[AI x Art] Reporting on "REDLINE — INKAR meets KOJI SHIOUCHI." A new form of expression through exhibition video, challenged by A³

Hello, this is Aina from amana PR!

On July 31st, the exhibition "REDLINE — INKAR meets KOJI SHIOUCHI," featuring the Japanese luxury brand INKAR and artist Koji Shiouchi, opened at Foundation in Akasaka, Tokyo.
For this exhibition, amana's AI-specialized organization, "A³ | amana AI Architects," was in charge of planning and producing the exhibition video.

We visited the opening reception on the first day.
The venue was filled with people from the art, fashion, and creative industries, and as they gathered in front of the works, natural conversations began to bloom. There was an atmosphere of anticipation, not just for the exhibition itself, but for the "new expressions about to begin."

As you step into the venue, you are immediately struck by a collection of works composed around the themes of "movement," "the future," and "pushing boundaries."
Neon, three-dimensional works, abstract paintings, installations, and video—.

While each is a different form of expression, they are meticulously designed as a single worldview, making visitors feel as though they are not just "viewing" the exhibition, but "experiencing" the space itself.

Beyond the "movement" depicted by "REDLINE"

"REDLINE" is a collaboration project between the Japanese luxury brand INKAR and artist Koji Shiouchi.
The themes running through the entire exhibition are "movement," "the future," and "pushing boundaries."
Every time humanity has acquired a new means of transportation, we have expanded our range of action, updated our values, and opened up the future.
This history and philosophy are expressed through various art works.

The venue features a diverse array of works, including neon pieces that trace the trajectory toward the future with light, two-dimensional works that abstract the lines created by speed, pure silver key objects symbolizing access to new possibilities, installations that reconstruct car doors as both signs and objects, and a DJ system incorporating automotive wrapping technology.

While incorporating motifs such as motorsports, industrial design, and car culture, the exhibition structure was impressive in how it expanded the perspective toward the question of "what will people carry from now on, and where are they headed?"
And serving as the element that connects this worldview along a timeline is the video work planned and produced by A³.

What A³ challenged was not "making a video," but "creating an exhibition experience"

This time, A³ was responsible for the planning and production of the exhibition video.
It started with a consultation from Cattleya Tokyo, the company handling the exhibition, who asked,
"We want to further expand the worldview of the exhibition space through video."
The project began from the perspective of how to enrich the experience of the entire exhibition space, rather than just producing a single video work.

A³ assigned four AI creators, each of whom produced a video based on their own unique interpretation under the same theme and motifs.

"While utilizing AI, will the individual personality of each creator appear in the video?" was also one of the important themes of this project.The completed video materials were reconstructed into a single work by a director from Cattleya Tokyo and are being screened as the main feature.
Furthermore, in addition to the main feature, individual versions by each creator are also being screened at the venue, allowing visitors to enjoy the differences in their expressions.

REDLINE — INKAR meets KOJI SHIOUCHI | OFFICIAL TEASER 01

REDLINE — INKAR meets KOJI SHIOUCHI | OFFICIAL TEASER 02

REDLINE — INKAR meets KOJI SHIOUCHI | OFFICIAL TEASER 03

It was impressive to see many visitors stop in front of the video display to gaze intently at the work.
It was not a video that concluded only on the screen, but one that resonated with the three-dimensional works, neon, and spatial direction, establishing itself as a single exhibition experience—I could feel the video expression that was only possible because of this A³ production.

On the other hand, this video is not simply a work created by AI.
How to translate the concept of the entire exhibition into video and what kind of experience to deliver to visitors—it is said that artist Koji Shiouchi and A³ proceeded with production while repeatedly discussing these ideas from the very beginning.

Why was video necessary for "REDLINE"?

During the reception, Shota Ishimaru of A³, who served as the producer for this project, asked artist Koji Shiouchi about this exhibition.
He spoke about the behind-the-scenes of the production, including the reason for incorporating video into the exhibition, the background of collaborating with A³, and how the technology of AI was incorporated into the work.
Among those, what was impressive was Mr. Shiouchi's words in response to the question, "Why did you incorporate video into this exhibition?"

In this exhibition, each work, such as neon, three-dimensional works, and abstract paintings, expresses the theme of "movement" from different angles. Within that, the video plays the role of connecting the entire exhibition along a timeline.

The video, which begins with the concrete motif of a car, eventually loses the outline of the car body and finally races through the space as a single red line of light.
From physical movement to information, intelligence, and then to the soul—it is designed as an expression that symbolizes the modern era where what we "carry" itself is changing.
Mr. Shiouchi also spoke about this red line as follows.

If you reflect on these words after viewing the exhibition, the way you see the video might change a little.

Is it AI or is it CG? That is not the essence.

Ishimaru posed this question:
“It often becomes a discussion about whether it’s AI or CG, doesn’t it?”
In the creative field, while the term generative AI is spreading, it is not uncommon for works to be viewed simply as “works made by AI.”
To this, Mr. Shiouchi replied as follows.

AI is not the goal, but merely a means of expression. It is important that the people who see the work are moved by the work itself, rather than focusing on the technology first.
That philosophy flowed consistently throughout the entire exhibition.

