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Preview: TAB Events - in the Omotesando, Aoyama area

TAB Events - in the Omotesando, Aoyama area





 



3455

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3455
at Art & Space Kokokara
202 Kudo Bldg., 2-27-20 Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Photography
(2017-11-14 - 2017-11-23)

Photographs documenting Ryo Fujishima 3,455-mile journey to international live gigs. He was the first Japanese artist to perform at last year’s Lausanne Underground Film & Music Festival in Switzerland. [Event] Talk & Live Performance Date: Nov. 18 (Sat) 18:00 Admission: 1500 yen Please see the official website for details.




Artists’ Book Exhibition Sendai–Tokyo

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Artists’ Book Exhibition Sendai–Tokyo
at void +
3-16-14 #103, Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Illustration - Installation - Crafts - Performance Art
(2017-11-07 - 2017-11-25)

One in a series of exhibitions from early November through mid January at six locations in Sendai and Tokyo. Featuring the work of 22 artists, the series will include paintings, sculpture, installation art, performances, and more. This show focuses on artist books: See how each artist chooses printing and binding styles, typography, and artwork, using words and images as tools to convey information. Examine the essence of the art book. [Event] Crazed Reading Participants: Kinya Sekimoto, (Gallery Turnaround owner), Toshiki Koike (graphic designer), artists including Fumiaki Aono, Kenshu Shintsubo, and O Jun




Chiaki Okada Exhibition

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Chiaki Okada Exhibition
at Pinpoint Gallery
Futaba Bldg.B1, 5-10-1 Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Illustration
(2017-11-13 - 2017-11-25)

Original works featured in Chiaki Okada’s last four picture books will be presented here alongside other artworks by the artist.




Erika Kobayashi “Childhood”

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Erika Kobayashi “Childhood”
at Utrecht / Now Idea
2C Kari Mansion, 5-36-6 Jingumae, Minato-ku, Tokyo 150-0001
Media: Drawing
(2017-11-14 - 2017-11-25)

It does matter who or what type of animal you are, all living creatures have gone through childhood. It is the distant future that seemed oh so far away when we were children that we are now living. This exhibition will introduce drawings of present day children and of day-to-day life in the past. There will also be drawing card sets designed by Mina Tabei available.




Kazumi Tachikawa Exhibition

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Kazumi Tachikawa Exhibition
at Space Yui
Hayakawa Bldg. 1F, 3-4-11 Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Crafts
(2017-11-20 - 2017-11-25)

Embroidered cushions, chairs, and pictures with designs of plants, birds, letters, and other familiar motifs.




Sachiyo Kaneko “Moment”

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Sachiyo Kaneko “Moment”
at Gallery House Maya
2-10-26, Kita-Aoyama, Minato-ku, Tokyo 107-0061
Media: Illustration - Painting
(2017-11-20 - 2017-11-25)

The first solo exhibition for illustrator Sachiyo Kaneko.




Shinya Yao “Chorus”

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Shinya Yao “Chorus”
at Musée F
Arch Atrium B02, 4-17-3 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Photography - Video and Film
(2017-11-20 - 2017-11-25)

These works question the relationship between photography, moving images, time, and memory.




Strand of katharsis 2nd season

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Strand of katharsis 2nd season
at Sezon Art Gallery
3-6-7 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Video and Film
(2017-10-01 - 2017-11-25)

Presenting works by artists working in video and a variety of other media. Venue: Art Gallery B1F, Cafe Dining Bar 367°




Tamami Kubota “Asparado”

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Tamami Kubota “Asparado”
at hpgrp Gallery Tokyo
B1F Ohararyu Kaikan, 5-7-17 Minami Aoyama, Minato-ku, Tokyo 107-0062
Media: Painting - Party
(2017-10-27 - 2017-11-25)

Oil painter Tamami Kubota creates original worlds with bold strokes and unique blends of color. A range of emotion and movement bubble up from the serene-seeming surfaces of her canvases, uniting the viewer’s memory and imagination in stories evoked through their quiet pulse.




AGC Asahi Glass 110th Anniversary Exhibition

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AGC Asahi Glass 110th Anniversary Exhibition
at Space O in Omotesando Hills
Omotesado Hills, 4-12-10 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Installation
(2017-11-20 - 2017-11-26)

Presenting a glass installation from Milan Design Week.




