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#01 Memento Mori - yesterday, today, tomorrow,

Artists: Jun Azumatei, Hidetada Karasuyama, Takuro Ishii

Dates: January 19 – February 23, 2019

Curator: Jun Azumatei

Featured live performances:

January 19… Yusuke Shimada (butoh dance) x Jun Azumatei 

January 26… Kota Saito (guitar) x Jun Azumatei

February 23… Aoi Sawaguchi (flute) x Jun Azumatei

We start this very first project by exhibiting new works from three founding members of Azumatei Project.


Memento Mori is a Latin phrase that translates to “Remember you must die.” It has been received as an epigrammatic reminder to “live life to the fullest,” and also features widely as a recurring motif in European art history. After someone dies, they remain alive in the minds of those who knew them, particularly for that latent window when we continue to lead our lives blissfully unaware of someone’s death. Even after being informed of this friend or loved one’s demise, it still takes time to accept the reality and finality of mortality.

Past, present, and future are all interconnected, but the flow of time is not a straightforward linear progression.

This inaugural project consists of three solo exhibitions in which each artist shares their  own perspectives on the titular theme: “Memento Mori - yesterday, today, tomorrow,”.

                                                                                                                                                                                                            Jun Azumatei (contemporary artist)

#01 Memento Mori - 昨日、今日、明日、

出品作家:東亭 順 (Room A)、烏山 秀直 (Room C)、石井 琢郎 (Room B)


会期:2019年1月19日(土) - 2月23日(土) / 14:00-19:00
オープニング:1月19日(土) 17:00-

1月19日(土)ライヴパフォーマンス 嶋田勇介(舞踏家)×東亭 順
1月26日(土)ライヴパフォーマンス 齋藤浩太(Guitar)×東亭 順
2月23日(土)ライヴパフォーマンス 澤口碧(Flute)×東亭 順

Memento Mori(メメント・モリ)とは、ラテン語で「死ぬことを忘れるな」という意味を持ち、今をよく生きよという警句でもあります。美術において長くモチーフとして扱われてきました。
個性の異なる3部屋において3作家がそれぞれ個展形式で「Memento Mori - 昨日、今日、明日、」を異なる切り口で発表します。(東亭順)


 Photo by Ryuhei Kaiho

#02 A DAY OFF – You can’t catch the fish you can see


Artist: Jun Enishi

Date: March 2 – March 30, 2019

Curator: Jun Azumatei

Back around 2004, I was casually leafing through an art magazine in a bookstore, when I came across a work by Damien Hirst, the one where he preserved a shark in a vitrine of formaldehyde. I vividly remember feeling overwhelmed by the outsized impact of the work, even when encountered as a mere photo on a printed page.   


I began to seek out a wide range of artwork by as many different artists as possible. They all shook my insular concept of art and prompted me to ask the essential metaphysical question: What is art? I’ve been thinking about the question ever since. 

                                                                                                                                                                                                                                        Jun Enishi (painter)

Jun Enishi

1981 born in Kushiro-city, Hokkaido 
2007 Graduated from Tokyo University of the Arts, Department of Painting, Japanese Painting

When I stand in front of a work of staggering genius, I often daydream about sharing a drink with the artist, old master and contemporary wunderkind alike. What would their voice sound like? How would they talk? What would their eyes look like? And what would those eyes see? It sends a particular jolt of electric excitement down my spine to imagine the lives led by the artists of yore, especially that period of their life engaged in the creation of the work in question. Undoubtedly, they would have been the living epitome of unabashed cool.


The alcohol begins to course through our veins, and the clock seems to start beating slower and softer. Buoyed by the cozy stream of time, he tentatively voices the thoughts that have weighed heavy on his mind. And then, as if seized by a sudden flash of inspiration, he begins to expound on an absurd new train of thought with uncharacteristic passion. But by now, it’s hard to tell who is talking: him or the alcohol.