AI and humans. What only each can do

In this project, while AI was actively utilized, much was also said about the roles that humans play.
Thinking about the worldview of the video.
Designing the exhibition space.
Adjusting lighting and sound to create an experience for the entire space.
And editing materials created by diverse creators into a single work.
Human sensibility and judgment are indispensable there.
Mr. Shiouchi says,“AI and humans are not in opposition; new expressions are born by leveraging the strengths of each.”he says.

It was clear that this project was also a hybrid type of creation—where AI expands possibilities, and humans edit those possibilities and establish them as a space.

How did the AI creators express the same theme?

This time, four AI creators produced videos based on the same theme and motif.
The completed works were reconstructed into a single video and are being screened as the main feature, but individual versions by each creator are also on display at the venue. Even though the videos were born from the same theme, the expression of each person is different.
This time, we interviewed Chi Beilin, a creator from A³ who participated as one of them.

Q. When you received this theme, what kind of ideas did you start with for the video production?

Beilin:To start production, I first received a simple storyline and sketches from the director. It was a broad flow: Redline activates in the darkness, encounters the enemy Blueline while traveling along the road, and finally overtakes the opponent to head to the end of the world.
While using this story as a foundation, I added my own worldview and interpreted it as “the end of a black and white world that has lost its color.” It is born from a pitch-black space where nothing exists, and as it passes through various places in the city, it gives new energy to the world.
After that, Redline passes through a road leading to the sky and reaches a place like “heaven.” I expressed it as another dimension or a parallel world that has crossed a boundary. There, Redline meets Blueline, a being different from itself. Blueline is not just an enemy, but an “other” that brings Redline itself into relief. I incorporated the idea that only by meeting others can one clarify who they are.
In the final race, Blueline is defeated and disappears into pixels. Redline proceeds to the world beyond, a place no one knows yet.
Rather than explaining the story completely and ending it, I was conscious of an open ending where the story continues in the audience’s own imagination by daring not to show what lies beyond.

Q. Please tell us what you were conscious of in order to create your own unique expression while utilizing AI.

Beilin:This time, I unified the entire screen in monochrome and used only red and blue as accent colors. The monochrome world symbolizes a stillness where time has stopped, or a state where life has been lost.

When using AI, you can generate many visuals and unexpected images in a short time. However, rather than making what the AI generates into the work as is, I valued the judgment of which images to choose, what to keep, and what to cut.
While accepting the shapes and textures born by chance, I made sure to have consistent standards within myself regarding color, composition, movement, light, and the rules of the worldview.
I produced it while thinking that my own unique expression would be born by combining the randomness of AI with intentional editing by a human.

Q. Were there any impressions or discoveries in the production, given that the videos of the four people would be collaged into one work?

Beilin:What left the biggest impression on me was that when the four videos were connected into one, they came together more naturally than I had imagined. At the stage when I started production, there was almost no interaction between the creators, and each of us was proceeding with production individually based on our own interpretation of the theme.

Therefore, during production, I sometimes felt anxious, wondering, “Is this direction correct?” and I was very curious about “what kind of works the other artists are making.” Then, on the day of the event, I saw the completed version where the four videos were connected for the first time, and I was very surprised that despite the different expressions and worldviews, they fused together surprisingly naturally.

Each video had different colors, textures, tempos, and direction, but I think that by combining them, a sense of expansion was born in the work as a whole.
It was also interesting that each person’s individuality remained firmly intact precisely because we hadn’t seen each other’s works or matched our expressions in advance.
The fact that a way of seeing and a connection that I couldn’t have imagined when working alone were born was a big discovery this time.

Things that become visible by “experiencing” the exhibition

I attended the reception this time, and it was very impressive to see many visitors gathered at the venue, naturally starting conversations in front of the works, or stopping in their tracks to watch the videos intently.

Witnessing the video work that A³ members were involved in planning and producing being experienced by visitors as part of the exhibition in that space, I realized once again that amana is challenging itself with new expressions through creativity.
For me personally, it was an art and installation exhibition that I don’t usually have many opportunities to touch, but by walking through the entire space while feeling the thoughts and attention to detail put into each work, I was able to taste the feeling of “experiencing the exhibition” rather than just “viewing the exhibition.”
Because the three-dimensional works, neon, and video were not independent works but connected as a single worldview, I think the themes of “movement” and “future” posed by “REDLINE” remained in my heart more deeply.
AI is merely a means to expand expression. How to utilize that technology and what kind of experience to deliver it as. This exhibition was also an initiative where one could feel that possibility.

The exhibition is being held until August 11, 2026.When you visit the venue, please experience the entire exhibition space, including the videos, and feel the worldview depicted by “REDLINE.”

Event Overview

Exhibition Title: REDLINE — INKAR meets KOJI SHIOUCHI
Venue: Foundation, Parkside Six B1-C, 9-5-12 Akasaka, Minato-ku, Tokyo
Dates: July 31 (Fri) – August 11 (Tue), 2026 *Closed on August 6 (Thu)
Opening Hours: 12:00 – 19:00 (Last admission 18:30)
Admission: Free