Chizuko Iinuma “Recurring breath”

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Chizuko Iinuma “Recurring breath”
at Toki Art Space
Sion Bldg. 1F, 3-42-5 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Painting
(2017-11-13 - 2017-11-26)

Presenting a lineup of paintings by Kanagawa-born artist Chizuko Iinuma (1984-).




Concept of happiness: Anish Kapoor’s outline of collapse

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Concept of happiness: Anish Kapoor’s outline of collapse
at Eye of Gyre
3F, 5-10-1 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Painting - Sculpture
(2017-10-20 - 2017-11-26)




Dan Isomura “Good Neighbors”

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Dan Isomura “Good Neighbors”
at On Sundays
3-7-6 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Sculpture - Installation
(2017-10-31 - 2017-11-26)

Presenting “Home Party #2,” Dan Isomura’s Gold Prize-winning installation on themes of immigration and the refugee crises. Isomura created this work as a project for the Genron Chaos* Lounge New Art School.




Design Trial 2017

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Design Trial 2017
at Ars Gallery
Ars Omotesando 5-13-1, Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Graphics - Product
(2017-11-21 - 2017-11-26)

Prototypes by six designers from the same background working in different fields.




Gardar Eide Einarsson “Studies and Further Studies in a Dying Culture”

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Gardar Eide Einarsson “Studies and Further Studies in a Dying Culture”
at Rat Hole Gallery
B1F, 5-5-3 Minamiaoyama, Minato-ku, Tokyo 107-0062
Media: Painting
(2017-09-08 - 2017-11-26)

Gardar Eide Einarsson’s third exhibition at Rat Hole Gallery will present a suite of ten new paintings and marks the artist’s only show to date focused exclusively on painting works. Einarsson (Norwegian, b.1976, lives and works in Tokyo) works across a multitude of genres, including painting, installation, sculpture, ready-made objects and flags, film and photography, to examine ideas of authority and rebellion within social, political, and economic structures, as well as notions of fear and paranoia embedded in such relationships of power. Using methods of appropriation, assemblage, and abstraction of images and information from a variety of sources - from cultural ephemera to political iconography, utopian ideologies, and criminal subcultures - Einarsson voids them of their context and meaning, while simultaneously transforming them into coded layers of expression and often times signifiers of dissent. For this exhibition, the imagery of each of the paintings is derived from graphic designs of book and DVD covers, logos, and political buttons. These include the cover of a documentary film based on a Japanese doomsday cult, a study from 1937 analyzing politics in Chicago during the Great Depression, a 1969 exhibition catalog of a group show by 14 minimalist sculptors, and an anthology of writings on accelerationism. Shared among the works is a disconnect between the title of the painting, pregnant with meaning, and a seemingly empty and flat surface that is somewhat reminiscent, yet not entirely, of post-war painting. The works possess a formal vocabulary of minimalism and geometrical abstraction through the use of a monochromatic palette or rigorous black-and-white execution, as is often found with Einarsson’s paintings. Furthermore, in erecting a rigid framework for the way in which the painting is derived from the source imagery, such as by reducing color or the amount of information visible on the surface, Einarsson creates a “painterly” space to exist there within, thus elevating accidents and coincidence to a level where they are subject to painterly-aesthetic judgment. The content and the painterliness are each reduced towards a vanishing point, remaining always at an arms length, where they continue to exist even as they recede further away from view. The main function of the paintings, however, lies not necessarily within the four edges of the stretched canvas, but in the source material that is only hinted at in the titles. The juxtaposition and amalgamation of these sources result in something resembling a paranoid narrative created by the artist. As visual objects, the paintings themselves fail to function as carriers of meaning. Alternatively, they serve as a portal to a discourse that exists elsewhere - an uncertain present - that is not to be read entirely from looking at the surface of the painting, a flatness that exists both physically and from the repeated acts of stripping, layering, and leveling of social, political, and cultural constructs and hierarchies.




Hiroki Godo + Tomoko Tsuda “Kai Ki Rou: Flower Mirage”

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Hiroki Godo + Tomoko Tsuda “Kai Ki Rou: Flower Mirage”
at Paku Paku An
2-17-14 Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Ceramics - Party
(2017-11-18 - 2017-11-26)

Hiroki Godo is known for the CG-like level of detail in his paintings, which include brushwork on miniatures and other art objects. Tomoko Tsuda is an accomplished rakugaki ceramicist who creates works suited to daily life. Enjoy the quiet but rousing power of their creations. Venue: Paku Paku An 3F Exhibition Space [Event] Ryurei Tea Ceremony by tea master Omote Senke Date: Nov. 19 (Sun) 13:00–17:00 Admission: 500 yen Please see the official website for details.




