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Exhibition

Akihiro Hasegawa×Daichi Igarashi×R E M A solo exhibitions「SOLO SOLO SOLO vol.4」

 

biscuit gallery is pleased to present three solo exhibitions “SOLO SOLO SOLO vol.4” by contemporary artists Akihiro Hasegawa, Daichi Igarashi and R E M A from November 24th through December 11th. 

We held Vol.2 of this exhibition project “SOLO SOLO SOLO” in October and Vol.3 in early November. This Vol.4 will be the last exhibition of the series, which had planned 3 volumes in a row, and 3 artists below are featured in the show.

Akihiro Hasegawa (1F) solo exhibition “axiom”

Akihiro Hasegawa (1F) solo exhibition “axiom” main visual

Profile

1997 Born in Mie 
2020 Graduated from project logic research in department of design at Tokyo University of the Arts

Born in a temple of the Tendai sect of Buddhism. Taking the Buddhist statues in the hall and the surrounding space as his original experience, he is searching for the possibility of Japanese-style depiction and the universality of human existence beyond it.

Akihiro Hasegawa: Price list

Daichi Igarashi (2F) solo exhibition “Sweet Spiral Garden”

Daichi Igarashi (2F) solo exhibition “Sweet Spiral Garden” main visual

Profile

1996 Born in Tokyo
2022 Master’s Course Laboratory of Oil Painting, Tokyo University of the Arts Graduate School 

Replacing materials, photographing and projecting on a monitor, and painting on canvas. The images that change form and are expressed depict the constancy of the subject through repetition of decadence and reconstruction.
Through a series of creation that embrace unpredictable events, such as the change of materials over time and the displacement that occurs when moving from one process to another, he contemplates the reality of painting in response to the impermanence of the environment.

Daichi Igarashi: Price list

R E M A (3F)  solo exhibition “waking dream voice”

R E M A (3F)  solo exhibition “waking dream voice” main visual

Profile

Since my early days, I have been creating works using self-images based on my external features, such as my makeup.
In recent years, the self-image that has been the subject of my work until now has been abstracted into an image of femininity and shadows – driven by premonition and dreaming – and expressed through the act of line and burning. The images applied to various materials appear as if they were already there, inviting the viewer into a new-primitive world.
From 2022, the two series will merge into a new form of expression.

R E M A : Price list

 

This exhibition project “SOLO SOLO SOLO” will be continued in the future. 

Information

Akihiro Hasegawa×Daichi Igarashi×R E M A solo exhibitions
「SOLO SOLO SOLO Vol.4」

1F:Akihiro Hasegawa solo exhibition “axiom”
2F:Daichi Igarashi solo exhibition “Sweet Spiral Garden”
3F:R E M A solo exhibition “waking dream voice”

会場:biscuit gallery 1〜3F
会期:November 24th Thu 〜 December 11th Sun
時間:13:00〜19:00(Sat/Sun:12:00〜18:00)
Closed Monday through Wednesday
Admission free
Produced by biscuit gallery

【Event information】

We will have an opening party on November 24th from 16:00-19:00. Please come join us.

Categories
Exhibition

Midori Arai×Rika Minamitani×Kosuke Nishimura solo exhibitions “SOLO SOLO SOLO Vol.3”

 

biscuit gallery is pleased to present three solo exhibitions “SOLO SOLO SOLO vol.3” by contemporary artists Midori Arai,  Rika Minamitani and Kosuke Nishimura from November 3rd through 2oth. 

This project “SOLO SOLO SOLO” started in April, 2022 featuring Takehiro Takao, Yukino Yamanaka and Rikako Inoue as its 1st volume. Following vol.2 held in October, this vol.3 and next exhibition vol.4 are scheduled to be held from November through December.

Using 3 floors of the gallery, we present 3 solo exhibitions by 3 different artists in each show.

The artists to be presented in Vol.3 are as following:

 

Midori Arai (1F) solo exhibition “Synonyms for Blink”

Midori Arai (1F) solo exhibition “Synonyms for Blink” main visual

Profile
1992 Born in Ibaraki
2015 Graduated from Tokyo Zokei University
2022 Kyoto University of the Arts Master’s Degree

In the traces of unconscious movement, the finiteness of the body and the infinity of the painting exist.
In this age of symbiosis, I question the nature of life and time.

Rika Minamitani (2F) solo exhibition “Brainwash”

Rika Minamitani (2F) solo exhibition “Brainwash” main visual

Profile
1998 Born in Kanagawa
2021 Graduated from Tama Art University Painting course
Currently studying in Master’s Course Laboratory of Oil Painting, Tokyo University of the Arts Graduate School 

Kousuke Nishimura (3F) solo exhibition “Transform”

Kousuke Nishimura (3F) solo exhibition “Transform” main visual

Profile
1999 Born in Hyogo
2022 Started studying in Master’s Course Laboratory of Oil Painting Ⅵ, Tokyo University of the Arts Graduate School 

I paint by applying paint to a printed image and transferring it to another canvas. I overlap my own production with the society in which widely recognized images are reproduced and transformed into various forms in the process of consumption. Currently, I am also exploring pictorial expression that can be achieved through the act of transfer itself.

