Japanese

Yu HIRAI『Forest of Questions』


exhibition period22nd Sep. - 22nd Oct. 2017
openthu. - sun. 12:00 - 19:00
closemon., tue., wed.
reception22nd Sep. 18:00 - 20:00
※The artist will be present. admission free


Gallery OUT of PLACE TOKIO is pleased to present a solo exhibition of Yu Hirai’s work entitled “Forest of Questions” this coming September. 

Yu Hirai has focused mainly on photographic creation while living in Europe over the past 33 years. For this exhibition however, she has temporarily paused photography and will present recent watercolour drawings. 
She has worked on themes such as the relationship between human beings and dolls; cruelty and its relationship to children and childishness; her loneliness in observing Japanese society from outside; and the meaning of identity.
Hirai expresses these in her drawing with a unique touch and sense of color, carefully unfolding the overlapping layers of the human spirit.
We invite you to witness this revelation of human beings’ inner side at Gallery OUT of PLACE TOKIO.


》Artist Profile Yu HIRAI




archive -2017-

Yuko NEMOTO『Empty entity』


exhibition period17th Aug. - 3rd Sep. 2017
openthu. - sun. 12:00 - 19:00
closemon., tue., wed.
reception19th Aug. 18:00 - 20:00
※The artist will be present. admission free


Gallery OUT of PLACE TOKIO is pleased to present the solo exhibition of Yuko NEMOTO’s work titled, “Empty entity” this coming August.

NEMOTO has created humorous and strange works by clay for over 7 years. Her creatures worn with the skin on the empty body provides a strong indication to each individual audience.
In this exhibition, while continuing to express such indication in her works, she seems at the same time to underline the fact that ceramics has always been regulated in the form of object.

After graduating from Tohoku University of Art and Design, this will be her first solo exhibition in Tokyo since 2009. We sincerely invite you to Gallery OUT of PLACE.


》Artist Profile Yuko NEMOTO




Makoto OSHIRO『Cycles』


exhibition period20th Jul. - 6th Aug. 2017
openthu. - sun. 12:00 - 19:00
closemon., tue., wed.
reception22nd Jul. 18:00 - 20:00
※The artist will be present. admission free


Gallery OUT of PLACE TOKIO is pleased to present Makoto OSHIRO’s solo exhibition titled “Cycles” this coming July.

Aside from his activity as a live performer using self made instruments, Makoto OSHIRO has been creating various installation works mainly based on sound, and focuses on characteristics such as the interference of light and vibration.
In this exhibition, we will be introducing his installation piece “Cycles.” This work focuses on the sound emitted by relays, and combines several of these devices to generate multiple cycles in space.

“Cycles” can also be considered as a piece of sounds changing moment by moment at site, composed based on the relay’s function as a switch.
In “Cycles,” the coils in the relay devices convert electric signals into physical motion. By activating the switch, it transmits another electric signal to the next relay, and creates a chain reaction of cycles.
Furthermore, the relays are divided in to several groups, and each relay will have slight differences or lags set up by the artist in advance, and as total it will expand with multiple time bases.
These complex layers of waveforms that scatter into the space will cause each individual audience to perceive a peculiar sense of time.

We sincerely invite you to experience the phenomenon and time created by Makoto OSHIRO.

*This new work is based on the installation work “Cycles” that Makoto OSHIRO presented at Gallery 20202 in 2013.


》Artist Profile Makoto OSHIRO




Hogalee『Carpe diem』


exhibition period26th May. - 25th Jun. 2017
openthu. - sun. 12:00 - 19:00
closemon., tue., wed.
reception27th May. 18:00 - 20:00
※The artist will be present. admission free

  • *Gallery OUT of PLACE is excited to announce its participation in 3331 ART FAIR Prime Pick.
    *premium preview for Hogalee's new works, 19th, 20th, 21st, May at 3331 ART FAIR Prime Pick.
    link→ 》3331 ART FAIR Prime Pick


    Gallery OUT of PLACE TOKIO is pleased to present the solo-exhibition of Hogalee’s work titled, “Carpe diem.” 

    The title phrase, “Carpe diem,” can be translated from Latin as “seize the day.” It has also been used as an expression of pleasure-seeking in view of death/life, and by contrast, as what we call a “momento mori” or death knell. 
    Following his solo-exhibition in 2013 titled, “plagiarism,” Hogalee has taken up issues surrounding originals and copies, tracing, as well as homage and parody, as subjects for his paintings and murals. 
    For this exhibition, rather than artists and art movements subject to plagiarism, he frames structures and formations of contemporary art put in place by our forerunners to position the “Tokyo girl” largely considered an icon of today’s society. Here we present Hogalee’s works rendered by his trademark thickness of line, and this time, as monochromatic images.  
    A view of life/death — in placing a title of “Carpe diem,” we invite you to witness the desire in these newest works to take a leap past our forerunners.  


    》Artist Profile Hogalee




    Shigeru NISHIKAWA, 『under construction or destruction』


    exhibition period7th Apr. - 14th May. 2017
    openthu. - sun. 12:00 - 19:00
    Closemon., tue., wed. & closed between 1st May. - 10nd May.
    Reception8th Apr. 18:00 - 20:00
    ※The artist will be present. admission free


    Gallery OUT of PLACE TOKIO is pleased to announce the opening of Shigeru NISHIKAWA’s exhibition,“under construction or destruction”.

    Kansai-based Shigeru NISHIKAWA started displaying his work in 2009.
    From this point, he has been recognized by his artworks of a delicate, yet bold sensibility.
    However, in the number of years following 2013, he has completely reduced outside activity as a return to his origins as an artist, devoted to building a strong personal foundation.
    In the latter half of 2015 his view has started shifting to the outside, and is a second coming geared for his newest series presented her as, “under construction or destruction”

    In his newest works gathered in the series,“under construction or destruction” NISHIKAWA uses the motif of buildings covered by protective sheets during construction. Underlying these images we find the artist’s deep reflections on our environment and nature.

    It is our pleasure to invite you to experience the pleasure brought forth by NISHIKAWA’s oil brushstrokes that hold a hidden message for contemporary society beneath the surface.
    (Text : Yoshinori NOMURA / Gallery OUT of PLACE)

    ----------------------

    As I reflect on the paintings I’ve created until now, up to 2012 I had been considering “space” first when painting the landscape. Whether it was spreading, connecting, or forming it into a continuity, it was all within the frame of the canvas made to test how I could render it as close as possible to an endless state. However, this testing simply ended up increasing the various elements within the surface, only to become gradually more rigid. Under these circumstances, I stopped creating the landscape I’d been thinking of, returning to the roots of what and how I should paint to start to organize these excessive elements. First of all, I took a step back from the idea of “finishing” the artwork, and started painting all kinds of subjects, sorting out how I could use paint, and what kind of strokes and applications I was best at. This process helped me build a new approach for searching out the touches of brush and motifs I was most skilled at in painting.

