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#05 Secretly, the waste, continues…

Artist: Koji Tsujigo

Date: June 15 - July 14, 2019

Curator: Hidetada Karasuyama

A sudden meditation in my mind’s eye.

Humor hidden in the quotidian

fleeting impressions

memories etched into mind and body

deception, impatience, and disappointment

caused by emotional instability.   


The whirlpool of mental effects warps

distorting, twisting, driving me to sit before a blank piece of paper.


A convoluted sea of

amorphous lead and

innumerable drawings the product of

unforgettable scenes

imaginations run wild and

deep-seated depressive dispositions

or the fragments of a puerile psyche

the detritus of daily tinkering




I suppose drawing is a form of consolation for me.


Ever since I was a young child, I have always been a misfit, a wimp, and perhaps even worse, too shy to unburden my troubles. You could say that I’ve led an almost embarrassingly pained and troubled life…


In such a life, drawing naturally became the only thing that I could lean on. Comfort is all I need—subject and compositional intent don’t matter so much to me. If I can fill a blank piece of paper with all the things that can’t be articulated in words – the subtleties of my emotions, the whims and whatnot filling my mind at the time – well, that’s enough to bring me calm.


I’d rather not apply such lofty terms as "self-portraiture" or "trajectory" to my incoherent drawings. Instead, it seems more appropriate to liken them to a ball of post-masturbation Kleenex or the inner recesses of a bag of combustible garbage. That which is embarrassing, filthy, lurid, and best kept private, yet still necessarily generated in the course of life.


Yes, these drawings are my "waste" looming in lead. And I continue to generate more and more "waste" by the day. For after all, to live is to suffer.

Koji Tsujigo (illustrator)


1992  Born in Nagasaki
2016  Graduated from Tama Art University

working at a printing company in Kawasaki City

Koji Tsujigo leads a quiet, simple life. He rises with the sun and sleeps at sunset after a few drinks with supper. I’ve known Tsujigo for eight years. Each time we meet, he never fails to bring a stack of small sketchbooks filled with his latest drawings to show me. In some of them, he tries to put on a joyful face, but these drawings always still betray a certain loneliness and longing.


Each of the drawings in this prolific collection are titled, simply, “Untitled.” As drawing is an integral byproduct of his daily routine, as natural as breathing, he presumably does not feel the need to title each one, hence the moniker, “waste.” He retraces his daily experiences or things weighing on his mind, then regurgitates them on paper. A drawing may take just a few seconds, or sometimes one month to complete. We can see different times and spaces, and varieties of silhouettes and textures in his work, all intricately intermingled with one another. The simplicity of his medium, paper and pencil, showcases the expansive scope and sensitivity to texture that characterize his works.


This exhibition constitutes the first attempt to present the results of his private inner ritual to the viewing public. I look forwarding to seeing how viewers (Tsujigo included) will receive the work that he so self-deprecatingly refers to as “waste.” Nowadays, all too many artists tend to be trapped in the obsession with exhibitionistic self-assertion and full-throated justification of their stance. Tsujigo is quite the opposite. Perhaps he is the silent spokesman engaged in a quiet rebellion against our times. Tsujigo may not be alone in his uniqueness. However, he suggests that we all have the potential to become an artist, as he continues to silently disgorge his “waste” in secret.

Hidetada Karasuyama (painter)

#05 密かに、続く、廃棄物 



会期:2019年6月15日(土) - 7月14日(日) / 14:00-19:00
オープニング:6月15日(土) 17:00-


辻郷晃司 Koji TSUJIGO

1992  長崎県生まれ
2016 多摩美術大学卒業



Room B​  /   Photo by Ryuhei Kaiho


Room B​  /   Photo by Ryuhei Kaiho


Room B​  /   Photo by Ryuhei Kaiho


Room A​  /   Photo by Ryuhei Kaiho


Room A​  /   Photo by Jun Azumatei


Room C  /   Photo by Ryuhei Kaiho


Room A

#05.5 Live

#05.5 Live Performance 

Performers: Soft-Concrete, HellTaku, Space Satoru

Date: July 20

Curator: Jun Azumatei

In the humid heat of hot summer, I just don’t feel like going out for “artistic” activities with some protection against heatstroke. Rather than that, I would like to spend times of vacation and festivals and barbeque—dreaming of fancy dream like this, Azumatei Project will hold two shows this summer. The first: Live performance by two units, and the second: a group exhibition by eight female creators, girlish/Gilgamesh. 


