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#16 VIVIDOR – The one who enjoys life to the full


Georges Audet (Canada) & Bruno Steiner (Switzerland) – visual artists

Jun Azumatei – contemporary artist

Takuro Ishii – sculptor

Eross Istvan (Hungary) – visual artist

Mari Ito – artist

Ayako Ohno – sculptor

Hiroshi Ogawa – artist

Ryuhei Kaiho – photographer

Shiho Kagabu – sculptor, poet, sunrise surfer

Shinpei Kageshima – painter

Toyoko Katsumata – artist

Hidetada Karasuyama – painter

Daniel Goettin (Switzerland) – visual and conceptual artist

Mitsuhiro Kurashige – contemporary artist

Toshiya Kobayashi – artist

Yusuke Saito – artist

Kazuyoshi Sakai – artist

Michi Suwa – artist

Soft-Concrete – sound and art performance duo

Yuki Takeuchi – artist

Keiichiro Tanaka – artist

Tin Chaong Wen (Taiwan) – visual artist

Axel Toepfer (Switzerland) – visual artist

CHINGIZ (Azerbaijan) – multimedia artist

Koji Tsujigo – illustrator

Takashi Horisaki (U.S.A.) – sculptor

Hajime Mizutani – artist

Gerda Maise (Switzerland) – visual and conceptual artist, curator

Mizuki Yui – painter


Date: October 24 – November 15, 2020

Curator: Jun Azumatei

In our 16th exhibition, we introduce video work by twenty-nine artists who don’t usually work in the medium. Although some of the artists have already exhibited video work in their careers, for most, this exhibition heralds a first attempt. The running time for each work is within five minutes, which means it takes about two and a half hours for all twenty-nine pieces to be shown in the program’s entirety. We plan to conduct just two screenings each day – please plan accordingly to allow enough time for your visit.

Incidentally, we recently finished remodeling our facility from three divided rooms into one big space with plenty of room for acrobatic use. We are hoping that artists will find further impetus in this space for their creative experiments.


Our pursuit of expression won’t stop. We won’t let go of the joy of immersion in creation. We will stay VIVIDOR forever.

Jun Azumatei (contemporary artist)

“What is the meaning of life?” Without giving us room to think, the world forces us to spend hectic days. I recall that I had been trying to get out of that kind of life for a few months, when I first visited this the Azumatei Project.


The Isezaki shopping mall is lined with small tenants that look somewhat out of time. Trudging through the throngs of odd-looking people in broad daylight, serenaded by a chorus of cries and screams coming out of nowhere, I find my way to the building, in the center of the Isezaki-cho area. Greeted by a nostalgic stairway of green, I walk down the hallway that seems to be leading nowhere. And turning left at the end, there I see an old door, swung open defenselessly. I step inside and see sunlight streaming through big windows, illuminating the interior of the room, and making me realize that I am higher up than I had imagined. The waved windowpanes distort the scenery outside as though they stand for the intention of this project.


I think Isezaki shopping mall doesn’t seem to be typically Japanese, and Azumatei Project is surely as peculiar as the mall. However, to be honest, what attracted me more than the idiosyncracy was the members of this project. 


The title of this exhibition, VIVIDOR, is a Spanish word that means, “the one who enjoys life to the fullest and loves new experiences”. The exhibition was named by Jun Azumatei, the organizer of this space, and I think this word aptly encapsulates their existence and achievements. The Azumatei Project has provided a place for unusual encounters, held many intriguing exhibitions, and woven times full of humane empathy. This will be the first exhibition following extensive remodeling. We introduce twenty-nine artists and all are exactly the people whose works we want to see at this point of time.