Lazoo x Taboo1 “Brother from Another Mother”

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Lazoo x Taboo1 “Brother from Another Mother”
at The Blank Gallery
3F Osaki Bldg., 3-21-6 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Painting - Prints
(2017-11-17 - 2017-11-26)

Lazoo and Taboo1 met in 2003 at the International Graffiti Festival in Paris. Here in his first presentation in Japan, Lazoo will display an important series of drawings on paper that demonstrate the personality that forms the basis of his graffiti. In addition to this series in which the beauty of his lines is emphasized by sepia tones, there will be number of highly colorful works and silk screen prints on show. This is a long-awaited exhibition by two graffiti writers representing France and Japan that you won’t want to miss.




Saeko Saijo “Digitus Medicinalis Canariae”

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Saeko Saijo “Digitus Medicinalis Canariae”
at Site Aoyama
2-7-9 Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Sculpture
(2017-11-16 - 2017-11-26)

Saeko Saijo presents a lineup of objects including ball-jointed dolls, iron maidens, skeletons of young boys, and various limbs.




kNOB Exhibition

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kNOB Exhibition
at Design Festa Gallery
3-20-18 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Painting
(2017-11-22 - 2017-11-28)

This exhibition benefiting the United Nations High Commissioner for Refugees presents the work of watercolor artist kNOB.




HaNNa “What do you stand for?”

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HaNNa “What do you stand for?”
at Lamp harajuku
4-28-15 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Product - Fashion
(2017-10-19 - 2017-11-30)

What are you fighting for? What do you speak up for? Here HaNNa will present can pin badges as they are produced in the basement gallery at Lamp. The exhibition will also spread to the first floor window display. This is a participatory exhibition where you’re encouraged to get involved.




Meriyasu Kataoka “Biodiversity”

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Meriyasu Kataoka “Biodiversity”
at Lamp harajuku
4-28-15 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Installation
(2017-11-01 - 2017-11-30)

A window installation by Meriyasu Kataoka. Biodiversity refers to the variety of plants and animals in the world. In this context, Kataoka produces soft toys without imposing any restrictions. Though this may sound like a theme, for the artist it is not a theme at all, instead allowing total freedom in his artistic practice.




To the Future — Colors and Shapes that Move the Heart

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To the Future — Colors and Shapes that Move the Heart
at Itochu Aoyama Art Square
B1F CI Plaza, 2-3-1 Kita Aoyama, Minato-ku, Tokyo 107-0061
Media: Painting - Prints - Installation
(2017-11-16 - 2017-11-30)

Itochu Aoyama Art Square presents To the Future — Colors and Shapes that Move the Heart, the third art project exhibition showcasing works by students with superior artistic talent who attend Tokyo Metropolitan schools for special needs education. On display are around 50 artworks with a diverse range of themes, selected from among 813 entries received from students enrolled in 69 schools and reviewed in cooperation with Fine Arts faculty at Tokyo University of the Arts.




Mari Miyamoto Exhibition

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Mari Miyamoto Exhibition
at Galerie Omotesando
Arch Atrium B02, 4-17-3 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Drawing - Sculpture
(2017-11-20 - 2017-12-02)

Mari Miyamoto (nee Helisevä) is a Finnish artist currently based in Tottori, Japan. She graduated with MFA from the Finnish Academy of Fine Arts in 2014. Her works have been seen in both solo and group exhibitions in Finland, Japan, and Taiwan. Miyamoto works with painting, sculpture and installation. This is her first solo exhibition in Tokyo.




Keisuke Jinba “My Belongings”

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Keisuke Jinba “My Belongings”
at Block House
6-12-9 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Painting
(2017-11-18 - 2017-12-03)

Keisuke Jinba often draws his belongings. In fact, according to the artist, he draws what he wears or has around him. He says, “It is not that I simply want to draw my belongings. Probably I draw my belongings because I came to think hard about my desire to draw the “relationship between my experience and my belongings and time we spend together,” that is to say, the sense of my “attachment” to them and “time with them.”” Belongings reflect the taste and the trend of the time, level of living and the position of the owner. The act of owning means the experience of being an owner and the actual relationship with the thing, which changes as the relationship gets interrupted on occasion and then reconnects in a deeper sense. The act of drawing allows one to confirm how they think what is happening in front of them, what they are looking at, and what appears to them, again and again. Thinking about your belongings is like the act of drawing. Jinba believes he can make something that is similar to a portrait that reflects the current condition of the owner through thinking about their belongings when drawing the pictures.