    In the suburbs where I live, residential developments continue to spread. The mountains are pared away, eliminating the forest and revealing a flattened plot of land. The once rolling landscape is erased, turned into flattened land, from which buildings are erected. One single surface appears when the background is erased; and regardless of the previously existing scene, buildings are constantly restructured while returning the location into a blank sheet as well. As someone who thinks of painting as finding balance between myself and the surrounding environment and spirit, I felt that sheet-covered buildings rising from vast clearings especially represent the edge between nature and society. It also looked to me that just a single sheet could erase away the matter, even the background itself, that lay beyond it. I believe that this transformed my idea of continuous space into an enclosed “scenery” that questions the very means of the land’s existence.

    What kind of surface will arise when images are chosen and adapted to the method of painting and layered onto one another, turning mundane objects or commonplace scenery into clumps of paint? The world full of tranquility and peacefulness I had once imagined started to crumble, and now I began to think, perhaps it is possible for me to mold a new and constantly-shifting space.

    The work I presented in 2016 was based on the idea of “turning the landscape back into a blank sheet,” as a fundamental concept of attempting to make the painted landscape as close to white as possible. However, in a year later for my 2017 solo-exhibition to be held in Tokyo, my plan is to also test painting the erased background in a variety of colored surfaces. Using such tones as ocher rooted in the earth, dark reddish-browns, and asphalt (use of graphite), I will erase away the background of the landscape. In other words, I will treat it as an equal surface. Then in the end, based off of the steel framing supporting these sheets, I will attempt to make my work into bolder, more abstract expressions. I want to compose the surface by painting in the steel framing as a system that ties together the abstract expression of the sheet and building.
    Text by Shigeru NISHIKAWA

    》Artist Profile Shigeru NISHIKAWA




    nakajima mugi, 『WM new works』


    exhibition period24th Feb. - 26th Mar. 2017
    openthu. - sun. 12:00 - 19:00
    Closemon., tue., wed.
    Reception25th Feb. 18:00 - 20:00
    ※The artist will be present. admission free


    Gallery OUT of PLACE TOKIO is pleased to announce the opening of nakajima mugi’s exhibition,“WM new works”.

    Until now, nakajima mugi has been working with a concept of “contradiction”, as he places two completely different textured abstract paintings next to one another. With this as his foundation, he presented the series, “blue on blue” (2013) and “tristes tropiques” (2014), in his continued pursuit of stretching the boundaries of abstract painting.In his newest “WM” works, he further opens the scope for his concept in what could even be considered a series that arrives at full completion. It seems that the artist has finally overcome the theme of “contradiction” and has arrived at the theme of “resurgence.”

    The title, “WM,” can also be read in Japanese as umu, meaning “presence or absence.” Perhaps its theme can then be viewed as the notion of antinomy.
    At first glance, the painted surface entitled “W” (vertical vectors and countless microscopic particles make up the entire composition), and the simple surface of “M” (a giant drop of paint is dripped horizontally, covering the canvas)are put together as two seemingly different types of paintings. The two pieces, however, can be viewed as capturing the same matter.
    This is to say, in the number of particles and their differing sizes, or the way gravity plays a part in making varying paint strokes, both pieces are undoubtedly “drops of paint.”

    You could even say that “W” pictures rain falling from the sky: the dynamism(momentum)
    when gravity causes it to fall vertically, while “M” pictures rain gathering in a puddle: gravity in a static state(stilled time.)

    Perhaps there is actually not a huge difference in even the opposing matters of presence and absence. “WM” appears to suggest that our entire world is nothing more than the endless, oscillating universe held within one sphere. Our gallery invites you to view what can be seen as abstract painting bolstered to the next level in the immense theme underlying nakajima mugi’s newest works.
    (Text : Yoshinori NOMURA / Gallery OUT of PLACE)

    》Artist Profile nakajima mugi




    Tomoo SEKI, 『Real/Red Red Blossoms』『blue-and-white (SEIKA)』


    exhibition period13th Jan. - 12th Feb. 2017
    openthu. - sun. 12:00 - 19:00
    Closemon., tue., wed.
    Reception14th Jan. 18:00 - 20:00
    ※The artist will be present. admission free


    Gallery OUT of PLACE TOKIO is pleased to announce Tomoo SEKI’s upcoming exhibition, “Real/Red - Red Blossoms” “blue-and-white (SEIKA)”
    For our upcoming exhibition, we are pleased to present two of Tomoo SEKI's series in combination: “Real/Red,” depicting the scenery of Asian plants in Cadmium Red; and the recently undertaken “blue-and-white(SEIKA)” which uses the mineral pigment of Azurite.

    Red Blossoms and “blue-and-white (SEIKA)”
    Is it possible for a local expression to offer common ground to everyone in the world?

    In the “Real/Red” series, I have used an overhead projector indoors to paint flowers and blossoms as motifs representing Japan. The drawings in my newest series, “blue-and-white,” were created directly in front of the actual landscape. For this series, I used natural Azurite because I wanted to realize through my artwork, the blue color created by cobalt oxide in Chinese porcelain that I greatly admire.

    A recent shift in my “Real/Red” series is the inclusion of “surfaces of perforated color.” These are round-shaped perforations on colored surfaces that show greater lightness. The colored surfaces without perforations attempt to enclose the flattened surface, while those with perforations reveal an inversion of lightness working to spread sideways. It was my hope in doing so to further develop this series, taking into consideration the “lightness” between surfaces in early Cubism.

    Gold leaf has been applied to the matte framing of the “blue-and-white” drawings. The combination of Azurite and gold leaf was common in Momoyama Era paneled paintings. Especially with their moveable and supportive function, they were meant to decorate an interior space. I want to express the splendor of the Momoyama Era aesthetic through this combination of blue and gold. By evoking the rise of this aesthetic at this surge of time, I want to bring back this decorative role to contemporary space as well.

    For this exhibition, I include both the “Real/Red” and “blue-and-white(SEIKA)” series, where the red, blue, and gold colors are a synergy of “East-West.” In doing so, I wish for the birth of a contemporary and universal space.

    Text by Tomoo SEKI

    》Artist Profile Tomoo SEKI




    archive -2016-

    Mayumi YAMAE, 『Yearning for Snow』


    exhibition period25th Nov. - 25th Dec. 2016
    openthu. - sun. 12:00 - 19:00
    Closemon., tue., wed.
    Reception26th Nov. 18:00 - 20:00
    ※The artist will be present. admission free


    Gallery OUT of PLACE TOKIO is pleased to announce Mayumi YAMAE's upcoming exhibition, “Yearning for Snow.”

