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This Planet is Our Home.


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1. 2. 3.

4. 5.


6. Five Backgrounds, 35 min.


1. This Planet is Our Home / Walking in the Forest / 8:15 / 2024
2. This Planet is Our Home / In the Meadow / 8:15 / 2024
3. This Planet is Our Home / Colors of Fall / 8:15 / 2024
4. This Planet is Our Home / The First Snow / 8:15 / 2024
5. This Planet is Our Home / Stream / 8:15 / 2024
6. This Planet is Our Home / Five Backgrounds / 35:00 / 2024

24 Languages: English, Japanese, Slovak, Chinese, Spanish, Korean, German, Hindi, French, Thai, Swahili, Italian, Turkish, Greek, Swedish, Ukrainian, Dutch, Indonesian, Finnish, Vietnamese, Polish, Arabic, Russian and Hebrew.



Exhibitions

July 17 - September 27, 2024
"Ripples" Organized by the New Media Art Space
at Baruch College in New York.
This Planet is Our Home. 24 Languages, 5 variations




May, 2024 - September 2024
This Planet is Our Home. Walking in the Forest , 23 Languages
in "Open Media Art" in a public space in Košice, Slovakia.



These videos are free to share
and can be displayed without permission.
If you approve of the video as art.
You can donate any amount to the artist
Even if you disagree, you can keep it.
But it has no artistic value, as you have determined.


Download: 1920x1080, Horizontal, 8:15
This Planet is Our Home / Walking in the Forest / 24 Langages, 372.4 MB
This Planet is Our Home / In the Meadow / 24 Langages, 378.5 MB
This Planet is Our Home / Colors of Fall / 24 Langages, 391.7 MB
This Planet is Our Home / The First Snow / 24 Langages, 377.8 MB
This Planet is Our Home / Stream / 24 Langages, 380.8 MB
This Planet is Our Home / Five Backgrounds / 24 Langages, 1.6 GB

Download Spanish Subtitle: 1920x1080, Horizontal, 8:15
This Planet is Our Home / Walking in the Forest / 24 Langages, 382.1 MB

Download Free Material Green Back

• This Planet is Our Home-24Lang-GreenBack_1920x1080 / 381.4 MB



Show: Japanese / 日本語
Hide: Japanese / 日本語

ビデオは5か所の自然を背景に、24の言語で「この惑星は私達のホームです」と宣言しています。 現代文明は、より良い生活のために物質的な豊かさを追求してきました。しかし現在では人間の生存に必要なもの以上の物質の生産は、生物の生存を脅かすことが広く認識されています。過剰な物質消費は、生物の生存にとって深刻な脅威です。 物質的な豊かさは、人間の生存のために追求されてきましたが、今や状況は逆転しています。物質的な豊かさの追求よりも、生物の生存を優先することが急務です。この問題に対処するには、世界中の価値観やライフスタイルの多様性を見直し、豊かさの概念を再定義する必要があります。 上記に共通するのは、より多くのものを手に入れることが、必ずしも将来の幸福や充実につながらないということです。私たちはこの惑星で共に生きなければなりません。これが最優先事項です。そうしなければ、人間だけでなく、すべての生物が絶滅することになるでしょう。私たちは別の惑星に移住して快適に暮らすには、十分な時間はありません。宇宙開発は大量のCO2を排出し、環境を悪化させます。今は宇宙開発の知力と科学を資源として活用して、生態系を改善すべき時です。

絵画にトマトスープを投げつけるよりも穏健な抗議:
ビデオは自由に配布できます。20世紀末、アーチストの小島健治は、地層に廃棄物の痕跡を残す物質芸術の制作をやめました。アートワークが物質的欲望の対象になることを望みませんでした。人新世の大部分は、貨幣経済における限りない物質的欲望の蓄積です。私たちアーチストも、生き方を再構築する必要に直面しています。デジタルアートの最大の特徴は、本物の芸術を無限にコピーできることです。金銭崇拝の貪欲な物質的所有を破壊し、アートの異常な金銭的商品価値を回復し、個々の鑑賞者とのつながりを復活させましょう。アーチストの小島は資本主義に埋め込まれたアートの異常な経済状況を解消し、別の意味を持たせようとしています。もしアートが金銭的価値が消えた後も意味を持つのであれば、鑑賞者とのつながりを復活させることができるでしょう。このビデオはCCライセンスの下でフリーで配布、無許可で展示できます。

