【biscuit gallery Curator Projects】vol.1〜Curated by Riho Matsue – Duo exhibition Satoshi Kikuya・Kasumi Maeda

biscuit gallery is pleased to announce our first Curatorial Project , a project to support the activities of young curators, with a duo exhibition by Satoshi Kikuya and Kasumi Maeda, “notes of shadows,” curated by Riho Matsue. The exhibition will be held using 3 floors of the gallery from September 8, 2022.

biscuit gallery has been actively organizing exhibitions featuring young artists. Through this “biscuit gallery Curator Projects,” we will support the realization of free and experimental exhibitions by featuring young curators, and will promote cooperation in organizing exhibitions.

The first curator we feature in this project is Riho Matsue, a master’s degree student in the Department of Art Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts.

松江李穂 Riho Matsue

  A duo exhibition by Satoshi Kikuya and Kasumi Maeda, “notes of shadows,” will be held at biscuit gallery under the curation by me, Riho Matsue .
  “Shadows” have been literally lying beside us since ancient times, stimulating people’s imagination. For example, according to a Greek legend recorded in the “Natural History” of Pliny the Elder, a Corinthian maiden traced the outline of her departed lover’s shadow in the light of a lamp and left it on a wall, which is said to be the origin of painting. Shadows have also appeared in many stories as an alter ego, like a doppelgänger. Dark shadows, which are the counterpart of light, are often seen as psychologically negative. In this exhibition, however, we would like to get closer to every substantial being, pick up the nature of shadows that appear in different dimensions, and superimpose them on the stance and method of expression of each artist in their creation.
  For example, Kikuya, who has created surrealistic two-dimensional and animation works, which are a mixture of Pop Art, modern Western-style paintings and illustrations, using daily documental pictures and movies left on his iPhone, locates his work in the shadow of the history of painting, and simultaneously  accepts pictorial expression frankly as a “shadow” of the real world, an image without record or substance. Maeda, on the other hand, has often expressed a sense of inadequacy and dissatisfaction with her body by using mirrors and projectors. Her method of projecting her own body onto a flat surface and transforming its contours and traces of its existence back into a three-dimensional work with substance is one of her attempts to accept the gaps in the body and to find a way to coexist with a sense of inadequacy.
  To note shadows is to remember that something, someone, or ourselves was there. In today’s world, where everything passes so quickly, the attempts of these two artists to find their own place in relation to the world by looking at the shadows at their feet will also stir our imagination like the shadows.

Riho Matsue, curator of “notes of shadows” 

【biscuit gallery Curator Projects】
A project to support activities of young curators in organizing art exhibitions.

This is an ongoing project to support all aspects of exhibition such as curators, curation cost for artists, exhibition cost, venue, management, and promotion/publicity.
For inquiries, please contact:

【Exhibition information】

Duo exhibition Satoshi Kikuya・Kasumi Maeda
“notes of shadows”

September 8th, Thu ―25th, Sun 2022
biscuit gallery (biscuit bldg. 1F〜3F, 1-28-8 Shoto, Shibuya-ku, Tokyo, JAPAN, 150-0046)
Project plan:Riho Matsue

*Closing party is scheduled on September 25th, 15:00-18:00

〈Curator Biography〉
Riho Matsue
1994 Born in Aomori
2019 Graduated from Kanazawa College of Art, Department of Fine Arts, Art Science
2020- Enrolled in the Master’s Program in the Department of Art Studies and Curatorial Practices, Graduate School of Global Arts, Tokyo University of the Arts.
2021 Temporary appointed curator at The Museum of Modern Art, Saitama

〈Artist Biography〉
Satoshi Kikuya
1989 Born in Wakkanai City, Hokkaido
2011 Graduated from Kanazawa College of Art, Department of Fine Arts, Oil Painting Course
2013 Completed Master’s program in Oil Painting, Department of Painting, Kanazawa College of Art

