この度、新人磯谷博史 （いそやひろふみ b.1978）の弊ギャラリーでは初めての個展を開催致しますのでご案内を申し上げます。
「出来事をどう数えるか」今展示の会期は無休で連続の12日間です。

磯谷はある時期に都内のスタジオ（今は亡き萩荘）に、招いてもいない小さな昆虫（蠅や蛾、蚊）が知らぬ間に寄って落ちていることに気を留めました。そして朝から夜までの制作時間12時間をきっかけに、その迷い込んだ中から12匹の死骸を集め、琥珀に似せた質感の掌に載るほどの石の形を模した半透明の立体を制作し、同時にその創作工程を記録撮影していました。それをプリントに焼いて箱状の額に納めると、そもそもが勝手に部屋に上がり込んでいた客だった虫達が、今度はお客様をお持て成し出来る様な佇まいを帯び始めたのです。
それらは今日まで未発表でした。

12匹の昆虫から12時間で制作し、12個のオブジェクトで構成した12日間のみの企画。

これまでに５つの街で5人に振られた人が、5年に5通しかメールが来なかったと取り乱していました。10年の間、10坪の家に一緒にいるカップルが、10分がまるで10日の様に長く苦痛だったと話しあったら、10回目の別れに至りました 。
20の図書館で20時間、20冊読んで参照が得られたのはたった20文字だった研究者もいるそうです。
これらの揃えられた数字によって繋がりをもったかのように見える単位は、云うまでもなく個別のものの尺度です。
単位で測ることができても、実際は輪郭のない出来事、果たしてその密度や濃度とはどんなものなのでしょうか。出来事をどのように数えるか。
その人特有のイベントとしてご経験戴けたら幸いです。

2012年5月12日（土）ー 5月23日（水）
青山｜目黒　東京都目黒区上目黒2-30-6
(ご注意)　会期中無休で開催します。出来れば天気の良い日中にお出掛け戴くことをお勧め致します。

*本展に関する問い合わせ 担当：青山 (青山|目黒)

磯谷 博史（いそや ひろふみ） プロフィール
東京芸大で建築、同大学大学院とロンドン大学ゴールドスミスカレッジ大学院で美術を学ぶ。
1978年生まれ、東京とロンドンで活動。
秋に、Kay Saatchi、Catriona Warren、Robert Dingleキュレーションによるグループショウをロンドンで予定。

artist web site http://www.whoisisoya.com/

*添付画像
title : Counting The Event
year : 2012 (from 2005)
material : color print / insect and resin

The primary function of units rests on its significance to measure aspects of events and matters.
We encounter the usefulness of units in the trifles of our daily life such as finding the right size of shoes, and indicating the recommended duration of sleep for adults. Between a coffee cup with a diameter of 10 cm and a puddle with the same diameter of 10 cm, the common trait that binds them spatiotemporally is the measure of 10 cm. Similarly, if one utters words; for instance, seven painters and seven cities, even though they are entirely different signifiers, they may seem as if people and places are related to one another through the number seven.
What I like to attend to in this exhibition is how to assess events numerically. It stemmed from a question of what kind of measures or units one ought to apply in order to perceive events that spatiotemporally discharge their semantic contours.

In relation to the number 12, which refers to the duration as long as half a day that I hypothetically spend in the studio, I gathered various units and measurements. I subsequently arrange them in a systematic order that posits on 12. As a result, they look as if those heterogeneous entities have formed a relation that ties them all together through the numerical order. From early morning until late at night, I spent 12 hours on producing three-dimensional objects with 12 small dead insects that wondered into my studio. In order to achieve a particular effect deriving from their materiality, the pieces have been intentionally fabricated to look as though made out of amber. Furthermore, I documented the whole process and the photographs that capture the scenes were incorporated into the three-dimensional objects.

The exhibition consists of 12 objects in total coinciding with the duration of the show which runs for 12 days. Akin to such an insignificant event of finding small insects in the morning, which wondered into my studio, I aim to provide a platform for viewers to engage in contemplation over an interstice between things, tiny space between the objects and the photographs, and inconspicuous gaps between different units. I hope that the exhibition encourages us to develop the discourse that pertains to enumeration of events.

Born in 1978, Hirofumi Isoya currently works in London and Tokyo.
Studied architecture at Tokyo University of the Arts and Fine art at Goldsmiths College.
The forthcoming shows include a group show curated by Kay Saatchi, Catriona Warren, Robert Dingle in Autumn.

