastern coast of the Eurasian continent. The Japanese islands were formed approximately twenty thousands years ago, after several large crustal movements occurring over hundreds of millions of years. As the temperature of the earth gradually warmed from the end of the last glacial age, the Jōmon period started, and continued for more than several thousands years (and in some cases cited as long as fourteen thousands years), developing its own culture, until the arrival of the culturally different Yayoi period dated 300 BC to 300 AD. The Jōmon people were in contact with people overseas. Various things were introduced from south and from north, along the chained islands dotted from the Eurasian continent.
The Jōmon people used various housewares and tools such as potteries and stone implements, as well as hand-woven baskets made of local wild plants. Such baskets were excavated from many Jōmon ruins across Japan, these becoming a clue to understand the Jōmon lifestyle. This is significant and fascinating, in that the hand-woven basket has played an important role in the human life history since the earliest time.
The vegetation of Japan differs across regions, just as the climate differs. A wide variety of plants has been used for basketwork across islands including bamboos (such as madake-bamboo, mosochiku-bamboo, nemagaritake-bamboo, suzutake bamboo), akebi-vine, Japanese wing nut, wild vine, wild cherry tree, and kudzu vine. The shape and the weaving method of basket are also uniquely diverse, reflecting different lifestyles across regions, as well as according to its intended purpose, such as rice cultivation, grain harvest, and fishing.
Blessed with nature, made by the human hand, each basket is given a life. The production process involves soulfully laborious work from extracting raw materials in steep mountains, to designing the weaving pattern to enhance the material beauty. Each basket narrates the story of craftsmanship. The human’s reverence for nature dwells in each basket. The sublime beauty of a harmonious relationship between nature and humans, or the Japanese aesthetics, dwells in them. The art of traditional handcrafting celebrates the long history of human life. It invites us to the root of our soul.
Spring equinox, 2016
English translation by Kaori Nishizawa
Let ourselves make an experiment
That does not require white coats or any tools.
All we need is our very own bodies.
When we return to the original physical condition we were born with, we are in the best of our health
When our level of consciousness rises, we see only the pure consciousness of things
When we are in our own true colors, our most wonderful charm is released
Those who live only with Prana instead of food and drink, exist as Light-eaters
Strong, delicious crops can grow without plows, pesticides, and fertilizers
Ultraviolet rays, infrared rays, and all other kinds of visible light are made of love
We feel reassured when others allow us to live in our own skin
Everything is made of the same thing
These are some of the things that I have heard and have actually seen
Now is the time to experiment
To lead our lives believing in these things
Or to live in doubt about them,
Let ourselves consider which is more pleasant
Now choose from the above
Several sentences that you like
And try to savor them one by one
Believing that such world is real–
Or not believing that–
Now close your eyes…….
Engross yourself in such thoughts
Until your mind gets tranquil
Everything, there is a sense of divinity
Everything is part of a single divinity,
And one of the results of the experiment
‘Of being born from the light’
Exist within our physical experience.
(Note* Most people have in general,
Led their lives unaware of the divinity that rests within them
Yet now, we have come to recognize this divinity
And the gate of a new time has opened, allowing us to live consciously)
Both before and after the gate’s opening
COSMIC WONDER’s garments
Have held an extremely rare presence imbued with an energy
That make us aware of the sense of divinity and we make it glow,
Once we pass our arms through the sleeves of such garments
These garments are, the light.
Just as you, are the light.
Just as everything, are born from the light.
Has come the time, where the light is ubiquitous.
Passing through the gate of a new time
Soaked in the light of the water
August 6, 2015
English translation by Kei Benger
Photography by Ai Nakagawa
On that particular day when Yukinori Maeda had informed me about the ceremony, it had never occurred to me that I would be able to visit. There are no trains or buses leading to that place embedded deep in the mountains of Kyotanba. I was in Kyoto at the time on Monday, March 30th, when I was told that ‘Kamino-hikarino-awa Water Ceremony,’ was to take place in that setting as a creative gathering by Cosmic Wonder and ‘Kogei Punks Sha’ –an artistic unit by Yukinori Maeda and Sumiko Ishii whom presides over gallery Hakuden, a sanctuary of sorts for ceramics and handcraft. I had heard of this news whilst having lunch in an earthen wall room surrounded by bamboo trees, within a restaurant that served dishes reminiscent of Korean cuisine. Despite nestled in the heart of downtown Kyoto, Maeda had mentioned to me that he “felt at peace” whenever he dined there. At the time of our conversation I had gained the impression that aspects such as the specificities of the ceremony, details regarding the schedule, and measures of how to perform the ritual of the water ceremony, had only been decided upon vaguely. It was precisely four weeks later from that day, on April 27th, that Yukinori Maeda, Yuki Kato, a culinary artisan of vegan and native herbal cuisine in Kyoto, and myself, had returned to lunch at this restaurant. However on this occasion we were not alone and were in the company of Miyako Yasuda, an individual whom founded Cosmic Wonder with Maeda and currently lives in the Miyazaki prefecture, Yurie Nagashima whom had been invited from Tokyo to photograph the Water Ceremony held on the 26th, myself, and Hikotaro Kanehira whom likewise had visited from Tokyo to participate in this event, and Mitsuhiro Okada who had joined us from Kyoto. Nobuhiro Shimura whom had documented the Water Ceremony on film had already returned to attend to some work in the Yamaguchi Prefecture where he currently basis his practice, and thus had been absent from our gathering.