Major solo exhibition in recent years
2018 “Play a role” Sojiro (Itami, Hyogo)
2021 “Beautiful Animals” IN SITU (Nagoya, Aichi)
2022 “Moving Picture” Ishiguro Building Basement (Kanazawa, Ishikawa)

Major group exhibitions in recent years
2017 “VOCA2017” The Ueno Royal Museum, Ueno, Tokyo
2019 “The Optic nerve and The Devices” CRISPY EGG Gallery, Fuchinobe, Kanagawa
2019 “3331 Art Fair 2019 -Various Collectors’ Prizes-” 3331 Arts Chiyoda (Sotokanda, Tokyo)
2020 “Genron Chaos*Lounge New Art School 5th Final Selection Results Exhibition “Playroom”” Genron Cafe (Gotanda, Tokyo)

《NOCTURNAL ANIMAL》(2022年)、映像(8分1秒)

《M市の散策者》2019年、 キャンバスに油彩、H1920×W1620mm

Kasumi Maeda
1991 Born in Tokyo, Japan
2017 Graduated from Musashino Art University, Department of Sculpture, Faculty of Art and Design
2019 Completed Master’s Course in Sculpture, Department of Fine Arts, Graduate School of Art and Design, Musashino Art University

Major solo exhibition in recent years
2017 “Short Hands” (“I’d rather compare it with”, a series of solo exhibitions by Haruki Ohno, Kasumi Maeda, and Kazuki Oishi), mime Tokyo Zokei University of Fine Arts and Music
(a series of solo exhibitions by Yosei Ohno, Haruhami Maeda, and Kazutaka Oishi), mime Tokyo Zokei University

Major group exhibition in recent years
2019 “D.A.AURA Residency Open Studio”, D.A.Aura (Gwangju, Korea)
WALLA Opening Exhibition”, WALLA, Tokyo
Denchu Strut: Taking a Star,” Kodaira City Kodaira Hirakushi Denchu Art Museum, Tokyo, Japan
“Betsujin”, Geishuku 103, Ishikawa
Gunma Biennale for Young Artists 2019″ The Museum of Modern Art, Gunma
2020 “Book of Kirinuki” Zui-Un-An (Kyoto)
WALLAby/Warabi” Ginza Tsutaya, Tokyo
2021 “Possessing Manners”, Koganei Art Spot Chateau 2F (Tokyo, Japan)
Polyphonic Process + Pressure” Hashikko, Tokyo
2022 “Putting down the soft cane”, WALLA (Tokyo, Japan)

《遠い体》2019年、映像(9分12秒) 撮影:comuramai

《mark on water》2021年、ヴィデオインスタレーション/ドローイング 写真:柳場大


Text by Shu Okamoto


Amane Ishii solo exhibition「warp」/Eri Fukami solo exhibition「fictional reality.」

Exhibition information:



In 2019, I began putting together a research project titled “MIMIC.” In this project, I, together with Yohei Kumano, the main member, am exploring methodologies for description of artists while leaving their individual complexity intact as far as possible, through research of artists in our midst and archives.

Partly because I took up Amane Ishii in the first installment, for this installment, I decided to contribute a text for the solo exhibitions of Ishii and Eri Fukami that are going to be held simultaneously.

While I am well aware that this foreword may be superfluous, I would nevertheless like to set forth my basic perspective. I believe this approach will facilitate understanding of my later comments.

I like the individual skills and techniques of artists. I am keenly interested in thinking about the yardstick distinct to the particular artist and the peculiar “obscurity” they can have precisely because of who they are.

For example, in painted works, the ability to make sharp, clear-cut lines is proof of a high technical capability. However, not all artists aspire to make such lines. Depending on the case, a weak, wavering line may be absolutely necessary for the artist in question.

It may not be just any kind of weakness; it may be with this weak line that the artist moves toward individuality. This is a matter of technical “quality” arising on a level different from that of newness or public appraisal. In addition, first and foremost, this peculiar “obscurity” is definitely not self-complacency, even if it appears to be stereotyped or immature on the surface.

