Wave Weave: Fusion of Sound and Textile
Hosoo Gallery
Until Mar 8
SHARE
Artists
Carsten Nicolai
Engaged in innovative textile production since its foundation in 1688 in Kyoto’s Nishijin district, Hosoo is pleased to present its new installation WAVE WEAVE, created in collaboration with internationally acclaimed artist Carsten Nicolai. This exhibition unfolds in two interwoven works: the film WAVE WEAVE and the textile work SONO OBI.
Carsten Nicolai (born 1965 in Karl-Marx-Stadt, Germany; now Chemnitz) is celebrated widely not only as a visual artist but also as an electronic musician under the name of Alva Noto, notably for his numerous collaborations with the late Japanese composer Sakamoto Ryuichi. Born and raised in the epicenter of the textile industry in the former East Germany, Nicolai has long held a deep fascination for weaving techniques and their origins, as evidenced by his collection of over 1,000 textile patterns from the 1940s to 1960s.
Nishijin-ori, silk textile initially developed for the elite, is renowned for its unparalleled degree of precision and extensive range of techniques. In the early 19th century, the advent of the automated loom, conceived by Joseph Marie Jacquard, marked a significant transformation in textile manufacturing. His innovation, which supplanted the traditional hand-operated looms, ushered in an era of unprecedented advancement, facilitating the production of intricate patterns with remarkable sophistication. During the Meiji period, artisans in Nishijin brought the new loom from Lyon, catalyzing technical progress ahead of other prominent centers of textile production in Japan.
Jacquard’s mechanism, which employed punch cards to mechanically control warp threads in accordance with pattern designs, established the groundwork for computer technology. This is why textiles are sometimes referred to as the progenitor of digital media. Hosoo is currently engaged in research and development activities aimed at exploring the potential for technological innovation through the digitalization of the twenty or more steps required for manufacturing a Nishijin-ori textile. Drawing attention to the fusion of traditional techniques and modern Western technology in Nishijin-ori, Nicolai states: “The loom is a symbol of cosmic creation and the structure upon which individual destinies are woven. In many cultures it is also common for time itself to be woven.” His groundbreaking new work draws heavily from the notion that textiles serve as a medium that incorporates time.
The exhibition consists of the following two works.
Carsten Nicolai (born 1965 in Karl-Marx-Stadt, Germany; now Chemnitz) is celebrated widely not only as a visual artist but also as an electronic musician under the name of Alva Noto, notably for his numerous collaborations with the late Japanese composer Sakamoto Ryuichi. Born and raised in the epicenter of the textile industry in the former East Germany, Nicolai has long held a deep fascination for weaving techniques and their origins, as evidenced by his collection of over 1,000 textile patterns from the 1940s to 1960s.
Nishijin-ori, silk textile initially developed for the elite, is renowned for its unparalleled degree of precision and extensive range of techniques. In the early 19th century, the advent of the automated loom, conceived by Joseph Marie Jacquard, marked a significant transformation in textile manufacturing. His innovation, which supplanted the traditional hand-operated looms, ushered in an era of unprecedented advancement, facilitating the production of intricate patterns with remarkable sophistication. During the Meiji period, artisans in Nishijin brought the new loom from Lyon, catalyzing technical progress ahead of other prominent centers of textile production in Japan.
Jacquard’s mechanism, which employed punch cards to mechanically control warp threads in accordance with pattern designs, established the groundwork for computer technology. This is why textiles are sometimes referred to as the progenitor of digital media. Hosoo is currently engaged in research and development activities aimed at exploring the potential for technological innovation through the digitalization of the twenty or more steps required for manufacturing a Nishijin-ori textile. Drawing attention to the fusion of traditional techniques and modern Western technology in Nishijin-ori, Nicolai states: “The loom is a symbol of cosmic creation and the structure upon which individual destinies are woven. In many cultures it is also common for time itself to be woven.” His groundbreaking new work draws heavily from the notion that textiles serve as a medium that incorporates time.
The exhibition consists of the following two works.
Schedule Now in session | Nov 13 (Thu) 2025-Mar 8 (Sun) 2026 82 days left Opening Hours Information
| ||||
|---|---|---|---|---|---|
| Fee | Free | ||||
| Website | https://www.hosoogallery.jp/en/exhibitions/wave-weave/ | ||||
| Venue | Hosoo Gallery https://www.hosoogallery.jp/en/ | ||||
| Location | 2F Hosoo Flagship Store, 412 Kakimoto-cho, Nakagyo-ku, Kyoto-shi, Kyoto 604-8173 | ||||
| Access | 2 minute walk from exit 6 at Karasuma Oike Station on the Karasuma and Tozai subway lines. | ||||
| Phone | 075-221-8888 | ||||
| Related images | Click on the image to enlarge it |
Back to Articles
SHARE
No comments yet