5.12. sat – 5.23. wed. 2012
AOYAMA | MEGURO 2-30-6 kamimeguro meguro tokyo 153 – 0051 jpn
*The show is open everyday : 11:00 – 19:00

artist web site http://www.whoisisoya.com/

*images
title : Counting The Event
year : 2012 (from 2005)
material : color print / insect and resin

この度、新人磯谷博史 （いそやひろふみ b.1978）の弊ギャラリーでは初めての個展を開催致しますのでご案内を申し上げます。
「出来事をどう数えるか」今展示の会期は無休で連続の１２日間です。

磯谷はある時期に都内のスタジオ（今は亡き萩荘）に、招いてもいない小さな昆虫（蠅や蛾、蚊）が知らぬ間に寄って落ちていることに気を留めました。そして朝から夜までの制作時間１２時間をきっかけに、
その迷い込んだ中から12匹の死骸を集め、琥珀に似せた質感の掌に載るほどの石の形を模した半透明の立体を制作し、同時にその創作工程を記録撮影していました。それをプリントに焼いて箱状の額に納めると、そもそもが勝手に部屋に上がり込んでいた客だった虫達が、今度はお客様をお持て成し出来る様な佇まいを帯び始めたのです。
それらは今日まで未発表でした。

１２匹の昆虫から１２時間で制作し、１２個のオブジェクトで構成した１２日間のみの企画。

これまでに５つの街で５人に振られた人が、５年に５通しかメールが来なかったと取り乱していました。１０年の間、１０坪の家に一緒にいるカップルが、１０分がまるで１０日の様に長く苦痛だったと話しあったら、１０回目の別れに至りました 。
２０の図書館で２０時間、２０冊読んで参照が得られたのはたった２０文字だった研究者もいるそうです。
これらの揃えられた数字によって繋がりをもったかのように見える単位は、云うまでもなく個別のものの尺度です。
単位で測ることができても、実際は輪郭のない出来事、果たしてその密度や濃度とはどんなものなのでしょうか。出来事をどのように数えるか。
その人特有のイベントとしてご経験戴けたら幸いです。

2012年4月12日（木）ー 4月23日（月）
青山｜目黒　東京都目黒区上目黒2-30-6
(ご注意)　会期中無休で開催します。出来れば天気の良い日中にお出掛け戴くことをお勧め致します。
オープニングパーティ：2012年4月14日（土）15 – 20 PM
クロージングパーティ：2012年4月22日（日）15 – 19 PM　

*本展に関する問い合わせ 担当：青山 (青山|目黒)

磯谷 博史（いそや ひろふみ） プロフィール
東京芸大で建築、同大学大学院とロンドン大学ゴールドスミスカレッジ大学院で美術を学ぶ。
1978年生まれ、東京とロンドンで活動。
秋に、Kay Saatchi、Catriona Warren、Robert Dingleキュレーションによるグループショウをロンドンで予定。

artist web site http://www.whoisisoya.com/

*添付画像
title : Counting The Event
year : 2012 (from 2005)
material : color print / insect and resin

The primary function of units rests on its significance to measure aspects of events and matters.
We encounter the usefulness of units in the trifles of our daily life such as finding the right size of shoes, and indicating the recommended duration of sleep for adults. Between a coffee cup with a diameter of 10 cm and a puddle with the same diameter of 10 cm, the common trait that binds them spatiotemporally is the measure of 10 cm. Similarly, if one utters words; for instance, seven painters and seven cities, even though they are entirely different signifiers, they may seem as if people and places are related to one another through the number seven.
What I like to attend to in this exhibition is how to assess events numerically. It stemmed from a question of what kind of measures or units one ought to apply in order to perceive events that spatiotemporally discharge their semantic contours.

In relation to the number 12, which refers to the duration as long as half a day that I hypothetically spend in the studio, I gathered various units and measurements. I subsequently arrange them in a systematic order that posits on 12. As a result, they look as if those heterogeneous entities have formed a relation that ties them all together through the numerical order. From early morning until late at night, I spent 12 hours on producing three-dimensional objects with 12 small dead insects that wandered into my studio. In order to achieve a particular effect deriving from their materiality, the pieces have been intentionally fabricated to look as though made out of amber. Furthermore, I documented the whole process and the photographs that capture the scenes were incorporated into the three-dimensional objects.

The exhibition consists of 12 objects in total coinciding with the duration of the show which runs for 12 days. Akin to such an insignificant event of finding small insects in the morning, which wandered into my studio, I aim to provide a platform for viewers to engage in contemplation over an interstice between things, reflection between the objects and the photographs, and inconspicuous gaps between different units. I hope that the exhibition encourages us to develop the discourse that pertains to enumeration of events.

Born in 1978, Hirofumi Isoya currently works in London and Tokyo. Studied architecture at Tokyo University of the Arts and Fine art at Goldsmiths College. The forthcoming shows include a group show curated by Kay Saatchi, Catriona Warren, Robert Dingle in Autumn.

4.12. thr – 4.23. mon. 2012
AOYAMA | MEGURO 2-30-6 kamimeguro meguro tokyo 153 – 0051 jpn
*open everyday : 11:00 – 19:00
Opening reception: Saturday, 14 April, 3-8pm
Closing reception : Sunday, 22 April, 3-7pm

artist web site http://www.whoisisoya.com/

*images
title : Counting The Event
year : 2012 (from 2005)
material : color print / insect and resin

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)