    When we look upon Mayumi YAMAE’s artworks, we do not simply view the paintings with our eyes, but feel them through our body’s other organs.
    A titillating touch at our fingertips, energy charged at our cerebrum…
    Here, snow falls silently in the mountain backwoods…the swell of a young girl’s breast appears, she quietly watches the falling snow.
    Our lips press gently to soft silk, our tastebuds fill with the bitter-sweet taste of unripe figs…
    Enter an eternal maze where untouched purity meets seduction.
    Text by : Yoshinori NOMURA, Gallery OUT of PLACE Director




    Houxo Que , Yusuke SUGA, 『Windows』


    exhibition period14th Oct. - 13th Nov. 2016
    openthu. - sun. 12:00 - 19:00
    Closemon., tue., wed.
    Reception15th Oct. 18:00 - 20:00
    ※The artist will be present. admission free


    Gallery OUT of PLACE TOKIO is pleased to announce the opening of our October to November exhibition, “Windows,” featuring the two artists, Houxo Que and Keisuke SUGA.

    Upon the release of Windows 1.01 in 1985, just as its title suggests, the Internet has no doubt functioned as a “window” into society. As its focus, the title for this exhibition has this concept in mind as well.

    Even in contemporary art, as the choices in mediums and techniques continue to expand, it is not surprising that the Internet has come to be held as a motif in artistic expression.

    For example, Houxo Que directly applies paint on to monitor displays as a “window” exposing the distance between this world and that world. SUGA, on the other hand, intentionally sculpts displays out of wood as a powerful reminder to viewers that a “window” is in actuality, just an object.

    For this exhibition, we are pleased to invite you to view the completely different approaches to the concept of a “window” by two artists as they come face to face in a single space.

    Collaboration with “Japan Media Arts Festival 20th Anniversary Exhibition”
    link→ 》Power to Change

    》Artist Profile Houxo Que




    Satoshi UCHIYAMA, 『working works』


    exhibition period2nd Sep. - 2nd Oct. 2016
    openthu. - sun. 12:00 - 19:00
    Closemon., tue., wed.
    Reception3rd Sep. 18:00 - 20:00
    ※The artist will be present. admission free


    Gallery OUT of PLACE TOKIO would like to announce its September exhibition featuring Satoshi UCHIYAMA’s newest titled, “working works.”
    UCHIYAMA is an artist that has focused directly on questioning the general conception of “painting.” His working process has involved construction and reconstruction through new perspectives such as, “labor,” “time,” and “material.”

    For this exhibition, UCHIYAMA re-evaluates his past series in an attempt to cut to the “purity of painting” that emerges when the artist and his viewers completely lose their sense of self.

    It is our pleasure to invite you to come and view UCHIYAMA’s latest thoughts and statements surrounding the nature of “painting.”

    ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー
    In the artworks I have created up until now, I have treated color as “units” that create “difference.” Moreover, overall, color is a piece of visual information that conveys the beauty of a painting.
    By eliminating color (changing to monochrome), I become more refined as a handcrafter. This makes me think from a Japanese perspective about the handcrafted purity that a painting holds.
    In other words:
    1. I want to explore the effect when an artist lessens focus on a certain premise and gains strength in their own physical labor of painting.
    2. I want to extract the phenomena embedded in objects (such as time, technology, and culture.)
    text by Satoshi UCHIYAMA

    》Artist Profile Satoshi UCHIYAMA




    Film Exhibition, 『Pre-Meta』vol.2 「C6H6」


    exhibition period19th Aug. - 28th Aug. 2016
    openfri. - sun. 12:00 - 19:00
    total 6 days: Aug. 19th, 20th, 21st, 26th, 27th, 28th
    All days loop screening starting from 12:00
    7 film works by five artist. Total 25 minutes
    Artist talkAug. 20th (Sat.)
    Exhibiting artistsNakayama (writer)  
    Tetsuya Miura (photographer) 
    Tomono Nishigori (photographer)  
    Ryo Shinagawa (film-making/editing)  
    Parco Kinoshita (artist)  

    Planned in collaboration by : Ryo Shinagawa, Gallery OUT of PLACE

    For this film project, we have grouped five artists under the title, “C6H6,” the chemical formula for the substance known as benzene.  Through collaboration between our gallery and Ryo Shinagawa, we invited these artists to create short films, all of which will be loop-screened during the exhibition period. 

    Interestingly, benzene was historically used as a powerful dissolver, especially for eliminating grease from metals. Benzene was even widely used domestically for paint and stain removal, and as rubber paste, until it was discovered to contain poison. Then benzene was substituted by other less poisonous substances such as toluene, and today in Japan, its use is forbidden by labor and safety hygiene laws, and specialized regulation. 
    While benzene can be dangerously poisonous, its scent is intoxicatingly pleasant to people. Seen also as a convenient substance suited to a variety of purposes, could benzene not be characterized as “art” itself? 

    Of the five exhibiting artists, five are not film artists. We have instead chosen for this presentation, artists working in fields such as, photography, writing, fine art, and editing. In doing so, we attempt to overcome the limitations of genre to open up new fields of creation. In fact, we have posed an unusual theme for these five artists: “when something unexpected, unexpectedly sticks with you, something unexpected is then born.” How will the C6H6 artists answer our theme through film? We have yet to see...

    We are pleased to invite you to come discover these artists' “unexpected” responses. 




    Film Exhibition, 『Pre-Meta』vol.1 「Country Gentleman」


    exhibition period29th Jul. - 7th Aug. 2016
    openfri. - sun. 12:00 - 19:00
    total 6 days: Jul. 29th, 30th, 31st, Aug. 5th, 6th, 7th
    All days repeated screening times (film length: approx. 57 min.)
    Screening times12:10 - / 13:40 - / 15:10- / 16:40 - / 18:00 -

    Gallery OUT of PLACE Special Exhibition - Film Exhibition, 『Pre-Meta』

    Aristotle declared in his " law of nature" that all matter are separated by those existing in nature, and those existing by an outside cause. This belief became the core to the studies he named, " metaphysica."
    Today, the word " meta" signifies something beyond existence, and points further yet to " metaphysics," the study of matter that transcends natural forms. These concepts are often taken as anti-scientific or anti-logic. However, the truth is that a great number of artists have been stimulating new ideas and realizations with a " meta" perspective.

    If we look at the contemporary art world, the potential to evoke a sense of " meta" emerges in the fairly recent medium of film. Although, as film seeks to represent the essence of something beyond physicality, in comparison to more standardized artistic mediums, " meta" cannot be fully absorbed. In the case of representation through film, one could question, does " the hunter become the hunted" ?
    In the set of two exhibitions to be held, we will uncover film as film itself, " just there," simply in its basic form of expression before entering a state of " meta."

    ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー
    Film exhibition, 『Pre-Meta』vol. 1 Country Gentlemen screening

    In our first volume to the " "Pre-Meta " exhibition we will be screening the documentary piece, Country Gentlemen, directed/filmed/edited by Haruka Yoshida (Open Reel Ensemble.) The film stages the performances of artists, Fuyuki Yamakawa & Yosuke Fujita, in a 100-year old traditional Japanese house.
    This film will be specially presented in full HD version.
    We will be selling the documentary DVD Country Gentlemen, ¥3,500- (tax included) during the exhibition.

