JINS Tokyo Headquarters Inspires Creativity: Original Works by Artist YOSHIROTTEN Exhibited, Expressing JINS' Roots and Culture Through an Approach to Invisible Light.

JINS Holdings Co., Ltd. (hereinafter JINS) has launched an exhibition titled "JINS LIGHTSCAPE" by internationally active artist YOSHIROTTEN, curated by internationally active curator Yuko Hasegawa, in the 3rd-floor gallery space of the JINS Tokyo Headquarters, designed to stimulate employee creativity and foster the creation of new value. The exhibition began on June 19, 2026 (Fri).

©KEIZO KIOKU

Artworks born from techniques unbound by convention nurture employees' sensibilities and creativity.

The JINS Tokyo Headquarters is a corporate building designed to stimulate employee creativity through the incorporation of diverse art, challenging the creation of new value. The entire 9-story building has been leased and fully renovated by architect Fumiko Takahama with the concepts of "Destroying and Creating" and "Museum x Office." The 3rd floor utilizes the corridor space of the meeting room floor as a gallery space. Under the supervision of Yuko Hasegawa, it has become a space embodying "Museum x Office," designed to appeal not only to employees but also to the sensibilities of external visitors as a place filled with creativity.

Previously, exhibitions such as the collaborative work "Gravitation" by artists Juhiro Tateishi, Masahide Matsuda, and Yu Hoshikura, "Planetarium" by photographer Kozue Takagi, and "Color Play - Between Micro and Macro -" by artist Mika Kamijo have been held. The artworks, created using new techniques unbound by conventional frameworks, enrich employees' sensibilities and cultivate a foundation for enhancing the creativity of the entire organization.

Exhibition of light created from field research in Maebashi, the birthplace of the company, and the environment of JINS Tokyo Headquarters.

Artist YOSHIROTTEN, whose works are exhibited this time, navigates between multiple distinct domains such as fine art and commercial art, digital and physicality, and urban youth culture and the natural world, presenting new visual experiences through various expressive methods including video, spatial design, and installations.

The exhibition features original works using techniques from the "FUTURE NATURE" series, which fuses elements of the natural world with digital textures. This series perceives the surrounding environment as "accumulated data" and explores the "beauty" and "sublimity" that people find within the invisible presence of light, approached with YOSHIROTTEN's unique sensibility.

The exhibition consists of three groups of works created from field research in Maebashi, Gunma Prefecture, the birthplace of JINS, and the office environment of JINS Tokyo Headquarters. The first piece, "Menhir 2," displays light data acquired by a light sensor installed in the atrium space spanning the 5th to 8th floors of JINS Tokyo Headquarters on a monitor in real-time. The colors, which undulate in response to the environment, create a meditative experience reminiscent of the eternal fluctuations of the universe. The second piece, "JINS Landscape," is a video work collaging architecture, sand, flowers, and other elements photographed at JINS Maebashi Headquarters, JINS PARK, JINS Tokyo Headquarters, and Shiraiwa Hotel. The third piece, "Tranthrow," visualizes the solar light data collected during the same field research as graphs, capturing the light's expression at the time and place of the visit.

Through this exhibition, which approaches invisible light, YOSHIROTTEN expresses the unseen aspects of JINS' roots and culture through the artist's unique interpretation.

Exhibition "JINS LIGHTSCAPE"

©KEIZO KIOKU

▲ "Menhir 2" utilizes the atrium space spanning the 5th to 8th floors of JINS Tokyo Headquarters, displaying light data measured by a light sensor on a monitor in real-time.

©KEIZO KIOKU

▲ "JINS Landscape" is a video work based on photographs taken at JINS Maebashi Headquarters, JINS PARK, JINS Tokyo Headquarters, and Shiraiwa Hotel, collaging architecture, sand, flowers, and iridescent patterns created by light interference.

©KEIZO KIOKU

▲ "Tranthrow" exhibits five pieces created from light collected at locations such as JINS Maebashi Headquarters in Maebashi, the birthplace of JINS.

©KEIZO KIOKU

©KEIZO KIOKU

©KEIZO KIOKU

©KEIZO KIOKU

Comment from Yuko Hasegawa

Light is not something to be seen. It is a medium for re-feeling. YOSHIROTTEN has long stood at the boundary between nature and technology. Based on his exploration of fundamental existences such as the sun, light, color, and the earth, his practice re-examines the act of "seeing" itself, transforming it into an experience that updates our relationship with the world. This exhibition deeply resonates with JINS' philosophy, "Magnify Life - The light yet unseen."

