1973 born in Toyama, Japan 1990 Studied at Hochschule für Kunst und Musik, Kanazawa 1994 Studied at Universität für Bildende Künste und Musik, Aichi 1995 Sudied at Kunstakademie Düsseldorf bei Prof. Christian Megert und Prof. Klaus Rinke 2003 Master student under Prof. Klaus Rinke

2018 "Soft Landing", Galerie Voss, Düsseldorf “Defining Moment” Ken Nakahashi, Tokyo (Japan) 2017 "Untitled" Galerie Voss, Düsseldorf "Star Tale" Ken Nakahashi, Tokyo (Japan) "Threshold" Ken Nakahashi, Tokyo (Japan) 2016 “Orbital Explorer” Kulturforum ALTE POST Städtishe Gallerie, Neuss 2015 “The 3th Tatumikai” 21st Century Museum of Contemporary Art Kanazawa, Kanazawa (Japan) “Vision Of Sensory Space” Galerie Voss, Düsseldorf "Eternal Moment" Galerie 44er Haus, Leonding (A) "Milky Way -Hands" Mori Yu Gallery, Kyoto (Japan) 2014 "Ankoku / Matileres Noires" Galerie Da-End, Paris (F) "WHO -Yondemiru" Tukuba Hoshiya Building, Tukuba (Japan) "NIPPON NOW" E.ON, Düsseldorf 2013 "Mihoko Ogaki" Project N, Tokyo Opera City Art Gallery, Tokyo (Japan) "Salon des Indomptables" Bateaux-Mouches, Paris (F) 2012 "Star Tales -white floating" Solo show at Galerie Voss, Düsseldorf (Germany) "Summer 2012 - Part 2" Galerie Voss, Düsseldorf (Germany) "Milky Way -breathing" Solo show at Art Osaka, Osaka (Japan) "Milky Way -drawings" Solo show at MORI YU GALLERY TOKYO,Tokyo (Japan) "Theatre of life" The Centre of Contemporary Art (CoCA), Torun (Poland) "2.46 and Thereafter" Edison Place Art Gallery, Washington, D.C. (U.S.A) 2011 "Hierher Dorthin" Goethe Institute in Aoyama, Tokyo (Japan) "The 14th Exhibition of the Taro Okamoto Award for contemporary art", Taro Okamoto Museum of Art, Kawasaki (Japan) "The Lounge" BVLGARI in Ginza, Tokyo (Japan) 2010 "No Mans Land" The Embassy of France in Japan, Tokyo (Japan) "Real Presence 2010" Italian Cultural Institute in Serbia, Belgrade (Serbia) 2009 "A Midsummer Dream" "The 5th Dan/Dans Exhibition" Tokyo/Japan (group exhibition) "Asian Contemporary Art Week 2009", New York (USA) "The Crisis of the Genre", 16th International Sculpture Triennial, Poznan 2008 "Milky Ways", Galerie Voss, Düsseldorf "Who's next", MUSEUM at TAMADA PROJECTS, Tokyo (Japan) "Celeste Art Award 2008 " Celeste e.V., Berlin (G) 2007 Solo Show at fine art fair frankfurt 2006 „vor dem anfang – nach dem ende“, Galerie Voss, Düsseldorf „Merry Go Down“, Düsseldorfer Schauspielhaus, Düsseldorf „Merry Go Down“, tanzahus nrw, Düsseldorf „10. internatationale Kunstausstellung“, Stiftung Kunst und Kultur, Stadtsparkasse Magdeburg, Magdeburg 2004 „Japanimrov#: The Ramyun Soup Connection“, Belgie Kunstzentrum, Hasselt (B) „Haunted Folklore“, Recyclart, Brüssel (B) 2003 „Beautiful Dreamer“, Sylvesterfest, tanzhaus nrw, Düsseldorf „Große Kunstausstellung NRW“, Museum Kunstpalast, Düsseldorf „AAP / Asian Art Power“, Galerie Revolver, Düsseldorf „57. Bergische Kunstausstellung“, Museum Baden, Solingen „Internationales Bochumer Video Festival +13“, Bochum „Trailershow“, Galerie Schön, Bochum 2001 „Real Presence/Generation 2001“, Museum 25th May, Belgrad (CS) „The Light into the Light“ Performance, Museum of Contemporary Art, Belgrad (CS) Participation in international art fairs since 2005 Art Brussels (B) Art Cologne (D) Arte Fiera Bologna (I)