Keiichiro Tanaka (artist)

◆Review >>>>

#16 VIVIDOR - 人生を謳歌する人 -

出品作家:水谷一、影島晋平、海保竜平、諏訪未知、大野綾子、利部志穂、堀崎剛志、油井瑞樹、辻郷晃司、齋藤雄介、小川浩子、竹内優記、勝又豊子、倉重光則、酒井一吉、イトウマリ、小林俊哉、石井琢郎、烏山秀直、田中啓一郎、東亭順、Soft-Concrete, CHINGIZ, Axel Toepfer, Eross Istvan, Georges Audet & Bruno Steiner, Tin Chaong Wen, Daniel Goettin, Gerda Maise


会期:10月24日(土) - 11月15日(日) / 土日のみ開場 14:00-19:00








    今回の展示タイトル “ VIVIDOR” とは『人生を謳歌する人』の意味を持つ。これを選んだのは主宰の東亭だが、まさに彼らの存在と功績を表している言葉ではないだろうか。訪れる人々に不思議な出会いを生み、数々の魅力的な展覧会を開催させ、人情溢れる時間を作り出してきたアズマテイプロジェクト。会場の大規模リニューアルと合わせ、最高にイカしたメンバーが今見たいと思う作家29組31名による映像展を開催する。

​ 田中啓一郎(美術家)

◆Review >>>>


#17 Shoichi Shibuya Film Festival

Artist: Shoichi Shibuya (a.k.a Yuji Minato)

Date: November 20-22, 2020

Curator: Jun Azumatei

Featured films: 

November 20 Friday

  Outlaws - 2011, DVD, 77 minutes

  Shura-yo Saraba (Farewell to The Shambles) - 2013, DVD, 90 minutes

November 21 Saturday

  Nihon Yakuza Koso-shi, Zetsuen (Bloody History of Japanese Yakuza, The Disconnection) Captor 1 - 2014, DVD, 72 minutes

  Nihon Yakuza Koso-shi, Zetsuen (Bloody History of Japanese Yakuza, The Disconnection) Captor 2 - 2014, DVD, 75 minutes

November 22 Sunday

  Kodoku No Jingi (Loneliness of Justice) - 2013,DVD, 70 minutes

  Seiha (The Conquest) - 2015, DVD, 74 minutes

Japanese direct-to-video, so called V-cinema, in which the content can be more sexual or violent than mainstream feature films, emerged in the 1980s. The genre flourished throughout the 90s, and the production and sales numbers almost outstripped those of mainstream cinema at one point.


After the collapse of the Japanese film studio system, the V-cinema scene assumed the mantle for the training of young filmmakers and actors. Many living directors and actors who started their careers in the scene improved their skills by keeping up with as many works as possible in that period. However, the scene started to decline rapidly in the 21st century, and as these things go, it barely survives now on small titles with fairly low budgets.


Shoichi Shibuya is one of the rare directors who has still been able to make new films continuously amid V-cinema’s adverse circumstances. We hope you all enjoy this opportunity to see V-cinema on an actual screen, which is a rare experience, indeed. These six films are self-selected from the over seventy films he directed.

Shoichi Shibuya (a.k.a Yuji Minato)


Review >>>>

#17 渋谷正一監督 三夜連続映画祭



会期:11月20日(金), 21日(土), 22日(日) 


一部:アウトローズ(2011年 DVD カラー 77分)


二部:修羅よ さらば(2013年 DVD カラー 90分)



一部:日本やくざ抗争史 絶縁 第一章(2014年 DVD カラー 72分)


二部:日本やくざ抗争史 絶縁 第二章(2014年 DVD カラー 75分)



一部:孤独の仁義(2013年 DVD カラー 70分)


二部:制覇(2015年 DVD カラー 74分)








◆Review >>>>>


Shoichi Shibuya


Outlaws - 2011


Nihon Yakuza Koso-shi, Zetsuen (Bloody History of Japanese Yakuza, The Disconnection) Captor 1 - 2014


#18 Soft or Hard – Three weeks with Soft-Concrete

Artist: Soft-Concrete

Date: December 5 – December 20, 2020

Curator: Jun Azumatei

Open Saturdays and Sundays for exhibition with following live performances:

