“Kagami” is an innovative and transformative concert experience brought to life by the production company Tin Drum. This groundbreaking virtual reality performance showcases the music of Ryuichi Sakamoto, a renowned Japanese artist. Although the intention is to create a profound and visually captivating event, it falls short in execution.
Upon entering the Shed’s Griffin Theater, guests are greeted with a somber atmosphere. The antechamber is illuminated with sepulchral light and adorned with larger-than-life images from Sakamoto’s life. Scenes from the documentary “Ryuichi Sakamoto: Coda” play silently on the walls, offering a glimpse into the artist’s world. However, these images feel somewhat disconnected from the overall experience.
The actual performance takes place behind a curtain in a pitch-black theater. With only the presence of friendly attendants assisting with the virtual headsets and projection equipment, the room lacks live performers or props. Attendees sit in a circular formation, fixated on a glowing virtual red cube at the center. This arrangement evokes a sense of attending a séance led by an AV club.
The virtual portrayal of Sakamoto is eerily lifelike, existing in what is known as the “uncanny valley.” His movements and expressions mirror those of the real Sakamoto, yet he exudes an otherworldly aura with his smooth complexion and seemingly emanating light. As he embarks on a 50-minute journey through his solo repertoire, ranging from film scores to ambient requiems, the audience is captivated by this ghostly presence.
Tin Drum previously experimented with a similar concept in their production “The Life,” featuring a three-dimensional Marina Abramovic avatar. However, “Kagami” improves upon this by incorporating captivating visual effects that accompany Sakamoto’s performance. These effects include swirling smoke, fluorescent beams, and a whimsical winter forest. While visually appealing, they often prove distracting and perplexing, detracting from the essence of the music.
The technology behind “Kagami” is simultaneously awe-inspiring and cumbersome. The headset’s battery pack, weighing five pounds, is worn around the neck, competing with the sound of Sakamoto’s music. Occasionally, the system overheats, causing an error message to fill the viewer’s vision—an amusing but slightly disillusioning interruption.
Unlike James Turrell’s Ganzfeld installations, “Kagami” doesn’t fully dissolve the room’s physical boundaries. This safety measure allows viewers to navigate freely, adding little beyond the novelty of virtual experiences. Observing fellow attendees’ legs helps prevent collisions, but it does little to enhance the overall encounter.
While “Kagami” aims to connect an artist with an audience they would never meet, it remains a somewhat exclusive endeavor. It requires specialized equipment and comes at a ticket price ranging from $31 to $60. This raises questions about the accessibility and democratization of such immersive art experiences.
Art and technology frequently intersect, often resulting in superficial spectacles meant to garner social media attention. Fads like NFTs and AI imagery have come and gone, leaving behind a sense of artificiality. This raises concerns about the true progress and advancement in the art world.
The juxtaposition of Sakamoto’s likeness projected within the Shed, an arts center associated with the Hudson Yards real estate development, feels dissonant. Despite this, Sakamoto’s alignment with the technological aspects of “Kagami” aligns with his background as a pioneer of electronic pop music. He embraced the artificial and believed that music could transcend nature, just as virtual reality transcends physical limitations.
At its core, “Kagami” is a form of perpetual afterimage. It captures the essence of Sakamoto’s performance, creating a lasting memory. Although it attempts to transcend death, it ultimately falls short as a mere showcase of cool technology. True art, such as Sakamoto’s music, possesses the power to transcend time and leave a lasting impact.
“Kagami” will be showing at the Shed in New York until July 2nd.
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