My BooK Vol. 6

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My BooK Vol. 6
at Dazzle
#101 2-12-20 Kita-Aoyama, Minato-ku, Tokyo 107-0061
Media: Graphics - Illustration - Painting - Drawing
(2017-11-21 - 2017-12-03)

Presenting books by a variety of illustrators.




Sueko Miyamoto “The Melancholy of Frankenstein”

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Sueko Miyamoto “The Melancholy of Frankenstein”
at Gallery Jy
U Bldg., 2-12-23 Kita-Aoyama, Minato-ku, Tokyo 107-0061
Media: Sculpture
(2017-11-21 - 2017-12-03)

Sculptures by Sueko Miyamoto.




Yusuke Hanai “It wil be all right”

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Yusuke Hanai “It wil be all right”
at Gallery Target
2-32-10 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Illustration
(2017-11-17 - 2017-12-08)

Yusuke Hanai is a popular artist celebrated among both street and surf culture who produces artworks that project a kind of borderless nostalgia. He self-published his first book “Ordinary People” in July this year, comprising a collection of his visions and expressions to date. This current exhibition will explore his future approach to expression.




Joseph Walsh “Ireland and Japan: 60 Years of Diplomatic Relations”

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Joseph Walsh “Ireland and Japan: 60 Years of Diplomatic Relations”
at Yufuku Gallery
Annecy Aoyama 1st Floor, 2-6-12 Minami-Aoyama, Minato-ku, Tokyo 107-0062 Japan
Media: Sculpture
(2017-11-17 - 2017-12-10)

The Irish artist Joseph Walsh is known around the world for his wood furniture and sculptures featuring beautiful silhouettes. With works in the collections of the Pompidou Center, the Smithsonian, and other world-class museums, the young Walsh is a major Irish artist. A recently opened exhibition of his work at Tsubaki Grand Shrine in Mie Prefecture marked his debut in Japan.




Modern Fragrances and Cosmetics - The birth of Japanese Western-inspired aesthetics

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Modern Fragrances and Cosmetics - The birth of Japanese Western-inspired aesthetics
at Isehan-Honten Museum of Beni
1F K's Minami Aoyama Bldg, 6-6-20 Minami Aoyama, Minato-ku, Tokyo 107-0062
Media: Graphics - Product
(2017-10-21 - 2017-12-10)

Encounters with Western technology and culture that followed the opening of Japan in the mid-nineteenth century introduced new values ​​to Japanese society. This year, marking 150 years since the country set out on its path to modernity, the museum will explore the modernization of fragrances and cosmetics in Japan. Domestic cosmetics from the Meiji era (1968-1912) through to the early Showa era (1926-1989) will be introduced alongside imported products and related print matter, which informed the subsequent manufacture of Japanese items. This is a chance to discover the progress and essence of modern cosmetics in Japan. From the Meiji era onward, the Japanese cosmetics industry was heavily influenced by products from countries such as France, Germany, England, and the United States. The introduction of scientific knowledge triggered the pursuit of safe materials, in turn promoting the manufacture of harmless cosmetics, while, at the same time, increasing the variety of products available. The strong aroma of overseas products is something that stood out as being completely different from the traditional fragrances of ancient Japan, imported perfumes thus becoming an essential factor in advocating these cosmetics of the new era. Meanwhile, the appearance of cosmetics and the gap between the design of foreign products and Japanese items was strongly apparent. The Japanese cosmetics industry thus grew with the help of inspiration from the beauty of the West. [Related Event] Talk Event: Meiji and Taisho era cosmetics - Japanese aesthetics reshaped by Western culture Event Date: Nov. 17 (Fri) 18:30-20:00 Speaker: Hiromi Yamamura (scholar of the culture of cosmetics) Capacity: 20 Admission: ¥500 *Event in Japanese. *Please see the official website for details on booking.




Reborn-Art festival Tokyo exhibition: What went on?