12/5 sat. 18:00 Iridescent Custard by Soft-Concrete 

12/12 sat. 18:00 Hoppy White, Hoppy Black by Naked Temper + Soft-Concrete 

12/19 sat. 18:00 Sand Bridge by KARASU-TEI + Soft-Concrete 

12/20 sun. 18:00 Heading West by KARASU-TEI, AOI + Soft-Concrete

When Jun Azumatei started to use the word “Live Performance”, I couldn’t get the point of it at first. As many exhibitions feature so-called “live events” these days, they mostly seem to be just another sideshow. Over the past two years, Soft-Concrete has performed many times, occasionally featuring one or two guests, and I had a chance to take part in one such performance at the Azumatei Project, in which I live-sculpted with a singer. The impression I had during the live performances, both theirs and mine, was: “Okay, there sure is something to this, after all.” It was not about the sessions or interactions between different personalities but about the action. In other words, it is all about whether something indescribable yet soul-stirring would occur right there and then. (Or not.) Of course, there is nothing new or groundbreaking about it, but I cannot help feeling that it elides something important, a clue for going on living in this time and age. Most of their “Live Performances” over the past two years were conducted with people Jun Azumatei met around the Noge district (especially at bars), and they all seemed to perform and express like they drink and breathe, or at least that was my impression. I suppose that expression has taken root that thoroughly in their lives. Soft-Concrete was formed exactly such an environment. This is the first attempt for them to present the fruits of their creation as an exhibition, with a certain period of time. I’m very much looking forward to seeing what they will present in this different situation, a situation that will soon occur before our very eyes. 

Takuro Ishii (sculptor)



-To remain being Soft-Concrete-


Soft-Concrete is a sound and art performance duo formed by artist Jun Azumatei and musician Kota Saito.


Azumatei uses ordinary materials that everyone can obtain easily. The way he uses them is unique, however. For instance, he once used plastic bags that many stores in Japan offer to customers for their wet umbrellas as the molds for plaster, the rim part of a megaphone for curing, a curing sheet on wood frame as canvas, etc. I feel that he is provoking the audience to question common sense or the fixed ideas they have in regards to the unusual usage of material.


Saito, on the other hand, uses the sound of the guitar he plays and samplings from the fragments he has recorded all over the place. With a cassette tape recorder, he samples small talk at izakayas (typical Japanese taverns), random sounds he got interested in on his trips or everywhere he goes — no, not just that — using the recorder like a camera, he “shoots” the scene as if he engulfs whole surroundings he encounters including sounds, air and views. The sounds that are being played on site and the sounds that has compiled beforehand, those multiple sounds intermingle and get into the audience’s ears as one peculiar soundscape.


They have chosen live performance as their main activity from the first, in which the performances of the two would be mixed and intertwined, filling up the space with a tense feeling, with strange objects and sounds fed out constantly. The developments are unpredictable and torrential, and gradually make the audience uneasy. Yet, strangely enough, the result is not obnoxious. We rather find ourselves in the state that we don’t mind whatever the next development will be, and hang on the edges of our seats awaiting what comes next.


After their performance, we try to figure out what was going on and look for some reason to accept it, but the conclusion would be unformed. In short, they are and will remain Soft-Concrete, who keep seeking their next interests or subjects, such as place, and will never congeal.


Hidetada Karasuyama (painter)


On a boulevard full of gentle spring sunshine, on a dark alley with a stale odor, in a sunny spot on Sunday balcony, on the side of piled up dust around the corner of a bachelor’s room, there always float melodies and rhythms. And as a poet once proudly proclaimed the five colors for each vowel, even every melody and rhythm too has its own individual color.


There are the melodies, which are floating, or rather, once were floating and are going to float. There is also a pulsating rhythm at regular intervals, and you can also feel another that is reverberating and repeating the acceleration and deceleration as it delays little by little. You randomly scoop them, offer them, chop them occasionally, and throw them away casually. The discarded fragments immediately retreat to the corner like snakes crawling, and soon will be forgotten. The player, however, knows that they are still biding their time, silently watching him from their dark nests. So, he plays a requiem for the snakes with melodies out of tune, then suddenly the forgotten passage becomes a memory. In order to share the space where newness and oldness, future and past ought to be neutralized, we need to treat all of them equally. Giving too much meaning is too risky in there.


Live performance is the act in which the performer would repeat destruction and creation, just like that. I think that the colors and shapes, the melodies and rhythms in front of us must be the mixture of something you want it to be, and what they actually are. Therefore, locking the eternity and the moments of fear of the void into those transitory states, we, Soft-Concrete will offer you our ideas and gas indiscriminately and shamelessly.