    Film screening: Country Gentlemen
    Performance: Fuyuki Yamakawa, Yosuke Fujita, fanaco, and Megumi Ishiwata
    Directed/filmed/edited by: Haruka Yoshida (Open Reel Ensemble)
    Design planning: " kaikonoiede " project

    Film overview:
    Fuyuki Yamakawa & Yosuke Fujita's performance was captured and filmed by Haruka Yoshida at the site-specific stage of a 100-year old traditional Japanese house. At the site, we find two artists coming into intimate contact with the small corners of daily life, as they attempt to collaborate on a performance together.

    Especially following the 2011 earthquake and its ensuing energy issues, we discover an increase in movements that call to question the ways we live our lives. As for artists, the way of life is directly tied to expression itself.

    For this particular performance, Yamakawa creates a hand-made electric power generator. Next to this, Fujita takes us through the fields and lets us listen to the sounds of mountain waters.
    By thinking about the ways artists build up a performance through everyday life - the work of human beings amongst nature's gifts, animals and food, creating artwork - all converge together by physical movement, exploring and enwrapping one another.
    (Courtesy of the Motion Gallery, Country Gentlemen introduction page)

    》Motion Gallery




    Mayumi TERADA
    『Greenhouse Series vol. 3 : Photography and Sculpture.』


    exhibition period10th Jun. - 17th Jul. 2016
    openthu. - sun. 12:00 - 19:00
    closemon. tue. wed. & closed between 27th Jun. - 6th Jul.
    reception11th Jun. 18:00 - 20:00
    ※free admission, the artist will be present.

    Gallery OUT of PLACE TOKIO is pleased to present its 2016 June – July exhibition of Mayumi TERADA’s “Greenhouse Series Vol. 3: Photography and Sculpture.”
    After graduating university, Mayumi TERADA worked as a three-dimensional artist for a number of years. Then, in 2001 she moved to New York. From then on for 15 years, she has consistently been displaying monotone photographs of her handmade miniatures within Japan and abroad.
    However, in the past two years, she has been practicing a method of adding color photographs to her exhibitions. This has even been taken to the level of transforming sculpture into a two-dimensional image and back into sculpture again. The process allows us to encounter a cycle into the third-dimension.
    For TERADA this cycle is not a departure from photography. Instead, it can be seen as an experiment that tries to bring photography’s sense of sight into the perception of a new dimension.We are pleased to invite you to Mayumi TERADA'S works.

    ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー
    An introduction to the exhibition, “Greenhouse Series vol. 3 : Photography and Sculpture.”

    The “Greenhouse Series” has the subheading, “the view from someone lying in bed × someone else's view from the side.” For somebody lying on a bed on his or her side, doesn’t the same scene appear differently? Through a view in which the focus doesn’t fit, wouldn’t the scene appear soft and faint? These are the thoughts that led me to position black and white images together with color images.

    In addition to the photographs, the “Greenhouse Series” features ten pieces of sculpture titled, “six foot platform.” The actual works are sized at 6 × 12 × 6 inches (15 × 30 × 15 cm), which also represents six feet as a metaphor of the human body. I won’t get into my personal experience, but I’m hoping that through the sculptures, viewers can share the feeling of losing one’s own mother that words cannot express.

    When I first started making the artworks, I wondered, what is a “photographic sculpture”? I then felt that I wanted to make sculptures that transferred the two-dimensional image into the third-dimension, and so I started making sculptures out of transparent plastic. My thinking was that “photographic” was a cross between the “yearning for a photo” and the “contemplation in sculpture.”

    What I’m making is born between photography and sculpture, coming from my sentimentality for lost time and a sense of absence.

    Text : Mayumi TERADA

    》Artist Profile Mayumi TERADA




    José Pedro Cortes『José Pedro Cortes』


    exhibition period22nd Apr. - 29th May. 2016
    openthu. - sun. 12:00 - 19:00
    closemon. tue. wed. & closed between 2nd May. - 11st May.
    reception22nd Apr. 18:00 - 20:00 ※free admission, the artist will be present.

    We would like to present a photography exhibition of one of Portugal’s up-and-coming photographers, José Pedro Cortes. Recently, Cortes has been represented as part of the bearers of a new generation of European photography. Originally active within Portugal, Cortes has now expanded his work towards Europe.

    For this exhibition, he presents in the series, “COSTA,” shots of the vast shore of Lisbon’s southern coast.
    Inside the bright sunlight of the west Mediterranean Sea pouring into these beautiful prints, there is somehow a mood of ennui and degeneration.
    We are pleased to invite you to view these fascinating photographs.

    Cortes was also selected by the EU-Japan Fest four years ago, for a photography residence in Toyama Prefecture.
    He stays determined to photograph “Toyama” seen from the European photographer’s eye. This has won Cortes many fans here in Japan as well.
    At the venue, we will be selling photographic prints, with the addition of four different photo-books by Cortes.

    Lastly, we are grateful to the Portuguese Embassy for their support of this exhibition.

    》Artist Profile José Pedro Cortes




    Reina KAKUREZAKI『blur』


    exhibition period5th Feb. - 6th Mar. 2016
    openthu. - sun. 12:00 - 19:00
    closemon. tue. wed.
    reception5th Feb. 18:00 - 20:00 ※free admission

    Reina KAKUREZAKI continues to question the boundaries between sculpture and the forms existing in our environment. This leads her to create unique, abstract-like forms resembling mass-produced goods. Upon first glance, KAKUREZAKI's works appear " cute " or " tasty, " filling us with happiness. When entering the space of her works, we directly experience a moment of instinctual bliss that lies within the essence of what we call art. We invite you to come and sense this space of delight unfold through KAKUREZAKI's light, vivid colors and forms.


    》Artist Profile Reina KAKUREZAKI




    archive -2015-

    Katsunori KOBAYASHI『Study of Still Life』


    exhibition period18th Dec. - 24th Jan. 2016
    openthu. - sun. 12:00 - 19:00
    closemon. tue. wed. & closed between 28th Dec. - 8th Jan.
    reception19th Dec. 18:00 - 20:00 ※free admission

    It has been 20 years since I took up the theme, " Still Life. " To explain it in a single word, " order " , is what I have journeyed to find. 

    This involves borrowing the shapes of bottles and containers surrounding me, then assembling and disassembling them as elements in order to discover a rhythmical system. For me, this is the most essential process in protecting my conception of life itself. 

    During the time I returned from Milan, the difference the environmental differences between Milan and Tokyo perplexed me. I needed to adapt myself to an order that fit the many stimuli that I now felt. And so I embarked on this quest, believing I could discover the location of a new order in the very act of creating. 

