The Museum of Fine Arts, Houston’s summertime immersive event kicks off this Sunday, and for those attending “Floating World” by A.A. Murakami, the initial detail worth noting is that the billowing clouds you’ll see are actually mist, not smoke.
Once visitors have explored two out of the four sensory environments located on the lower level of the Audrey Jones Beck Building, everything will become clear. Among these spaces filled with artworks from ancient times as well as European and American pieces predominantly from the middle of the 1900s, one can find distinctly conceptual exhibits. While some individuals might grasp the concept immediately, others could be left puzzled. Regardless, “The Floating World” exhibition encourages reflection upon both visual and auditory experiences. This engagement serves to create an enduring impact on those who visit.
Azusa Murakami and Alexander Groves, who form the duo known as A.A.Murakami based out of studios in both London and Tokyo, use the phrase “ephemeral tech” to describe their creations.
In an interview, Murakami stated, ‘We employ fog, bubbles, and plasma—elements that would persist for a limited duration, leaving behind this experience,’ he explained.
The MFAH celebrates the exhibition’s debut as a U.S. museum showcase, an achievement that Bradley Bailey, Ting Tsung and Wei Fong Chao curator of Asian art at the MFAH, takes great pride in. Murakami mentions that he has consistently supported the pair’s creations.
Bailey agrees, stating that “Floating World” consists of transient instances. Each encounter varies slightly from the previous one.
He mentioned that during the setup, ranging from curators to electricians, everybody shared the same response: sheer amazement. They often needed prompting to resume their tasks as it was challenging to look away. One could easily lose track of time.
He’s not wrong. A natural response to cycling through “Floating World” is to cycle right back through it again.
At the initial exhibition space, visitors can see “Cell” (2020) alongside “Neon Sun” (2020). In “Cell,” A.A. Murakami has crafted a contemporary interpretation of a Zen stone garden where sleek futuristic pieces fashioned out of smooth steel and frothy aluminum look like rugged geological structures. On the other hand, “Neon Sun” employs cutting-edge tech to interact with an electric field inside sealed glass tubes, producing a mesmerizing display of hues ranging from green-blue tones to fiery oranges and reds that echo the spectacle of the Aurora Borealis, known commonly as the Northern Lights.
Music has an impact in the last three exhibition spaces. These artworks produce sounds that are more audible than one might anticipate.
In Hong Kong, M+ presented “Beyond the Horizon” (2024), featuring clouds transforming into shapeless bubbles that capture light briefly before they burst or drop to the ground. These transitions occur randomly. Occasionally appearing solo, these formations also include duets and ensemble pieces within their choreography. The overall effect is quite captivating.
The final two spaces may not be as ethereal, but they still leave a mark. In “Passage” (2023), misty smoke rings emerge from 18 cannons positioned atop a scaffolding structure. A line of beanbag chairs encourages guests to linger. The intermittent bursts of air provide an unexpectedly pleasing experience.
The adventure ends with “Under a Flowing Field” (2023), a red-washed space illuminated lighting-like white lines that softly snap, sizzle and pop.
“As strange as it sounds, silence can be deafening,” Groves stated.
He isn’t incorrect. That short, silent pause is overwhelmingly loud. It serves as your signal to go back through “Floating World” once more.
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