Art is magic, freed from the lie of being truth. (Theodor W. Adorno) “before the beginning – after the end # 1” – an embryo´s vision- A video installation by Mihoko Ogaki The works of Mihoko Ogaki deal with existential topics such as birth and death, thereby discussing philosophical issues of human life. Starting from scientific and evolutionism theory-based knowledge, Ogaki raises metaphysical, ontological and cosmic questions. Regarding the genesis of human life from a biological point of view, the embryo emerges from cell fusion and becomes a viable human being through cell division. All genetic information is individually determined within the DNA whose molecular consistency can be decoded by science in detail. Nonetheless, science has its limits. Questions such as “where do we come from and where are we going to?“ finally cannot be responded to in scientific terms. Mihoko Ogaki scrutinises the origin of mankind in her installation “before the beginning – after the end # 1” – an embryo´s vision-. A baby carriage, draped with prismatic coloured pearls, is standing on a white cloud made of feathers and makes spheric sounds. As the observer looks into the carriage, he discovers a screen representing the embryo´s vision. The artist has scanned various drawings and made a film out of it with her computer. This brings us to Ogaki´s concept of prenatal perception: organic, cell-like formations float through visual space, reminding of microbiological organisms. The monotonous, computer-based sounds that seem to come from another world, impressingly underline the utopia of the image worlds. The harmony of sounds, images, material and colours makes us experience the contemplation of a dream world. Feathers are bedding the installation, symbolising softness, airiness and protection as well as eternity, since feathers outlast the death of its beings. Every single pearl is different, holding the rainbow´s colour spectrum. The artist has accurately assembled piece by piece to an entity. The multitude of the material, the images and the sounds forms the artwork. It leads us into transcendental fields of human life and urges us to ask for the things beyond the material world. The embryo´s vision is just as speculative as our imagination of life after death, which is preconditional to our belief in rebirth. Perishableness is sine qua non for becoming and emergence and determines the circulation and development of human life. Therefore, birth and death are no opposites for Mihoko Ogaki but form an entity. Aspects of the non-explainable fascinate the artist who has dealt with facts and theories derived from natural sciences in detail. Thinking or feelings, such as joy, anger or mourning are based upon molecular connections. They may function microbiologically, yet they cannot be entirely explained. The multitude of things always sums up to an indivisible entity. The universe consists of endless numbers of elementary particles. Still, it constitutes a whole. “So in this double sense, everybody is the whole world, the microcosm finds both sides of it completely in itself. And what it thereby recognizes as its own nature is the very same that also makes up the nature of the whole world, the macrocosm.” (Arthur Schopenhauer, Die Welt als Wille und Vorstellung, Bd.I, § 29) Mihoko Ogaki approaches the phenomena she brings up in her work analytically, coevally pointing out the impossibility to cover the world completely by means of science. Where science comes to an end, art turns into a medium asking existential questions whose aporetic is presupposed. Despite substantial progress in the field of prenatal research the embryo´s vision will never be decoded. A human’s thinking and feeling, the harmony of body and soul defies scientific explanation. The autonomy of art is freed from objective conclusions. That is why the world we live in can turn deeply and substantially into the centre of consideration. This is Mihoko Ogaki´s approach. In Adorno´s sense, her art raises questions without claiming to know the answers. The artist makes use of topics like birth and death in order to examine philosophical issues of life. In 2003, Mihoko Ogaki has presented her work at the 57. Bergische Kunstausstellung at Baden Museum, Solingen and was awarded the audience prize. This, beyond doubt, mirrors human´s need to profoundly deal with its own existence. Gisela Elbracht-Iglhaut Museum Baden, Solingen

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