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#01 Memento Mori - yesterday, today, tomorrow,

Artists: Jun Azumatei, Hidetada Karasuyama, Takuro Ishii

Dates: January 19 – February 23, 2019

Curator: Jun Azumatei

Featured live performances:

January 19… Yusuke Shimada (butoh dance) x Jun Azumatei 

January 26… Kota Saito (guitar) x Jun Azumatei

February 23… Aoi Sawaguchi (flute) x Jun Azumatei

We start this very first project by exhibiting new works from three founding members of Azumatei Project.


Memento Mori is a Latin phrase that translates to “Remember you must die.” It has been received as an epigrammatic reminder to “live life to the fullest,” and also features widely as a recurring motif in European art history. After someone dies, they remain alive in the minds of those who knew them, particularly for that latent window when we continue to lead our lives blissfully unaware of someone’s death. Even after being informed of this friend or loved one’s demise, it still takes time to accept the reality and finality of mortality.

Past, present, and future are all interconnected, but the flow of time is not a straightforward linear progression.

This inaugural project consists of three solo exhibitions in which each artist shares their  own perspectives on the titular theme: “Memento Mori - yesterday, today, tomorrow,”.

Jun Azumatei (contemporary artist)

Jun Azumatei

Hidetada Karasuyama

​Takuro Ishii


#01 Memento Mori - 昨日、今日、明日、

出品作家:東亭 順 (Room A)、烏山 秀直 (Room C)、石井 琢郎 (Room B)


会期:2019年1月19日(土) - 2月23日(土) / 14:00-19:00
オープニング:1月19日(土) 17:00-

1月19日(土)ライヴパフォーマンス 嶋田勇介(舞踏家)×東亭 順
1月26日(土)ライヴパフォーマンス 齋藤浩太(Guitar)×東亭 順
2月23日(土)ライヴパフォーマンス 澤口碧(Flute)×東亭 順

Memento Mori(メメント・モリ)とは、ラテン語で「死ぬことを忘れるな」という意味を持ち、今をよく生きよという警句でもあります。美術において長くモチーフとして扱われてきました。
個性の異なる3部屋において3作家がそれぞれ個展形式で「Memento Mori - 昨日、今日、明日、」を異なる切り口で発表します。(東亭順)


Room A  Jun Azumatei ​  /   Photo by Ryuhei Kaiho


Room A  Jun Azumatei ​  /   Photo by Ryuhei Kaiho


Room B  Takuro Ishii ​  /   Photo by Ryuhei Kaiho


Room B  Takuro Ishii ​  /   Photo by Ryuhei Kaiho


Room C  Hidetada Karasuyama ​  /   Photo by Ryuhei Kaiho


Room C  Hidetada Karasuyama ​  /   Photo by Ryuhei Kaiho

Live Performance by Jun Azumatei with guest artists.

with Yusuke SHIMADA(Butoh)

with Kota SAITO(Guitar)

with Aoi SAWAGUCHI(Flute)

#02 A DAY OFF – You can’t catch the fish you can see


Artist: Jun Enishi

Date: March 2 – March 30, 2019

Curator: Jun Azumatei

Back around 2004, I was casually leafing through an art magazine in a bookstore, when I came across a work by Damien Hirst, the one where he preserved a shark in a vitrine of formaldehyde. I vividly remember feeling overwhelmed by the outsized impact of the work, even when encountered as a mere photo on a printed page.   


I began to seek out a wide range of artwork by as many different artists as possible. They all shook my insular concept of art and prompted me to ask the essential metaphysical question: What is art? I’ve been thinking about the question ever since. 

Jun Enishi (painter)

Jun Enishi

1981 born in Kushiro-city, Hokkaido 
2007 Graduated from Tokyo University of the Arts, Department of Painting, Japanese Painting

When I stand in front of a work of staggering genius, I often daydream about sharing a drink with the artist, old master and contemporary wunderkind alike. What would their voice sound like? How would they talk? What would their eyes look like? And what would those eyes see? It sends a particular jolt of electric excitement down my spine to imagine the lives led by the artists of yore, especially that period of their life engaged in the creation of the work in question. Undoubtedly, they would have been the living epitome of unabashed cool.


The alcohol begins to course through our veins, and the clock seems to start beating slower and softer. Buoyed by the cozy stream of time, he tentatively voices the thoughts that have weighed heavy on his mind. And then, as if seized by a sudden flash of inspiration, he begins to expound on an absurd new train of thought with uncharacteristic passion. But by now, it’s hard to tell who is talking: him or the alcohol.


And it is this level of inhibition that I hope Jun Enishi will bring to this project. I trust that he will use this platform for no holds barred experimentation and engagement with his inner self.