Hide: Japanese / 日本語


            The video proclaims "This Planet is Our Home" in 24 languages on five natural backgrounds. Modern civilization has pursued material wealth for a better life. However, excessive material consumption is a serious threat to the survival of living things. It is now widely recognized that the production of materials beyond what is necessary for human subsistence threatens the survival of living things. This has led to many conflicts and environmental pollution. To solve this problem, we need to re-examine the diversity of values and lifestyles around the world and redefine the concept of wealth. The above points have in common that acquiring more things does not necessarily lead to future happiness or fulfillment. We must coexist on this planet. Failure to do so will lead to the extinction of humans and all living things. We must rethink what abundance and happiness mean. We don't have enough time to live comfortably on another planet. Space exploration only worsens the environment by emitting huge amounts of CO2. We should use the brainpower and science of space exploration as a resource to improve the ecology.
            Moderate protest than throwing tomato soup at the paintings: The video can be freely distributed. At the end of the 20th century, the artist Kenji Kojima stopped making material art that left traces of waste in geological formations. He did not want the artwork to become an object of material desire. A large part of the Anthropocene is the accumulation of limitless material desire in a monetary economy. We artists are also faced with the need to reconstruct our way of life. The greatest feature of digital art is that real art can be copied infinitely. It destroys the greedy material possessions of money worship, restores art's extraordinary financial commodity value, and revives its connection to the individual viewer. He tries to eliminate the abnormal financial situation of art embedded in capitalism and give it a different meaning. If art had meaning even after its monetary value disappeared, it would revive the connection with the viewer. This video is freely available under a CC license and can be displayed without permission.

Show: Kenji Kojima's Biography
Hide: Kenji Kojima's Biography

            Kenji Kojima was born in Japan. He moved to New York in 1980 and began his artistic career in 1980. For the first 10 years in New York City, he painted contemporary egg tempera paintings using medieval art materials and techniques. He was strongly attracted to contemporary art, but he felt stuck in the future of modern civilization and under capitalistic art. He tried to experience the history of the creation of the European concept of art through actual materials and techniques, that is, the history of art that is not written in literature. He was particularly interested in the basic materials of painting, such as ground, pigment, and medium, rather than the visual theme. He noticed in the history of art that as society and people's minds changed, materials developed and visual art changed. His egg tempera paintings have been collected by Citibank, Hess Oil, and others.
            The personal computer improved rapidly during the 1980s. He felt more comfortable with computer art than paintings. Ecologically, he felt guilty about wasting materials in the name of art. Working on the computer was clean, did not waste material, and made him feel lighter. In the early 1990s, he moved his artwork into the digital arts. He was particularly interested in developing interactive artworks. He studied computer programming himself. His early digital works were archived at the New Museum - Rhizome, New York. In 2007, he developed the computer software "RGB MusicLab" and created an interdisciplinary artwork that explores the relationship between images and music. He developed interactive software for his art but soon ran into a big problem: the software would not run on the new operating systems. He converted the artwork to video while the software ran on the operating system. He also started making videos and was interested in ecological art themes. He programmed the software "Luce" for the project "Techno Synesthesia" in 2014. His digital art series has been shown at media art festivals around the world, including Europe1, Brazil2, the Middle East3, Asia4, and the USA, including solo exhibitions in New York City5.
            After Covid-19, he could not go out to shoot a video. He found many archival artworks on the net. In 2021 he started the new series "The Musical Interpretation of Paintings", which creates music from classical image data such as paintings, photographs, and films. The project "Bitwise Splitting and Merging of Pixels" manipulates color pixels by bitwise operation. Generative AI has been greatly improved in 2023. He is considering using Music Generative AI. Kenji Kojima Resume