But it is also true that such individual techniques and outlooks on value may not be amenable to translation into the language of others. Alternatively, there may be some sort of need to intentionally avoid any desire to be understood by others.

The wish to examine methodologies for describing the individuality of artists premised on such “obscurity,” as opposed to any emphasized individuality or a constructivist context, is at the foundation of my awareness on the issue.

It is from the perspective of the aforementioned interest that I view the works of Ishii and Fukami in this text.

At the same time, because both of these artists are active on an ongoing basis, I want to avoid drawing any definitive lines in regard to them. In my remarks, I will therefore refrain from any judgments to a certain extent.

biscuit gallery is holding not a two-person show but two simultaneous solo exhibitions. I will consequently write about each separately instead of straining to make connections between their works. Ishii’s works are shown on the first and second floors, and Fukami’s, on the third floor. I will therefore consider Ishii’s works first.

Warp, a solo exhibition of works by Amane Ishii

For this exhibition, Ishii said she was going to show portraits. When I went to her studio to take a look, there was a huge canvas of about size 100 containing several portraits in her usual style and girls gazing at them. On the periphery of this work were small portraits that looked as if they had been cut out of larger ones.

So the portraits within the painting were apparently going to be shown in the actual display space, I supposed. I figured this was a natural development for Ishii, because she had repeatedly put motifs appearing in her paintings in paintings within paintings and in other works.

It is difficult to draw an overall picture of Ishii’s works, because their elements are tangled up with each other in the manner of a diffused reflection. But if I were to take one element of her art to ponder in connection with this exhibition, signs and symbols*1 might be a good choice.

Peter Doig, for example, puts boats and grids in different works while changing the style of rendering, size, and motifs applied. By so doing, the images of boats and grids are turned into signs by his own hands. Boats become symbols of Doig.

Similarly, in Ishii’s works as well, the images of girls’ eyes, pointing fingers, goblins, centaurs, and tulips are repeated in various paintings. There is nothing odd about extensive use of favorite icons, but her case is one of deliberate signing through the medium of motifs with a highly referential dimension, such as pictures within pictures and mirrors.

Signs are also deeply intertwined with the change in Ishii’s production attitude in recent years. In Kagami 2 (2019), for example, the tulip takes the form of a child’s scribbling. Just as most people understand that a drawing of a circle with radiant lines around it depicts the sun, the sign in this case has an implication close to those of signposts or ideograms. In Bani kakutasu no nikko fusoku (2021) shown at her solo exhibition in October 2021, however, the plant (albeit not a tulip) is executed in a manner that is even more true to nature than before. In connection with this change, I recalled her comments in an interview in June 2021.

“In the process of using signs and making things flat, you are liable to end up skipping something that you should absolutely do. Things like that could be done later on; only a few years have passed since I started painting. (…) Signs have the aspect of running away, and I think I should be cautious about them.

– From the MIMIC interview with Amane Ishii (omission by the author)

The topic here was whether or not to depict the shadow falling on the painting frame. For Ishii at present, to disregard the appearance of the actual plant and paint on the strength of its atmosphere would probably be a kind of “loafing.” Her comments above suggest that she would not be averse to such abbreviation once she becomes more technically proficient, but she has just begun painting and wants to be better able to paint all sorts of things now.

I really understand this position of hers, and believe that it is having a good influence on her paintings. Furthermore, I think it shows a close linkage with the technical yardstick in her works and the disparity of signs/symbols. Here, I would like to draw an additional line.

Alex Katz came to the fore in the 1950s and is often categorized as a Pop Art artist because of his portraits in the style of illustrations. In an interview with Robert Storr, however, Katz spoke of his interest in producing excellent paintings and reminisced about heading in a direction completely different from Pop Art. He explained this difference from Pop Art from two orientations.