And it is this level of inhibition that I hope Jun Enishi will bring to this project. I trust that he will use this platform for no holds barred experimentation and engagement with his inner self.

                                                                                                                                                                                                            Jun Azumatei (contemporary artist)

#02 a day off - 見えている魚は釣れない -



会期:2019年3月2日(土) - 3月30日(土) / 14:00-19:00
オープニング:3月2日(土) 17:00-


江西 淳 Jun Enishi

1981 北海道釧路市に生まれる
2007 東京芸術大学美術学部絵画科日本画専攻 卒業

2005 グループ展"4" PROMO-ARTE gallery
2016 グループ展 「みつけること/またみつけること展 藤沢市アートスペースFAS
2018 オープンスタジオ 藤沢市アートスペースFAS



 Photo by Ryuhei Kaiho

#03 One Stone

Artist: Takuro Ishii

Date: April 6 – May 5, 2019

As an artist, I have been left speechless on three occasions. The first was when I learned that a work of art could exist without much manipulation of material or meticulous molding of form. The second was when I was presented with an opportunity to hold an exhibition, but was too poor to afford the very materials needed to create new work. And the third was when I came across a river that was so majestic as to greatly transcend the realm of my own experiences. It is not an exaggeration to report that these three experiences have played a pivotal, transformative role in my work.


The first taught me to reconsider the meaning of material and form apropos sculpture. The second compelled me to scavenge for material freely available in nature. The stones I gathered from the riverside would go on to teach me a great many things. By the same token, I have also found ample inspiration in the stone works created by the generations of artists who came before. And last but not least, the third experience has made me consider whether the perception of natural phenomenon is not so universal as I once assumed. Perhaps, instead, the mental imagery conjured up by the river as it flows down the mountainside is dependent on differences of country, environment, and cultural background. And perhaps these differences are far greater than I had previously considered.


This is an area that I hope to continue probing not only verbally, but also viscerally, through my work. 

                                                                                                                                                                                                                                    Takuro Ishii (sculptor)

In a literal sense, the Azumatei Project was ushered into this world through the blood, sweat, and tears of Takuro Ishii and myself. We took turns behind the wheel of a minitruck, ferrying five plywood panels up three old flights of stairs, manning a circular saw until covered in dust and wood chips at midnight, sedulously smearing the ceiling with paint. Although I had already known Ishii for nearly a decade by that point, the experience forged a new bond, and a more intimate understanding of him as an individual. In short, he is tough as nails. We all have moments in which our neurons are stimulated and some “switch” inside us is activated. I find that the more a subject aligns with my fields of interest and specialization, the more I can focus on the work with all the fibers of my being. Ishii, however, is cut from a different, rarer cloth entirely. It seems that he is always “on,” operating on omnidirectional full throttle.


The old painter in Shinri Sensei, a novel by Saneatsu Mushanokoji, was searching for the truth (“shinri”) by solely painting stones day after day. At our first exhibition, Memento Mori, Ishii selected a precious few stones from the countless rocks by a river, only to shatter them, hollowing them out one by one, and joining them back into one empty stone for presentation as his new work. A Japanese proverb touting the virtue of perseverance counsels, "even a stone will get warm if a person sits on it for three years." But as I recall the precedent set by Ishii's longtime stone sculpturing and the old painter in Shinri Sensei, I realize that we have only just begun, and there is still a promisingly long road yet ahead. 

