biscuit gallery, which opened in March 2021, celebrated its first anniversary in March 2022. To commemorate this milestone, we published the “biscuit gallery 1st anniversary book.”
【biscuit gallery 1st anniversary book Overview】
This book compiles photographs of 14 exhibitions held over the year, along with texts prepared for each exhibition and newly written texts by Shinzo Okuoka, offering a glimpse into the contemporary art scene of 2021.
Featured Exhibitions:
biscuit gallery Opening Exhibition I
biscuit gallery Opening Exhibition II
五十嵐大地 “gjallarhorn”
ミノリ “Little Voice”
やましたあつこ “Waltz of Petals”
水戸部七絵 “Rock is Dead”
三浦光雅 × 井上七海 “perspective”
多田恋一朗 × 那須佐和子 “b⇔d”
永田優美 “positive”
宮林妃奈子 × 田中幹希 × 田中綾子 “three”
小林椋 × 山本直輝 “Strange Perforated Surface”
東慎也 × 飯田美穂 “Welcome to the Painting Jungle”
Buyable! Collector Exhibition “Collectors’ Collective Vol.5”
biscuit gallery group exhibition “re”
The “biscuit gallery 1st anniversary book” will be sold simultaneously with biscuit gallery’s first anniversary exhibition “grid” (March 3–27, 2022).
For details on the “grid” exhibition, please see here.
In addition to sales at biscuit gallery, you can also purchase from the EC site “OIL by Bijutsu Techo” provided by Bijutsu Techo.
Below are comments from participating artists (in exhibition order)
五十嵐大地 (“biscuit gallery Opening Exhibition I”, “gjallarhorn”)
“Congratulations on the opening of the first anniversary exhibition. biscuit gallery has been of great help to me, including hosting my solo exhibition last year. I find Shibuya to be a fascinating city with both a rich history and rapidly changing trends. Furthermore, there is increasing attention paid to art in recent years, and I am delighted to have the opportunity to present my work in such a place. I sincerely wish for continued growth and development.”
トモトシ (“biscuit gallery Opening Exhibition I”)
“I was honored to participate in biscuit gallery’s first exhibition. I will continue working hard so that I might be invited again!”
中澤ふくみ (“biscuit gallery Opening Exhibition I”)
“I love the feeling of moving between rooms in this gallery. When I went to see works on the first and third floors in the group exhibition I participated in, it felt like I was looking into the apartment of a neighbor next door, which made my heart race. I would definitely like to exhibit here again.”
石井海音 (“biscuit gallery Opening Exhibition II”)
“Thank you for featuring my work. In ‘opening exhibition II,’ it was very stimulating to work alongside contemporary artists from setup onwards.”
服部芽生 (“biscuit gallery Opening Exhibition II”)
“Since it was my first exhibition at a domestic gallery, Representative Kobayashi listened to me with great care and understanding. Through the group exhibition, not only was I able to show my work to many people, but conversations with artists and collectors from various genres became valuable experiences. And the gallery, which incorporates natural light, was a wonderful space where the appearance of the works changes with the seasons, weather, and time of day. For me, it became a special exhibition that remained in my heart.”
ミノリ (“Little Voice”)
“There is no protagonist here. No significant cinematic narrative. Small voices scatter here and there, each bearing a little light. Should they be swallowed by large entities like language, perhaps this light would be lost. These are fragments of something fleeting and fragile.”
やましたあつこ (“Waltz of Petals”)
“I was very happy to have the opportunity to exhibit alongside ミノリ, whom I’ve known since university.”
井上七海 (三浦光雅 × 井上七海 “perspective”)
“Both 三浦光雅 and I delegate work decisions to something else. However, our approaches, though similar, come from completely different angles, and this exhibition attempted to examine those differences. By exhibiting and gaining insights into those differences, I felt it became an opportunity for growth as an artist.”
多田恋一朗 (多田恋一朗 × 那須佐和子 “b⇔d”)
“I am truly grateful for the opportunity to present not only flat works but also installation pieces that are difficult to sell in my two-person exhibition with 那須佐和子. Thanks to this, we were able to create a wonderful exhibition. I sincerely wish for the continued development of biscuit gallery.”
宮林妃奈子 (“three”)
“Thank you for everything during the three exhibition. Happy first anniversary to biscuit gallery!”
田中幹希 (“three”)
“The contrast between works with noise removed and works with hand traces; placing things with different approaches in the same space reveals their differences.”