    In this quest that continues to this day, I have entitled my trials and errors, " Study of Still Life. " Under this title, I have shaped this as an ongoing exhibition that I hope to develop from now on. 


    》website Katsunori KOBAYASHI




    Saori MIYAKE / Masami YAMAMOTO
    『Why Did I Laugh Tonight?』


    exhibition period31th Sep. - 6th Dec. 2015
    openthu. - sun. 12:00 - 19:00
    closemon. tue. wed.
    reception31th Oct. 18:00 - 20:00 ※free admission

    The poet, John Keats, who lived from the end of the 18th century to the early 19th century in England, declared as a sudden realization one night, “death is the most intense, because death is the proof of having lived.”
    And then (most likely), he quickly wrote up this title of a poem in his notes:

    Why did I laugh tonight?

    This poem attempts to answer a question, supposedly unsolvable, of why people laugh.
    However, in the moment of laughter, a sense of conviction slips through our fingers.

    In the grains of analog photography on printing paper, or in the particles burned into pottery shaped by high temperatures, it is like looking into Medusa’s shining eyes, when a human is transformed into stone. This is a world where color is not dulled, where fate is everlasting and ever changing. Yet this is only seen after feeling a loss of life, but is actually a form of existence that becomes eternity.

    Repeating the process of inversion, there appears inside the shadows, a multilayered spirit envisioned by Saori MIYAKE. At the same time, a spirit is hidden within fabric and clothing interwoven with time and memory, solidified in porcelain form by Masami YAMAMOTO.

    We invite you to take this opportunity to experience the eternity present in these two artists’ works.


    》Artist Profile Masami YAMAMOTO

    》Artist Profile Saori MIYAKE




    Julia Baier『LEVITATING WATER』


    exhibition period11th Sep. - 11th Oct. 2015
    openthu. - sun. 12:00 - 19:00
    closemon. tue. wed.
    reception11th Sep. 18:00 - 20:00 ※free admission

    Julia Baier is a photographer based in Berlin.
    She visited Japan in 2005, presenting the series " The public bath " that brought her wide recognition for the first time outside of Europe at Gallery OUT of PLACE (Nara).
    Traveling to pools and public baths across various regions of Europe, the instantaneous expressions and gestures of people by the water are clearly captured through Baier's photographs.
    These photos brought fresh and sensational ideas to the world of photography.
    During her stay in Japan, Baier gathered images in a photo series " SENTO, " to be published as a book in 2008 in Germany.
    These works have been highly regarded as they distinctly raise to mind the spirituality of the Japanese people that is closely tied to the concept of " The public bath. "

    Even after these series, while Baier energetically continues the expression of photography, it can be said that her motifs constantly remain in " water. "
    Her beloved Leica camera is never left behind as she holds it close while walking, and like Henri Cartier-Bresson himself, she is always after the decisive moment.
    In this way, even among these numerous " decisive moments " , it appears that Baier's ability is revealed in portraying " the relationship between water and people. "
    The 2013 published photo series, " WATER MATTERS, " contain works taken after 2000 that show the various ways her eye has captured scenes of " water. "
    These works are included in her highly acclaimed achievements as a photographer, from which she was able to be chosen as one of the artists featured in the " 10 x 10 " exhibition in 2014 in the newly inaugurated Leitzpark of Leica. (As a side note, the photographer Thomas Ruff also participated in this " 10 x 10 " exhibit.)
    Some of these images were finally selected in the big exhibition " Augen auf " 100 Years of Leica Photography in various cities in Europe (e.g. Deichtorhallen, Hamburg, etc.)

    In what will be her second exhibition with Gallery OUT of PLACE, we will select close to 15 pieces to introduce from the series, " WATER MATTERS " . Additionally for the first time, a number of pieces taken during her stay in Iceland this spring will be displayed.
    Considering how difficult it is to view this " now " of European photography within Japan, we invite you to take the rare chance to witness this collection of works.

    》Artist Profile Julia Baier




    Yasuaki ONISHI『contour of gravity』

    • Yasuaki ONISHI
    • Yasuaki ONISHI

    exhibition period17th Jul. - 30th Aug. 2015
    openthu. - sun. 12:00 - 19:00
    closemon. tue. wed.
    summer closure13th Aug. - 19th Aug.
    reception17th Jul. 18:00 - 20:00 ※free admission

    Gallery OUT of PLACE would like to present our newest exhibition of work by Yasuaki Onishi titled, " contour of gravity " In recent years, Onishi has created art projects within Japan, as well as overseas. The artist adapts works to the sites’ unique aspects, appealing to viewers’ physical senses, while bringing imaginary worlds into real space. Utilizing the gallery space itself as a vessel, this is an artist that has become internationally acclaimed for installation pieces that suggest structures beyond the control of human hands.

    For the installation of " contour of gravity " the artist will be combining the use of glue and polyethylene sheets. Differing from the set-up of his last solo-exhibition, in our new gallery, Onishi will give rise to yet another astonishing, tangible space in front of our very eyes. At the same time, the underlying lines that allow for its existence will reveal the hollow cavities and non-existence of things as well. Viewers peer into a world where certainty and uncertainty are two sides of the same coin, regenerating a new state of being from fresh imaginative force. To a grand scale, this concept equates to none other than the action of tracing the outer and inner contour of the gravity that weighs on us. The work on display will be taken down at the end of the exhibition period, without a single trace left behind. We invite you to take this opportunity to view Onishi’s fleeting, majestic space.

    》Artist Profile Yasuaki ONISHI




    Hogalee『複次創作 nth derivatives』


    展示期間2015年5月29日(金)- 6月28日(日)
    開廊時間12:00 - 19:00 (木 - 日曜日)
    休廊日月・火・水曜日
    レセプション5月29日(金)18:00 - 20:00 ※入場無料
    トーク6月20日(土)19:00 - 21:00 Hogalee x 藤元明 x 藤崎了一 ゲスト:寺内俊博(西武渋谷) ※入場無料

    この度 Gallery OUT of PLACE TOKIO は、Hogaleeによる新作展『複次創作 nth derivatives』を開催いたします。

    2013年 Gallery OUT of PLACE TOKIO で開催した個展「剽窃 plagiarism」において Hogalee は、ピエト・モンドリアンへのオマージュとして描かれた ロイ・リキテンスタイン の「ヘアリボンの少女」を更に引用し彼のオリジナリティの中へと落し込み描いてみせた。それは引用され続けるアートの仕組みへ自ら介入することで、「上書き」という行為の有用性を指し示すことでもあった。
    今回、作家が剽窃するモチーフは シンディ・シャーマン の「Untitled #96」である。シンディ・シャーマンは映画の一場面や広告で使われたイメージを巧みに引用し、自らが被写体となりそのイメージを複製してみせている。それはイメージの「上書き」のみならず、漫画から絵画へと変容させたロイ・リキテンスタイン的方法論の剽窃であるとも言える。
    『複次創作 nth derivatives』と銘打たれた本展で Hogalee は、上書きし続けることによって生成を繰り返すイメージがもつ軽やかな張力と、「ゲーム」という現代美術の一断面を呈示することになるだろう。
    奇しくも今がポスト・インターネット世代と言われるこのタイミングに、Hogalee が『複次創作 nth derivatives』 を発表することの意義は大きい。絵画の中に立ち現れるカット&コピー&ペーストとマニュアルな作業によるメディウムの展開を、是非ご高覧ください。
    また会期中6月4日はFirst Thursdays at 3331につき開廊時間を21時まで延長します。
    6月20日(土)には同年代で親交のある作家の藤元明氏(island MEDIUMにて個展開催中)、藤崎了一氏(西武渋谷店オルタナティブスペースにて個展開催中)、3名と関わりの深い寺内俊博氏(西武渋谷店・美術画廊)とのクロストークを開催いたします。