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Reborn-Art festival Tokyo exhibition: What went on?
at Watari-um, The Watari Museum of Contemporary Art
3-7-6 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Drawing - Sculpture - Installation - Fashion - Video and Film - Sound
(2017-10-20 - 2017-12-10)

This exhibition revisits Reborn-Art Festival, a brand new art, music, and food focused event that was held this summer at locations throughout Ishinomaki city center and Oshika Peninsula in Tohoku. Scheduled at a time when Tohoku is going through a dramatic period of rebirth, those visiting the festival had the unique opportunity to encounter new people and ideas that wouldn’t be found anywhere else in Japan. Here, visitors had the chance to discover a new aspect of themselves that they had not yet glimpsed. In this way, the event was not just about the reconstruction of the Tohoku region, but also a festival that offered visitors a chance to be reborn. This exhibition will present works and documentation that were exhibited at Reborn-Art Festival 2017, giving those who could not attend the event another opportunity to enjoy the work that was on offer there.




Pinnacle of Elegance: Sword Fittings of the Mitsumura Collection

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Pinnacle of Elegance: Sword Fittings of the Mitsumura Collection
at Nezu Institute of Fine Arts
6-5-1 Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Product - Crafts
(2017-11-03 - 2017-12-17)

The soft-metal fittings affixed to Japanese sword mountings became increasingly more detailed and decorative from the Edo period onward, with flamboyant works that in some cases it is hard to believe are even metal. Toshimo Mitsumura (1877-1955), a businessman in the Meiji period, built a large collection of sword fittings and published them in a monumental tome entitled, “Tagane no Hana (Flowers of the Chisel).” Concerned that sword fittings were starting to be deemed unnecessary and that the techniques used to produce these fittings could be lost, Mitsumura brought attention to the plight of the craftsmen by paying tribute to the beauty of sword fittings through a wide range of activities. In doing so, he not only imparted a deeper understanding of sword fittings, but also preserved the craft. Currently, the Nezu Museum has approximately 1200 pieces from the Mitsumura Collection. Centered on items in the museum’s collections, this exhibition introduces the metallic beauty that fascinated Mitsumura, with around 130 sword fittings, as well as a selected number of swords and paintings, on exhibit. [Related Events] Talk event with slideshow: Pinnacle of Elegance Event Date: Nov. 17 (Fri) 13:30- Venue: Auditorium, Nezu Institute of Fine Arts Speakers: Naoko Naito (deputy curator of the Osaka Museum of History), Shigeru Matsubara (head of curatorial department at Nezu Institute of Fine Arts) Capacity: 130 *Events in Japanese *Please see the official website for booking and details of other events.




Takeshi Masada Exhibition

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Takeshi Masada Exhibition
at The Mass
5-11-1 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Painting - Installation
(2017-11-18 - 2017-12-17)

The Mass is pleased to present Takeshi Masada first solo exhibition in five years. Basing his work on a story of “Madness” and “Purification”, Masada once again awakens a unique expressive style taking three-dimensional forms, creating both sculptural works made using Cray-pas oil pastels in unconventional ways and oil paintings rendered on large canvases. On sale in our SHOP is a selection of collaborations produced by Takeshi Masada×fragmentdesign×NOMA t.d.




Eizan Kikukawa Exhibition

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Eizan Kikukawa Exhibition
at Ota Memorial Museum of Art
1-10-10 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Nihonga
(2017-11-03 - 2017-12-20)

Eizan Kikukawa (1787-1867) was a ukiyo-e artist who played an especially active role in the Bunka era (1804-1818) after the death of Utamaro Kitagawa. While many ukiyo-e artists portrayed beautiful women in the sophisticated and ethereal Utamaro style, Eizan ushered in a new phase in the bijinga genre; although his women also wear the latest fashionable kimonos, he established his own sweet down-to-earth vision of female beauty. His works portrayed a diverse range of women from different social classes, such as the graceful young ladies of samurai families, charming daughters of merchants, and flamboyant courtesans. We see them sleek, svelte, and elegant, and sometimes bright, colorful, and fashionable. In recent years, Eizan’s bijinga are not so well-known, though these work profoundly influenced not only his pupil Eisen Keisai, but also such later artists as Kunisada Utagawa and Kuniyoshi Utagawa. It is no exaggeration to say that bijinga in the 19th century started with Eizan. Commemorates 150th years since his death, this exhibition is made up of some 200 outstanding works, covering woodblock prints and nikuhitsu-ga (original paintings), including important representative pieces and works being shown to the public for the first time. Here the spotlight is once again shone on Eizan’s achievements as an ukiyo-e artist. Enjoy the fascination of Eizan’s beauties that blossomed so gracefully in response to the culture of the late Edo period. Part 1: Nov. 3 (Fri) - 26 (Sun) Part 2: Dec. 1 (Fri) - 20 (Wed) *The works on display will differ in each part.




