ABC events

We are excited to announcement a full day of ABC events for March. We will be having all the events at SYP Gallery in Akebonobashi on Sunday, March 17th.

Please sign up at the appropriate Doodle link and send your e-mail address to

After a long hiatus, we will have the Art Admin Session from 9:30 am – 12:30 pm.

For the Art Admin Session, please bring your laptop and any materials that you need to catch up on the administrative side of your studio practice. We will all be saddled in front of our computers, piles of business cards, or application files and catch up on those things that we say we are going to do, but never get around to as soon as we’d like.

Due to the need for space for laptops, etc. and the size of the space, we will like to limit the participation to 8 people. If you are interested in attending this ABC Art Admin Session, please RSVP via Doodle at the link below.

After a lunch break, the day will resume with the ABC Studio Work Discussion from 1:30 – 4:30 pm.

We will have the usual roundtable discussion of works in progress and updates, so please bring works, ideas and resources that you would like to update and share with others.

To try and make these discussions as productive as possible for each person, we will be limiting the participation to 12 people so that each person has adequate time (around 20 minutes) to share their work and thoughts without feeling rushed.

If you are interested in attending this ABC Studio Work Discussion Meeting, please RSVP via Doodle at the link below.

For the ABC Studio Work Discussion Meeting

After a short break to get some food and drinks, the final session for the day will be a Bookmaking / Bookbinding Studio from 5 – 8 pm.

With more than a dozen artists signed up to participate as part of the ABC booth for the Tokyo Art Book Fair, we thought it would be fun to have a few hours for interested artists to get together and learn new bookmaking and bookbinding techniques. There will be books and resources available to follow along as well as ABC artists who will share their expertise.

For this studio, we will limit the participation to 12 people. If you are interested in attending thisBookbinding/Bookmaking Studio, please RSVP via Doodle at the link below.

森下 絵里奈 –点線のパノラマ–

森下 絵里奈 個展
Erina Morishita Solo Exhibition

会期 201922()―210()
時間 13:00–20:00     *月曜、火曜休廊 最終日は17:00まで
オープニングレセプション: 22() 1800–2000



森下 絵里奈


Erina Morishita Solo Exhibition
– Dotted panorama –

Date: From 2nd to 10th February
Opening hours: 13:00-20:00 (closed on Monday and Tuesday. 10th February until 17:00)
Opening reception: Saturday 2nd February 18:00 20:00


On Earth, sometimes it rains. On one of those rainy days, I rode the bus back home, even though I usually don’t. On the bus window there were many raindrops and, for a moment, there all were forming a wavy pattern.
The truck running next to us was transformed into a stripped pattern by the raindrops, so if there were many more of them they may project a hole landscape.
I kept on thinking on these things until I run out of stops.
How different would it appear the face of a bird from the inside of a falling raindrop in the middle of the sky? Would it be possible to mix it with the stripped projection of a truck from the other day?
I ended tangled up with those thoughts.


Erina Morishita
Born in Tokyo in 1987
Doctoral degree at Tokyo National University of Fine Arts and Music

高木沙織 Saori Takagi 「めいめいきれいにひかってゆれる」

-Please scroll down for English texts-

S.Y.P Art Space では高木沙織の個展 めいめいきれいにひかってゆれる‒を開催します。

会期 2018128日(土)−1216日(日)
時間 13:0020:00  *月曜、火曜、水曜は休廊 最終日は17:00まで
オープニングパーティー : 128日(土)17:00 – 20:00


展示のタイトルであるめいめいきれいにひかってゆれるというのは、宮沢賢治の「ソックスレット」という詩の一節です。 詩の中で光っているのはフラスコの中の溶液ですが、作品と、自分と自分以外の他者がそれぞれに光って揺れるようなイメージを込めて、展示を構成します。                          



Saori Takagi Solo Exhibition « Mei-mei kirei ni hikatte yureru »

2018.12.8 Sat. – 12.16 Sun.   Close at Mon,Tue,Wed.
Opening Party : 12.8 Sat  17:00 – 20:00

During my training at the art university, I learned the technique of woodcut print that I found fascinating because of the fact that one paper could contain as many different prints as you want. This idea of  woodcut reliefs being transformed and leveled off into a flat surface as paper led me to come up with the concept of « different things on the same dimension ».