First, Katz cited the difference between signs and symbols.
A sign is like a stop sign, for example, that means “stop!” It has no meaning beyond that.
The sign for the sky is blue. That for grass is green. In Katz’s view, the use of such images clear to anyone, i.e., signs, was characteristic of Pop Art. He said that he, in contrast, was interested in something a little more complex.
That something was symbols. Symbols are not confined to a single meaning, and hover in the background of the portraits drawn by Katz. His first thesis was that he handled symbols, which were much more variable than signs.

Next, Katz cited technical standards. In this connection, he uses the playful expression “big technique,” which is a coinage of his own. The following is a direct quote from the interview.

“The painting performance is something I got interested in. Pollock was pretty good, but when I really got how well Picasso could paint once he got to Girl Before a Mirror (1932). Actually you don’t get a big technique until you’re around 35 or 40, usually, if you’re any good. Picasso’s early paintings were technically, for me, pretty wobbly. Even his great Cubist paintings don’t have a big technique. When he gets into his fifties—when he does Girl Before a Mirror—that’s a big technique. For me, it was just awesome, and that’s what I wanted to do.

“Matisse has a big technique. It took me three or four years to learn how to appreciate paintings. I was in art school, and the teacher said, ‘Take a look at Matisse.’ Well, I fainted; I couldn’t believe anyone could paint that well! That was a big technique.

“So, that’s what my mind was set on—that and the small technique things. They function in terms of invention and they function in terms of fashion and style. There are some terrific Pop paintings, but I had my eye set on something else.”
– From Carter Ratcliffe, Robert Storr, Iwona Blazwick, Alex Katz; Phaidon Press, 2007, pp. 14 – 15.

In a prior interview, Ishii said that she wanted to “throw” her paintings far. This way of expressing her desire to see her paintings remain far into the future strikes me as in keeping with her sensibility.

In it, one catches a subjective nuance of projecting works toward a tense other than the present. The paintings are being cast like dice into places differing from the here and now.

The works ordinarily seen at museums or other sites have been thrown out into numerous times while still remaining in the present. To be sure, people’s views of paintings change, and paintings themselves age. In principle, nevertheless, paintings live for a longer time than people. Transcending time and place, we encounter subjects from the distant past in them.

Besides passage back and forth through the dimension of painting space, the title of Ishii’s solo exhibition conveys her private yearning and wishes for paintings that have withstood the temporal and spatial deformation accompanying such passage.

The word “symbol” derives from a Greek word meaning “to throw together.”*2

Use of signs in the sense that Katz ascribed to Pop Art is suited to a contemporary (time shared together) age in respect of having a provisional universality and coexisting with the consumption of the times. It may be that symbols ring out the possibilities held by signs and cast them into a different phase.

I am certain that in paintings which will be “thrown far” in Ishii’s words dwell the power of such symbols and the skill called “big technique” by Katz. Moreover, her own paintings may be moving in that direction.

Lastly, I must mention that Ishii’s works always contain a sign that is not visible to the eye: a look. Just as Doig turns boats into his own signs, Ishii makes signs out of the motifs of closed eyes and empty eyes. These eyes are also identified by the evanescence and warmth distinctive to her paintings.

The looks transformed into signs by Ishii’s hands wander around inside her paintings, in mirrors, paintings in paintings, windows, and sometimes body movements, gestures, and the lines of pastry bags. The girlish eyes (signs) are symbols throwing the existence of such gazing back at the viewer.

Fictional reality.,  a solo exhibition of works by Eri Fukami

Contrary to the impression one may initially receive from her paintings, I doubt I know of any other artist who expresses real experiences as frankly as Eri Fukami.

For example, when people say they were so surprised that they jumped into the air, they didn’t actually jump into the air. When painting such a scene, however, to depict a person jumping into the air may very well match the reality of the actual feeling that gripped the person.

Fukami attempts to make stories out of such intuitive realities, with almost no embellishment.

In her paintings, there may be several Fukamis, and her own figure may be projected on reminiscences of her grandmother. This is because such depictions match her inner feelings as “reality.”

But real problems are not the whole story of Fukami’s works; many of the images appearing in them call to mind landscapes that are distant memories, dreams, and formative experiences preserved in the subconscious.