 

biscuit gallery continuously supports Japanese emerging artists in this project.

Information

Midori Arai×Rika Minamitani×Kosuke Nishimura solo exhibitions
「SOLO SOLO SOLO Vol.3」

1F:Midori Arai solo exhibition “Synonyms for Blink”
2F:Rika Minamitani solo exhibition “Brainwash”
3F:Kousuke Nishimura solo exhibition “Transform”

biscuit gallery 1〜3F
2022/11/3 Thu 〜 11/20 Sun
13:00〜19:00(Sat/Sun/Holiday:12:00〜18:00)
Closed Mon – Wed
Admission free
Produced by biscuit gallery

 

Categories
Exhibition

【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” 

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

One Note of The Shadow

Text: Riho Matsue
Translator: Perera Shereen

Many years ago, I was invited to a gathering and ended up at a house of a stranger. It was there in a room, on a table, a single flower was in bloom in a vase. It was a branch of a cherry blossom. I went to take my iPhone out of my pocket to take a photo, when a person in the room called out to me, “Seems like someone broke off that branch willfully, it’s not really something they should have done, so you probably shouldn’t take a photo”. I can’t recall the face or name of those people from that day, but in my iPhone, there remains not a photo of the branch itself, but a shadow of it.

A branch of a cherry blossom is indeed a cherry blossom, but the shadow of one was not cherry blossom itself (that’s why I was allowed to take a photo of it).  In that way, the ‘shadow’ shows evidence of what was -or what was not- present. But it does not and cannot equate to the object in of itself. The photograph of the shadow obscured the characteristic outlines of the branch. Therefore, stimulating my imagination, leading to thoughts such as perhaps that cherry blossom was an artificial flower or other kind of flower. In that sense, shadows wander, or exist separately from reality itself.

Sorry for the long preamble, Kage wo shitatameru (notes of shadows) showcases the works of two artists, Satoshi Kikuya and Kasumi Maeda, and hopes to ‘illuminate’ their two works related to shadows. Kikuya’s work occupies the space on the 1st floor of the exhibition venue. Based on familiar documentary photos and videos left on the iPhone, he has created two-dimensional works and animations that mix pop art, modern Western paintings, and illustrations while interweaving fact and fiction. Many of his works use shadows as secondary by-products of the real world, such as recorded landscapes and circulating images. 22.7×15.8cm works lined up on the walls of this room have the word esquisse in their titles and so we can understand them to be sketches for other works. Although there are individual themes such as camping and running, all of them were inspired by Kikuya’s memories, and were improvised and continuously produced as he came up with them. In addition, the eye-catching LED work “Lightning Dog (Jake)” is a work with a motif of a dog and a person that literally emit light, and it can be connected to the dog figure seen in the works of the esquisse series.

The exhibition space on the 2nd floor is mainly composed of Maeda’s new works. Starting with her sense of inadequacy and dissatisfaction with the materiality of her own body, she has produced video works and three-dimensional works that record her behavior. Lined up in the center of the exhibition room, ‘The way to move a hill’ is an armrest-like iron tool and monitor made to match the size of Maeda’s body. This is an installation work composed of the written instructions to record Maeda’s performance. The numbers and names of body parts written on the instruction plate correspond to the movements in the video, and although it is possible to roughly imagine the flow of the performance. But the very close-up footage makes it difficult to understand the whole artist’s actual movement. The screen simply shows the realistic texture of the skin, and it recalls the existence of Maeda who once touched the tool. But it seems there is a gap between the partial vivid image of the skin on a screen and the actual artist’s body. This creates a similar impression as ‘vis-a-vis’ in front of the exhibition room.  This video work in which Maeda hides her face with the palm of her hand and the camera follows her. In this work, the image of a palm that continues to be projected in the center of the screen gradually unravels, leaves Maeda’s unique body, and appears to transform into something else like a floating shadow.

Prior to that, Maeda had approached the materiality of her own body in a variety of ways, but her previous work often used her projectors and mirrors. “The Distant Body” exhibited on the 3rd floor is a video work. Maeda’s figure that she was stroking her own leg is projected onto a screen. Then actually she also appears, but her body is partitioned off by a screen and she tries to fill in her misaligned contours of the body in an inconvenient state with clay. In addition, “Dancing on the Wall #3,” #4, and #6 use both the right and left hands to draw the outlines of one’s own body reflected in the mirror and layer them on two acrylic boards and the lines are replaced with stone powder clay. Both works include a process of understanding/reclaiming her true sense while measuring the distance between her own awkward body. When Maeda thinks about her body, there is simultaneously a lightness that tries to push her away from herself and a weight that pulls her towards her.