After graduating from the university, I focused on developing this concept through collages and installations. However, for this exhibition, I decided to use the oil painting technique, that I haven’t used since university, in order to think further of this concept.

The title of this show « Mei-mei kirei ni hikatte yureru » refers to a passage of a poem called « Soxhlet » by the Japanese writer Kenji Miyazawa. It describes the image of a liquid inside a flask where its particles shine and vibrate independently but giving the impression of an unity. This image is what I try to accomplish with this exhibition.


Keisuke Masuda – ghost portraits –

#English is below

増田恵助  「ghost portraits」

2018.11.23 ( Fri ) – 12.2 ( Sun )

14:00~19:00 金土日祝のみオープン






“ghost portraits”


人物画を言い表すときに “portrait”(ポートレイト)という言葉を使うことがあります。この英単語を調べてみると「肖像(画)」や「肖像(人物)写真」と出てきます。







Keisuke Masuda “ghost portraits”

2018.11.23 (Fri) -12.2 (Sun) 14: 00 ~ 19: 00
Open on Friday, Saturday, Sunday and on public holidays

Artist’s comment:

“Painting inside a painting”

For the exhibition “Painting in a painting” that was held on January 2017 on this very space, I explored the idea of applying to my portraits the concept of Picture on a Picture: a picture drawn into another picture; for example, in classical paintings is not unusual to find an interior space in which walls we can see hanging other paintings.

Afterwards, in an exhibition held on June at the Nihonbashi Mitsukoshi’s gallery, the concept of “painting in painting” was expanded through a combination of still objects, including paintings, patterns, figures, mirrors, etc. depicted inside the painting.

“Ghost portraits”

This time, and connecting with the previous exhibitions, I will be focusing on the portrait genre once again.

When talking about this genre, we may use the English word “portrait” or use the Japanese word “jinbutsuga”(人物画), that literary means “picture of a person”. When we examine the English term, it comes out as both portrait-painting and portrait-photograph.

Most of the so-to-speak portraits that I have produced are depictions of models and various icons that were meant to represent a certain generation and not to be a descriptive portrait of a specific person.

To begin with, I have the impression that the genre of portrait, as traditionally conceived, has lost its necessity since the development of the photography. Moreover, it seems that nowadays there are many artworks that treat people as mere motifs or as a mean of expression for the artist to use.

Some of the portraits presented in this exhibition are not painted by request but painted for myself. Moreover, since the paintings were conceived from a mix of photographs and patterns, the resulting image did not exist in the first place.

I am not certain if these paintings may be called portraits, but keeping this in mind, please enjoy the exhibition.

Masuda Keisuke

Eiko Hattori Solo Exhibition -Light and Shadow-

服部 詠子 個展

Eiko Hattori  Solo Exhibition

-Light and Shadow-

会期: 2018年10月5日(金)~ 8日(月・祝)

時間: 13:00~19:00 初日は17:00から、最終日は17:00まで

展覧会場: S.Y.P Art Space

・オープニングレセプション 10月5日(金)17:00~21:00


作品制作のテーマ/About concept of artistic creation



My all time concept is the expression of the geometric object which consists from repetition of the simple pattern.  Art is “beauty,” the beauty is “geometry” and the geometry is “universe”.  Then, the art is beauty, geometry and the universe for me.  My creative inspiration always comes from those three concepts.

I create art works to find answers to my question why people feel the beauty through the geometric art.

-Light and Shadow- 展示作品について/About Exhibition work





Himmeli, a traditional Finnish art craft for mainly decorating in Christmas season is to create polyhedral object by straw of rice.  It is said that people were poor in Finland at a time in the past, they utilized the straw in substitution for gold.  However they couldn’t get the gold, they realized the straw could shine into the dark as like gold.

I investigated Himmeli in Finland where I participated in Artist Residency Program this June, and I show an installation art that I inspired from Himmeli in my solo exhibition.

A big regular icosahedron is exhibited under the theme of “Light and Shadow”.  I hope you enjoy the space of geometric.

