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#12 Rolling kite, falling water

Artist: Michi Suwa

Date: February 29 - March 29, 2020

Curator: Takuro Ishii

Although Michi Suwa is primarily a painter, she also creates sculptural objects. Curiously, her two-dimensional works evince a three-dimensional perspective, while her three-dimensional works evoke a planar, two-dimensional quality. As a sculptor myself, I always feel uneasy when crafting 3D works based on 2D plans. However, this contradictory element is also one of the things that makes sculpture so interesting. 


Suwa explains her perspective as a “bird’s-eye, overhead vantage point.” For example, when peering directly down at a bottle from above, the vertical height disappears, and the bottle momentarily appears as a perfectly flat, 2D circle. This dynamic transformation – the instant a 3D object morphs into a 2D image – is key to interacting with Suwa’s works. I see her two-dimensional works as an attempt to capture this vertical dynamism on a flat surface. And this approach is the complementary antithesis to the contradiction I feel in my own sculptural practice.


Suwa begins by contemplating subject matter accessible within reach. I feel that through her paintings, she seeks to examines these quotidian fragments of life, recontextualizing reality through the stressed lens of this planar transformation. I, for one, cannot take my eyes off her works.

Takuro Ishii (sculptor)

#12 凧の回転、水の落下


石井 琢郎(彫刻家)



会期:2020年2月29日(土) - 3月29日(日) / 14:00-18:00
オープニング:2月29日(土) 17:00-


1980年 神奈川県に生まれる

2005年 多摩美術大学大学院美術研究科絵画専攻修了


2008年 諏訪未知展 新世代への視点2008 / ギャラリー21+葉 (東京)

2013年 bottleと腰掛け / A-things (東京) 

2015年 ドローイング/interior / A-things (東京) 

2016年 interior / gallery21yo-j (東京)

2019年 island / gallery21yo-j (東京)


2012年 行為の触覚 反復の思考 / 上野の森美術館 (東京)

2018年 絵画の現在 / 府中市美術館 (東京)

2018年 TAMAVIVANT ii Dissémination-散種 / 多摩美術大学アートテーク (東京)

2020年 VOCA展2020 現代美術の展望 -新しい平面の作家たち- / 上野の森美術館 (東京)


Room A installation view  | Photo by Hayato Wakabayashi


Room A installation view  | Photo by Hayato Wakabayashi


Room A installation view  | Photo by Hayato Wakabayashi


Room B installation view  | Photo by Hayato Wakabayashi


Room B installation view  | Photo by Hayato Wakabayashi


Room C installation view  | Photo by Hayato Wakabayashi


#13 Fragment Monochrome

Artists: Hajime Mizutani, Takuro Ishii, Keiichiro Tanaka, Shinpei Kageshima, Jun Azumatei

Date: June 6 - 14, 2020

*Originally scheduled to start on April 11 (postponed due to Covid-19).

Curator: Jun Azumatei

The bewitching clear, colorless liquor beckons me into a vibrant polychromatic world. The vibrations of the high-fidelity speakers shake my soul, awash in a psychedelic spectrum of sentiment and time’s embrace. Our lives are undoubtedly enriched by a range of hues, though they remain undetectable by our retains.


For we live in a sea of uncountable color permutations, the resolution growing clearer by the minute, by the second, twenty-four hours a day. Our faculties of sensory perception are constantly being updated, feeding an infinite appetite for the even the slightest improvement, the slightest edge. However, it seems we are sacrificing the richness of our imaginations in exchange for material comfort. I wonder if the sparks of creativity that once welled up in our breasts will be drowned out by the cornucopia of color that overwhelms our eyes. Will these sparks soon seem dull in comparison, fading away into the murky depths of our minds? Or will they shine brighter, entering a new evolutionary state? Or like a dying star, will this newfound brightness cede to collapse, spark relegated to nothing more than star dust.


If we were to replace our optic cells with tinted lenses, we might lose the ability to detect our world with the same perspective as before. On the other hand, we might conceivably become able to detect all the colors that we have overlooked all this time with newfound clarity.


This exhibition features the monochromatic work of four artists, consisting of pencil, charcoal, and oil on paper. I hope the exhibition will serve as a platform for sounding out the presentation and practice of our role as artists in these uncertain times.

Jun Azumatei (contemporary artist)


#13 モノクロームの欠片




近年では、玉石の内側をくり抜く作品を展開すると同時に映像や写真イメージを用いいた作品を模索。現代社会の中で"もの"と彫刻の可能性を探る。主な展覧会に2019個展「One Stone」アズマテイプロジェクト、2017個展「肌理のつらなり」秋山画廊、2016「KAAT突然ミュージアム」KAAT神奈川芸術劇場など。2009年東京藝術大学大学院博士過程彫刻研究領域修了。





文化概念としての自然と人工物からなる生活環境のイメージを主な題材として絵画の制作を行っている。主な個展に「相模原」Take NInagawa / 東京 /2011、「地面と幾何形体」Take NInagawa / 東京 /2013など。












