AOYAMA | MEGURO is pleased to announce our fourth solo exhibition with artist Koki Tanaka (b. 1975), following the last one held in 2009. This exhibition features some of the artist’s recent works selected from three solo shows: “Dog, Bus, Palm Tree,” The Box, Los Angeles, 2011; “Nothing Related, but Something could be Associated,” Yerba Buena Center for the Arts, San Francisco, 2010; “Random Hours, Several Locations,” YYZ Artist’s Outlet, Toronto, 2010. During this exhibition, re-installations will be carried out several times, in which the same works will surely gain different associations in new arrangements.

The title of this exhibition, “in a place between snow balls and stones,” refers to its center piece titled “Someone’s junk is someone else’s treasure.” This video work documents the artist being a vendor at a flea market in order to sell palm fronds, one of the most banal things in Los Angeles that anyone can easily find everywhere. In the city’s residential areas, especially on windy days, the street would have numerous palm fronds that local people have to clear away, just like how people do snow shoveling in the north part of Japan.

What inspired Tanaka to conceive and execute such an act are two historical artworks, one made in the US and the other in Japan. The former is David Hammons’ “Bliz-aard Ball Sale,” 1983, a performance piece in which the artist tried to sell snow balls on the street in snow-falling downtown Manhattan. The latter is a cartoon piece “Muno no Hito” (literally “Man without Talent), 1985, by Japanese surrealistic cartoonist Yoshiharu Tsuge, whose best scene is when the protagonist, having become unemployed, tries to sell “strange-shaped stones” which he has just picked up beside a river, as he muses while waiting for a customer.
The both acts are attempts to sell some kinds of “useless” objects that anyone can find without any difficulty, which questions our sense of the value of things. What do we pay money for? Do we value ideas, acts, or objects? Selling snow balls and stones seem to share something quite similar, yet perhaps are totally different acts. It is the place between these two precedents that Tanaka, working in Los Angeles, was able to come and go freely to make his own piece.
As a result, it seems that Tanaka’s act turns out to be an attempt to sell his own contemplation developed through conversations with visitors, on something robust and something ephemeral, being functional and useless, and making something and just discovering something instead of making. It surprisingly reveals rich and diverse ideas that have been latent in the place between the snow balls and the stones.

Along with this piece are a photograph that exemplifies how a cheese toast gains a different shape and texture each time it is made for daily breakfast, titled “Everyday statement (cheese toast),” 2010, and another set of photographs that documents how he perseveringly stayed in a park waiting for jello in an aluminum cup to coagulate with the winter air, titled “I spend Time in a Park Until the Jell-O Chilled out,” 2010, among others.

Furthermore, the artist will participate in Yokohama Triennale 2011, which will open on August 6th. Please visit both of the exhibitions to check out and enjoy both what Tanaka’s works show you and what they do not.

7.16.sat – 8.20.sat.2011
AOYAMA | MEGURO 2-30-6 kamimeguro meguro tokyo 153 – 0051 jpn
*open : 11:00 – 20:00 close: Sunday and Public holidays
Opening reception : Saturday, July 23, 19-21pm (no reception on July 16)

The artist will stay in Japan from July 18. Talks are scheduled at several venues, which we will announce shortly. If you would like an interview, please contact Hideki Aoyama of our gallery.

AOYAMA | MEGURO is pleased to announce our fourth solo exhibition with artist Koki Tanaka (b. 1975), following the last one held in 2009. This exhibition features some of the artist’s recent works selected from three solo shows: “Dog, Bus, Palm Tree,” The Box, Los Angeles, 2011; “Nothing Related, but Something could be Associated,” Yerba Buena Center for the Arts, San Francisco, 2010; “Random Hours, Several Locations,” YYZ Artist’s Outlet, Toronto, 2010. During this exhibition, re-installations will be carried out several times, in which the same works will surely gain different associations in new arrangements.

The title of this exhibition, “in a place between snow balls and stones,” refers to its center piece titled “Someone’s junk is someone else’s treasure.” This video work documents the artist being a vendor at a flea market in order to sell palm fronds, one of the most banal things in Los Angeles that anyone can easily find everywhere. In the city’s residential areas, especially on windy days, the street would have numerous palm fronds that local people have to clear away, just like how people do snow shoveling in the north part of Japan.