The nude figures tie mental images of Adam and Eve and other subjects related to the emergence of human beings together with intimate space represented by family and “you and I” (see Tsuioku (2022), Tsumugu seimei (2021), and Watashi hitori dake  (2021)).

Gazing at the fictitious world created by Fukami in this way, we are virtually assailed by the sensation that natural images (sources of self) and primeval images (sources of the world)  are connected at one place. Fukami states that to die is to return. To view life and death, and the self and others, within a cyclic process merging them into one is to participate in the outlook on the world expressed in Fukami’s paintings.

Were you and I originally one? Did we come from some single place?

Fukami’s works are a topos where this sort of awareness of the world (reality) and actual experience (reality) are encountered as a unit.

Precisely because plural times, plural places, and plural world lines dwell in a single painting as things that have been lived, Fukami’s paintings look chaotic.

To put the scene born in the brain down on the canvas in a form that is as alive as possible requires the completion of works at a speed that is as close as possible to that of synapse transmission. Fukami finished painting Tsuki ga totemo kirei na hi  (2002) in about two hours.

Inevitably, the canvas manifests vivid coloration and raw brush strokes that emphasize subjectivity. The depiction of human motifs in a semiotic manner may derive less from a formalistic interest and more from a degree of resolution that facilitates the capture of bodily forms.

In respect of these expressionistic attributes, Fukami bears a certain resemblance to Shinya Azuma and Mie Iida, who belong to the same generation of artists. Azuma, however, uses representations that are more ironic and have a sham villainy, and Iida adopts a self-referential attitude toward self-referencing. They give the impression of turning back to the technique of painting after viewing the cultural framework from a meta-perspective.

In the case of Fukami’s works, the particularity about cultural regularity is not that strong. Although this is an odd way to put it, I would say she skips systemic issues and handles mythic ones.

Nevertheless, with a technique this close to sketching, Fukami’s paintings would seem to differ little from drawings. When I asked her about this, she said that there was practically no difference and that, on the contrary, drawings would have a higher degree of completion and “facilitate understanding of the linkage between her own memories and reality.” If that’s the case, why make oil paintings? Her response to this question could be summarized as follows.

“If I did drawings with crayons, which I have used since childhood and feel perfectly at home with, I could produce works with stable quality every time. With oil paintings, in contrast, the results change along with physicality. In the real world, one-time events happen every day. We have no choice but to deal with them, then and there. The same kind of thing can best be done in oil painting. Pigments are fluid, and color development and oil spread vary every time. I also change what I use in correspondence with the situation at the time. For example, I may select inorganic pigments for living beings and organic ones for dead ones. The resulting image changes accordingly.”
(From notes from an advance interview)

In this case, hard-to-handle oil pigments are likened to contact with the outer world and others. Through the medium of this otherness, a transformation is required of the self and works, like it or not.

Otherness could be regarded as a precondition for Fukami’s subjective “reality.” This is an important point. The features described so far lend the impression that Fukami is depicting “her own” inner world. But Fukami is also summoning her self from the outside.

Insofar as she is showing works in the public space of an exhibition, it goes without saying that Fukami is aware of a self incorporating the eyes of others. The narrative “reality” she spins lies in the gap of rapture open to negotiation with others.*3

In spite of this, such a subjectivistic style of painting may be expected to come in for criticism, too.

Hal Foster questions the idea of the unconscious that people who attach importance to expression of inner worlds treat as if it were their prerogative. In his view, the expressionists showcased their faults and vices, perhaps being obliviousness to how the self is culturally constructed right from the stages of inspiration and motivation. According to him, the intuitive expressions produced by these artists constitute but one of the patterns completely codified by existing art history.*4

This outlook is a criticism leveled at all artists who stress expression (or existence) alike.

As a matter of fact, Fukami’s works are at risk of making viewers think they have seen them somewhere before.