                                                                                                                                                                                                            Jun Azumatei (contemporary artist)

#03 One Stone -


会期:2019年4月6日(土) - 5月5日(日) / 14:00-18:00
オープニング:4月6日(土) 17:00-






2004年 東京藝術大学美術学部彫刻科卒業
2006年 東京藝術大学大学院美術研究科彫刻科修了
2009年 東京藝術大学大学院美術研究科博士後期課程美術専攻彫刻研究領域修了

2009年 野村賞
2014年 Rokko meets art 公募準大賞
2018年 アイスタイル芸術スポーツ振興助成

2019年 Memento Mori  昨日、今日、明日 / アズマテイプロジェクト / 横浜
2017年 個展 肌理のつらなり / 秋山画廊 / 東京
2016年 KAAT 突然ミュージアム2016 /神奈川芸術劇場 / 横浜
2015年 個展 Reach into it / さいたま市プラザノース / 埼玉
2014年 Rokko meets art 2014 / 兵庫

武者小路実篤の真理先生に登場する老年の画家は、ただ石ころをひたすら描き続けることで、真理に近づいていったのだろう。石井琢郎はプロジェクト第一弾のメメント・モリ -昨日、今日、明日-展で、河原に転がる無数の川石から選びぬき、投げつけ、削り取り、繋ぎ合わせた石彫を新作として発表した。武者小路の石描き先生やタフガイ石井が長年取り組む石彫を思い浮かべると、「石の上にも3年」では済まされそうもない道のりが見えてくる。(東亭順)


Photo by Hayato WAKABAYASHI


#03.5 Photo Book Echo's Music & Alcohol



会期:2019年5月1日(祝/水) / 15:00-21:00


2018年11月11日に急逝した野毛のスターかずお。彼の店「Echo's」にBARという文字はなく、 膨大なレコード、フライヤーやポスターが無造作に壁にぶらさがっている。まるで部室のようなその空間に夜な夜な集まる人々が作り出す風景は、まるで時代錯誤の場末の小劇場「Music&Alcohol」。私自身もかずおのこの店でいくつかの無茶なライヴイベントをやらせてもらいましたが、いつも「やっちゃお」のひと言。その言葉を越えるような創作を考えることが楽しくて仕方なかった。そんな店の常連の1人である川辺彩矢が、古いフィルムカメラで記録したEcho'sの2年間。膨大な枚数の写真から一冊の写真集に仕上げてくれました。よく記録してくれていた。よく続けてくれた。よく作ってくれた。ありがとう。写真というメディアの強さと共に、かずおの人間力を再認識させてくれます。新しい元号を迎える5月1日にご予約された方々にお渡しする会を設けましたのでお集まりください。石井琢郎の展覧会「One Stone」もご高覧いただけます。(東亭順)


#04 Piazza del Paradiso

Artist: Shiho Kagabu

Date: May 11 - June 9, 2019

Curator: Takuro Ishii

The reason I invited Shiho Kagabu to join our project was that I was intrigued by the sense of fragility in her works. Curious to pinpoint the source of this fragility, I took a closer look at her work, and felt something akin to an absolute trust in the physical “object.” Every object has its use and name, and touch functions as her first portal to acceptance of these elements. She also seems to be skeptical about the concept of art and more specifically, sculpture. She begins by doubting and deconstructing, then reconstituting new objects using only those concepts and beliefs that stand up to her scrutiny. Presumably, she applies this same scrutiny to society as well as herself. This act of probing is evinced throughout her works. We can see her groping for the delicate, Lagrangian balance between absolute trust and skepticism. This search is imbued by her own thoughts and emotions in the moment, fluently articulated by the objects themselves on her behalf. These thoughts and emotions are frozen, sealed into the objects as the culmination of this creative act, quite “vividly” encapsulating Kagabu’s own life from an archetypically sculptural perspective. Her work urges us to consider the precariousness of our own lives. This gives her work strength. I hope to witness the same strength here, in the Isezakicho Center Building.