What inspired Tanaka to conceive and execute such an act are two historical artworks, one made in the US and the other in Japan. The former is David Hammons’ “Bliz-aard Ball Sale,” 1983, a performance piece in which the artist tried to sell snow balls on the street in snow-falling downtown Manhattan. The latter is a cartoon piece “Muno no Hito” (literally “Man without Talent), 1985, by Japanese surrealistic cartoonist Yoshiharu Tsuge, whose best scene is when the protagonist, having become unemployed, tries to sell “strange-shaped stones” which he has just picked up beside a river, as he muses while waiting for a customer.
The both acts are attempts to sell some kinds of “useless” objects that anyone can find without any difficulty, which questions our sense of the value of things. What do we pay money for? Do we value ideas, acts, or objects? Selling snow balls and stones seem to share something quite similar, yet perhaps are totally different acts. It is the place between these two precedents that Tanaka, working in Los Angeles, was able to come and go freely to make his own piece.
As a result, it seems that Tanaka’s act turns out to be an attempt to sell his own contemplation developed through conversations with visitors, on something robust and something ephemeral, being functional and useless, and making something and just discovering something instead of making. It surprisingly reveals rich and diverse ideas that have been latent in the place between the snow balls and the stones.

Along with this piece are a photograph that exemplifies how a cheese toast gains a different shape and texture each time it is made for daily breakfast, titled “Everyday statement (cheese toast),” 2010, and another set of photographs that documents how he perseveringly stayed in a park waiting for jello in an aluminum cup to coagulate with the winter air, titled “I spend Time in a Park Until the Jell-O Chilled out,” 2010, among others.

Furthermore, the artist will participate in Yokohama Triennale 2011, which will open on August 6th. Please visit both of the exhibitions to check out and enjoy both what Tanaka’s works show you and what they do not.

7.16.sat – 8.20.sat.2011
AOYAMA | MEGURO 2-30-6 kamimeguro meguro tokyo 153 – 0051 jpn
*open : 11:00 – 20:00 close: Sunday and Public holidays
Opening reception : Saturday, July 23, 19-21pm (no reception on July 16)

The artist will stay in Japan from July 18. Talks are scheduled at several venues, which we will announce shortly. If you would like an interview, please contact Hideki Aoyama of our gallery.

この度弊ギャラリーでは五月女 哲平 ( b.1980 そうとめ てっぺい 2004年東京造形大学美術学部絵画科卒業）の個展を開催致しますのでご案内を申し上げます。また4月16日からは小山市立車屋美術館/栃木でも同タイトルにて新作を中心とした個展を開催します。

2007年の初個展「 The world is still beautiful – それでも世界は美しい」では初めて絵画を中心にした展示を発表し、その生来の配色能力を一気に発芽させました。そこでは想像上の賢人達が住む世界を描いた絵画のシリーズを中心に、遊園地のアトラクションや敷地の一部にフォーカスして色味に見立てた写真の連作、ホールズキャンディを模したガラスの彫刻、テキストの流れる電飾サインなど、、複数のメディアを用いながらもそれぞれを色味として扱いメロウでも決して甘過ぎない、全体を眩いインスタレーションとして構成しました。
五月女の絵画には所謂「平面の問題」が皆無です。錯覚と言う抽象的な概念は形を成し、自然に伴う現象はカラーフィールドの様に画面を覆い広がり、そばにある植物やタオル、装飾のパターンは遠方に散らばり、遥か彼方の観たことも無い星が目の前に現れたりします。
それは愛おしい人がそばにいる時にも増して思い出すと息づかいまでが聞こえるほど艶かしいかの様です。
タイトルの「猫と土星」（猫ー美術館、土星ーギャラリー）はそんなモチーフの豊かさや様々な時間や距離の行き来の分かりやすい例えであり、それらの秩序の向こう側にもワープしようとする試みであります。
本展は全て新作の大ペインティング4点、小ペインティング6～8点ほかが出展される予定です。小山市立車屋美術館でもほぼ新作によるインスタレーションです。
五月女特有のイィ匂いのする絵画による２カ所での展覧会をどうぞこの機会にご覧下さい。
謹んでご案内を申し上げます。