For example, to give a direct form to personal existence and emotion is something that has been done by artists of the preceding generation, e.g., Masato Kobayashi, Hiroshi Sugito, O JUN, and Reiko Ikemura. While this observation is no more than a mental association related to the ideological element, it also applies partially to the specific expression. The way trees are painted in Fukami’s A gray town that I can’t remember (2022), for example, recalls O JUN’s A dove flying away, I am surprised, and the touches of pencil, Sugito’s three roofs (2012).

Whether such similarities appear to be on the order of love or influence, or end up being inferior versions as world views, depends on the intensity of Fukami’s own works. In addition, the immediacy of painting images in their raw state unavoidably holds the danger that the works will not rise above a semiotic crudity. As I noted in the preceding text on Ishii’s art, use of signs is also linked to a flatness. As such, it would presumably be difficult to specify a technical middle ground for settlement of this issue. This boils down to simple matters, such as the cat that appears in Omoidashitara  (2022) not looking like a cat at first glance, and a less than perfect conveyance of the lively swaying of flowers in the same painting. It is unclear whether the object is full expression of Fukami’s reality or a depiction that is comprehensible to the general public. But I have the feeling that Edvard Munch, Marc Chagall, and Miriam Cahn all deftly navigated these straits in their paintings.

That said, it may be that Fukami has already determined her course herself. There has been a change in the way she renders people. Her initial direction of deliberately semiotic depiction (Suki (2022)) has been followed by works that show the addition of facial expressions and accessories, a little at a time, that have enriched the portrayals.

Fukami may very well easily overcome not only my wonderings but also Foster’s line of criticism.

In this text, I have transliterated “reality” in terms of the sense of reality and perception of the world in various ways. When I asked Fukami how she would translate “reality,” she replied “chaos.” Because she was torn between that and “truth,” her reply might be completely different if I asked her again today. But “chaos” really makes a lot of sense to me.

The reality experienced by Fukami is a memory-mixed mélange of inner gut feelings and perceptions of the world. It creates a narrative world through the contact with the external world in the form of pigments and canvas.

A plural number of raw “realities” are alive on a single flat world.

It is indeed a chaos “reality.”


Symbol (…)

1.A mark or sign indicating something else. 2) An effect connecting two things that have no inherent connection (a concrete thing and an abstract thing), based on some similarity. For example, The use of a white color to express cleanliness and a black color to express sadness. (Translation of an entry from Kojien, sixth edition, edited by Izuru Shinmura, Iwanami Shoten, 2008; omission by the author)

2.Dictionary of English Etymologies*, edited by Yoshio Terazawa (Kenkyusha, first edition, 1997, p. 1393) and Greek Lexicon*, edited by Harukaze Kogawa (Daigaku Shorin, first edition, 1989, p. 198)
* Tentative translations for titles of books available only in Japanese.

3.From “Aura and Agora: On Negotiating Rapture and Speaking Between,” an essay by Homi K. Bhabha, as contained in a collection of Homi’s works in Japanese translation by Junichi   Isomae and Daniel Gallimore, published by Misuzu Shobo in 2009.

4.Hal Foster, “The Expressive Fallacy,” Art in America, February 1983.


Text translated by James Koetting


Syozo Taniguchi Solo Exhibition「My Song」


biscuit gallery is pleased to present contemporary artist Syozo Taniguchi’s solo exhibition ‘My Song’ from July 28th through August 28th to celebrate the publication of his first book ‘My Song’ produced by biscuit books.


Syozo Taniguchi solo exhibition「My Song」main visual

The exhibition will be a large-scale solo show, taking up three floors of the gallery. You can enjoy Taniguchi’s latest works, mainly those featured in his book.

In addition to the exhibition at biscuit gallery, commemorative exhibitions of the book will be also held at Daikanyama Tsutaya and Ginza Tsutaya.

Daikanyama T-Site
July 17th Sun 〜 August 7th Sun, 2022
Ginza Tsutaya Books
August 10th Wed 〜28th Sun, 2022


Please see more details about book ‘My Song’ and pre-order from HERE.