                                                                                                                                                                                                                                    Takuro Ishii (sculptor)

#04 Piazza del Paradiso



会期:2019年5月11日(土) - 6月9日(日)  / 14:00-18:00 
オープニング:5月11日(土) 17:00-

今回、利部志穂氏に展示を依頼したのは、彼女の作品の”危うさ”が気になったからだ。その危うさはどこから来ているのかと思い、作品の在り様を考え直してみると、まずはモノに対するある種の絶対的な信頼感のようなものを感じた。それは、モノには用途や名前など要素があるが、手に触れることで初めてそれを受け入れてるように感じた。また、アートや彫刻といった概念に対するある種の懐疑心がありそうだ。疑い、一度解体したものから、自分が信じれるものだけを使って生み出していく。その考え方は作品だけではなく、社会、また、自らにも向けられているのだろう。その手探りの行為がそれぞれの場によって作品として現れている。それは、絶対的な信頼感と圧倒的な懐疑心との狭間で、まるで複雑なラグランジュ点を手探るような行為のように感じる。その行為の中には、その時々の思いや気持ち、考えが入り込み、モノたちがその代弁者として饒舌に語り出し、行為の終焉によってそれらが凍結され、封印される。そこには、利部自身のLife そのものが在る。いわゆる生々しいのだ。そしてそれはまさに彫刻家の視点で構築されていく。利部作品を見ていると、生とは危うさそのものではないかと問われている気がしてくる。だからこそ、強さが際立ってくる。それが伊勢佐木町センタービルで現れる様を僕は見てみたい。(石井琢郎)


1981年 神奈川県川崎市生まれ
2004年 文化女子大学 立体造形コース 卒業
2005年 多摩美術大学美術学部彫刻科研究生
2007年 多摩美術大学美術研究科彫刻科専攻修了
2017年 文化庁新進芸術家海外派遣研修(2年)イタリア ミラノ

2017年 クリティカルポイント-critical point-(gallery21yo-j,東京)
2015年 サンライズサーファー / Sunrise Surfer(KAYOKOYUKI,東京)
2014年 フリーズ freeze/ ママ、あめりか、こわいね。楽しいね。 (Art Center Ongoing,東京)
2013年 よき眠りの家 (JIKKA、東京)個展よき目覚めの家(NADiffa/p/a/r/t、東京)
2012年 DANCING MOONS (switch point、東京)
2011年 こい、来る う とき (Art Center Ongoing、東京)


 Photo by Hayato WAKABAYASHI

#05 Secretly, the waste, continues…

Artist: Koji Tsujigo

Date: June 15 - July 14, 2019

Curator: Hidetada Karasuyama

A sudden meditation in my mind’s eye.

Humor hidden in the quotidian

fleeting impressions

memories etched into mind and body

deception, impatience, and disappointment

caused by emotional instability.   


The whirlpool of mental effects warps

distorting, twisting, driving me to sit before a blank piece of paper.


A convoluted sea of

amorphous lead and

innumerable drawings the product of

unforgettable scenes

imaginations run wild and

deep-seated depressive dispositions

or the fragments of a puerile psyche

the detritus of daily tinkering




I suppose drawing is a form of consolation for me.


Ever since I was a young child, I have always been a misfit, a wimp, and perhaps even worse, too shy to unburden my troubles. You could say that I’ve led an almost embarrassingly pained and troubled life…


In such a life, drawing naturally became the only thing that I could lean on. Comfort is all I need—subject and compositional intent don’t matter so much to me. If I can fill a blank piece of paper with all the things that can’t be articulated in words – the subtleties of my emotions, the whims and whatnot filling my mind at the time – well, that’s enough to bring me calm.


I’d rather not apply such lofty terms as "self-portraiture" or "trajectory" to my incoherent drawings. Instead, it seems more appropriate to liken them to a ball of post-masturbation Kleenex or the inner recesses of a bag of combustible garbage. That which is embarrassing, filthy, lurid, and best kept private, yet still necessarily generated in the course of life.


Yes, these drawings are my "waste" looming in lead. And I continue to generate more and more "waste" by the day. For after all, to live is to suffer.