2011年4月16日（土）ー 6月19日（日）
小山市立車屋美術館　栃木県小山市乙女3-10-34
*open : 9：00 – 17：00 （入館は閉館の30分前まで） close : 月曜、第4金曜日（5月2日（月）は開館）
般４００円、高校・大学生２５０円、中学生以下無料。同住宅内の観覧はプラス１００円（一般）
※5月1日（日）～5月5日（木・祝）、6月12日（日）は無料公開日
カタログ 五月女 哲平：猫と土星 小山市立車屋美術館刊
（テキスト-薮前知子、中尾英恵、デザイン-林工芸、写真-岡野圭、700円）

2011年4月30日（土）ー 6月4日（土）
青山｜目黒　東京都目黒区上目黒2-30-6
*open : 11:00 – 20:00 close : 日, 祝
オープニングレセプション：2011年2月12日（土）19 – 21 PM
■ 本展に関する問い合わせ　担当：青山 (青山 | 目黒)

We are proud to announce a solo exhibition of Teppei Soutome (Born in 1980, graduated from Tokyo Zokei University, Department of Art, Painting Major 2004). In conjunction with this show, a same titled solo exhibition featuring mainly his latest works will be held at Kurumaya Museum of Art, Tochigi Prefecture from April 16, 2011.

In his first solo exhibition back in 2007, titled “The world is still beautiful,” Soutome for the first time, presented painting centered exhibition, in which his innate coloration talent has burst. Although this exhibition consisted of multiple mediums, such as painting series with a motif of imaginary wise man’s world as a main component, photography series taken in amusement parks depicting the partial colors of the attractions and the site, glass sculptures mocking Halls candy, and electronic sign with text were parts of the exhibition as well. As a whole, each component jointed as colors and created mellow yet not too sweet dazzling installation.
In Soutome’s paintings there is completely no ‘planar issue’. Abstract notion of illusion forms a shape, natural phenomenon just like color fields expands and covers the surface, nearby plants and towels’ decorative pattern scatter afar, and never-seen-before star from far away appears right in front of one’s eye.
It is as if you recall your love one, sometime if the feeling is so strong, it is much sweeter than you are beside her, so sweet that you feel so close and almost hear her breath.
The title “Cat and Saturn” can be perceived as a rich example, such as cat being a museum and the Saturn being a gallery, and an easily comprehensible example of intercommunication of diverse distance and time. At the same time, it is a trial to warp beyond these orders.
This exhibition will present four new large size paintings, and approximately six to eight small paintings. At the Kurumaya Museum of Art, Oyama City, Soutome will present mostly new works turning into installation. We are pleased to announce these exhibitions, and please take these opportunities and enjoy Soutome’s characteristic savory paintings.

4.16.sat – 6.19.sun.2011
Kurumaya Museum of Art, 3-10-34 otome koyama tochigi 329 – 0214 jpn
*open : 09:00 – 17:00 (last entry 30 minutes before closing) close: Monday and Every 4th Friday (except for Monday, May 2)
2011.5.1(Sun)-5.5(Thu, public holiday), 6.10(Sun) : admission free

4.30.sat – 6.4.sat.2011
AOYAMA | MEGURO 2-30-6 kamimeguro meguro tokyo 153 – 0051 jpn
*open : 11:00 – 20:00 close: Sunday and Public holidays