田中綾子 (“three”)
“Exhibiting with two artists working on completely different themes was stimulating for me. Through their themes of ‘anonymous’ ‘memory’ and the ‘necessity’ of forgetting, I had the opportunity to think more deeply about ‘memory.'”
山本直輝 (“Strange Perforated Surface”)
“I first saw 小林椋’s work at an exhibition held in 2018 titled ‘Purplism in Purple Town,’ staged in Sagamihara. I also participated in that exhibition and exchanged a few words with him. Then, two years later, when planning this exhibition, I brought up his name, and our two-person exhibition came to fruition. 小林椋’s work may appear sleek and cutting-edge at first glance, but it is wrapped in a certain sadness that somehow doesn’t quite polish away. It also feels somewhat aloof and inorganic, as if it simply exists there. My work shares similar qualities and tendencies, so I feel a sense of kinship with his work. Though inorganic and tinged with sadness, his works are not empty. I hope you will appreciate an exhibition of such works.”
飯田美穂 (“Welcome to the Painting Jungle”)
“‘A trembling signal dives into the world of painting, or freely switches between seeing and not seeing.’
There are many things in my studio. Artworks, tools, and more. Yet the moment I turn off the lights in the evening and leave, they all disappear from view. Without light, I can only confirm their existence through touch, smell, and atmosphere.
I always think about what happens when something is missing. What occupies my thoughts most is, ‘What if I could no longer see?’ Looking at great predecessors, Goya lost his hearing, and Monet lost his sight. What kind of world did they see upon losing their senses? Sometimes, when I deliberately close my eyes, the weight of my eyelids and faint light distance themselves from reality.
Information obtained through this body can take form, whether factual or fake. Information itself is a malleable virtual image, endlessly changeable (like when diving into water—undulating, elusive). My brain catches and outputs these. During the output process, information undergoes mostly automatic conversion, passes through my body, and transforms into paint. At the speed of flowing stars and water. In such situations, my existence is treated merely as a trigger. Things people try to see, things they wish to see but cannot. And how to see, how not to see. Perhaps I am establishing a realm of such judgment through my own output, attempting to pick up something that cannot be gathered alone.
With this understanding, I consider collaboration with 東慎也’s work, which possesses tactile materiality, while keeping the body in mind—including the eyes—and present what I am capable of now.”
岩岡純子 (“Collectors’ Collective Vol.5”)
“It was wonderful to learn of the passion each collector held for their collections through their heartfelt writings. I was also happy to participate in the exhibition.”
黒坂祐 (“Collectors’ Collective Vol.5”)
“Through this new endeavor, I was able to encounter people and artworks I might never have met otherwise. I am very much looking forward to what kind of world will be created from here on.”
星山耕太郎 (“Collectors’ Collective Vol.5”)
“I participated at the invitation of gutsurohi. Witnessing artworks created as the artist’s world view living within a collector’s world view after time had passed brought me joy. Thank you.”
渡辺豊 (“Collectors’ Collective Vol.5”)
“I thought that once a work was collected, it would be difficult to display it again in the same exhibition space without something like a museum exhibition. However, this exhibition was a precious opportunity to display new works alongside other artists. In particular, the work collected by gutsurohi was one I held special affection for, so reuniting with it after several years was joyful.
While constantly pursuing improvements to works—exploring composition, color, and themes—displaying past works alongside new ones allowed me to reconfirm the core of my own practice. Seeing both old and new works by other artists selected by certain criteria provided many insights, and I was able to be seen by many collectors.”
大庭孝文 (biscuit gallery group exhibition “re”)
“I submitted a work from my ongoing series ‘Correct Landscape’ to ‘re’. This work is painted based on landscape as seen from my perspective—subjective and concrete. However, I have added numerous revisions and omissions to the landscape information, resulting in a abstract appearance overall.
I am interested in the process of memory (recollection and forgetting) and incorporate the nature of these processes (convenient falsification and beautification) into my painting practice. My interest in the mechanisms of memory originated from my grandmother’s Alzheimer’s disease. Since there is a possibility of genetic inheritance, I maintain interest in this field, including prevention for myself.
Just as different people hold different perspectives on a single event, ‘Correct Landscape’ represents what is correct for me.”
菊地匠 (biscuit gallery group exhibition “re”)
“My work is influenced by the concept of Off-modernism. I also place great importance on the process of wiping off paint (wipe off). Playing on the two ‘offs,’ I named my body of work ‘Off-Painting.’ Since then, far from paradise, I have been painting slightly discolored pictures.”