                                                                                                                                                                                                                                  Koji Tsujigo (illustrator)


1992  Born in Nagasaki
2016  Graduated from Tama Art University

working at a printing company in Kawasaki City

Koji Tsujigo leads a quiet, simple life. He rises with the sun and sleeps at sunset after a few drinks with supper. I’ve known Tsujigo for eight years. Each time we meet, he never fails to bring a stack of small sketchbooks filled with his latest drawings to show me. In some of them, he tries to put on a joyful face, but these drawings always still betray a certain loneliness and longing.


Each of the drawings in this prolific collection are titled, simply, “Untitled.” As drawing is an integral byproduct of his daily routine, as natural as breathing, he presumably does not feel the need to title each one, hence the moniker, “waste.” He retraces his daily experiences or things weighing on his mind, then regurgitates them on paper. A drawing may take just a few seconds, or sometimes one month to complete. We can see different times and spaces, and varieties of silhouettes and textures in his work, all intricately intermingled with one another. The simplicity of his medium, paper and pencil, showcases the expansive scope and sensitivity to texture that characterize his works.


This exhibition constitutes the first attempt to present the results of his private inner ritual to the viewing public. I look forwarding to seeing how viewers (Tsujigo included) will receive the work that he so self-deprecatingly refers to as “waste.” Nowadays, all too many artists tend to be trapped in the obsession with exhibitionistic self-assertion and full-throated justification of their stance. Tsujigo is quite the opposite. Perhaps he is the silent spokesman engaged in a quiet rebellion against our times. Tsujigo may not be alone in his uniqueness. However, he suggests that we all have the potential to become an artist, as he continues to silently disgorge his “waste” in secret.

                                                                                                                                                                                                                    Hidetada Karasuyama (painter)

#05 密かに、続く、廃棄物 



会期:2019年6月15日(土) - 7月14日(日) / 14:00-19:00
オープニング:6月15日(土) 17:00-


辻郷晃司 Koji TSUJIGO

1992  長崎県生まれ
2016 多摩美術大学卒業



 Photo by Ryuhei Kaiho

#05.5 Live Performance ​

Performers: Soft-Concrete, HellTaku, Space Satoru

Date: July 20

Curator: Jun Azumatei

In the humid heat of hot summer, I just don’t feel like going out for “artistic” activities with some protection against heatstroke. Rather than that, I would like to spend times of vacation and festivals and barbeque—dreaming of fancy dream like this, Azumatei Project will hold two shows this summer. The first: Live performance by two units, and the second: a group exhibition by eight female creators, girlish/Gilgamesh. 


Kota Saito (musician) and I, Jun Azumatei (contemporary artist), have done several live performances around Noge area. Welcoming a songstress from Oslo, Norway, we officially formed a duo, Soft-Concrete and we’ve been waiting for her, however, the planned show had to be canceled for some reasons. Meanwhile, HELL (Hellhead), a singer friend of ours, and Takuro Ishii (sculptor/member of AZP) had met in AZP and they decided to perform as a duo, HellTaku. Now we would like to hold the show on the date we already announced with slightly different lineup; two units mentioned above plus an opening act by Space Satoru (Hellhead), which is his debut solo performance.

                                                                                                                                                                                                            Jun Azumatei (contemporary artist)

#05.5 Live Performance

出演者 : Soft-Concrete, HellTaku, Space Satoru


会期:2019年7月20日(土)  OPEN 17:00  START 18:00

できることならバカンスとフェスとバーバキューで過ごしたい。なんてセレブ的なものに魅せられて、アズマテイプロジェクトの夏は2つのショーを開催します。1つめは、7/20(土) 2組のライヴパフォーマンスです。

この夏にオスロから歌姫が参戦するということで、ソフトコンクリートというユニットを正式に組んで待っていましたが、諸事情により中止となってしまったのです。しかし、HELL(HELLHEAD)と彫刻家 石井琢郎が出会い、HellTakuが誕生。中止となったイベントをカタチを変えて開催することになりました。
この2組のライヴパフォーマンスと前座/SPACE SATORU(HELLHEAD)のソロデビューを行います。(東亭順)