作家 略歴/Artist CV

2013年3月 京都造形芸術大学通信教育学部芸術学部美術科染織コース 卒業

2017年6月 Metàfora International Workshop (スペイン、バルセロナ) 修了

2013年5月 第35回日本新工芸展入選 (国立新美術館/東京)

2013年9月 千代田芸術祭アンデパンダン展 (アーツ千代田3331/東京)

2016年8月 第4回JADIF公募作品選抜展入選 (世田谷美術館/東京)

2016年11月 Complete nothingness [グループ展](Untitled BCN/バルセロナ)

2017年3月 Art Lover Ground [アートイベント] (MUTUO/バルセロナ)

2017年9月 Nonesuch Art Of Paper Awards入選(カナダ)

2017年10月 7th International Biennial of Contemporary Textile Art入選(ウルグアイ)

2018年5月 International Biennial Textile Art Exhibition入選(ウクライナ)

2018年6月 Kristinestad artists’ residence [レジデンス](フィンランド)

Warren Khong Solo Exhibition - Sleeping Sun –

Warren khong 

9.26(Wed) 20:00 – 22:00 アーティストトーク & オープニングレセプション
9.29(Sat) – 30(Sun) 16:00 – 20:00 ※お時間にご注意ください。

9.26(Wed) 20:00 – 22:00 Artist Talk & Reception Party
9.29(Sat) – 30(Sun) 16:00 – 20:00 ※Please be careful to the opening time.

Sleeping Sun

A solo exhibition by Warren Khong

Sleeping Sun is Khong’s sixth solo exhibition, and his first in Tokyo. Taking its title from a song, Sleeping Sun references neither the song itself, nor any other poetic imagery. Rather, the title alludes to the sun as a source of light. Historically, light has been a common subject for painters and the investigation of light as a material is an integral aspect of Khong’s practice, as reflected in the works presented. Thus, Sleeping Sun may advert to the absence of light and, ironical to the title, in the cessation of light, the works cease to exist.

This exhibition presents three works – #085, #096 and #100, which follows from his enquiry into the constituents of painting, and the contexts in which it occurs. #085 comprises of aluminum plates white washed on the surface and mounted on the wall. This minimalist wall installation emanates a subtle hue that appears to be composed by light but is in fact executed through concealed paint. Painted yellow and green on the reverse, the interplay of reflection and shadow manifests a striking physicality in each work, magnifying the presence of the small rectangular wall pieces. Shadow becomes form, and paint transforms into light. The strength of this illusion stems in part, from how color and light have the power to alter the perception of a work’s status. For once the gallery lights are switched off, the artworks cease to exist, becoming white washed objects instead. Taken in such light, the bias of color as a legitimising factor to what makes a work a piece of art, is being raised.

#096 is conceived as a site-specific painting installation. Here, it is not paint that is taken as the medium but the very color yellow itself that acts as the material for art making. The employment of paint is merely as the vehicle to convey, to allow the color Yellow to happen. Executed in a bright, reflective yellow, #096 allows also for the reflection of the yellow through the presence of light to fall onto and interact with or influence the light and colour of the space itself, as well as with the work #100 installed within the gallery. The execution of #096 is via a specific set of instructions transmitted to the owner of the gallery and physically created by proxy. It is devoid of the artist’s hand, allowing for the work to be made without needing the presence of the artist. At the end of the exhibition, #096 is to be painted over/destroyed and the work continues to remain only through its idea and in its documentation.

Yet, the conjecture of the bias of colour as a legitimising factor as raised in #085 is challenged by making White a subject matter in #100, which examines White as material itself. It also looks at the notion of the wall and its significance as surface and/or site in painting and the history of painting. In a previous work, #095, Khong presented an empty, white gallery space with the floor painted over in a white water based gloss paint. Here, in #100, the same ‘floor’ is transferred onto the wall of the gallery and the wall reclaims its rightful place as the site for painting, as well as the surface for painting. #100 invites viewers to see, to observe, to engage with the wall and the presence of the wall itself.