鈴木康太 (biscuit gallery group exhibition “re”)
“Every art university in Japan has a Japanese painting department, yet few people—even among the general public or students majoring in Japanese painting—can clearly convey the concept of ‘Japanese painting.’ It is often confused with the art that originally existed in Japan.
I believe that the complex background and terminology have created a divide between Japanese painting and contemporary art scenes.
I think it was significant for the Japanese art scene to have received such a curatorial proposal. Being able to view works by artists sharing common roots yet working independently in one place was an exhibition experience unlike any other for me.”
出口雄樹 (biscuit gallery group exhibition “re”)
“I participated in agreement with the exhibition concept. In the roundtable discussion, various opinions were expressed regarding the gap between ‘Japanese painting’ and ‘contemporary art,’ but we did not reach a common understanding; I sense the answer was entrusted to each artist’s future activities. Through the exhibition, I have re-membered the foundations of Japanese painting and, re-considering on my own terms, I intend to continue making work as a twenty-first-century artist, reacting sensitively while being alive.”
中原亜梨沙 (biscuit gallery group exhibition “re”)
“The work I submitted, ‘Nobody knows,’ is a reconstruction of my own work painted several years ago. During the pandemic, when it became difficult to find motifs and gather my thoughts while taking walks as before, I began a series where I would use my previous works as motifs to create new paintings. The reason I have simplified the composition and three-dimensionality compared to my earlier works is also because I have a strong desire not to seek the completion of a work solely in the abundance of pixels on the surface, but to approach it from a different direction. It was a challenging piece for me, but combined with the meaning of the group exhibition title ‘re,’ I was glad to have created it at this time. Thank you.”
biscuit gallery 1st anniversary book
Contents: 2021 Exhibition Archives, Various Texts, and More
Featured Artists: 五十嵐大地, 岡田佑里奈, 清川漠, トモトシ, 中澤ふくみ, 森井沙季, 石井海音, 木村翔馬, 服部芽生, 御村紗也, 山田康平, 山本捷平, ミノリ, やましたあつこ, 水戸部七絵, 三浦光雅, 井上七海, 多田恋一朗, 永田優美, 宮林妃奈子, 田中幹希, 田中綾子, 小林椋, 山本直輝, 東慎也, 飯田美穂, 青木美紅, 網代幸介, 岩岡純子, 城月, 黒坂祐, 庄司朝美, 田中一太, 花沢忍, 平野真美, Funny Dress-up Lab, 星山耕太郎, 松田ハル, 三瓶玲奈, 渡辺豊, 大庭孝文, 菊地匠, 古家野雄紀, 鈴木康太, タニグチカナコ, 出口雄樹, 中原亜梨沙 ※Not in any particular order
Pages: 320p
Photography: 松尾宇人
Design: 八木幣二郎
Publisher: biscuit Inc.
Publication Date: March 1, 2022
Price: 2,500 yen (excluding tax)
Pre-order Bonus: biscuit gallery Sticker ※Either white or black will be included. Limited quantity available.
Notes: Eligible for raffle preference in biscuit gallery’s first anniversary exhibition “grid”
⚡ AI Translation
2021년 3월에 오픈한 biscuit gallery. 2022년 3월에 개관 1주년을 맞았습니다. 1주년을 기념하여 「biscuit gallery 1st anniversary book」을 발행했습니다.
【biscuit gallery 1st anniversary book 개요】
1년간 개최된 14개의 전시회를 사진으로 정리하고, 각 전시회 당시에 준비된 텍스트와 오쿠오카 신조 씨의 신작 텍스트 등을 수록했습니다.
2021년의 현대미술 씬을 접할 수 있는 1권입니다.
수록 전시회:
biscuit gallery Opening Exhibition I
biscuit gallery Opening Exhibition II
五十嵐大地「gjallarhorn」
ミノリ「リトル・ヴォイス」
やましたあつこ「花びらのワルツ」
水戸部七絵「Rock is Dead」
三浦光雅×井上七海 「perspective」
多⽥恋⼀朗×那須佐和⼦「ｂ⇔ｄ」
永田優美「positive」
宮林妃奈子×田中幹希×田中綾子「three」
小林椋×山本直輝「妙な穴面」
東慎也×飯田美穂「Welcome to the Painting Jungle」
구매 가능! 컬렉터 전「Collectors’ Collective Vol.5」
biscuit gallery group exhibition 「re」
이 「biscuit gallery 1st anniversary book」은 2022년 3월 3일(목)~27일(일)에 개최되는 biscuit gallery 1주년 기념전 「grid」의 개최와 동시에 판매합니다.