Soft-Concrete at IZK Gallery in Nagasaki


Memento Mori (2019/アズマテイプロジェクト)、Improvisation Live Meeting#6 (2018/Jazz Spot Dolphy)、Improvisation Live Meeting#5 (2018/旧バラ荘)、コイケ炎上(2017/Echo's)、烏亭炎上(2017/Echo's)等の活動を経て、2019年4月12日に結成。


 Photo by Takuro Ishii

#06 girlish/Gilgamesh

Artists: yomikake – illustration | Rommy – painting/drawing | Fumiko Seki – handicraft | marsa – ball-jointed dolls | Seiko Onda – photography | Asaka Watanabe – embroidery | Saiya Kawabe – illustration | Kiyoka Mori – pottery

Date: August 10 – 12, 2019

Curator: Jun Azumatei

Gilgamesh was a legendary king in ancient Mesopotamian mythology, whose name presumably means, “The ancestor is a hero.” According to the Epic of Gilgamesh, he was also hailed as a man "who knew (everything), was wise in all matters.”


The title of this exhibition is a play on words that juxtaposes “girlish” and “Gilgamesh” to suggest our girlish ancestral heroes. However, the title simultaneously connotes the reading, “innocence slashes omniscience.”


This group exhibition introduces eight female creators ranging in age from their twenties to seventies. Hailing from diverse backgrounds and active in mediums running the gamut from painting to drawing, photography, illustration, pottery, handicraft, embroidery, and doll making, this octet of artists will assemble for three-days in our old multitenant building, which has been a landmark in the Isezaki-cho area since its construction shortly after the Second Word War.

                                                                                                                                                                                                            Jun Azumatei (contemporary artist)

#06 girlish/Gilgamesh

出品作家:yomikake - イラストレーション | Rommy - 絵画、ドローイング | 関文子 - 手芸 | marsa - 球体関節人形 | オンダセイコ - 写真 | わたなべあさか - 刺繍 | 川辺彩矢 - イラストレーション | 森聖華 - 陶芸


会期:2019年8月10日,11日,12日 / 11:00-19:00(最終日は18:00まで)




​Installation view | Asaka Watanabe, Kiyoka Mori, Fumiko Seki

#07 Watershed, Counter, Propagation

Artist: Jun Azumatei

Date: September 14 - October 13, 2019

Featured live performances:

September 21… Soft-Concrete Trilogy: Part One - Beginning of The World

October 5… Soft-Concrete Trilogy: Part Two - Living in A Dirty River

October 12… Soft-Concrete Trilogy: Part Three - End of The World (ft. Karasu-Tei)

September 22… Gekidan-Tokimeki (Theatre of Fluttering-Heart) debut performance

I had published a series of paintings using the photographs of skies and clouds I took as their bases, and on which I overlaid, daubed and polished up "documents and memories". As I received grants from two foundations in 2009, I moved my base to Switzerland/Germany, and then about a year and a half later, I experienced a profound turning point in my life—the disastrous earthquake and tsunami in Japan. I had never spent so long watching the news and videos posted on the net with zeal and horror. I just couldn't keep my eyes off my laptop screen. This experience completely changed my world. Violent and murky streams were swallowing up everything in sight, while invisible substances were bubbling to the fore. I felt the fear to be taken in, and yet felt that chaotic energy of the world was persuading me to take a step forward, into the future.


There had been a sure-footed path leading to the world we had been dreaming of. At least that's how I used to feel, but I saw the gilded veneer of that path peeling away from afar, the ground drying up and cracking, and saw the new world showing its pale face from underneath. And it started to eject the world's suppressed sediment to slowly make a giant stream. The stream kept growing wider and stronger, and it made all of us feel like we were being washed away uncontrollably, helplessly.