The painting happens in the painting of the wall, the application of White onto the surface. In the glossy reflectivity of the White, image making occurs and one remembers that walls are seldom painted gloss, reflective. In the supposed subtlety of White on white we instead have gloss on matte and a myriad variety of images are allowed, given the setting and frame to occur. Here, the wall is both painting and frame, at once infinite, at once absolute.



Warren khong 

Born and based in Singapore, Warren Khong situates his practice in the investigation of materiality in art to push the possibilities of representation in painting and drawing, as well as their reception. His primary research explores concepts of painting and its relation to surface and materiality – from selected metal surfaces to light, colour and reflection, he also explores spaces and site specificity as well as the intangible or immaterial, proposing for material as Idea. This interest in engaging in the intangibility of materials in art-making, as a way of challenging the ontological status of art and art objects allows for Khong to continue questioning notions of painting in art making.

Khong graduated with a Master of Arts, Fine Arts from Goldsmiths, University of London, U.K., in partnership with LASALLE College of the Arts, Singapore. He has had five solo exhibitions – Light-Space (In collaboration with Urich Lau) at Objectifs – Centre for Photography and Film, Singapore in 2016, Whitewash at the Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore in 2016, Same Same But Different at Reading Room, Singapore in 2013, A Collection of Shapes in Red, Blue, Green, Yellow, Black and White at Marcuard Asia, Singapore in 2011 and Warren Khong: A Solo Exhibition at the Hôtel Salomon De Rothschild, Paris, France in 2011. Selected group exhibitions include In Praise of Shadows at the Art, Design and Media (ADM) Gallery at the Nanyang Technological Gallery, Singapore in 2017, Supernatural at Gajah Gallery, Yogyakarta, Indonesia, in 2017, Turn Loose The Mermaids at iPreciation Gallery, Singapore in 2016, Dear Painter at Sundaram Tagore Gallery, Singapore in 2015 and Vernacula_ at the Nanyang Academy of Fine Arts, Singapore, in 2015.

His works have been commissioned by La Maison du Whisky for their Artist range and Karuizawa selected by La Maison du Whisky limited edition whisky labels as well as Velier for their Warren Khong range. He is a draughtsman in the Sol Lewitt foundation and worked on both Sol LeWitt wall drawings at the Marina Bay Sands, Singapore. His works have also been collected by the Singapore Art Museum, La Maison du Whisky, Velier and various other private collections.


2014 – 2015 2008 – 2009 2002 – 2006

MA in Fine Arts, Goldsmiths, University of London, U.K, in partnership with LASALLE College of the Arts, Singapore

BA (Hons) in Fine Art: Painting and Drawing, University of Huddersfield, U.K., in partnership with Nanyang Academy of Fine Arts, Singapore

Diploma in Fine Art, Nanyang Academy of Fine Arts, Singapore


2016 Light-Space (In collaboration with Urich Lau), Objectifs – Centre for Photography and Film, Singapore

Whitewash, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore

2013 Same Same But Different, Reading Room, Singapore
2011 Warren Khong: A Solo Exhibition, Hôtel Salomon De Rothschild, Paris

A Collection of Shapes in Red, Blue, Green, Yellow, Black and White (I still don’t remember the name of the girl I saw that day), Marcuard Asia, Singapore


2018 Alma Matter, Chan + Hori Contemporary, Singapore
2017 In Praise of Shadows, Art, Design and Media (ADM) Gallery, Nanyang

Technological University, Singapore

Supernatural, Gajah Gallery, Yogyakarta, Indonesia
2016 Turn Loose The Mermaids, iPreciation Gallery, Singapore

GELB, Zwischenzeitraum, Luzern, Switzerland
2015 Celebrating NAFA’s Fine Art Legacy, Lim Hak Tai Gallery, Nanyang Academy of

Fine Arts, Singapore

Portable Art Week, iPreciation Gallery, Singapore

Dear Painter, Sundaram Tagore Gallery, Singapore

Half Past, Art Wood Space, Singapore

Drawing as Draft, Dialogic, Singapore

I Wasn’t Everything, Galleries 1 and 2, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore

Vernacula_, Galleries 1 and 2, Nanyang Academy of Fine Arts, Singapore

2014 idreamofmona, Praxis Space, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore


A Dozen and then Some, Eminent Plaza, Singapore
Tropical Lab 8: Port of Call, Institute of Contemporary Arts Singapore,

LASALLE College of the Arts, Singapore
2013 Urban Sensations, Goodman Art Centre, Singapore

Kampong Goodman, Goodman Art Centre, Singapore
2011 Coincidence – A two man show with Max Balatbat, Renaissance Art Gallery,


2009 Necessary Extravagance: The Elephant in the Room, Lim Hak Tai Gallery, Nanyang Academy of Fine Arts, Singapore

Too Far Edna We Wonder Afoot, Wilkie Edge, Singapore 2006 Bottoms Up, Instinc Gallery, Singapore

2005 Not a Black Tie Affair, Front Room Gallery, Singapore Project L403, Unit L403, Telok Kurau Studios, Singapore


2017 In Praise of Shadows, Michelle Ho Supernatural, Michelle Ho

2016 Light-Space, Seng Yu Jin
Beyond The Frame: Painting Post Painting, Michelle Ho

Whitewash, June Yap 2015 Dear Painter, June Yap

I Wasn’t Everything, June Yap
2011 The Colour of Experience, John Low


2018 Guest Lecture to Srinakharinwirot University, Thailand, Nanyang Academy of Fine Arts, Singapore

2017 Artist Talk, School of Art, Design and Media, Nanyang Technological University, Singapore

2016 Artist Talk, Objectifs – Centre for Photography and Film, Singapore Artist Talk, iPreciation Gallery, Singapore

Artist Talk, Institute of Contemporary Art Singapore, LASALLE College of the Arts, Singapore

Artist Talk, Yale National University of Singapore College (Yale-NUS), Singapore


Workshop, People’s Association, Singapore
2015 Artist Talk, Korean National University of the Arts, Seoul, Republic of Korea

Workshop, People’s Association, Singapore
2014 Artist Talk, Royal Melbourne Institute of Technology, Melbourne, Australia

Workshop, Ministry of Education Singapore Teachers’ Academy for the Arts, Singapore


2017 2017 Review, Ten Best Shows in Asia, CoBo In Praise of Shadows, web review, Art Republik gallery-ntu.html

2016 WHITEWASH, print and web review, Today Newspaper ikea-type-furniture-re-examine-world-around-us

2015 Dear Painter, web review, Art Asia Pacific

Top 5 Shows to See for Gillman Barracks’ Third Anniversary, web review, Blouin Artinfo gillman-barracks-3rd-anniversary

鸿辉和叶德晶 为吉门营房策展本地新锐作品, Lianhe Zaobao


2015 – Present Adjunct Lecturer, Nanyang Academy of Fine Arts, Singapore 2015 Adjunct Lecturer, LASALLE College of the Arts, Singapore


2017 Commissioned to create a series of artworks for the rum labels of the Warren Khong limited special edition series.

2015 Commissioned to create a series of artworks for the whisky labels of the ‘Karuizawa selected by La Maison du Whisky’ limited special edition series.


2014 Commissioned to create a series of artworks for the whisky labels of the ‘Karuizawa selected by La Maison du Whisky’ limited special edition series.

2013 Organizer and curator for The Under 100 Show group exhibition at the Goodman Art Centre Gallery

2011 Commissioned to create a series of artworks for the labels of the ‘Artist’ range limited special edition whiskies by La Maison du Whisky.

2010 Draughtsman for Sol LeWitt wall drawing at the Marina Bay Sands Integrated Resort


Singapore Art Museum, Singapore La Maison du Whisky, Paris, France Velier, Genova, Italy
Various private collections

Assemble 田中昌樹 Masaki Tanaka

この度、S.Y.P Art Space では田中昌樹 個展 -Assemble- を開催いたします。

Assenble | 田中昌樹 Masaki Tanaka

会期 2018年9月14日(金) -9月24日(月) 時間 13:00~19:00  ※18(火).19(水).20(木) 休廊
オープニングレセプション  9月15日(土)

(Fri.) September 14 – (Mon.) September 24 , 2018 13:00-19:00
Close: Mon.Tue.
Opening Reception : (Sat.) September 15




だから何にだってなれるし その権利もある



We are not nobody.
We are neither perfect, nor special.
That’s why we can become anything, that’s our right
Because we have nothing.