会期:6月6日 - 14日(日) / 14:00-18:00 



Shinpei Kageshima​ | Room C  Photo by Ryuhei Kaiho


 Jun Azumatei​ | Room A  Photo by Ryuhei Kaiho


​Hajime MizutaniRoom A  Photo by Ryuhei Kaiho


L:Takuro Ishiii  R:Keiichiro TanakaRoom B  Photo by Ryuhei Kaiho


Keiichiro Tanaka​ | Room B  Photo by Ryuhei Kaiho


Takuro Ishiii​ | Room B  Photo by Ryuhei Kaiho

「モノクロームの欠片ー奇跡とその後」記録集 公開  2021年8月15日ー







#14 Even A Blink - Scattered Time and  Accumulation

Artist: Hidetada Karasuyama

Date: June 20 – July 19, 2020

Featured live performance:

June 18… Even A Sediment by Soft-Concrete x Hidetada Karasuyama

Having set his heart on becoming a painter from a young age, and subsequently graduating from Tama Art University seventeen years ago, Hidetada Karasuyama has now begun to reach maturity as a painter. Ten years ago, he went back to his hometown in Isahaya, Nagasaki, and bought an old house atop a small hill, creating his atelier amidst an idyllic  rural landscape.  He works surrounded by the countless  objects he has collected and cherished, all displayed neatly in the house. A keen collector whose proclivities range from art-objects to antiques and dolls, he has lately caught the bug for junk, with a particular fondness for scrapped motorcycles.


At our 10th exhibition Possible or Not Impossible held in 2019, Karasuyama first applied this inveterate collector’s temperament directly to his works. Over the intervening year, he has busied himself with collecting pigment. He gathers dust, leaves, and pieces of junk – anything that shows promise for use as pigment – wherever he can find them, whether the sides of busy roads, the tidal flats around the Ariake coast, or the forests and streams of nearby mountains. He grinds his finds up in a mortar, sifts them, and then carefully bottles and labels each with the date, location, and condition. He says there are several factors involved in his decision to gather each pigment, such as his empirical imagination for color development, the characteristics of the place, and the nature of the materials themselves.


Meanwhile, he has also long been engaged in work a particular piece. Karasuyama built a large square frame (270 x 270 cm) with four wooden poles, over which he stretched a translucent organdy material in lieu of canvas, where he has been painting circles and squares using tiny stippling-esque dots. The canvas wraps around the wooden poles, and the stippling continues around the frame’s edge, so that the visible range expands and contracts by a matter of millimeters depending on the viewer’s actual standpoint. He told me the idea was inspired by the roundness of the horizon. Moreover, the translucence of the canvas also enables him to work from both sides of the tableau to impart the surface with a fluctuating effect, which enables the painting to evince a range of expression, depending on the condition of the wall where it is hung, as well as the lighting.


Painters are fated to keep fixing pigment on square canvases. Karasuyama is undoubtedly a member of this curious breed. He recognized the possibility in the medium, and developed his own style through a struggle with his own painterly philosophy that everything originates from a dot. This exhibition marks his first solo presentation in six years. Visitors will experience the fruits of his time-intensive efforts rendered in his new homemade natural pigments, filling three distinct spaces in the Azumatei Project.

Jun Azumatei (contemporary artist)


#14 まばたきさえ - 散りばめられた時間と集積


会期:6月20日(土) - 7月19日(日) / 14:00-18:00

7月18日(土) 18:00- ライヴ・サウンド・パフォーマンス by Soft-Concrete × 烏山秀直

7月​19日(日)17:00- クロージング・パーティー


昨年末の“10 Possible or Not Impossible”展で取り組んだ作品がきっかけとなり、現在では顔料集めというコレクションに奔走しているようだ。繁華街の道路脇、有明海の干潟、山林や沢などあらゆる場所で顔料となり得る所謂ごみを集めては、すり鉢ですり潰し、濾して、瓶詰めにしたものへ丁寧に日付や採取場所やコンディションを記入している。どのような色を発するかという経験からの想像と採取した場所の持つ特性や素材の本質が採取を決定する判断であるという。




1978年 長崎生まれ、長崎在住


2013   トキアートスペース企画シリーズ "Critical Painting"  TOKI Art Space/東京
2010    個展   Plaza North/埼玉
2007 振響   ART TRACE GALLERY/東京('05)