    》Hogalee プロフィール




    HOUXO QUE『16,777,216views』


    展示期間2015年4月17日(金)- 5月24日(日)
    開廊時間12:00 - 19:00 (木 - 日曜日)
    休廊日月・火・水曜日(4/27 - 5/6 はG.W につき休廊致します)
    レセプション4月17日(金)18:00 - 20:00 ※入場無料
    トーク #14月23日(木)19:00 - 20:30 HouxoQue x 上妻世海 モデレーター原田優輝 ※入場無料
    トーク #25月24日(日)19:00 - 21:00 HouxoQue x gnck ※入場無料

    この度 Gallery OUT of PLACE TOKIO では、HouxoQue (ホウコォキュウ)による初めての展覧会 [ 16,777,216views ] を開催致します。
    本展では Houxo Que のディスプレイシリーズ 16,777,216views の新作の発表を行います。
    ストリート・アート、ペインティング、インターネット・アート、メディア・アートなどの様々な回路を経て創りだされる作家の表現を、是非ご高覧下さい。
    また会期中には2つのトークイベントを予定しています。気鋭の作家の表現を複数の視点から解釈して頂く良い機会になるはずです。

    同時期に HIGURE 17-15 cas にて開催されるグループ展「世界制作のプロトタイプ」2015 年4 月18 日(土) – 4 月29 日(水) にも参加しております。
    http://prototypes-of-worldmaking.com/
    さらに六本木アートナイト2015では ライブペイント with SENSELESS DRAWING BOT を予定しています。
    http://www.roppongiartnight.com/2015/

    ---------------------------------------------------------
    感覚的なものの全て、見えないものの光 

    HouxoQue という作家の単独性はどこにあるのだろうか?作品をじっくり鑑賞することを通じて考えてみたい。
    今回展示される作品は、様々な色を一秒間に60回の速さで点滅させ続けるディスプレイに、生の跳躍を思わせる一回性の痕跡、花を活けるような繊細な手触りを感じさせる質感、そして強烈で鮮やかな色彩を蛍光塗料を用いて描くことで、ストリートとテクノロジーという領域を絶妙に混血させたものである。
    ディスプレイ上では一つの画素(ピクセル) が24 ビットの色情報を持っており、赤、青、緑の光の三原色を、それぞれ8 ビット(256 階調) で表現することで、最大で16,777,216 色を同時に表示できる。更に、Raspberry Pi を用いて、リアルタイムコンピューティングで演算処理を施すことで、ランダムに、人間の網膜で識別可能な全ての色数を一秒間に60回という速さで示し続けている。それはヒトという生き物が展開する環境世界の全てを埋め尽くしている。そして、見えるものの全ては、同時に見えないものの存在を浮き彫りにする。それはイマヌエル・カントが『純粋理性批判』で行った手続きと同じように、僕達の可能性を照らしだすことはその外側の存在を不可避に呼び寄せてしまうのだ。
    ここで初めて、僕は、彼が可能性の全ての上に描いた、妖しく光る実存の痕跡に心が捕らわれていることに気がつく。蛍光塗料が光るのは、蛍光物質が目には見えない紫外線を吸収して可視光を発するからだが、暗闇の中で光るという条件はこれだけでは充分に説明しているとは言えない。なぜなら、ほとんどの場合、暗闇の中には可視光もなければ、紫外光も共にない、という場合が多く、暗い中で目には見えない紫外線を発光する「ブラックライト」をあてるという特殊な条件下でのみ、以上の説明が成立するからだ。
    彼は日本だけでなく、中国、台湾、韓国といったアジアの国々の混血児であり、東京という、眠ること無く発光し続ける都市で育ったこと、それぞれが、彼のアイデンティティとして刻み込まれているという。しかしそれだけでなく、彼の、ストリートアートからライブペインティング、テクノロジーやメディアアートとの距離の近さなどが示しているように、そういった遺伝と環境という単純な二項対立では捉えきれないほどに、様々な手紙が複数の経路を通じて、彼の元に届いた。そして、彼はそれらを、培ってきた技術を用いて、一つの再構築として、新しい混血児を産みだしたのだ。
    では、ブラックライトとはなんだろうか?一言でいうなら、それは人間に見えないものを可視化する装置である。認知可能な全ての色数を発光し続ける支持体は可能性の全てであり、現代の象徴的な断面を示している。感覚的なものの全てとその上に描かれる軌跡の痕跡。彼が体験し培ってきた様々な文化がもつ可能性とその外側。それらが混在するその重層の上で、今も、蛍光物質が、目には見えない紫外線を吸い込んで、人間の可能性の上で、儚い可視光を発している。まるで、見えないものすら、可能性の中に引きずり込むかのように。
    上妻世海
    ---------------------------------------------------------

    プレスリリース(pdf)はこちらからDLしてください。 → 
    HOUXO_QUE_pdf

    》HOUXO QUE プロフィール




    関智生『Real/Red 老婦人の庭』


    展示期間2015年 3月6日(金)- 4月5日(日)
    開廊時間12:00 - 19:00 (木〜日曜日)
    休廊日月・火・水曜日
    openthur - sun 12:00 - 19:00   closed on mon,tue,wed
    内覧会:3月5日(土)18:00 - 21:00(First Thursdays at 3331に於いて)
    別途ギャラリーツアーもあります→3331 GALLERY TOUR
    レセプションパーティー : 3月6日(金) 18:00 - 20:00
    ※両日とも作家が在廊致します。

    初期キュビスムと日本南画にあこがれて どのように対象物を眺めたら、このような絵が描けるのか。初期キュビスムの作品に触れた時、そう感じたものでした。茶色と灰色を基調としたそのかたちは、幾何学形であらわされ、なんとも異様に感じました。 同じころに知った日本南画も不可思議で、木々の葉むらはドット(記号)に置き換えられ、自分の認識する自然からほど遠い表現に感じられました。
    しかしこれらの作品を再考したい気持ちが高まっています。例えばそれは、南画の葉むらの色面に見られる「反転する明暗」であり、キュビスムの色面における「前後関係の反転」であり、そして南画の「起筆・送筆のリズム」等です。両者に共通する「触覚的な筆跡」も気になります。 初期キュビスムと日本南画をはじめて知った時の衝撃は、これらの形式だからこそ表現できる世界があるのだと知らされたことでしょう。そのあこがれは、今も自分の中で共鳴し続けています。
    text by 関 智生