Kota Saito (musician)



As I had been exchanging emails with a Nordic songstress whom I had never met in person, our schedules in Northern Europe were going to be settled favorably. It was in early spring of 2020. I met with Kota Saito at a small bar on the alley behind Azumatei Project to talk about the touring plan as a performance unit in Japan and Northern Europe. Soft-Concrete was born when the name was put on the label of a bottle we ordered. Soon after Easter that year, I received an email from the songstress, in which she gave a detailed explanation about the risks of the carbon dioxide emissions from the flights between Northern Europe and the Far East. That was when our plan for the newborn Soft-Concrete’s “debut in Northern Europe” ended in an anticlimax.


Ooka River (grand hill river), a.k.a Dobu-Gawa (filth river), is a brackish waterway that runs eastward and empties into the sea of the upscale Minato-mirai bay area. The water of Dobu-Gawa recently seems clearer than it used to be, and if the timing is right, you can see black porgies and sea basses gently swimming upstream from Tokyo Bay. I presume it owes to the drainage regulations for households and factories, or the technology development of the sewage treatment around here. We spend our days in a town spreading on the banks of the river. There will always be revolting events everywhere at any time day or night that make us want to turn our eyes away. Converting them into the average ugliness, we just let them go past and spit into the dirty river. People use words like “beautiful”, “cute” or “pretty” too easily. I guess that is because those words are just convenient to capture the feelings — feelings that truly “ugly” people contrived. In a sense, it might be said that in a society maintaining the ordinariness fabricated by foulnesses, we are acting as the default system setting demands, enduring ugly errors we generate everyday and slowly turning our back on our own thoughts. Now, what kind of expressions could we give to the shapes of the fishes that we saw through the shining and weaving surface of Dobu-Gawa?


A year and a half has already passed since the last email from the songstress. Due to the restrictions on movement in the coronavirus outbreak, the carbon dioxide emissions have been reduced dramatically and the continued existence of the airline companies are being threatened. On the other hand, it seems that the recoveries of contaminated nature are being reported worldwide. I am not trying to say that it is as the songstress predicted, but I must admit that creation dwells exclusively in the strictness of people who think, decide and act. 

Jun Azumatei (contemporary artist)

◆Review >>>>

#18 Soft or Hard - Three weeks with Soft-Concrete

出品作家:Soft-Concrete : 齋藤浩太(音楽家)+東亭順(美術家)


会期:12月5日(土), - 12月20日(日) / 土日のみ開場 14:00-17:00(or18:00)

12/5 sat   14:00-17:00 Exhibition / 18:00- "Iridescent custard" Live Performance by Soft-Concrete 

12/6 sun  14:00-18:00 Exhibition

12/12 sat  14:00-17:00 Exhibition / 18:00- "White hoppy, Black hoppy" Live Performance by Naked Temper / Soft-Concrete 

12/13 sun 14:00-18:00 Exhibition

12/19 sat  14:00-17:00 Exhibition / 18:00- "Sand bridge" Live Performance by KARASU-TEI & Soft-Concrete 

12/20 sun 14:00-17:00 Exhibition / 18:00- "Head west" Live Performance by KARASU-TEI, Aoi & Soft-Concrete 

プロジェクト18回目となる本展は、音楽家 齋藤浩太と美術家 東亭順によるサウンド&アートパフォーマンス・デュオ:ソフトコンクリートによる初めての展覧会になります。結成以来、アズマテイプロジェクトでライヴパフォーマンスを重ねてきました。空間を一新したアズプロでは、映像以外での初めての展覧会となります。


​about Soft-Concrete


(彫刻家 石井琢郎)


ソフトコンクリートとは、現代美術家 東亭順と音楽家 齋藤浩太の2人からなる『サウンド&アートパフォーマンス・デュオ』だ。東亭は、普段誰もが手に入れやすい、一度は目にしたことのある素材を選択するのだが、それらを使用する方法が独特だ。例えば石膏粉を店舗が用意する雨傘用のビニールに入れたり、拡声器の一部を養生がわりに使用したり、マスカーをキャンバス木枠に張り付けて支持体としたりと本来の使用目的とは異なる方法をとることで、見る者に対し常識や固定概念への疑問や疑いのきっかけを促し、試みているように感じる。




(画家 烏山秀直)




(音楽家 齋藤浩太)




(現代美術家 東亭順)