Here, light emerges not as an "object to be seen" but as a "structure that connects existence."

《Tranthrow》 is a work that visualizes the unique light of various locations, such as the Maebashi office and Shiraiwa Hotel, collected by sensors. Wavelengths and presences are converted into beautiful color gradients, quietly bringing forth the unique atmosphere of that place and time. Here lies the moment when light becomes memory, and color becomes the voice of a place. 《Menhir 2》 is an installation where the visuals constantly transform in response to the light sensors installed at JINS Tokyo Headquarters. Light, even before it is data, appears as a "living flow" that permeates environment, body, time, and emotion. The system functions not for control, but as a vessel for sensitivity.

YOSHIROTTEN's engineering is not for efficiency. It is an attempt to create "mechanisms for perception" that capture ineffable sensations and open up relationships with a world that was previously unseen. What unfolds here is a landscape of future nature, and the first encounter with light yet unseen.

© KEIZO KIOKU

[Profile of Yuko Hasegawa]

Curator / Art Historian / Visiting Professor at Graduate School of Management, Kyoto University / Professor Emeritus at Tokyo University of the Arts, Program Director of Art and Design Department at International House of Japan / Former Director of 21st Century Museum of Contemporary Art, Kanazawa.

Recipient of the Commissioner's Award of the Agency for Cultural Affairs (2020), Chevalier of the Order of Arts and Letters of France (2015), Order of Cultural Merit of Brazil (2017), and Officer of the Order of Arts and Letters of France (2024). She has curated numerous international exhibitions, including biennials in Istanbul (2001), Shanghai (2002), São Paulo (2010), Sharjah (2013), Moscow (2017), and Thailand (2021), as well as "Japonismes 2018: Japan Forward - Deep Dive into Japanese Art and Design" in France, and most recently, the Syria Pavilion at the Venice Biennale in Italy in 2026. Her major publications include "Curation: The Power to Shake Knowledge and Sensibility" (Shueisha), "They Say They Come to Destroy: Female Artists Who Softly Traverse Boundaries" (Tokyo University of the Arts Press), "Japonismes: Japanese Contemporary Art Since 1970" (Suiseisha), and "New Ecology and Art: The Anthropocene as a Period of Bewilderment" (Ibunsha).

Comment from YOSHIROTTEN

I visited Maebashi, Gunma, the birthplace of JINS. I stayed at Shiraiwa Hotel, ate at a late-night eel restaurant, stopped by an old bar across the street, and drank a whiskey called LIQUID SUN.

The next morning, although it was cloudy, I saw the gentle light entering the hotel's atrium. Then I visited JINS Maebashi Headquarters in Kawaramachi and looked out at the town from the rooftop. The white building, blending with the white clouds covering the sky, gathered light. Sand blown from Mt. Akagi had colored the floor white over time, leaving its traces. Finally, I went to JINS PARK. The engineer Asuka suggested we use the light hitting the outdoor plants, akebia flowers, and rosemary here because it was beautiful.

Back in Tokyo, using the collected light data, I colored it while recalling the light, air, and something unseen from Maebashi.

Then, I decided to place a spectroscope in this building in Kanda as well. I look forward to seeing how the light at this time and day will be depicted, and what visitors will feel.

Photo: Kazuki Miyamae

[Profile of YOSHIROTTEN]

Born in 1983, Artist / Art Director.

At the core of YOSHIROTTEN's creative practice lies an insatiable interest in the "unknown." With an intuitive sensibility towards both nature and technology, he depicts a worldview where concepts such as light and matter, spirituality and empiricism, and ancient and future dissolve and coexist. In recent years, he has been presenting a series exploring a science-fiction-like visual language based on research and hypotheses about fundamental existences like color, the earth, and the sun.

As the representative of the design studio "YAR," he handles an extensive volume of work in almost all areas of visual arts in commerce, including advertising, events, logotypes, interior/exterior design, web, and video. He also continues to be actively engaged as an artist. His major solo exhibitions include "FUTURE NATURE" (2018, TOLOT heuristic SHINONOME), "SUN" (2023, National Stadium - Large Vehicle Parking Lot), "Radial Graphics Bio / Expanding Graphics" (2024, Ginza Graphic Gallery), and "FUTURE NATURE II In Kagoshima" (2024, Kirishima Open-Air Museum, Kagoshima Prefecture).