And, if we gather, something amazing might happen.

1996年 神奈川県出身
2018年 東京造形大学 美術学科 絵画科 在籍
「ZONE」     東京造形大学P301
「シケイン」    東京造形大学P301
「Assemble」    SYP Art Space
「New Rag」 田中昌樹 石田遥花 島田かな
「When a Student Becomes an Artist」 齋木克裕 展示mime アーティストトーク CS‐LAB

安達裕美佳 個展 - 散歩するエメラルド –

安達裕美佳 個展―散歩するエメラルド
solo exhibition Yumika Adachi―Emerald taking a walk

-Please scroll down for English texts-

2018.8.25 Sat.ー9.2 Sun. 月・火休廊
Opening Reception :8.25 Sat.18:00-20:00



1987 東京都に生まれる
2012   東京造形大学大学院美術研究領域 修了
      東京造形大学修了制作展『 ZOKEI展』にてZOKEI賞受賞
     パフォーマンス『行為かじょうが』 blanClass
           個展『アリス時計、ポストカードそしてレコードジャケット』Woodberry Coffee       
2014   グループ展『撤収展』ハンマーヘッドスタジオ
2015 世田谷区芸術アワード“飛翔”2015受賞


Opening Reception :8.25 Sat.18:00-20:00
(Sat.) August 25 -(San.) September 2 , 2018
Last day : ~17:00   Close: Mon.Tue.

Record of the walk

31 July 2018  Mars is the closest to Earth it’s been in 15 years.
The Tyrolean dress painting has been largely completed.
In the evening, I went to buy cotton swabs because there is a place I want to fix a little.
It’s troublesome to go out in record heat wave lately. But I feeling good when I walk out in the evening.
On the way home, I saw the red star which shines conspicuously in the southeastern sky.
Aha, Mars is at its closest approach to Earth today.
I was seized with mysterious thought incidentally.
The star called the Earth was relations with the sun are appropriate accidentally, Life was born,The creature called the human being was born,They invented the convenient tool, They made AI, They were In pursuit of a more comfortable way,
They destroyed global environment,They are troubled with a small thing and They suffer from a lifestyle disease.
The people who repeated production and destruction in the star born accidentally.
A human being is a mysterious creature.
we have various likes and dislikes.
Some people who has feeling of ups and downs by texture and combination of colors.
Why do you feel that it is beautiful to see a flower and scenery?
It’s nothing but several color and form combination,
Perhaps beautiful or not is decided by memory and preconception in some cases.
“Sanpo” is walk with no apparent aim.
Will there be the creature doing “Sanpo” elsewhere?

1987  Born in Tokyo
2012  MFA, Tokyo Zokei University
          Winner, Zokei award
    Performance,“KOUIKAJOUGA”blanClass Yokohama,Japan
    Solo exhibition“Arice clock, post card and record jacket” Woodberry Coffee Tokyo
2014  Group Show“Withdrawal exhibition” Yokohama,Japan
2015  Winner, Setagaya art award
          Solo exhibition“Yumika Adachi” Setagaya art Museum ,Japan

小林琴美 個展 「 静止 / 引き伸ばし / 凝縮 」

Kotomi Kobayashi
solo exhibition  “ stillness / enlargement / condensation ”

-Please scroll down for English texts-

2018. 8.11(Sat) – 19(Sun)   13:00 ~ 19:00
小林 琴美 の個展「 静止 / 引き伸ばし / 凝縮 」を開催いたします。


《ファウンテン》 という作品を展示します。





about exhibition

 This exhibition shows the work fountain.
The drawings were made from pictures taken of a fountain in operation near the s.y.p.《fountaincontains the drawings and the small object.


When I look absently at the view through a window, I look calm. But for a moment, various thoughts appear in my mind.
I remember observing nature, lives and man at work in my childhood; looking without thinking, just looking. I think that it’s difficult to do that after growing up. Because I feel the society expects my actions to be meaningful.