◆Review >>>>

Live Performance "Head west" 20 December 2020 / KARASU-TEI, Aoi & Soft-Concrete​

Installation view / Photo by Ryuhei KAIHO


Installation view / Photo by Ryuhei KAIHO


UP/ Hidetada KARASUYAMA (KARASU-TEI)    Down / AOI     Photo by Ryuhei KAIHO


Kota SAITO (Soft-Concrete)​   Photo by Ryuhei KAIHO


Hidetada KARASUYAMA (KARASU-TEI)​   Photo by Ryuhei KAIHO


Soft-Concrete    ​Photo by Ryuhei KAIHO


Jun AZUMATEI (Soft-Concrete)​    Photo by Ryuhei KAIHO


Photo by Ryuhei KAIHO


AOI​ / Photo by Ryuhei KAIHO


​Photo by Ryuhei KAIHO

Live Performance "Sand bridge" 19 December 2020 / KARASU-TEI & Soft-Concrete


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI


Photo by Kazuyoshi SAKAI



会期:1月16日(土), - 2月14日(日) / 土日祝日のみ開場 14:00-18:00


地球外知的生命体探査( Search for extraterrestrial intelligence >> SETI )とは、地球外知的生命体による宇宙文明を発見するプロジェクトの総称である。



 ゴールデンレコード は、さながら地球外生命体への熱い想いが紙面の限界まで綴られた壮大なラブレターであった。それは永遠に報われない一方的な愛の表現になるのか、あるいは、相手の心を強く打ち情熱的な関係性へと展開するのだろうか。




 そもそも意識の有り様はどのように表現・伝達できるのだろうか。言語や既存の手段では共有し難い事象であったとしても、「表現」それ自体の限界はまだまだのりしろがあるはずである。来るべき地球外生命体との対話に向けて、これからのSETI では私たちの言語化できない事象について描写することを想像してもいいんじゃないだろうか。そして、そんなことを空想している今この瞬間にも、地球外知的生命体との出会いが現実となるかもしれない。


#19 SET


武内優記 Yuki Takeuchi   website

1985年 長崎県出身
2008年 金沢美術工芸大学美術工芸学部彫刻専攻卒業

2010年 東京藝術大学大学院美術研究修士課程彫刻科研究領域修了

2015年 吉野石膏美術振興財団在外研修によりベルリンにて滞在制作


2020年 TAKE OUT GALLERY / 東京都内各所
年 VIVIDOR-人生を謳歌する人 / アズマテイプロジェクト / 神奈川

2019年 Material with time / 天王洲セントラルタワー・アートホール / 東京
2019年 九州コンテンポラリーアート / 佐賀県立美術館ほか / 佐賀

2019年 美術教育の森 / 東京藝術大学大学美術館 / 東京

2016年 SPACE, ART & HUMAN BODY / 東京藝術大学大学美術館陳列館 / 東京

2015年 群馬青年ビエンナーレ2015 / 群馬県立近代美術館 / 群馬

2015年 Meteor / florist - gallery N / 愛知

2015年 Knead without touching by hand / コンフリ / 茨城





海を眺めていると彼の作品《HOLF FORM》を思い出す。台風の最中、大荒れの波へ向けてその場で溶かした錫(すず)を投げ込む。そうして波によって冷却され固まった金属が、武内の行為と波との関係性によって現れたフォルムを留めることになる。また、夜空を眺めていると作品《Knead without touching by hand》を思い出す。宇宙をテーマにしたと思われる巨大なその装置は、小さな隕石に見立てた彫刻を中心に、その周辺を惑星軌道に見立てた5つの黒い環状の立体が、それぞれの法則で動き続けている。複雑な動きで廻っている環状の立体の隙間を縫って、中心にある小さな隕石に向けて豆粒ほどの大きさに丸めた油粘土をエアダスターを改造したオリジナルの空気銃に装填し、発射する。狙いがよければ隕石に命中し、外れた場合は装置をすり抜け、ギャラリーの壁に付着することになる。






(画家 烏山秀直)

◆Review >>>>


Installation view / Photo by Akaishi Takaaki


Installation view / Photo by Akaishi Takaaki


Installation view / Photo by Akaishi Takaaki


Decorder | 2020 / Photo by Akaishi Takaaki


Odradek | 2020-2021 / Photo by Akaishi Takaaki


METI | 2020-2021 / Photo by Akaishi Takaaki

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