Please refer to our mail news magazine, which will be sent out before the exhibition, about how to purchase works.
Register now

Artist Profile

Syozo Taniguchi

Born 1990 in Ehime, Japan

Past exhibitions include group exhibitions such as  “HORIZON THAT APPEARS OUT OF THE SLEEPY WOODS selected by Yoshitomo Nara” at STEPHEN FRIEDMAN GALLERY, London 2016, “youth (tentative)” at yutaka kikutake gallery 2021,  “grid” (biscuit gallery) 2022, and solo exhibition “My country road” (Kichijoji Kitimu) 2021.


Syozo Taniguchi Solo Exhibition
「My Song」

Place:biscuit gallery 1〜3F
July 28th Thu 〜August 28th Sun, 2022
※Closed on Mondays through Wednesdays
※ Closed from August 12th Fri〜 17th Wed for vacation 
Admission: Free
Produced by biscuit gallery

Commemorative exhibitions of the book ‘My Song’ at Tsutaya Bookstores

Daikanyama T-Site
July 17th Sun 〜 August 7th Sun, 2022
Ginza Tsutaya Books
August 10th Wed 〜28th Sun, 2022


Yumeno Goto

Yumeno Goto


Yumeno Goto

Born in Tokyo, Japan, 1996

2019 Joshibi University of Art and Design
2022 Tokyo University of the Arts Graduate School Master’s Course Laboratory of Oil Painting I

Selected Exhibition

【Group Exhibition】
biscuit gallery first anniversary exhibition「grid」biscuit gallery, Tokyo


-Graduation work, Joshibi University of Art and Design, Museum Encouragement Award
-Shigeyuki Kato Memorial Award
-Kaichi Ohashi Memorial Award 
-Second Prize, The 55th Kanagawa Art Exhibition


【News】Syozo Taniguchi’s 1st book “My Song” will be published in July, 2022

We are pleased to announce a contemporary artist Syozo Taniguchi’s first book “My Song” will be published as the first publication from ‘biscuit books’ (biscuit Inc.).

The official release date is scheduled on  July 28th, 2022.

Syozo Taniguchi is a contemporary artist born in Ehime, Japan in 1990.
Since the beginning of his career, he has actively held solo exhibitions or participated in group shows. 

Recently, he has been highly acclaimed not only in Japan but also abroad, especially among Asian art collectors. His acclaim is expected to be even more promising in the future.

‘My Song’ mainly shows Taniguchi’s works, from two-dimensional to sculpture works, created in 2022. 

‘My Song’ captures Taniguchi’s nowness.

To celebrate this event, the exhibition ‘My Song’  will be held.
For more information about the exhibition, please click the link below;

Syozo Taniguchi first book “My Song” 
Page: 96p

Photography: Naoki Takehisa, Yukako Atsuchi
Published by biscuit books
Cooperation: biscuit gallery
Publication date: July 28, 2022
Price: 3,850 yen (tax included)
Domestic Shipping (Japan): 550 yen (tax included)
*Maximum order per person is up to 2 copies.

Click here to purchase (Domestic)

For international guests, please send a request to purchase via the link below;
Click Here to request a purchase

Artist Profile

Syozo Taniguchi

Born 1990 in Ehime, Japan

Past exhibitions include group exhibitions such as  “HORIZON THAT APPEARS OUT OF THE SLEEPY WOODS selected by Yoshitomo Nara” at STEPHEN FRIEDMAN GALLERY, London 2016, “youth (tentative)” at yutaka kikutake gallery 2021,  “grid” (biscuit gallery) 2022, and solo exhibition “My country road” (Kichijoji Kitimu) 2021.