Jun Azumatei (contemporary artist)

#02 a day off - 見えている魚は釣れない -



会期:2019年3月2日(土) - 3月30日(土) / 14:00-19:00
オープニング:3月2日(土) 17:00-


江西 淳 Jun Enishi

1981 北海道釧路市に生まれる
2007 東京芸術大学美術学部絵画科日本画専攻 卒業

2005 グループ展"4" PROMO-ARTE gallery
2016 グループ展 「みつけること/またみつけること展 藤沢市アートスペースFAS
2018 オープンスタジオ 藤沢市アートスペースFAS



Room B​  /   Photo by Ryuhei Kaiho


Room B​  /   Photo by Ryuhei Kaiho


Room C  /   Photo by Ryuhei Kaiho


Room C  /   Photo by Ryuhei Kaiho


Room A  /   Photo by Ryuhei Kaiho


Jun Enishi

Guitar Solo / Naoyoshi SEKII

Guitar / Naoyoshi SEKII & HELL

Guitar / Naoyoshi SEKII & Kota SAITO


#03 One Stone

Artist: Takuro Ishii

Date: April 6 – May 5, 2019

As an artist, I have been left speechless on three occasions. The first was when I learned that a work of art could exist without much manipulation of material or meticulous molding of form. The second was when I was presented with an opportunity to hold an exhibition, but was too poor to afford the very materials needed to create new work. And the third was when I came across a river that was so majestic as to greatly transcend the realm of my own experiences. It is not an exaggeration to report that these three experiences have played a pivotal, transformative role in my work.


The first taught me to reconsider the meaning of material and form apropos sculpture. The second compelled me to scavenge for material freely available in nature. The stones I gathered from the riverside would go on to teach me a great many things. By the same token, I have also found ample inspiration in the stone works created by the generations of artists who came before. And last but not least, the third experience has made me consider whether the perception of natural phenomenon is not so universal as I once assumed. Perhaps, instead, the mental imagery conjured up by the river as it flows down the mountainside is dependent on differences of country, environment, and cultural background. And perhaps these differences are far greater than I had previously considered.


This is an area that I hope to continue probing not only verbally, but also viscerally, through my work. 

Takuro Ishii (sculptor)

Takuro Ishii

In a literal sense, the Azumatei Project was ushered into this world through the blood, sweat, and tears of Takuro Ishii and myself. We took turns behind the wheel of a minitruck, ferrying five plywood panels up three old flights of stairs, manning a circular saw until covered in dust and wood chips at midnight, sedulously smearing the ceiling with paint. Although I had already known Ishii for nearly a decade by that point, the experience forged a new bond, and a more intimate understanding of him as an individual. In short, he is tough as nails. We all have moments in which our neurons are stimulated and some “switch” inside us is activated. I find that the more a subject aligns with my fields of interest and specialization, the more I can focus on the work with all the fibers of my being. Ishii, however, is cut from a different, rarer cloth entirely. It seems that he is always “on,” operating on omnidirectional full throttle.


The old painter in Shinri Sensei, a novel by Saneatsu Mushanokoji, was searching for the truth (“shinri”) by solely painting stones day after day. At our first exhibition, Memento Mori, Ishii selected a precious few stones from the countless rocks by a river, only to shatter them, hollowing them out one by one, and joining them back into one empty stone for presentation as his new work. A Japanese proverb touting the virtue of perseverance counsels, "even a stone will get warm if a person sits on it for three years." But as I recall the precedent set by Ishii's longtime stone sculpturing and the old painter in Shinri Sensei, I realize that we have only just begun, and there is still a promisingly long road yet ahead. 

Jun Azumatei (contemporary artist)


会期:2019年4月6日(土) - 5月5日(日) / 14:00-18:00
オープニング:4月6日(土) 17:00-

#03 One Stone -





2004年 東京藝術大学美術学部彫刻科卒業
2006年 東京藝術大学大学院美術研究科彫刻科修了
2009年 東京藝術大学大学院美術研究科博士後期課程美術専攻彫刻研究領域修了


2009年 野村賞
2014年 Rokko meets art 公募準大賞
2018年 アイスタイル芸術スポーツ振興助成

2019年 Memento Mori  昨日、今日、明日 / アズマテイプロジェクト / 横浜
2017年 個展 肌理のつらなり / 秋山画廊 / 東京
2016年 KAAT 突然ミュージアム2016 /神奈川芸術劇場 / 横浜
2015年 個展 Reach into it / さいたま市プラザノース / 埼玉
2014年 Rokko meets art 2014 / 兵庫

武者小路実篤の真理先生に登場する老年の画家は、ただ石ころをひたすら描き続けることで、真理に近づいていったのだろう。石井琢郎はプロジェクト第一弾のメメント・モリ -昨日、今日、明日-展で、河原に転がる無数の川石から選びぬき、投げつけ、削り取り、繋ぎ合わせた石彫を新作として発表した。武者小路の石描き先生やタフガイ石井が長年取り組む石彫を思い浮かべると、「石の上にも3年」では済まされそうもない道のりが見えてくる。(東亭順)