Each of us had spoken about the extraordinary event that had taken place the day before, as well as the various people we had encountered there. gallery Hakuden, a small exhibition space and store run by Sumiko Ishii whose husband works as a potter, was surrounded by fresh green nature, imbued with the scent of early spring. The gallery and the couple’s living space, the open space that surrounded husband Naoto Ishii’s kiln as well as the cedar forest in the mountains behind it, had all become a stage. People dressed in garments made of white paper had suddenly appeared on that particular day, and as if partaking in a childlike play, had realized a performance concerning paper, the gods, water, earth, and light, that memorably depicted the presences of beautiful elements that we engage with in our daily lives. The handmade sweets and handcrafted Japanese paper were both concerned with matter derived from the earth, and were intimately related to nature. When we were invited into the depths of the mountains and sat on a white sheet of paper to experience the dazzling course of events of the “Water Ceremony” that unraveled before our eyes, each and everyone of us had realized that these elements were not only handcrafted through the bare and honest efforts of human hands, but at the same time had existed on the very zenith of a new form of creation.
I had participated in the “Water Ceremony” in hopes to write a short text to contribute to Elein’s Les Chroniques Purple, however I was soon assured that what I had experienced was not something that I could simply describe within the confines of a few paragraphs. In contemplating on how best to convey my thoughts, I had walked the streets of Kyoto on my own before the luncheon the following day. On my stroll I observed that the city was crowded with an array of two-story Machiya (traditional town houses) that had been modernly converted into Fashion boutiques –a sight particularly distinctive to Kyoto. Small retail stores aligned the streets, presenting their respective arrangements of driftwood and Mingei (folk craft) goods in entrances and windows in an appeal to portray a harmonious relationship with nature. Amidst this fleeting moment of time before the stores opened, I imagined the vibrant bustle of the downtown district, which would soon be full of people. At the same time, my thoughts had drifted to recall the landscape of the Miyama region where Maeda anticipates of relocating to half a year later, as a place that fulfills his ideals. After the “Water Ceremony,” we drove for an hour before sunset to visit the village of Miyama that was to be the setting for Maeda’s next evolutionary step.
From one range of mountains in Kyoto to another, we drove through the lush green scenery to arrive in a village surrounded by mountains. A small cluster of thatched-roof houses were scattered throughout the village, and one could also see the flow of a clear and bubbling stream. The sun was beginning to set. The village seemingly appeared to preserve Japan’s old and traditional style of living, and it was here, in this very place, that I had contemplated Cosmic Wonder’s future way of life and production in the context of the 21st century and their courageous decision to take this step, as well as capture a glimpse of the “Punk” spirit of “Kogei Punks Sha,” that through its name illustrated an endeavor for unsurpassable beauty.
I do not think that Cosmic Wonder’s radical profundity has ever really been understood simply as it is. Not now, or ever before. The world that they pursue is one that requires hard work from both a physical and psychological perspective, and as such I know that various talented individuals whom wish to become residents of this world are present within Yukinori Maeda’s surroundings as if all belonging to a single family. I myself have been a resident of this world for over 10 years, and thus I understand most of what it entails. I appear not to comprehend, yet at the same time I understand. One thing that is certain, is that 15 years ago both them and myself had been looking to the outside of the country. Now, our eyes are shifted to look towards Japan and its origins. What leads us there above all, is the pursuit for beauty within our everyday lives. It is simply a matter of honestly following what awaits us at the cusp of our endeavor. It is the sensation of living in the current, as residents of the 21st century.
Nakako Hayashi, April 28th, 2015
English translation by Kei Benger
The original text was published on Les Chroniques Purple on June 3, 2015.
Film still by Nobuhiro Shimura
COSMIC WONDER with Kogei Punks Sha / The Kamino-hikarino-awa Water Ceremony was performed on the 26th of April, 2015 as part of the exhibition “MIERU Kami“.