Shinji Nakakaze

Shinji Nakakaze


Shinji Nakakaze

Born in Matsido Chiba, Japan, 1994

Graduate School of Fine Arts, Tokyo University of the Arts

Selected Exhibition

【Group Exhibition】

The 70th Graduation Exhibition Tokyo University of the Arts, Tokyo
“MITSUKOSHI×Tokyo University of the Arts Summer Art Festival 2020” Nihonbashi Mitsukoshi , Tokyo
-“art.0 芸術と都市の誕生” Live Paint Otemachi PLACE West Tower,  Tokyo
-“Geidai Arts in Marunouchi 2019” auction Marunouchi Building , Tokyo
“BE MY BABY” Tokyo Metropolitan Art Museum , Tokyo
-“蔵コレ” Tokyo University of the Arts, Tokyo
-“家” Toride, Ibaraki


Ataka Award




Yukino Yamanaka

Yukino Yamanaka


Yukino Yamanaka

Born in Nagano, Japan, 1999

Oil Painting Course, Department of Fine and Applied Arts, Kyoto University of the Arts 
Oil Painting Course, Department of Fine and Applied Arts, Kyoto University of the Arts Graduate school 

Selected Exhibition

【Solo Exhibition】
-“attitude”, biscuit gallery, Tokyo
-“figure”, haku kyoto, Kyoto

【Group Exhibition】
– biscuit gallery first anniversary exhibition「grid」biscuit gallery, Tokyo
-“ARTISTS FAIR KYOTO 2021” , The Museum of Kyoto, Kyoto
-“formation” Shinjuku Ophthalmologist(Ganka)Gallery , Tokyo
浮遊する変体vol.3 “虚実皮膜” Tokyo University of the Arts 立体工房


Takehiro Takao

Takehiro Takao


Takehiro Takao

Born in Osaka, 1998

Department of Fine and Applied Arts, Kyoto University of the Arts 
Department of Fine and Applied Arts, Kyoto University of the Arts Graduate School


「←東京」, biscuit gallery, Tokyo

biscuit gallery first anniversary exhibition「grid」biscuit gallery, Tokyo
-KUA ANUAL 2022「in Cm | Ghost, Labyrinth and Multiverse」 Galerie Aube(Kyoto University of the Arts ), Tokyo Metropolitan Art Museum, Tokyo
– 台北國際藝術博覧會 “ART TAIPEI”, Taipei
-“ART drops ” , Osaka
-“RENACER” Kobe Motomachi Buburindou Gallery, Kobe
– Hankyu Men’s Osaka, Osaka
-“BE AT STUDIO HARAJUKU” Laforet Harajuku, Tokyo
“Dobrese” Galerie Aube(Kyoto University of the Arts ), Kyoto



Rika Minamitani

Rika Minamitani


Rika Minamitani

Born in Kanagawa, Japan, 1998

2021 Oil Painting Course, Department of Oil Painting, Tama Art University 
present Department of Oil Painting, Tokyo University of the Arts Graduate School 

Selected Exhibition

【Solo Exhibition】
“WONDERLANDⅢ”  , Bambinart Gallery, Tokyo
“WONDERLAND Ⅱ”, Bambinart Gallery, Tokyo
“WONDERLAND”, Bambinart Gallery, Tokyo

【Group Exhibition】
– biscuit gallery first anniversary exhibition「grid」biscuit gallery, Tokyo
-“FACE展2021” SOMPO Museum, Tokyo




Kenta Kawabata

Kenta Kawabata


Kenta Kawabata

2019 Oil Painting course, Department of Painting, Tokyo University of the Arts Valedictorian
2022年 Oil Painting course, Department of Painting, Tokyo University of the Arts Graduate School

Selected Exhibition

【Solo Exhibition】
“Spectrum” Kanazawa Mercury Cave, Ishikawa

【Group Exhibition】
Meet Your Art Festival Art Fair, Tokyo
– biscuit gallery first anniversary exhibition「grid」biscuit gallery, Tokyo
-“KUMAEX2021 Kiyosumi Shirakawa”, Tokyo
-“Tsukuba Award of Art” Seibu Ikebukuro Art Gallery, Tokyo


-Tsukuba Award of Art Encouragement Award 
-Kuma Foundation 


– The University Art Museum, Tokyo University of the Arts
-LS Co., Ltd