Back to my daily life, everything around me looked different. I just couldn't look at things as they used to be, and consequently, I became interested in the history and evolution of the many things that populate our lives. One day, I encountered an old damask bed sheet in an antique shop in Switzerland. I could tell that it originally came from the Far East, and during the course of the slow journey across the Silk Road toward Western Europe, it had been passed through the hands of people in many countries, successively dyed in the respective colors of each new home. It was well woven and somehow, gave me a feeling of familiarity. As I was touching and examining its frays and seams, I felt the palpable bustle and lingering warmth imbued by each of its previous owners. I decided to start working on a new series using these damask sheets. While photography is documentary evidence of each particular moment in which the object and subject once shared, the damask bed sheet is story itself. People usually spend one third of their lives in beds, and these bed sheets had once been used as bed coverings. Each of them provoked me to think of the histories of their travels all along the Silk Road, and by painting on their floral patterns, I updated their stories that previous owners had woven within each threads, of warp and weft. I deepened my interest in documentation and memory through the production of this series.


After I came back to Japan in 2015, I started to shift my style from prepared studio works to live performances, in which I ventured to venues to create uninhibited work on-site. This shift was triggered, at least in part, by the atmosphere of I found in my new home in the Noge/Yokohama area, as well as the lifestyles of the musicians I met. But at the same time, the shift was also compelled because I had come to realize that live performance is one of the most effective ways of sharing documentation and memory with others at the same moment and place, and also came to believe profoundly that the works and life of an artist could not be talked about separately—I was crossing the Rubicon in a way.

Through all my activities, now I can clearly feel the water I scoop, dripping down through my hands. I suppose we always desire more water than we can actually hold. But there is no use crying over spilt water. If you’re still thirsty, you can always dip into the wellspring again. What’s important is that we continue tirelessly searching for new water sources to whet our creative palates.

                                                                                                                                                                                                             KARASU-TEI (art performance duo)

#07 分水嶺、カウンター、伝播


会期:2019年9月14日(土) - 10月13日(日) / 14:00-19:00
オープニング:9月14日(土) 18:00-

"Soft-Concrete" Trilogy of  live Performances 

9月21日(土) "セカイノハジマリ"
10月5日(土) "ドブガワニイキル"
10月12日(土) "セカイノオワリ" +烏亭






 Photo by Ryuhei Kaiho

#08 Towards Painting

Artists: Sumito Asano, Yuichi Arihara, Kazuyoshi Sakai, Hidekazu Tanaka, Kanako Tomioka

Date: October 19 - November 10, 2019

Curator: Hidetada Karasuyama

When a painter wants to know about a fellow painter, you could say that it’s instead a painting that’s calling out for another fellow painting…


The five painters I introduce here are the ones with whom I have become acquainted through my own exhibitions and productions. Although all five hail from different backgrounds, environments, and positions, I see them as genuine painters, who are tirelessly grappling with difficulties in structure, material, and perspective in their craft.

When I was planning this exhibition, I thought about the wonder of the mundane fact that at this moment, every artist is working in their own place and time, not to mention how they are also, however vaguely, being influenced by other artists. 


In addition to completed works, the five artists also present studies which allow us to see how they sublimate many ideas and thoughts into their painting, and provide some objects from which they have derived inspiration. By exhibiting five painters simultaneously in one project space, I hope the event reveals the intangible dynamics that inform the endless quest that is the painting process. What will we find in those liminal moments when a painter confronts painting?

                                                                                                                                                                                                                    Hidetada Karasuyama (painter)

#08 絵画へ向けて



会期:2019年10月19日(土) - 11月10日(土) / 14:00-19:00
オープニング:10月19日(土) 17:00-











2018年「個展」ART TRACE GALLERY/東京('16,'14,'11,'08,'06,'05)







2017年「ninetytwo 13展」ninetytwo13GALLERY/東京



















2019年「アスパラガスと龍眼」KARIOMONS COFFEE OMURA/長崎



 Photo by Ryuhei Kaiho

#09 Yu-Sui

Artist: Ryuhei Kaiho

Date: November 23 - December 1, 2019

Curator: Jun Azumatei



being (or a state of) cloistered, secluded tranquility, esp. scenery.