Kishin Shinoyama “La Vie en Rose”

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Kishin Shinoyama “La Vie en Rose”
at Scène
B1F Ripple Square D, 3-15-6 Minami-aoyama, Minato-ku, Tokyo, 107-0062
Media: Photography
(2017-10-14 - 2017-12-22)




Victor Man Exhibition

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Victor Man Exhibition
at Blum & Poe
Harajuku Jingu-no-Mori 5F, 1-14-34 Jingumae, Shibuya-ku
Tokyo 150-0001
Media: Painting
(2017-11-10 - 2017-12-22)

Victor Man’s paintings are full of contrasts and contradictions yet present oddly plausible metamorphic conflations. Born in 1974 in Cluj, this exhibition by the Romanian painter - his first in Japan - will bring together a focused selection of small-format portraits and still life works with a common symbolic or allegorical character. Their content, however, defies clear interpretation and, rather, invites an investigation into the cycle of life and death - a theme that runs throughout the works; with Man the thematic cannot be separated from the painterly or the very presence that his works demand. The artist’s intimate paintings situate themselves in a surreal, colorized interspace, where it appears as though a color filter has been laid over them. This state somewhere between sleep and reality lends a particular mood and closely connects the exhibited works. It also lends a certain artificiality where sharp contours stand out against a background that appears unrelated, or where strong blue shadows lay around the figures. Plant and human life join together in similarly conflicting ways, as do the architectural and the living, where at the same time they demand a life of their own as painterly forms. This fusion and separation of elements produces a bandying back and forth of types of seeing and perception. Simultaneously painted in an old-masterly style and handled in a contemporary manner, Man’s figures are removed from time and refuse resolution as portraits, still lifes, or narratives. Instead, they are a poetic and surrealistic glimpse over a threshold behind which a separate working framework is developing, one that is, in a certain way, idiosyncratic and begs to be viewed again and again. As a result, there is a recognizable repetition of motifs as well as a number of references reaching from the Renaissance to classical modernity. Man’s works distance themselves from the assumption that they are representations of something beyond themselves, while also avoiding a presumptive inwardness, managing to remain, instead, in a state of approximation that is reflected in repeated attempts to identify something, to locate itself and the “other.” His works, therefore, appear driven by questions of reorientation and refocusing, inscription in the possibilities of presentation and seeing, and of discovery. A selection new and recent work will be presented here.




Yurie Nagashima + Miyo Stevens-Gandara “Forever is Composed of Nows”

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Yurie Nagashima + Miyo Stevens-Gandara “Forever is Composed of Nows”
at Maho Kubota Gallery
1F 2-4-7 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Drawing - Photography - Crafts
(2017-11-21 - 2017-12-22)

This exhibition brings together works that give insight into the creative origins of Yurie Nagashima and Miyo Stevens-Gandara with works representing current threads or pointing to future directions in the careers of the two artists. The idea of putting on a joint exhibition came to the pair suddenly, during one of their conversations. After spending time during their twenties together in California, when they were both heavily influenced by the riot grrrl movement, the two artists were separated when Nagashima moved back to Japan. Since then, they have continued exploring the possibilities of artistic expression on opposite sides of the Pacific. Nagashima’s preoccupation with the relationship between self and other, as well as the issues associated with being a female artist, have come together in her artistic focus on the course of women’s lives. Stevens-Gandara, while teaching at Rio Hondo College in Los Angeles, creates work around the themes of feminism, identity, and environmental destruction. Representing Nagashima’s early work are five skateboard works made in 1997 while the artist was living in America. These mixed-media pieces were realized by coating actual skateboards with photographic emulsion and directly printing photographs onto their surfaces. Also exhibited are several of Nagashima’s botanical photographs captured over the last few years in various locations around the United States, presented for the first time. Several pieces from Stevens-Gandara’s Wunderkammer series make their Japan debut, along with distinctive work from her ‘The Wilderness of Childhood’ series, which depicts scenes from the Indiana and Kentucky countryside that are deeply interwoven with her childhood memories. In addition to her photographs, embroidery works entitled “In Mourning” are exhibited. If all of the works making up this exhibition are the culmination of these two artists’ daily insights and thoughts, they also present a picture of the great changes the world has undergone over the past twenty-something years and some of the many problems it has faced. One thing that the pair’s recent work seems to have in common is a particular attitude to artistic creation—that of taking a step back from the gushing torrent of worldly affairs and retreating to a place of mental solitude, so as to take one’s time and create at one’s own pace, without being carried along by others. Appropriate, then, that the title of this exhibition is drawn from “Forever—is Composed of Nows,” the work of 19th century American poet Emily Dickinson.