    》関智生 プロフィール




    中島麦『悲しき南回帰線』


    展示期間2015年 1月9日(金)- 2月8日(日)
    開廊時間12:00 - 19:00 (木〜日曜日)
    休廊日月・火・水曜日
    openthu - sun 12:00 - 19:00   closed on mon,tue,wed
    1月10日(土)18:00 ~ 作家を囲んでレセプション・パーティーを開催します。是非ご来場下さい。※入場無料

    この度Gallery OUT of PLACE TOKIOでは、中島麦による個展「悲しき南回帰線」を開催いたします。
    本展は弊廊がこれまで開催してきた同作家の個展「悲しいほどお天気」、(2011年 /奈良)「星々の悲しみ」(2013年 /奈良・東京)に続く【悲】シリーズ第三弾にあたります。
    大学を卒業後12年間、様々な表現に取り組み新しい絵画の可能性を模索して来た作家の重要なターニングポイントになるこの展覧会を、是非ご高覧下さい。

    ***************

    今回の展覧会は、1色の絵具を均質に塗ったミニマルな画面と複雑なテクスチャーを持つ重層的な画面という、対極にある2種類の抽象絵画によって構成されている。

    ここまでは前回の展覧会で提唱した『カオスモスペインティング』※ を踏襲したものであるが、今回の2種類の異なる絵画の対比は、見方を変えれば最小単位とその集合体の補完関係でもある。

    近くから鑑賞すれば両者の大きな差異が主題に見えるが、遠く離れる程に実は2つが1種類の作品に近づいていく事に気づくだろう。

    更にこれらの2つは、同一のキャンバス上での固定された組み合わせでは無く、それぞれの個体は独立しており、組み合わせ自由を前提にインスタレーションされている。

    何でも白黒をはっきりさせようとするシステムが加速化している現代社会が、自閉という弊害をもたらしているとするならば、私は抽象絵画が持つ構造を認識する事が、その一つの打開策になるのではないかと思っている。

    抽象絵画の表面に見えているテクスチャーやインスタレーションの方法論が、或る個人の物語や思想ではなく、世界の根底を流れる社会構造を映し出し、結果、過度な自縛から私達を解放してくれる事になるのではないか…

    新しい抽象絵画の構造を通して、私自身が何ものからも自由で何ものをもつなぐメディウムでありたいと考えている。

    text by 中島麦

    ※ 平田剛志(京都国立近代美術館研究補佐員)に拠る。

    》中島麦 プロフィール




    archive -2014-

          

    大原舞『TRIP』

    • 2014 @Gallery OUT of PLACE TOKIO

    • 2014 @Gallery OUT of PLACE TOKIO

    タイトル大原舞『TRIP』
    展示期間2014年11月28日(金)-12月28日(日)
    開廊時間12:00 - 19:00 (木〜日曜日)
    休廊日月・火・水曜日
    open thu - sun 12:00 - 19:00   closed on mon, tue, wed
    初日11/28の 18:30 - 20:00に作家を囲んでレセプションパーティを開催致します。

    ---------------------------------------------------------
    わたしが見ている世界は皆と同じように見えているのだろうか?
    わたしは何を見ようとしているの?何を見たいと思っているの?
    わたしは自分の部屋から、アトリエから、いつだって自由に旅へ出かる。

    そこで出会った目に見えているもの。
    その向こうに広がる景色。
    ピントは合わない。
    私が見たい景色にピントが合う時、それは絵画になる。
    目の前にある植物が視界を遮るけど、それも気にならない。
    目に見えているもの全てが絵画になる。
    ---------------------------------------------------------

    大原舞が創りだす世界は、常に何か曖昧で、うっすらと靄に包まれた光景を見ているかのようだ。
    それは手を伸ばせば届きそうな距離にいる人の顔が思い出せない時の感覚とよく似ている。
    今回の彼女の展覧会を通して、私たちは常日頃どのようにモノを見ているのかを問い直すことになるだろう。

    これまでグループ展やブランドとのコラボレーション展示を重ねて来た大原舞がペインティングやドローイング、立体作品など様々なシリーズを混在・展開させた待望の個展となります。是非ご高覧ください。

    》大原舞 プロフィール




          

    内山聡『クリックする人間、動物、あるいは機械』

    • 2014 @Gallery OUT of PLACE TOKIO

    • 2014 @Gallery OUT of PLACE TOKIO

    タイトル内山聡『クリックする人間、動物、あるいは機械』
    展示期間2014年10月17日(土)-11月16日(月)
    開廊時間12:00 - 19:00 (木〜日曜日)
    休廊日月・火・水曜日
    open thu - sun 12:00 - 19:00   closed on mon, tue, wed

    内山聡は2005 年に多摩美術大学大学院美術研究科修了後、独自のスタンスを保ちながら積極的に作家活動を続けてきました。
    飼い馴らされた絵画に疑問を投げかけ、近年は絵画を「行為」「時間」「物質」など様々な視点から解体し再構築することを制作の中心に据えています。
    今回は、通信に代表されるテクノロジーの急速な発展に脅かされつつもそれを賞賛し受け入れざるをえない現代人が、その中にこそ我々のリアリティが存在するのではないか? 徒労を繰り返す行為が人間的であり、また動物的、機械的でもあるという前提のもと、全長41 メートルにもなるエアマットを使った作品や前作 Soaked Paintings の流れを汲む新作を発表します。
    是非内山聡が提示する「絵画論」をご高覧下さい。

    》内山聡 プロフィール




          

    Killing Me Softly 隠﨑麗奈・山本優美

    • 2014 ©Reina Kakurezaki + Masami Yamamoto

    • 2014 ©Reina Kakurezaki + Masami Yamamoto

    • 2014 ©Reina Kakurezaki + Masami Yamamoto

    タイトルKilling Me Softly
    展示期間2014年9月12日(金)- 10月12日(日)
    開廊時間12:00 - 19:00 (木〜日曜日)
    休廊日月・火・水曜日
    open thu - sun 12:00 - 19:00   closed on mon, tue, wed