And on display in the back of the 3rd floor is Kikuya’s video work ’Nodebook animated 1’. If you look at this video, you will notice that all the works in front of the 1st and 3rd floors are parts that appear in the animation. At the time of his solo exhibition held in Kanazawa, one commented, “[Kikuya’s work] separates the background [world] from the motif [world], creating a unique world as if the motif were floating.” If we borrow the term ‘floating image’, the fragments used in the animation production process but separated from the animated works (esquisse, time-lapse parts, LED works, etc.) are also a ‘floating image’ and can be considered to overlap with the properties of shadows. This animation itself is a gradual montage based on memories and inexperienced images such as photos and records left on his smartphone, and his own memories. What is here is a sense of floating, traveling back and forth in time, like dogs sniffing out the lingering scents of the past and signs of future rain.

The philosopher Plato once said, “Those who are bound and stare at the wall see only shadows and take them for real.” These recorded things and insubstantial images, their fragments and traces are patched together and montaged in memory, and it looks like a story from the present point of view. Like historical revisionists, it may sometimes be a mistake to assume that this alone is true. However, the shadows and traces of the trivial past give us a sense of reality for a moment and have a great potential to drive our imagination. Like Kikuya and Maeda, I believe that with the practice of Kage wo shitatameru (note of shadows) under your own feet can allow you too to come back to this moment someday and rethink, reconsider and relearn something.

I still have a photo of that shadow branch on my iPhone.

I can’t recall if there actually was a flower anymore. 

But sometimes such things lead to the present.

 

【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: info@biscuitgallery.com

【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
Other
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
Performance
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

Categories
Exhibition

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.

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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
13:00〜19:00(Sat/Sun/Holiday:12:00〜18:00)
※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

Categories
Exhibition

Yumi Nagata Solo Exhibition「positive」


biscuit gallery is pleased to announce the solo exhibition of Yumi Nagata, “positive”, from September 9 to 19, 2012. Using the expressions of girls that have been developed in Japanese art and subcultures as a guide, Nagata’s works straightforwardly and unabashedly reflect “self who draws girls and self who denies it,” “desire for transformation,” “desire for approval,” etc. in the world of contemporary painting. This is her first solo exhibition since graduating from Tama Art University this year. In this exhibition, 35 new paintings will be exhibited on three floors, each of which will be themed “positive”, “neutral”, and “negative”, with the aim of projecting and examining “myself painting a girl” through the works exhibited on each floor.

Yumi Nagata was born in Tokyo in 1997, graduated from Tama Art University in 2021 with a major in Japanese painting, and currently lives and works in Tokyo. At first glance, Nagata’s works may seem to follow the lineage of Japanese painting in Japanese art, which depicts girls in an aesthetic or caricatural way, but behind this lineage, Nagata herself says, “Girls, which I have used in animation, manga, and my own Japanese paintings, are a motif that I tend to avoid once I enter the world of contemporary art. As she says, “As soon as I entered the world of contemporary art, I felt that “girls” were a motif that tended to be avoided. In addition, there is an attitude of thinking about how one’s own cultural background and art historical context can be connected.

Nagata has said, “If I were to paint my work as a painting in the contemporary sense, there would inevitably be a contextual restriction that says, ‘This is the way it has to be. She sometimes stands between “the behavior that should be expected of a contemporary painting” and the painfully naive feeling of “drawing girls” that she has held since her childhood, and continues to create her works while being perplexed by the distance from this artistic dramaturgy. When we look at her own problems, there is a story that can be understood by artists of the same generation, namely, as a generation following the Japanese art trends such as Superflat, how to create new works and historicize subcultures and net cultures, which she has accepted as a matter of course and which have become the elements that form the basis of her own life, using what methods and theories. This is a common problem for the generation that has accepted these cultures as a natural part of their lives, not during their rise, but during their establishment.

Nagata has named the works in this exhibition the “layer” series. This is a double-meaning title taken from the unique layered texture created by her use of mineral pigments and the slang word for cosplayers, “layer. Nagata says that the girls depicted in her works are her own alter egos, a kind of self-portrait, and it can be said that the spirit of substitution or the desire to transform oneself into a lovable being is what makes Nagata’s works unique. Sometimes she wears eccentric hats, sometimes her head is shrunk to look like an anime character, sometimes she wears bizarre costumes, and sometimes the girls are dressed in Goth subculture. It may seem as if Nagata is narrating his own world and its story alone, far from reality. Nevertheless, if we compare it to the generation again, for the girls of the generation where animation and manga were commonplace, communication in the form of narrative is a more native method rather than frankly saying something. This is why her paintings are not only art for the sake of art history, but also a way to share the warmth of the world she feels as a story (=character), to connect, and to respond to this reality, just as Felix Gonzalez-Torres once presented works that endorse the sharing of sorrow and mourning. It is a way to share and connect with the warmth she feels in the world as a story (=character), and to respond to this reality. This is clearly a testimony of someone who looks at the times from the inside, and can be taken as a search for and resistance to what her generation can do in today’s contemporary art.

 

Outline of positive, a solo exhibition by Yumi Nagata

Period: September 9 (Thurs.) – September 19 (Sun.), 2021

Hours: 13:00 – 19:00 (12:00 – 18:00 on Saturdays and Sundays)

Closed on Mondays, Tuesdays, and Wednesdays

Venue: biscuit gallery, F1 – F3

 

Please feel free to contact us if you would like to inquire about the works.