Junpei Nousaku Exhibition

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Junpei Nousaku Exhibition
at Prismic Gallery
Akimoto Minami-aoyama Bldg. 1F, 4-1-9 Minami-aoyama, Minato-ku, Tokyo 107-0062
Media: Drawing - Architecture - Sculpture - Video and Film
(2017-11-11 - 2017-12-24)

Show presenting various models, drawings, and video works produced by Junpei Nousaku for his architectural projects planned over the last eight years. A talk event will also be scheduled during the exhibition period.




Omotesando Hills Christmas 2017

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Omotesando Hills Christmas 2017
at Space O in Omotesando Hills
Omotesado Hills, 4-12-10 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Installation
(2017-11-08 - 2017-12-25)

French architect and designer Emmanuelle Moureaux presents a Christmas Tree Forest of 100 Colors at Omotesando Hills.




Yang Fudong “The Coloured Sky: New Women II”
Yang Fudong “The Coloured Sky: New Women II” at Espace Louis Vuitton Tokyo 7F, 5-7-5 Jingumae, Shibuya, Tokyo 150-0001 Media: Installation - Video and Film (2017-10-18 - 2018-03-11) Produced and conceived under the artistic direction of the Fondation Louis Vuitton, this exhibition of Chinese artist Yang Fudong is part of the “Hors-les-murs” program, showcasing previously unseen holdings of the Collection at the Espaces Culturels Louis Vuitton in Tokyo, Munich, Beijing and Venice. Since the early 1990s, Yang Fudong has been examining the complexities of contemporary Chinese society from a symbolic, detached perspective through his art form. Formally trained as a painter, Fudong has developed an extensive body of work comprised of videos, films, installations and photographs; consistently creating a visual language enveloped in a dream-like mystery. Favoring multi-screen video projections, Fudong creates an experience that immerses the viewer. His characters, deliberately silent and disembodied, move according to choreographed gestures, always managing to transport the viewer into an aesthetically perfect environment. Often drawing stylistically on different periods in Chinese and Western cinema - as well as taking inspiration from Shanghai in the 1930s, and the landscape tradition rooted in Chinese art history - Fudong creates open-ended, existential narratives that interweave quotidian ritual with dream-like states. With a consciously romantic framework that is simultaneously contemporary and out-of-date, Fudong examines China through the eyes of young urban intellectuals as they grapple with their place in the modern world. He effortlessly references China’s cultural traditions, whilst making close observations of what makes these narratives relevant to contemporary society. The resulting timeless stories plunge viewers into an otherworldly, nostalgic atmosphere in which a generation that exists between modernity and tradition explores and questions the world. The Espace Louis Vuitton Tokyo invites the public to discover this now major figure in Chinese contemporary art and cinema, through the presentation of a poetic work, “The Coloured Sky: New Women II” (2014), which belongs to the Fondation Louis Vuitton Collection. Fudong usually creates works on 35mm black and white film; this five-channel video installation marks an aesthetic departure from his signature style, through the overwhelming use of vivid color - the first color film of the artist’s oeuvre. Portraying an artificial brightly colored world, the film depicts five young women, naïve and seductive, wearing vintage swimwear on a deliberately synthetic beachfront setting. Filmed in slow-motion against sounds of laughter, sighs, ocean rumbles and cricket song, they play a game of seduction. Five screens depict images of the sun, the sea, the beach, games, food and references to Western art interspersed with the appearances of a horse and a stag. One real, the other stuffed, the animals refer to a Chinese political s[...]