2019 Possible or not impossible _ AZUMATEI PROJECT/神奈川
            Memento mori 昨日、今日、明日、 _ AZUMATEI PROJECT/神奈川
2016 Japan im Palazzo _ Kunsthalle Palazzo/リースタル(スイス)
2015   中国広州日本現代アート展2015 _ 53美術館/広東省(中国)
    Private group exhibition-中村英樹氏を招いて- _  nagasaki factory, 諫早造形研究室/長崎
2014 songs for a pigeon _ 在日スイス大使館・gallery COEXIST-TOKYO・Plaza Gallery/東京
    西宮船坂ビエンナーレ2014 _ 兵庫
2013 私小説 _ Nomade Gallery/浙江省(中国)
2012   行為の触覚 反復の思考 _ 上野の森美術館/東京
2011 "TEGAMI" _ Perspektiven japanischer Kunstler  ハンブルグ(ドイツ) 
2010 Open Studio _ Atelierhaus Arlesheim/バーゼル(スイス)


installation view | Room A Photo by Hayato Wakabayashi


installation view | Room B Photo by Hayato Wakabayashi


installation view | Room B Photo by Hayato Wakabayashi


installation view | Room C Photo by Hayato Wakabayashi


installation view | Room A Photo by Hayato Wakabayashi

#14 a Blink
#15 kigasuru

#15 Ki-ga-suru / Ki-ga-shita

Artist: Shigeru Toya

Date: September 19 - October 11, 2020

Curator: Takuro Ishii

In Japanese, we say ki-ga-suru and ki-ga-shita. They roughly translate to "feel like” and “felt like," in the present and past tense, respectively.


But when I think about the phrase more closely, I wonder: What does ki really mean?


The Chinese character for ki (気) makes many appearances in Japanese, from nouns to adjectives and verbs.


Does ki in the phrase "ki-ga-suru" share the same meaning as the ki in kibun (feeling) or kimochi (state of mind)?


When used in the phrase …na ki-ga-suru (it would seem…), the ki is noncommittal. Rather than a definite statement of feeling, this ki is merely a premonition of a state that has yet to occur. For example, when watching someone draw a circle, one might suspect that the circle will soon develop into a drawing of an apple.


By contrast, consider the past tense permutation …na ki-ga-shita. The premonition dissipated, something remains, although we can no longer clearly see its contours, as if lost in a fog. What we once thought was the outline of an apple has now become something else.


In painting, the state of becoming and the state of unbecoming are almost indistinguishable, as if a quantum superposition of perpetual ebb and flow.


When painting, I feel like I’m always grappling with those mercurial states, feel and felt.

Shigeru Toya (painter)


I sense something tactile in Toya's works and I suppose it might be the result of the interplay between his works and himself as an artist. If I might attempt to encapsulate the feeling in my own words, I would like to call it "the smell of touch." I presume it is something invisible that always vibrates between him and his works, and something he is searching for in the distance, between the world and himself. The world becomes increasingly information-oriented year after year, permeating our daily lives like a flood of data. I imagine "the smell of touch" is what Toya believes, or at least, wants to believe amidst this information deluge. The reality/sense of living is more real than actual touch, more odorous than actual smell, as if one were able to resurrect some long gone memory though the sense of sight. And I personally believe that his way of life itself is a form of criticism against modern society.


In this way, Toya's methodology is to display something which has a realer, more palpable sensation than actual touch, not through sculpture (which is mainly concerned with real objects), but through paintings, which are deeply concerned with chromatic phenomenon, and through which he might maintain a distance from the world. I'm looking forward to seeing what this delicate and slightly awkward artist (in the most positive sense) will create in these three rooms of the Azumatei Project.

Takuro Ishii (sculptor)

#15 気がする / 気がした



会期:9月19日(土) - 10月11日(日) / 土日のみ開場 14:00-18:00


















(戸谷 森)


戸谷 森




2019 「y u k k u r i k o w a s u」トキアートスペース(東京)

2016 「ねじれ、よじれ、もつれ、こじれなどの問題」 秋山画廊 (東京)

2014 「air pocket 3」秋山画廊 (東京)


2020 「半透明な事柄」秋山画廊(東京)

2017 「夜間飛行」秋山画廊 (東京)

2016 「山口浩太郎 戸谷森展 Vol.1」秋山画廊(東京)

2012 「なみゆくながら、付かず離れず」アキバタマビ(東京)

2012 「森啓輔企画vol.1 絵画のPoly morphology」switch point(東京)

2011 「VOCA2011 現代美術の展望」上野の森美術館(東京)


それを、僕の言葉でいうと「手触りの匂い」という表現が近い。それは、戸谷と彼の作品との間に揺らぐ不可視なもので、戸谷と世界との距離の中に求めているものではないかと思う。年々拡大する高度な情報化の波が、より生活の中に入り込んでくる中で、戸谷が 信じている/信じたい ものが「手触りの匂い」であり、それは直接触れるよりも触覚があり、実際に嗅ぐよりも匂ってくるといった、視覚を通して、かつての名も忘れた記憶が感覚として呼び戻されるような“リアリティ=生の実感”であり、彼の生き様自体が、現代社会に対する一つの批判なのだと、僕は勝手に思っている。



(石井 琢郎 / 彫刻家)


Installation view | Room A Photo by Ryuhei Kaiho


Installation view | Room A Photo by Ryuhei Kaiho


Installation view | Room B  Photo by Ryuhei Kaiho


Installation view | Room B Photo by Ryuhei Kaiho


Installation view | Room C Photo by Ryuhei Kaiho


Installation view | Room C Photo by Ryuhei Kaiho

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