平素より大変お世話になります。２月１２日より新人佐々木健の初個展を開催致しますのでご案内を差し上げます。
佐々木は１９７６年生まれ。２００２年に東京藝術大学美術学部大学院壁画科修了、在学中より日用品の取り合わせと映像によるインスタレーションを幾つか模索し、その時期の成果である金属製バットを手に町中を徘徊し、その先端が音を立てて地を這う様を追ったヴィデオ作品「bat」は好評で、バルセロナの音楽イベント「soner 2006」始め、多くのスクリーニングに招かれました。
その後２００８年頃から何を思ったのか急に絵画、しかも一見、とても古典的な写実絵画に転身します。特に０９年ミサコ＆ローゼンでのグループ展「ゲバゲバサマーショー」ではコントレックスのペットボトルと携帯ラジオを描いた油彩画２点を発表し、そのどこまでも事物に忠実であろうとする描写は不審な陰影と透明度を携え、ひと際異常なアウラを発していました。「日用品を凝視して、その微細な光まで描き尽くす」と言う古風な作法を今日の積極的な態度として示したのです

本展「Still Live」ではターンテーブルやアンプ、ミキサーなどの音響系器機を描いた大作を中心とするシリーズとそれらが活用されるイベントには欠かせないアルコールやグラス、アクセサリやゴミなどの付随物を描いた関連作を発表致します。
町中で見かけた女性に異様な関心を示すかの様な観過ぎな視線と、能力以上に執拗な描写の集積は超絶技巧派とは異次元の、重心の低いメタリックな世界を実現しています。
またそこまで丹念に音響機材を描き、どれだけギャラリーに並べたとしても轟音や映像や喧噪がひとつも再現されるはずが無く、その隔たりに有機的な時間と静寂の較差を見出し「無音のフェス」状況のインスタレーションとして試みます。

本展ではこれらに鉛筆によるドローイングも合わせた約２０点を展示します。
佐々木 健の初個展をぜひこの機会にご高覧下さい。

2011年2月12日（土）ー 3月12日（土）
青山｜目黒　東京都目黒区上目黒2-30-6
*open : 11:00 – 20:00 close : 日, 祝　
オープニングレセプション：2011年2月12日（土）19 – 21 PM
■ 本展に関する問い合わせ　担当：青山 (青山 | 目黒)

AOYAMA | MEGURO

2.12.sat – 3.12.sat.2011
AOYAMA | MEGURO 2-30-6 kamimeguro meguro tokyo 153 – 0051 jpn
*open : 11:00 – 20:00 close: Sunday and Public holidays
Opening reception : 2011.2.12 19 – 21 pm

平素より大変お世話になります。弊廊では2011年の初企画として１月８日より森田浩彰の個展を開催致しますのでご案内を差し上げます。

森田は1973年生まれ、2002年に英ゴールドスミスカレッジ大学院修了後帰国。現在、東京で制作活動をしております。

一昨年の水戸芸術館「日常の喜び」、昨年から今年に掛けての滋賀ボーダレス・アートミュージアム「この世界とのつながりかた」で発表し現在でも評判の映像作品「 Clockwise 」はデジタル時計の表示を模して分刻みでスタジオにある工具や文房具が様々な動きを見せる、それが現実の時刻に同軌した２４時間尺ものアニメーションでした。そこでは否応なしに人類に共通した単位であるはずの「１分」と言う時間の途方も無い連続が、色味や動き、音を交えて把握出来ないほどの膨大なバリエーションで綴られた傑作でした。

今展の「タイムクエイク : TIMEQUAKE」で森田は、昨年のKABEGIWAでの個展「LOCAL EARTHQUAKE」に引き続き、地震とそれにまつわる事象を素材として扱います。災害と言う圧倒的なこの明日も想像出来ないほどに覆われた救い難い状況から悲劇や破壊や喪失を取り除いていくと何が見えるのだろうか。その彼方に露になる単純にネガティブやポジティブでは分けられない、掃き溜めに咲いた花の様な成果を丹念に紡いで行きます。

本展では２4本の蛍光灯を天吊りにした立体作品を中心に、地震と言う現象そのものとその後をイベントとして捉え、インスタレーションを構成します。

森田浩彰の弊廊では２度目になる個展をぜひこの機会にご高覧下さい。

2011年1月8日（土）ー 2月5日（土）
青山｜目黒　東京都目黒区上目黒2-30-6
*open : 11:00 – 20:00 close : 日, 祝　
オープニングレセプション：2011年1月8日（土）19 – 21 PM
■ 本展に関する問い合わせ　担当：青山 (青山 | 目黒)