Tower of the Sun 1967-2018: What did Taro Okamoto Question

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Tower of the Sun 1967-2018: What did Taro Okamoto Question
at Taro Okamoto Memorial museum
6-1-19 Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Sculpture - Talks
(2017-10-13 - 2018-05-27)

In March 2018, Taro Okamoto’s themed pavilion titled “Tower of the Sun,” which became the symbol of the Osaka Expo ‘70, will finally be reborn. Taking advantage of the opportunity presented by seismic retrofitting work on the tower, the long-neglected interior has been renovated and transformed into a permanent exhibition space. This tower can be considered as a ‘living being’ with internal organs; Okamoto once stated, “”The Tree of Life” is the Tower of the Sun’s bloodstream, the folds in the interior walls are the ‘folds of its brain’.” The tower’s internal organs have been recovered and re-awoken after half a century, presenting an opportunity to once more ask ourselves, ‘What is the “Tower of the Sun”?’ This two-part exhibition will trace the fifty-year history of the tower - from 1967, when Okamoto participated as producer of Osaka’s Expo ’70, up to 2018, when the recreation of the interior will be completed - and consider Okamoto’s intentions in creating this themed pavilion. With the full cooperation of the Kaiyodo Company, a leading manufacturer of figurines, the museum has produced a miniature three-dimensional model of the tower. All that remained of the artistic exhibition space was photographs, but this model allows viewers to re-experience it in three dimensions. It is something that has never been tried to date. What were the questions that Okamoto confronted Japanese society with at the time? And what does it bring for us living in the present day? What will it become? Part 1: Oct. 13 (Fri), 2017 - Feb. 18 (Sun), 2018 Part 2: Feb. 21 (Wed), 2018 - May 27 (Sun), 2018 [Related Events] Gallery Talk Event Dates: Oct. 18 (Wed), Nov. 16 (Thu), Dec. 14 (Thu), Jan. 18 (Thu), Feb. 14 (Wed), Mar. 15 (Thu), Apr. 19 (Thu), May 17 (Thu) 14:00- *Event in Japanese.




Petit Noël

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Petit Noël
at Gallery 219
4-2-19 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Painting - Prints - Installation
(2017-11-24 - 2017-11-27)

Four-day exhibition presenting various small scale works by artists who typically work on advertising, magazines, books, and picture books. There are all one-off original pieces.




Textile Art Miniatures 5 - 100 Artists

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Textile Art Miniatures 5 - 100 Artists
at Gallery 5610
5610Ban-kan, 5-6-10 Minami-Aoyama, Minato-ku, Tokyo 107-0062
Media: Installation - Crafts
(2017-11-24 - 2017-12-02)

100 artists will present works of fixed dimensions (20×20×20cm) that incorporate various basic textile techniques such as dyeing, weaving, knitting, braiding, and sewing. [Related Events] Symposium Date: Dec. 2 (Sat) 13:00-15:30 Venue: Aoyama Gakuin Women’s Junior College, South Building 5101 Speaker: Kazuko Todate *Event in Japanese




Yudai Hayakawa + Sogen Takahashi “% (percent)”

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Yudai Hayakawa + Sogen Takahashi “% (percent)”
at Rocket
Omotesando Hills Dojunkan 3F, 4-12-10 Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Party
(2017-11-24 - 2017-11-29)

Displaying and selling works by two up-and-coming 21 year-old photographers who have attracted a lot of social media attention since joining their university camera club. Their works capture a fleeting beauty, melancholy, and vague sense of nostalgia.




Talk: The Creative Independent in Japan

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Talk: The Creative Independent in Japan
at Vacant
3-20-13, Jingumae, Shibuya-ku, Tokyo 150-0001
Media: Talks
(2017-11-30)

The Creative Independent (TCI) is a media site started in 2016 as a collaboration with the crowd-funding site Kickstarter. It launched in Japan this September. Featuring interviews with top creatives like former Pitchfork director Brandon Stosuy, the text-focused site has published over 300 books. It now presents a limited-edition issue with interviews of some of Japan’s leading artists and creators like Ryuichi Sakamoto and Pika☆. Contemporary art collective Chim↑pom will be interviewed at this talk for the special issue’s release. [Details] When: Nov. 30 (Thurs) from 20:00 Where: Vacant 2F Admission: Free. Reservations required. Please see the official website for reservations and further details.