五十嵐大地(「biscuit gallery Opening Exhibition I」, 「gjallarhorn」)
「이번에는 1주년 기념 전시회 개최, 정말 축하합니다. biscuit gallery 님께서는 지난해 개인전 개최 등으로 많은 도움을 주셨습니다. 시부야는 두터운 역사와 유행의 변화가 심한 양면성을 가진, 매우 흥미로운 도시라고 생각합니다. 더불어 최근에는 아트에 대한 관심도 증가하고 있어서, 그러한 장소에서의 발표 기회를 주셨다는 것이 매우 기쁩니다. 앞으로도 더욱 발전하기를 진심으로 기원합니다.」
トモトシ(「biscuit gallery Opening Exhibition I」)
「biscuit gallery의 첫 번째 전시회에 참여할 수 있어서 영광입니다. 다시 불러주셨으면 좋겠어요!」
中澤ふくみ(「biscuit gallery Opening Exhibition I」)
「저는 이 갤러리의 방을 이동하는 사이가 좋습니다. 제가 참여한 단체전에서 1층과 3층의 작품을 보러 갔을 때, 아파트 옆 사람의 방을 본 기분이 들어 설렜습니다. 꼭 다시 전시하고 싶습니다.」
石井海音(「biscuit gallery Opening Exhibition II」)
「이번에 작품을 게재해주셔서 감사합니다. 「opening exhibition II」에서는 동시대에 활약하는 아티스트들과 설치부터 함께할 수 있어서 정말 좋은 자극이 되었습니다.」
服部芽生(「biscuit gallery Opening Exhibition II」)
「국내 갤러리에서의 전시가 처음이었던 저에게 대표인 코바야시 님이 진심으로 말씀을 들어주셨습니다. 단체전을 통해 많은 사람들에게 작품을 보여드릴 수 있었던 것은 물론, 다양한 장르의 작가님들이나 컬렉터님들과 대화할 수 있었던 것도 귀중한 경험이 되었습니다. 그리고 자연광을 취입한 갤러리는 계절과 날씨, 시간대에 따라 작품의 표정이 바뀌는 멋진 공간이었습니다. 저에게는 마음에 남는 특별한 전시가 되었습니다.」
ミノリ(「リトル・ヴォイス」)
「여기에는 주인공이 없습니다. 영화 같은 중대한 이야기도 없습니다. 작은 목소리가 여기저기 흩어져 있고, 약간의 빛을 띠고 있습니다. 예를 들어 말 같은 큰 존재에 삼켜지면 이 빛은 잃어버릴지도 모릅니다. 그러한 덧없고 약한 것들의 단편입니다.」
やましたあつこ(「花びらのワルツ」)
「대학 시절부터 알고 있던 미노리 님과 전시할 수 있어서 정말 기쁜 기회였습니다.」
井上七海(三浦光雅×井上七海 「perspective」)
「저와 미우라 미츠마사의 제작 방법은 서로 어떤 다른 것에 작업의 결정을 맡깁니다. 하지만 그 접근 방식은 비슷하면서도 완전히 다른 각도에서이며, 그 차이에 대해 고찰하려고 한 전시입니다. 전시를 통해 그 차이에 대해 깨달음을 얻고, 작가 자신이 성장하는 기회가 되었다고 느낍니다.」
多⽥恋⼀朗(多⽥恋⼀朗×那須佐和⼦「ｂ⇔ｄ」)
「나스 사와코 님과의 2인전 당시에는 평면 작품은 물론이고 판매하기 어려운 인스톨레이션 작품까지 발표하게 해주셔서 정말 감사했습니다. 덕분에 좋은 전시를 만들 수 있었습니다. 비스켓 갤러리 님의 더욱 발전을 기원합니다.」
宮林妃奈子(「three」)
「three전에서 도움을 주셔서 감사합니다. biscuit gallery 1주년 축하드립니다.」
田中幹希(「three」)
「노이즈를 제거한 작품과 손의 흔적이 개입하는 작품의 대비, 접근 방식이 다른 것들을 같은 공간에 배치함으로써 차이를 드러냅니다.」
田中綾子(「three」)