    この度Gallery OUT of PLACE TOKIOは、隠﨑麗奈と山本優美の二人の立体作家による新作展:Killing me softly を開催します。
    隠﨑麗奈は、2002年武蔵野美術大学を卒業後、一貫してFRPなどの樹脂を素材に制作しています。工業製品の様な風合いを持つ半抽象的な造形物を創りだす事で、彫刻と彫刻的であるものの境目を問い続け、近年その独創性が高く評価されています。
    山本優美は、2007年金沢美術工芸大学を卒業、その後国立ラ・カンブル美術大学(ベルギー)での留学。帰国後は伝統工芸の継承発展目的とし多くの職人を排出している卯辰山工房を修了しています。陶でテキスタイルを表現するという斬新な作風を確立し、今年はSICF15のグランプリを受賞するなど、現在注目を集める作家の一人です。
    手法やコンセプトの異なる二人ですが、生命力にあふれた彼女達の作品は、まさに観る者を優しく悩殺することでしょう。この機に是非ご高覧下さい。

    》隠﨑麗奈 プロフィール

    》山本優美 プロフィール




          

    坂田峰夫-FLOWERS

    2014 ©Mineo Sakata

    タイトルFLOWERS
    展示期間25th Jul. (fri) - 31th Aug.(sun)  2014
    開廊時間12:00 - 19:00 (木〜日曜日)
    休廊日月・火・水曜日(夏期休廊8月11日 - 20日)
    open thu - sun 12:00 - 19:00   closed on mon., tue., wed.
    夏期休廊11th - 20th Aug. 2014

    この度Gallery OUT of PLACE TOKIOは、7月25日より坂田峰夫展 -FLOWERS を開催いたします。
    3331 Arts Chiyoda 207 号室の改装を終え,本格的に再始動する1回目の展覧会です。
    坂田は東京芸大美術学部絵画科油画専攻を1990年に修了後、最初の個展である1994年から花をモチーフに写真「的」作品を発表してきました。これらの写真「的」作品は、独自のフォトグラムの手法が用いられており、写真用バライタ印画紙の上に、光と陰を絵具にして一枚きりの絵画を描くように制作されています。
    印画紙の特質である「黒」と「平面性」に表現の場を見いだし、「花」にこだわり続ける坂田の美学には、世阿弥が著した「風姿花伝」に通じるものがあります。
    あくまでも無駄を省き最後に残った僅かな光によって織りなされる、静謐で耽美的な坂田峰夫の世界を是非ご堪能ください。

    》坂田峰夫 プロフィール




          

    KOLKOZ

    2013 ©KOLKOZ

    タイトルPARALLAXE
    展示期間25th Apr. (fri) - 25rd May.(sun)  2014
    開廊時間12:00 - 19:00 (木〜日曜日)
    休廊日月・火・水曜日(GW 中の 5/1 と 5/4 もお休みさせていただきます)
    open thu - sun 12:00 - 19:00   closed on mon., tue., wed.

    KOLKOZ はSamuel Boutruche とBenjamin Moreau の2人の美術家によるユニットで、フランスを活動拠点に世界各国で主に立体やインスタレーション作品、映像作品を発表しています。今回の展覧会では、映像作品を上映します。
    今作品は短編10本によるオムニバス映像で、作家が昨年【奈良・町家の芸術祭 HANARART 2013 】に参加し、御所市名柄エリアの地域の住民を巻き込みながら現地制作した作品です。
    KOLKOZ の近年の映像作品は、作家2人が同時に2台のGOプロカメラを駆使し撮影する方法で展開されています。このようにして撮影された映像は、解剖学的に我々が左右別々の2つの目で物を見、微妙に違う映像を脳内で一つに統合している事を思い出させてくれます。と同時に彼等は、人は複数の違うバックグラウンドで物事や事象を捉える事で表現の可能性を大きくできる事を、この映像によって示唆しようとしている様にも思われます。今回奈良県御所市で制作されたこの作品では、全作品において地域の人達やボランティアスタッフを登場/演技させ場面が進行していきます。全体を見終わったとき、我々は諧謔や皮肉が込められつつもフランス人作家二人が捉えた【今の日本】を真正面から突きつけられる様な気持ちになるのではないでしょうか。

    》KOLKOZ FACEBOOK




    大西 康明  垂直の隙間
    Yasuaki ONISHI  vertical emptiness

    vertical emptiness (volume of strings), 2014 ©Yasuaki Onishi

    展示期間27th Feb. (thu) - 23rd Mar.(sun)  2014
    開廊時間12:00 - 19:00 (木〜日曜日 )
    休廊日月・火・水曜日
    open thu - sun 12:00 - 19:00   closed on mon., tue., wed.
    オープニング2月27日(木)18:30より、作家を囲んでオープニングパーティを行います。
    お誘い合わせの上、是非ご来場下さい。
    opening party18:30~  on 27th Feb  (entrance free)

    大西康明は、世界各国でのアーティスト・イン・レジデンスを重ねる中で、「空間」を薄いビニールシートや接着剤の線で「彫刻」する独自の表現方法を確立し、《体積の裏側》や《垂直の隙間》などのスケールの大きなインスタレーション作品を主に現地制作によって発表してきました。
    国内では、2011年国立国際美術館での「世界制作の方法」展をはじめ、青森、愛知、京都、兵庫、奈良、福岡の美術館・アートセンターによる展覧会や地域型アートプロジェクトに参加し精力的に活動しています。大西の繊細でありながらも空間を凌駕するダイナミックな作風は内外で高い評価を得ており、現在最も注目すべき作家の一人と言えるでしょう。
    今回は、3331 Arts Chiyoda 207号室という元中学校の教室であったスペースを会場にして、新作インスタレーションを発表します。東京でのサイトスペシフィックな作品展開は本展が初となります。 是非この機に大西のはかなくも壮大な作品空間をご体感下さい。

    》大西康明 プロフィール


    有色雑音 /カラードノイズ



    展示期間2014. 2.07 (fri.) - 3.09 (sun)  2014
    開廊時間12:00 - 19:00 (木〜日曜日 )
    休廊日月・火・水曜日
    open thu - sun 12:00 - 19:00   closed on mon., tue., wed.

    出展作家: TAKCOM(moving image)
    魚住勇太 (Sonir / from SjQ)/Yuta Uozumi (sound)
    吉濱翔/Syo Yoshihama(mixed media)
    展示作品: 映像、音、ミクストメディア、及びイン スタレーション

    本展 「有色雑音 /カラードノイズ」展ではTAKCOM(映像)、魚住勇太(音)、吉濱翔(インスタレーション)というそれぞれメディアの異なる作家を紹介します。
    彼等の作品を通して私たちは、人間に備わっている知覚のバランスや使い方に意識を向けるきっかけを得ることができるでしょう。
    一つの空間で同時に3作家を紹介します。それぞれは独立した構成ですが、部分的に干渉し合う展示となります。
    近年国内外で注目され高い評価を得ている3作家を一堂に鑑賞できる貴重な機会です。ぜひご高覧ください。

    *尚、この展覧会は『恵比寿映像祭 2014 TRUE COLORS』(2/7〜 23 開催)における地域連携プログラムに参加しています。

    ◆恵比寿映像祭 公式HP:http://www.yebizo.com/

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