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• Paul Gauguin, Vincent van Gogh in Arles in 1888, 389 MB
• Self-Portrait Painted by Paul Gauguin, Vincent van Gogh, 86.1 MB
• Madame Roulin Painted by Paul Gauguin, Vincent van Gogh, 109.3 MB
• Madame Ginoux Painted by Paul Gauguin, Vincent van Gogh, 114.6 MB
• Sunflowers by Vincent van Gogh, Vincent van Gogh Painting Sunflowers by Paul Gauguin, 110.4 MB
• Self-Portrait, Gauguin's Armchair by Vincent van Gogh, 113.6 MB
• Self-Portrait with Bandaged Ear Painted by Vincent van Gogh, 111.2 MB
• Dr. Gachet Glitch by Vincent van Gogh, 100.3 MB
• Portrait of the Postman Joseph Roulin by Vincent van Gogh, 114 MB
Show: Japanese / 日本語
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アルル時代のゴッホとゴーギャンのニューメディア解釈：
デジタル表現が主流になってきた現在、過去の絵画を言語ではなく、メディアそのものをバイナリーで解釈する試みは、自然な流れと言えます。このプロジェクトは、フランスのアルルで共同制作したヴィンセント・ヴァン・ゴッホとポール・ゴーギャンの作品を取り上げました。二人が描いた同一テーマのペインティングを、一つのスクリーンに並べて表示しニューメディアてき解釈をしています。絵画は少しずつ色の粒子に分解され、全画面にランダムに再構成され、均一に統一された色彩の視覚空間を創り出します。最終段階では、バイナリー・データの「0」と「1」のずれを元の画像データに重ね合わせ、デジタルグリッチを通して元の絵画に戻ります。さらに、バイナリーの色彩データに基づいた背景音が生成されます。
ヴァン・ゴッホに大きな影響を与えた、ジョルジュ・スーラが開拓した点描画技法に着想を得たこのプロジェクトは、有機的なものと合成的なものの緊張関係を探求しています。21世紀において、あらゆる情報は究極的にバイナリー形式で記録されます。1888年、ヴァン・ゴッホとゴーギャンはフランスのアルルで共に制作活動を行いました。二人の共同制作は数々の重要な作品を生み出しましたが、気質と芸術的志向の相違により、関係はわずか2ヶ月で悪化しました。
鮮明なイメージでさえ、断片化や再解釈の影響を受けやすい時代において、アーティストの小島は、このプロジェクトを通して視覚的記憶と作者性というアートについて、鑑賞者に深く考えさせようと試みています。
ChatGPTによるこのプロジェクトの評価：
この作品は、19世紀の芸術と21世紀のデジタル技術が交錯するユニークな試みとして高く評価できます。2025年の今日、AIやアルゴリズムが創造行為に深く関与する中で、「視覚的記憶」や「作者性」というテーマはますます重要性を増しています。ゴッホとゴーギャンという歴史的芸術家の作品を、粒子化・再構成・デジタルグリッチというプロセスで再解釈する手法は、視覚芸術における「真実」や「オリジナル」の概念に揺さぶりをかけています。
また、バイナリデータに基づいたサウンド生成や、ジョルジュ・スーラの点描技法との接点も興味深く、視覚と聴覚、アナログとデジタル、偶然と意図の境界を探る実験的精神が感じられます。技術に頼りながらも、感性や歴史的文脈を重視したバランスの取れたアプローチであり、現代における芸術表現の可能性を広げる刺激的な作品です。
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Digital Age interpretation of the Arles period of Van Gogh and Gauguin:
In an era dominated by binary representation, the concept of interpreting paintings in binary form becomes a pertinent question. This project presents works by Vincent van Gogh and Paul Gauguin, artists who collaborated on themes during their time in Arles, France. These paintings are displayed side by side on a single screen and gradually deconstructed into discrete particles of color. These particles are then randomly reassembled to create a unified visual field. In the final stage, the original data is superimposed on the original image data through digital glitches caused by the shift in the "0"s and "1"s in the binary data. In addition, background sounds are generated based on the image data.
Inspired by the techniques of pointillism pioneered by Georges Seurat, an artist who profoundly influenced Van Gogh, this project explores the tension between the organic and the synthetic. In the 21st century, all information ultimately exists in binary form.
In 1888, van Gogh and Gauguin resided and worked together in Arles. While their collaboration yielded numerous significant works, their relationship deteriorated after only two months due to divergent temperaments and artistic aspirations.
Through this work, the artist Kojima invites viewers to contemplate the nature of visual memory and authorship in an era where even the most vivid images are susceptible to fragmentation and reinterpretation.
ChatGPT's Evaluation of this Project:
This work can be highly regarded as a unique endeavor that bridges 19th-century art with 21st-century digital technology. In 2025, as AI and algorithms increasingly shape creative processes, themes such as visual memory and authorship have gained new relevance. By reinterpreting the works of Van Gogh and Gauguin through processes of particle decomposition, random reconstruction, and digital glitches, the project challenges conventional notions of “truth” and “originality” in visual art. The integration of binary-based sound generation and the reference to Georges Seurat’s pointillism add further depth, highlighting an experimental spirit that explores the boundaries between visual and auditory, analog and digital, chance and intention. While technologically driven, the work maintains a thoughtful balance between technical precision and historical sensitivity, offering a compelling vision of what artistic expression can become in the contemporary age.
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 OtoZono at HEART, New York. / 2024 the New Media Art Space at Baruch College, New York. / 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: 2025 OPEN NIGHTS FESTIVAL Vol.9, Lárisa, Greece / 2025 FILE (Festival Internacional de Linguagem Eletrônica) São Paulo, Brazil. / 2025 Selected in the TAA (The Art Association) TAA Open Call Video Competition 2025 Final Candidates (2024 YouTube Exhibition), Geneva, Swiss / 2024 Profusion of Colors, A.E. Corner, Galleria di Tirano, Viale Italia / 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', Season 3 & 5, Vienna, Austria / 2024 Technocene Berlin Templehof, Germany. / 2024 Open Media Art, Košice, Slovakia / 2025, 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.
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Series "After Paul Gauguin and Vincent van Gogh in Arles" is licensed under
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