\u00a0<\/p>\n
Born in Folkestone in 1956 and based in Brussels, Janssens has spent decades testing how little an artwork might need in order to completely reorganize a room. After initially working with materials including plywood, glass<\/a> and concrete<\/a>, she increasingly turned toward light, sound and artificial fog around the beginning of the 1990s. Rather than filling architecture with objects, her installations<\/a> tend to loosen its edges, using reflection, transparency and shifting atmospheric conditions to make space feel considerably less dependable than it did five minutes earlier.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n LIGHT, GLITTER AND A SWING THAT REMEMBERS YOUR TOUCH<\/p>\n \u00a0<\/p>\n Among the works presented in Tokyo is Rose (2007), an installation in which seven spotlights cut through suspended particles, turning dispersed light into something that appears almost solid. Janssens repeatedly works in this uneasy zone between matter and immateriality, where a beam can behave like sculpture and an apparently empty room suddenly acquires thickness. In Untitled (blue glitter), open sculpture #1 (2015\u20132026), blue micro-glitter spreads across the floor, catching changing light and registering the fleeting effects of movement, viewpoint and time.<\/p>\n \u00a0<\/p>\n The body gets an even more direct role in Swings (2000\u20132023). Made from rope and wood, the suspended seats are covered with heat-sensitive film that changes through contact, allowing a visitor\u2019s touch to briefly alter the work. Janssens has long resisted the idea of the viewer as a politely stationary observer: movement, interaction and the presence of other bodies become part of what is being exhibited. Here, looking is not quite enough \u2014 perception has to get up and move around.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n AN INVISIBLE ARCHITECTURE TAKES OVER LE FORUM<\/p>\n \u00a0<\/p>\n Elsewhere, works including Donut extend the exhibition into projected light, duration and the less tangible materials that have defined Janssens\u2019 practice. Taken together, the installations manipulate light, air and circulation to produce what the Fondation d\u2019entreprise Herm\u00e8s describes as a kind of invisible architecture: spaces generated not through walls and ceilings, but through changes in atmosphere and sensation. The title\u2019s insistence on a precise street address makes that strategy particularly pointed, anchoring an exhibition dedicated to unstable perception to one very fixed point on the map.<\/p>\n \u00a0<\/p>\n Janssens\u2019 experiments have often intersected with research into the relationship between space, time, the body and the brain, including through the Brain Space Laboratory, which she co-founded with Nathalie Ergino in 2009. At Ginza Maison Herm\u00e8s, however, the experiment does not require much explanation. Glitter shifts, light gains volume, surfaces react and architecture becomes unexpectedly porous. 5 Chome 4-1 Ginza, Tokyo runs at Le Forum on the eighth and ninth floors of Ginza Maison Herm\u00e8s through January 11, 2027, with free admission.<\/p>\n![\"ann](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/08\/ann-veronica-janssens-hermes-ginza-exhibition-light-fog-designboom-8.jpg\")
Donut, 2003 | image: Florian H\u00f6lzherr, courtesy of CCA Wattis Institute for Contemporary Arts, San Francisco<\/p>\n![\"ann](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/08\/ann-veronica-janssens-hermes-ginza-exhibition-light-fog-designboom-6.jpg\")
Swings, 2002-2023 | image: Andrea Rossetti, courtesy of Pirelli Hangar Bicocca<\/p>\n![\"ann](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/08\/ann-veronica-janssens-hermes-ginza-exhibition-light-fog-designboom-7.jpg\")
IPE 650, 2009-2017 | image: Peter Cox, courtesy of De Pont Museum Tilburg<\/p>\n![\"ann](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/08\/ann-veronica-janssens-hermes-ginza-exhibition-light-fog-designboom-2.jpg\")
Untitled, Blue Glitter, 2015-2026 | image: Julie Joubert, courtesy of Kamel Mennour<\/p>\n![\"ann](\"https:\/\/www.europesays.com\/france\/wp-content\/uploads\/2026\/08\/ann-veronica-janssens-hermes-ginza-exhibition-light-fog-designboom-9.jpg\")
Rose, 2007 | image: Andrea Rossetti, courtesy of IAC Villeurbanne<\/p>\n","protected":false},"excerpt":{"rendered":"ANN VERONICA JANSSENS BRINGS PERCEPTION TO GINZA \u00a0 For her first solo exhibition in Japan, Ann Veronica Janssens…\n","protected":false},"author":2,"featured_media":68930,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12919],"tags":[998,4953,6587],"class_list":["post-68929","post","type-post","status-publish","format-standard","has-post-thumbnail","category-hermes","tag-exhibitions","tag-hermes","tag-interactive-installation"],"_links":{"self":[{"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/posts\/68929","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/comments?post=68929"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/posts\/68929\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/media\/68930"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/media?parent=68929"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/categories?post=68929"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/france\/wp-json\/wp\/v2\/tags?post=68929"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}