Their leafy boughs once reached for the heavens

Drinking, breathing, savage green.

Their duty fulfilled, roots freed from soil

The trees lie down to die.

Extending their branches for new life

Slowly the fallen trees

Become gentle streams of nourishment

Flowing silently back into the earth.

Although I cannot remember when

More than the virile saplings, brimming with life

I came to admire the fallen trees.

Their slow demise does suggest decay, full stop

But as they return to the soil, I also see


The opulent tranquility of time 

Before my very eyes.

​                                                           Ryuhei Kaiho

#09 幽邃



会期:2019年11月23日(土) - 12月1日(日) / 14:00-19:00
オープニング:10月19日(土) 17:00-

幽邃 (読み) ユウスイ

[名・形動] 景色などが奥深く静かなこと。また、そのさま。

















 Photo by Ryuhei Kaiho

#10 Possible or Not Impossible

Featured live performances:

December 22… Act One by Soft-Concrete, Act Two by Yusuke Shimada (butoh dance)

Artists: Jun Enishi, Hidetada Karasuyama, Keiichiro Tanaka, Yusuke Saito, Jun Azumatei

Date: December 22, 2019

*All works created on-site on December 14, 15, and 21, 2019.

Curator: Jun Azumatei

By now numb to the repeated rounds of buffeting blows, we desperately hold on to the world seen through the small bitten apples clutched in our palms. Swallowed up in the sea of algorithmically filtered tastes, we dive deeper and deeper, as if to forget that we are suffocating. 


But no matter the state of our world, we, as artists, live in the tireless pursuit of those elusive moments of roiling, frothing inspiration.

                                                   Jun Azumatei (contemporary artist)

#10  Possible or Not Impossible



会期:2019年12月22日(日) / 14:00-17:00
オープニング:12月21日(土) 18:00-

19:30- ライヴパフォーマンス Soft-Concrete (齋藤浩太×東亭 順)  

20:00- ライヴパフォーマンス 嶋田勇介(舞踏)

​公開制作 12月14日14:00-19:00 / 12月15日14:00-19:00 / 12月21日14:00-17:00





1981年 北海道生まれ
2007年 東京芸術大学美術学部絵画科日本画専攻 卒業

2005年 グループ展"4" / PROMO-ARTE gallery
2016年 グループ展 「みつけること/またみつけること展 / 藤沢市アートスペースFAS
2018年 オープンスタジオ / 藤沢市アートスペースFAS

2019年  a day off -見えてる魚は釣れない / アズマテイプロジェクト


1978年   長崎県生まれ
2003年 多摩美術大学美術学部絵画学科油画専攻卒業

2010年   東亭順と『烏亭』結成



2015年 中国広州日本現代アート展2015 / 53美術館 / 広東省(中国)

2016年 Japan im Palazzo / Kunsthalle Palazzo / リースタル(スイス)

2017年   烏亭炎上 / 台南應用科技大學(台湾) 

2019年   Memento Mori 昨日、今日、明日、 / アズマテイプロジェクト



1990年   東京生まれ

2015年 東京造形大学卒業


​2017年 In Pursuit of Beauty / 3331 Arts Chiyoda / 東京

2018年 Talking / Spiral(SICF) / 東京



1981年  神奈川生まれ

2006年  武蔵野美術大学造形学部彫刻学科卒業


2017年 Flax art studio / ベルファスト(北アイルランド)


2014年 song for a pigeon - スイス日本国交150周年記念展示 /スイス大使館、プラザギャラリー / 東京

2017年 solo exhibition / Golden Thread Gallery / ベルファスト/北アイルランド

2018年 折れた肋骨が自然に治る / Art Center Ongoing / 東京

2018年 問題ない、楽しめばいいさ / GALLERYSIDE2 / 東京


 Photo by Ryuhei Kaiho

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