Before the screening began, the mood inside the museum was relaxed and inviting, a stark contrast to the tense atmosphere of the previous night’s “LUCIFER NIGHT.” Near the staircase on the first floor, Mao Oishi, wearing her animal mask human sculptures, actively participated in her own artwork.

As the time for the screening arrived, Derek Jarman’s BLUE was shown with Japanese subtitles in every gallery within the museum. This final work by Jarman, created while he was battling AIDS, is painted entirely in shades of blue from beginning to end. The film weaves together various images and themes, including the incredible physical and mental pain of illness, spirituality, human consciousness, and the mythical significance of the color blue. Following the screening, Yusuke Nakanishi’s lighting installations began in each gallery.

In Gallery II’s BLUE SCREEN, mirrors were strategically angled throughout the smoke-filled space, and blue light projections cast shadows of the audience onto the walls that had just displayed blue imagery moments before. The lighting variations in each gallery were designed to embody the concept of BLUE, creating a fully immersive experience. For instance, Gallery III’s BLUE WIND featured gently psychedelic patterns reminiscent of rippling water. In Gallery IV’s BLUE WALL, ordinary walls revealed hidden imagery when viewed through a window. Meanwhile, in Gallery V’s BLUE SHADOW, the silhouettes of viewers were projected in blue onto the walls via flickering lights. These installations offered a new interpretation of the spirit that Jarman imbued into the color blue.

Later, in the courtyard, an installation projected imagery from BLUE onto the museum’s exterior walls, turning the pristine white façade of the Hara Museum into a canvas for blue light, accompanied by the film’s soundtrack. Keiichiro Shibuya brought fresh energy to Jarman’s work with a live performance on a Steinway grand piano placed in the museum’s lush garden. Toward the latter part of the evening, Etsuko Yakushimaru made a special appearance, reading a Japanese translation of BLUE‘s dialogue.

Following their collaboration with the soundtrack, Shibuya and Yakushimaru performed “BLUE,” a track from Hour Music by Soutaiseiriron + Keiichiro Shibuya. The event concluded with Yakushimaru’s gentle farewell, “Good night,” bringing BLUE NIGHT to an end.

The event bridged two creators poised to shape Japan’s future music scene, connecting them through the shared theme of BLUE. Rather than dwelling on the sense of finality present in Jarman’s work, they transformed its spirit into one of vitality, offering hope and inspiration to younger generations. BLUE NIGHT was a liberating, expansive evening that swept away the gloom of modern times.

ARTIST
Keiichiro Shibuya + Etsuko Yakushimaru