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Photography (MA)

Jukan Tateisi

Jukan Tateisi (b.1986, Chicago) is a visual/sound artist, director of The 5th Floor, an alternative artspace in Tokyo and a member of HB.Collective, a curatorial collective.

He observes the ontological land/soundscape in the x reality epoch through vernacular installation works using artificial neural network, multi-channel audio system, field recording, architectural approach, delegated performance, curatorial approach and photography.

Known for “The drowned world anchor“ (SPIRAL HALL, 2019), “Le Jardin Convivial” (Kyoto Botanical Gardens, 2019), “Allscape in a Hall” (Artists’ Fair Kyoto, 2020), “AnyTokyo” (Kudan House, 2019) for exhibitions, and “Kotobaodoru” (NHK - Japan Broadcasting Corporation, 2019), “Voyage in Sound” (AirBnB, 2017).

Selected Exhibitions:

2020 Allscape in a Hall (Duo), Artists' Fair Kyoto: Blowball, Japan
2019 Assorted Chocolate, ANA InterContinental Tokyo, Japan
2019 Le Jardin Convivial, Kyoto Botanical Gardens, Japan
2018 It Is That It Is (Solo), KYOTOGRAPHIE KG+ Award, Japan


2018, Shortlisted
2018 Tokyo International Foto Awards 2017, Fine Art Cateogry, Silver
2018 Kyotographie KG+ Award 2018, Shortlisted




Degree Details

School of Arts & Humanities

Photography (MA)

What if the technology hides away from the nature, as the nature has done in the beginning of Anthropocene? Will be the space virtual or metaphysics? No, unless we stop using electricity.

The art institute has been inventing the power of transparence. Transparentizing the connection to our living by the gesture of installing at white spaces, or dispossession of touching, led us to the speculative appreciation. However, in the post-internet society, we are too much used to nontouchable life style, that we're losing the physicality. It's time for us to revise the institutions in art to remember what the art is for.

We should face to the physicality in the x reality. Tact in the x reality, walk through the work, living inthe work are somehow the key common elements in my practice.

#arcticocean — Inkjet print of AI generated image using 30,001 posts on Instagram, 2019.

#aralsea — Inkjet print of AI generated image using 12,658 posts on Instagram, 2020.

#foggysea — Inkjet print of AI generated image using 2,326 posts on Instagram, on display for Excessive Packaging, 2019.

Installation View — 2020 Inkjet print, projector, acrylic, concrete, found object Photo: Shunichi Oda Retouch: Shinji Uezumi (ADUMS)

Sea is where life began. Sea has united the lands into one world. Now we are facing another sea separately, virtually.

Another Seascape is a new series following a previous series Collective Idea (2017-2018), which aimed to explore the unconscious and collective ontology suddenly appeared in the post Internet / the AI boom III.

In the previous series, the artist developed a system that collects whole images tagged with specific hashtags on Instagram and generate new images through letting AI analyse them clustering into several categories. The categories erratically contain phenomena that rarely can be seen in the daily life, so that they are not yet sociologically defined e.g. semi-nude women taking selfies in front of/on/in/by laundries, or stylish men taking selfies in front of urinals. They may have always existed, but they have suddenly emerged through the complicit collaboration of social media and artificial neural networks aka AI. Meaning that, the insignificant phenomena have become a blurred assemblage through the statistical computation.

In the new series, Tateisi proposes a statement about the appearance of the third seascape. There has been always the seascape in front of us as how we human/nonhuman see structurally. In the 18th century, we found the second seascape that metaphysically exists. In contemporary era, we admit both seascapes mentioned above, moreover, we’ve facing the third seascape that virtually exist through how digital nation share their seascapes collectively on social media such as hashtag.

The third seascape exists as a pure object. There is no division between sea and land in the object, nor the division between seascape and the observer. Time and space have lost their coordinates, that the present is no longer exists but only the past. The third seascape consists of human behaviour which most of the time appears as ghost, the blurred human outline, who supposed to be there standing in front of the lenses.

Each seascapes have their own institutions. They are alike the planet-chain that astronauts explore in Interstellar (2014). One of them let the ghosts stand with their backs, and gaze beyond the horizon (#foggysea, 2019). One of them let them walk across the horizon just like The Beatles (#arcticocean, 2019). One of them let them pose on a car with camels on the background where used to be sea (#aralsea, 2020).

Every institutions are based on the hashtags. Sometimes the hashtags are meant to be tagged differently from how they exist physically. How it spells matters delicately. #foggysea results unlike #foggyseas or #fogsea. There are numerous seascapes as much as the hashtags exist, and which still grows like the space does.


Inkjet print, AI generated image using hashtagged images on Instagram


1200 x 1000 mm
coronavirusCOVID-19FogghostsJapanLockdownMoving imagePandemicpoemRealityseascapeUnited Kingdom
"To The Fog" is a moving image work that Tateisi presents and expresses what he experienced and thought in the pandemic, to the fog, which connects United Kingdom and Japan virtually. Also, it is a derivative work of “#foggysea” (2019 )from a series "Another Seascapes".


To The Fog

I lost my uncle in the pandemic. It was 17 days after he complained a pain of breathing, 16 days being unconscious, and a day being with family. He was sent to a crematorium straight from the hospital. For the first time since the hospitalisation, he showed up being in a little white pot.

Without seeing him or sending him away, it was almost like as if he went missing and I'm still searching for his whereabout. Did the families feel the similar way when Tsunami take thousands of their people? Or wrecking because of the icebergs? I'm not sure, but despite, I find myself and my family that we still talk about him as he's living somewhere.

What we see is the sea of fog. The fog separates us from the future. The future walked into the misty curtain, and disappeared silently, yet, it shows us the ghosts of ourselves like the mirage that rose up by the light beyond the curtain.

Oh, the city of fog on the isles. This trip has become 20 times longer than it originally was planned. Who could know that we now have to give up you? We're missing a sense of direction, the direction of not only the space, but also the time. And I'm sitting in another present, the archipelago in far east.

The fog holds us gently. The fog connects this archipelago to the isles. There are only islands existed in this remote reality. The meanwhile, the sea, will begin seeking the meaning of being. Instead, the fog has been inserted as partitions to separate and connect the reality, in the same time.

We lost our reality in the pandemic. Without seeing it or sending it away, it was almost like as if it went missing and we're still searching for its whereabout in this fog.


Moving Image



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