訳協力:Christof Dubs

Residence Report 柴辻 健吾 (デンマーク)、吾妻 勝彦・吉野 祥太郎(ポーランド)


※ 会場が広くないので、入れない場合もございますのでご了承ください。

2018. 8.4 (Sat)  18:00 – 21:00


8 Land Art Festiwal, Fundacja Latająca Ryba ( 吾妻 勝彦吉野 祥太郎 )
今年で8回目となるポーランドのBubel Grannaというベラルーシ国境沿いの町で行われたランドアートフェスティバル。

柴辻 健吾

開山守護神祭 (妙法寺/堺/大阪)
5selections vol.Ⅱ(十一月画廊/東京) 

画廊×コンサートvol.7 「インスタレーション×舞踏」(西方寺/東京)
アートアイランズTOKYO 2017 第7回 国際現代美術展 大島+新島 (大島/東京)
日中現代美術交流展「TWO PLACES-A LANDSCAPE」(中国/広州/53美術館/広州/中国)
5selections vol.Ⅰ(十一月画廊/東京)

ジ・アートフェア+プリュス-ウルトラ 2016 (青山/東京)
画廊コンサート in 西方寺 彫刻×ホルン(西方寺/東京)
アートアイランズTOKYO 2016 第7回 国際現代美術展 大島+新島 (大島/東京)

吾妻 勝彦


2012  杉村祖人冠邸野外彫刻展
2014  4人の形」展
2015 我孫子手作り散歩市 「情熱の背中」(嘉納治五郎邸)
    Tsukuba  International  Artist-in-Residence  「層生」
2016 Solo exhibition (ちばぎん ひまわりギャラリー)
         我孫子手作り散歩市 「華」 (旧村川別荘 庭)
2017  Tsukuba  International  Artist-in-Residence 「周縁の美学展 Grand  Mother  Moon
2018 我孫子手作り散歩市 「仮装した情熱」 (旧村川別荘 母屋・庭)


吉野 祥太郎
吉野祥太郎は地面を持ち上げる事で「土地の記憶」を表現し、国内外の美術館やギャラリー、多くのオルタナティブスペースや野外での地域密着型のイベントなどを行って いる。彼の意味する地面とは記憶の堆積であり、そこに堆積した歴史を優しく汲み上げ、表出させることにより「場」に対する影響、そこに関わる「人間」に与える影響、その場所と 人間との関わりを考察させ、心の奥深くにある意識を揺さぶる。

“spiral take art collection 2017 蒐集衆商” / 青山SPIRAL, 東京
“Gujing Biennale 2017” / Gujing Artist Village Residence, China
“Grand Mother Moon Exhibition” / つくば市
“Nakanojo Biennale 2017” / 中之条, 群馬
“Land Art Delft” / Delft Sculpture Park , The Netherlands
“Résidence Artistique L’échangeur22” / Avignon, France
“Experimental Field Tokyo” /  S.Y.P Art Space, 東京
“いちはらアート×ミックス 2017” W.D.A / 市原市, 千葉

“Zokei Next 50” / 3331 Arts Chiyoda, 東京
‘MEMORIES’ Solo Exhibiion / S.Y.P Art Space, 東京
“Japanese contemporary art” / 広州, 中国
“水と土の芸術祭 2015” W.D.A / 新潟市, 新潟県
“Urban Scenery” / クリエイションギャラリー日本橋箱崎, 東京
“TSUKUBA International Artist in Residence2014” / つくば, 茨城県
“-小須戸ARTプロジェクト2014-” / 小須戸, 新潟県
“Takashima Artist in Residence2013” / 高島, 長崎県
“Tokyo International Environment Art Forum 2013” /駐日韓国大使館文化院 (東京)
“-Identity-” curated by Ko Maeda /長崎県立美術館 (長崎)
“PlaywithNature-PlaybyNature” curated by James Jack/ Satoshi Koyama Gallery (東京)
瀬戸内国際芸術祭 2013 関連企画 Shodoshima Art Project “第7回小豆島A.I.R” / 小豆島, 香川県
“Draw the History of Ground”@ No Man’s Land Main space / フランス大使館(東京)