Digital Art Exhibitions:
the USA: 2024, All Street, New York / 2023, 2020 Torrance Art Museum, Los Angeles, USA. / 2023 THE ELASTIC MIND, BROWARD College, Weston, Florida. / 2023 SOJOURNER, New York, NY. / 2022 Asian American International Film Festival, New York, NY. / 2012, 2016 Light Year, Brooklyn, New York. / 2021 UNCG International Sustainability Shorts Film Competition, UNC Greensboro, NC, USA. / 2019 The Harold B. Lemmerman Gallery, New jersey City University, Jersey City, NJ. / 2019, 2016, 2015 Williamsburg Art & Historical Center, New York, NY. / 2018 The Exchange, Bloomsburg, PA. 2018 WhiteBox, New York, NY. / 2015 ACM SIGGRAPH Digital Arts Community. / 2014 MediaNoche, New York, NY. / 2008 AC Institute, New York, NY.
Europe: 2024 Summer of Anthropocene, The New Museum of Networked Art, Cologne, Germany / 2024 DIGITAL VIDEO ART INTERNATIONAL STREAMING FESTIVAL 'The films of the Official Selection 2024', Vienna, Austria / 2024 Technocene Berlin Templehof, Germany. / 2024 Open Media Art, Košice, Slovakia / 2024, 2023, 2022, 2020, 2019 Ie Rencontres Internationales Traverse, Toulouse, France. / 2021 FEX comtemporary media art, Cologne, Germany. / 2020 Institut für Alles Mögliche, Stützpunkt Teufelsberg, Belrin, Germany. / 2019 The festival BINNAR, Vila Nova de Famalicão, Portugal. / 2019 MADATAC X New Media Arts Festival, Madrid, Spain. / 2018 Athens Digital Arts Festival, Athen, Greece. / 2018 Mitte Media Festival, Berlin, Germany. / 2017 Simultan Festival, Timisoara, Romania. / 2016 Simultan Festival, Timisoara, Romania. / 2016 Brave New World Beyond the Wall, Berlin, Germany. / 2015, 2013 ESPACIO ENTER, Tenerife, Canary Islands, Spain. / 2014 BRAVE NEW WORLD, Berlin, Germany. / 2011 Jyväskylä Art Museum, Jyväskylä, Finland. / 2010 PROCESS Festival, Berlin, Germany. / 2009 RE-NEW Digital Art Festival, Copenhagen, Denmark. / 2002 Free Manifest, Frankfurt am Main, Germany.
Brazil: 2023, 2022, 2020, 2016, 2012, 2011, 2010 FILE (Electronic Language International Festival) São Paulo, Brazil. / 2012 FILE RIO, Rio de Janeiro, Brazil. / 2010 FAD (Festival de Arte Digital), Belo Horizonte, Brazil.
the Middle East: 2020, 2012 Istanbul Contemporary Art Museum, Turkey. / 2020, 2019 Paadmaan Video Event, Isfahan, Iran.
Asia: 2021 Thailand New Music and Arts Symposium, Bangkok, Thailand. / 2020 the 150th Anniversary Gandhi Event, Kolkata, India. / 2019 Capital Normal University College of Cape Cod, Beijing, China & China University of Mining and Technology Yinchuan College, Yinchuan, China. / 2018 Gunung Sunda Festival, Sukabumi, West Java, Indonesia. / 2016 CeC 2016, North-Eastern Hill University, Shillong, Meghalaya, India. / 2010 Contemporary International New Media Art Invitational, Wuhan University of Technology, China.

Hide: Kenji Kojima's Biography


Other Ecological Projects by Kenji Kojima


Rising Tides / The Rockets Make the Planet Cry
Climate Messages from Rap, Aria and Reggae




Anthropocene, Spaceship Earth, Bee
Participation in the "Anthropocene Project" in The New Museum of Networked Art.




"420 Bee Photos Slideshow" 2011 -
The slide show depends on the day of the week. 60 photos x 7 days



Project: Bitwise Splitting and Merging of Pixels


Begins with Chaos - Lascaux
"Chaos and Order," "Perception and Cognition,"
and "New Value Created by Technology.




Creative Commons License   Series "Copy It, Share It!" is licensed under
Creative Commons Attribution 4.0 International License.
Credit must be given to the creator.


Please Support Kenji Kojima's Artworks.

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https://kenjikojima.com/
Email: index@kenjikojima.com


  Bitwise Splitting and Merging of Pixels / Copy It, Share It! Mickey Mouse "Steamboat Willie"