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#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

















どう関わればいいのかをずっと考えている気がする。      <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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