Kota Saito (musician) and I, Jun Azumatei (contemporary artist), have done several live performances around Noge area. Welcoming a songstress from Oslo, Norway, we officially formed a duo, Soft-Concrete and we’ve been waiting for her, however, the planned show had to be canceled for some reasons. Meanwhile, HELL (Hellhead), a singer friend of ours, and Takuro Ishii (sculptor/member of AZP) had met in AZP and they decided to perform as a duo, HellTaku. Now we would like to hold the show on the date we already announced with slightly different lineup; two units mentioned above plus an opening act by Space Satoru (Hellhead), which is his debut solo performance.

Jun Azumatei (contemporary artist)

#05.5 Live Performance

出演者 : Soft-Concrete, HellTaku, Space Satoru


会期:2019年7月20日(土)  OPEN 17:00  START 18:00

できることならバカンスとフェスとバーバキューで過ごしたい。なんてセレブ的なものに魅せられて、アズマテイプロジェクトの夏は2つのショーを開催します。1つめは、7/20(土) 2組のライヴパフォーマンスです。

この夏にオスロから歌姫が参戦するということで、ソフトコンクリートというユニットを正式に組んで待っていましたが、諸事情により中止となってしまったのです。しかし、HELL(HELLHEAD)と彫刻家 石井琢郎が出会い、HellTakuが誕生。中止となったイベントをカタチを変えて開催することになりました。
この2組のライヴパフォーマンスと前座/SPACE SATORU(HELLHEAD)のソロデビューを行います。(東亭順)

Soft-Concrete at IZK Gallery in Nagasaki




Memento Mori (2019/アズマテイプロジェクト)、Improvisation Live Meeting#6 (2018/Jazz Spot Dolphy)、Improvisation Live Meeting#5 (2018/旧バラ荘)、コイケ炎上(2017/Echo's)、烏亭炎上(2017/Echo's)等の活動を経て、2019年4月12日に結成。


Soft-Concrete​  /   Photo by Takuro Ishii


Soft-Concrete​  /   Photo by Saku


Soft-Concrete​  /   Photo by Saku


Space Satoru


#06 girlish/Gilgamesh

Artists: yomikake – illustration | Rommy – painting/drawing | Fumiko Seki – handicraft | marsa – ball-jointed dolls | Seiko Onda – photography | Asaka Watanabe – embroidery | Saiya Kawabe – illustration | Kiyoka Mori – pottery

Date: August 10 – 12, 2019

Curator: Jun Azumatei

Gilgamesh was a legendary king in ancient Mesopotamian mythology, whose name presumably means, “The ancestor is a hero.” According to the Epic of Gilgamesh, he was also hailed as a man "who knew (everything), was wise in all matters.”


The title of this exhibition is a play on words that juxtaposes “girlish” and “Gilgamesh” to suggest our girlish ancestral heroes. However, the title simultaneously connotes the reading, “innocence slashes omniscience.”


This group exhibition introduces eight female creators ranging in age from their twenties to seventies. Hailing from diverse backgrounds and active in mediums running the gamut from painting to drawing, photography, illustration, pottery, handicraft, embroidery, and doll making, this octet of artists will assemble for three-days in our old multitenant building, which has been a landmark in the Isezaki-cho area since its construction shortly after the Second Word War.

Jun Azumatei (contemporary artist)

#06 girlish/Gilgamesh

出品作家:yomikake - イラストレーション | Rommy - 絵画、ドローイング | 関文子 - 手芸 | marsa - 球体関節人形 | オンダセイコ - 写真 | わたなべあさか - 刺繍 | 川辺彩矢 - イラストレーション | 森聖華 - 陶芸


会期:2019年8月10日,11日,12日 / 11:00-19:00(最終日は18:00まで)




​Installation view | marsa


​Installation view | Rommy


​Installation view | Asaka Watanabe, Kiyoka Mori, Fumiko Seki


​Installation view | yomikake


​Installation view | Saiya Kawabe


​Installation view | Seiko Onda


#07 Watershed, Counter, Propagation

Artist: Jun Azumatei

Date: September 14 - October 13, 2019

Featured live performances:

September 21… Soft-Concrete Trilogy: Part One - Beginning of The World

October 5… Soft-Concrete Trilogy: Part Two - Living in A Dirty River

October 12… Soft-Concrete Trilogy: Part Three - End of The World (ft. Karasu-Tei)

September 22… Gekidan-Tokimeki (Theatre of Fluttering-Heart) debut performance

I had published a series of paintings using the photographs of skies and clouds I took as their bases, and on which I overlaid, daubed and polished up "documents and memories". As I received grants from two foundations in 2009, I moved my base to Switzerland/Germany, and then about a year and a half later, I experienced a profound turning point in my life—the disastrous earthquake and tsunami in Japan. I had never spent so long watching the news and videos posted on the net with zeal and horror. I just couldn't keep my eyes off my laptop screen. This experience completely changed my world. Violent and murky streams were swallowing up everything in sight, while invisible substances were bubbling to the fore. I felt the fear to be taken in, and yet felt that chaotic energy of the world was persuading me to take a step forward, into the future.


There had been a sure-footed path leading to the world we had been dreaming of. At least that's how I used to feel, but I saw the gilded veneer of that path peeling away from afar, the ground drying up and cracking, and saw the new world showing its pale face from underneath. And it started to eject the world's suppressed sediment to slowly make a giant stream. The stream kept growing wider and stronger, and it made all of us feel like we were being washed away uncontrollably, helplessly.


Back to my daily life, everything around me looked different. I just couldn't look at things as they used to be, and consequently, I became interested in the history and evolution of the many things that populate our lives. One day, I encountered an old damask bed sheet in an antique shop in Switzerland. I could tell that it originally came from the Far East, and during the course of the slow journey across the Silk Road toward Western Europe, it had been passed through the hands of people in many countries, successively dyed in the respective colors of each new home. It was well woven and somehow, gave me a feeling of familiarity. As I was touching and examining its frays and seams, I felt the palpable bustle and lingering warmth imbued by each of its previous owners. I decided to start working on a new series using these damask sheets. While photography is documentary evidence of each particular moment in which the object and subject once shared, the damask bed sheet is story itself. People usually spend one third of their lives in beds, and these bed sheets had once been used as bed coverings. Each of them provoked me to think of the histories of their travels all along the Silk Road, and by painting on their floral patterns, I updated their stories that previous owners had woven within each threads, of warp and weft. I deepened my interest in documentation and memory through the production of this series.


After I came back to Japan in 2015, I started to shift my style from prepared studio works to live performances, in which I ventured to venues to create uninhibited work on-site. This shift was triggered, at least in part, by the atmosphere of I found in my new home in the Noge/Yokohama area, as well as the lifestyles of the musicians I met. But at the same time, the shift was also compelled because I had come to realize that live performance is one of the most effective ways of sharing documentation and memory with others at the same moment and place, and also came to believe profoundly that the works and life of an artist could not be talked about separately—I was crossing the Rubicon in a way.

Through all my activities, now I can clearly feel the water I scoop, dripping down through my hands. I suppose we always desire more water than we can actually hold. But there is no use crying over spilt water. If you’re still thirsty, you can always dip into the wellspring again. What’s important is that we continue tirelessly searching for new water sources to whet our creative palates.

KARASU-TEI (art performance duo)

#07 分水嶺、カウンター、伝播


会期:2019年9月14日(土) - 10月13日(日) / 14:00-19:00
オープニング:9月14日(土) 18:00-

"Soft-Concrete" Trilogy of  live Performances 

9月21日(土) "セカイノハジマリ"
10月5日(土) "ドブガワニイキル"
10月12日(土) "セカイノオワリ" +烏亭






Room B  /   Photo by Ryuhei Kaiho


Room B  ​【CMYRGB】/   Photo by Jun Azumatei


Room A  /   Photo by Ryuhei Kaiho


Room A  /   Seisaku Murata (Butoh)


Room C  /   Photo by Ryuhei Kaiho


Room C  /   Photo by Ryuhei Kaiho


Room B ​【CMYRGB】  /   Photo by Jun Azumatei

"The End Of The World" by Soft-Concrete with KARASUTEI

"Living in a Sewage River" by Soft-Concrete with SORA

"Beginning of the World" by Soft-Concrete

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