「완전히 다른 주제를 가지고 제작하는 두 분과의 전시는 저에게 자극적이었습니다. 「익명」의 「기억」, 잊는 것의 「필연성」이란 무엇인가, 두 분의 주제를 통해 더욱더 「기억」에 대해 생각할 기회가 되었습니다.」
山本直輝(「妙な穴面」)
「코바야시 무쿠의 작품을 처음 본 것은 2018년에 사가미하라를 무대로 개최된 전시회 「Purple Town에서 Purple-ism」입니다. 저도 이 전시회에 참여했고, 그와 조금 말을 나누었습니다. 그리고 2년 후, 이번 전시회를 기획할 때 제가 그의 이름을 제시하여 두 사람의 전시회가 실현되었습니다. 코바야시 무쿠의 작품은 언뜻 보기에 날카롭고 첨단처럼 보이지만, 어딘가 세련되지 못한 슬픔 같은 것을 두르고 있습니다. 또한 어딘가 낯설고 무기질적이며, 그곳에 우뚝 서 있다는 인상을 받습니다. 제 작품도 비슷한 성질과 경향을 가지고 있어서, 저는 그의 작품에 대해 친근감을 느낍니다. 무기질적이고 슬픔을 풍기지만 공허하지는 않은, 그러한 작품들로 이루어진 전시회를 이번 기회에 감상해주셨으면 좋겠습니다.」
飯田美穂(「Welcome to the Painting Jungle」)
「「떨리는 신호는 그림의 세계에 다이브하거나, 혹은 보이는 것/보이지 않는 것을 자유롭게 스위칭하는 것」
제 제작 현장에는 많은 것들이 있습니다. 작품도, 도구도.
하지만 그것들은 밤 귀가할 때, 스튜디오의 불을 끈 순간 보이지 않게 됩니다.
빛이 없다면, 만지거나 냄새나 기척으로만 그 존재를 확인할 수 있습니다.
항상 무언가가 결여되었을 때를 생각합니다.
가장 많이 생각하는 것은 「만약 눈이 보이지 않으면」입니다.
위대한 선배들을 예로 들면, 고야는 청각을, 모네는 시각을 잃었습니다. 그들이 감각을 잃음으로써 본 세계는 어떠했을까요. 때때로 일부러 눈을 감으면, 눈꺼풀의 무게와 희미한 빛이 현실을 밀어냅니다.
이 신체를 통해 얻은 정보는 사실이든 페이크든 형태를 가질 수 있습니다.
정보 그 자체는 변화무쌍한 가소성 있는 가상 이미지입니다(물속으로 뛰어들었을 때처럼, 흔들리고 있어서 잡을 수 없는 것).제 뇌는 그것들을 캐치해서 아웃풋합니다. 아웃풋 과정에서 정보는 거의 자동으로 변환되고, 제 신체를 지나 그림 물감으로 바뀝니다. 별이나 물이 흐르는 속도로. 그러한 상황에서 저라는 존재는 단순한 트리거로 취급됩니다. 사람이 보려고 생각해서 보는 것, 보고 싶어도 보이지 않는 것. 또한 어떻게 보는가, 보지 않는가. 그러한 판단의 장을, 자신의 아웃풋으로 세우고, 혼자서는 건져낼 수 없는 무언가를 건져내려고 하는 것일지도 모릅니다.
그렇게 인식하면서, 촉감적인 물질성을 가진 히가시 신야 님의 작품과의 협조를 생각하고, 눈을 포함한 신체에도 마음을 기울이면서, 지금의 저가 할 수 있는 것을 제시해봅니다.」
岩岡純子(「Collectors’ Collective Vol.5」)
「컬렉터분들의 뜨거운 글을 통해 세 분의 컬렉션에 대한 열정이 다양함을 알 수 있어서 좋았습니다. 또한 전시에 참여할 수 있어서 기뻤습니다.」
黒坂祐(「Collectors’ Collective Vol.5」)
「이 새로운 시도로 인해 지금까지 만날 수 없었던 사람과 작품에 접할 수 있었습니다. 앞으로 어떤 세계를 만들어갈지 정말 기대되고 있습니다.」
星山耕太郎(「Collectors’ Collective Vol.5」)
「gutsurohi님의 초대로 참여하게 되었습니다. 작가의 세계관으로 표현된 작품이 시간을 거쳐 컬렉터님의 세계관 속에서 살아가고
biscuit gallery 