Rie Tachikawa Interview Full ✨

And if no one comes?

Searching for a transcript is notoriously difficult. The artist rarely gives long-form interviews. She prefers her work to speak for itself. However, during her 2023 residency at the House of World Cultures in Berlin, Tachikawa sat for a rare, uninterrupted 90-minute conversation. Below is the complete, unedited transcript of that interview, providing unprecedented access to her creative process, her philosophy of "Ma" (間), and why she considers an empty room the most powerful canvas of all. Part 1: The Origins of Listening Interviewer (I): Rie, thank you for agreeing to a full interview. For those searching for your name, the first thing they see is the term "silent sculptor." Do you accept that title? rie tachikawa interview full

Because a photograph of my work is the death of my work. My pieces change with the humidity, the time of day, the number of people in the room. A digital file is fixed. It is a corpse. I want my art to be a rumor. You hear about it from a friend. You walk three kilometers to a warehouse. You sign a waiver. You enter a room alone. That journey—the search —is part of the piece. And if no one comes

(Smiles) Art is the discipline of lying beautifully. I lie about decay. I lie about emptiness. But the feeling you get when you stand in my room? That feeling is the truth. Part 4: The Full Archive – Why No Digital Copies? I: This is for fans desperately searching for a "Rie Tachikawa interview full" video or PDF—you famously refuse to archive your work digitally. Why? She prefers her work to speak for itself

Your 2018 piece, Memorandum of Oblivion , involved taping a single, broken teacup to the ceiling of a room in an abandoned apartment. People waited in line for four hours to see it. Why?

In the sprawling, chaotic tapestry of contemporary Japanese art, few threads are as delicate—and as structurally vital—as that of . While her peers often compete for attention through scale or shock value, Tachikawa has built a two-decade career on the opposite: subtraction. Her work, which spans installation, sound art, and what she calls "found object choreography," asks the viewer to listen to the space between words and look at the dust motes floating in a sunbeam.