Room A​  /   Photo by Hayato WAKABAYASHI


Room A​  /   Photo by Hayato WAKABAYASHI


Room B​  /   Photo by Hayato WAKABAYASHI


Room B​  /   Photo by Hayato WAKABAYASHI


Room B​  /   Photo by Hayato WAKABAYASHI


Room C​  /   Photo by Hayato WAKABAYASHI


#03.5 Photo Book Echo's Music & Alcohol



会期:2019年5月1日(祝/水) / 15:00-21:00

2018年11月11日に急逝した野毛のスターかずお。彼の店「Echo's」にBARという文字はなく、 膨大なレコード、フライヤーやポスターが無造作に壁にぶらさがっている。まるで部室のようなその空間に夜な夜な集まる人々が作り出す風景は、まるで時代錯誤の場末の小劇場「Music&Alcohol」。私自身もかずおのこの店でいくつかの無茶なライヴイベントをやらせてもらいましたが、いつも「やっちゃお」のひと言。その言葉を越えるような創作を考えることが楽しくて仕方なかった。そんな店の常連の1人である川辺彩矢が、古いフィルムカメラで記録したEcho'sの2年間。膨大な枚数の写真から一冊の写真集に仕上げてくれました。よく記録してくれていた。よく続けてくれた。よく作ってくれた。ありがとう。写真というメディアの強さと共に、かずおの人間力を再認識させてくれます。新しい元号を迎える5月1日にご予約された方々にお渡しする会を設けましたのでお集まりください。石井琢郎の展覧会「One Stone」もご高覧いただけます。(東亭順)


#04 Piazza del Paradiso

Artist: Shiho Kagabu

Date: May 11 - June 9, 2019

Curator: Takuro Ishii

The reason I invited Shiho Kagabu to join our project was that I was intrigued by the sense of fragility in her works. Curious to pinpoint the source of this fragility, I took a closer look at her work, and felt something akin to an absolute trust in the physical “object.” Every object has its use and name, and touch functions as her first portal to acceptance of these elements. She also seems to be skeptical about the concept of art and more specifically, sculpture. She begins by doubting and deconstructing, then reconstituting new objects using only those concepts and beliefs that stand up to her scrutiny. Presumably, she applies this same scrutiny to society as well as herself. This act of probing is evinced throughout her works. We can see her groping for the delicate, Lagrangian balance between absolute trust and skepticism. This search is imbued by her own thoughts and emotions in the moment, fluently articulated by the objects themselves on her behalf. These thoughts and emotions are frozen, sealed into the objects as the culmination of this creative act, quite “vividly” encapsulating Kagabu’s own life from an archetypically sculptural perspective. Her work urges us to consider the precariousness of our own lives. This gives her work strength. I hope to witness the same strength here, in the Isezakicho Center Building.

Takuro Ishii (sculptor)

Shiho Kagabu

#04 Piazza del Paradiso



会期:2019年5月11日(土) - 6月9日(日)  / 14:00-18:00 
オープニング:5月11日(土) 17:00-

今回、利部志穂氏に展示を依頼したのは、彼女の作品の”危うさ”が気になったからだ。その危うさはどこから来ているのかと思い、作品の在り様を考え直してみると、まずはモノに対するある種の絶対的な信頼感のようなものを感じた。それは、モノには用途や名前など要素があるが、手に触れることで初めてそれを受け入れてるように感じた。また、アートや彫刻といった概念に対するある種の懐疑心がありそうだ。疑い、一度解体したものから、自分が信じれるものだけを使って生み出していく。その考え方は作品だけではなく、社会、また、自らにも向けられているのだろう。その手探りの行為がそれぞれの場によって作品として現れている。それは、絶対的な信頼感と圧倒的な懐疑心との狭間で、まるで複雑なラグランジュ点を手探るような行為のように感じる。その行為の中には、その時々の思いや気持ち、考えが入り込み、モノたちがその代弁者として饒舌に語り出し、行為の終焉によってそれらが凍結され、封印される。そこには、利部自身のLife そのものが在る。いわゆる生々しいのだ。そしてそれはまさに彫刻家の視点で構築されていく。利部作品を見ていると、生とは危うさそのものではないかと問われている気がしてくる。だからこそ、強さが際立ってくる。それが伊勢佐木町センタービルで現れる様を僕は見てみたい。(石井琢郎)


1981年 神奈川県川崎市生まれ
2004年 文化女子大学 立体造形コース 卒業
2005年 多摩美術大学美術学部彫刻科研究生
2007年 多摩美術大学美術研究科彫刻科専攻修了
2017年 文化庁新進芸術家海外派遣研修(2年)イタリア ミラノ

2017年 クリティカルポイント-critical point-(gallery21yo-j,東京)
2015年 サンライズサーファー / Sunrise Surfer(KAYOKOYUKI,東京)
2014年 フリーズ freeze/ ママ、あめりか、こわいね。楽しいね。 (Art Center Ongoing,東京)
2013年 よき眠りの家 (JIKKA、東京)個展よき目覚めの家(NADiffa/p/a/r/t、東京)
2012年 DANCING MOONS (switch point、東京)
2011年 こい、来る う とき (Art Center Ongoing、東京)


Room A  Photo by Hayato WAKABAYASHI


Room A  Photo by Hayato WAKABAYASHI


Room A  Photo by Hayato WAKABAYASHI


Room B  Photo by Hayato WAKABAYASHI


Room B  Photo by Hayato WAKABAYASHI


Room B  Photo by Hayato WAKABAYASHI

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