Shigeru HASEGAWA “The Sower”

2021.05.22 – 06.26
Opening hour: 12.00-18.00
Temporary closed: 05.29 Saturday
Closed on Sun, Mon, National holiday

3 artists show – Shigeru HASEGAWA, Luca COSTA, and Naoya HIRATA

2020.2.24 – 03.20
opening hour : 12.00-18.00
closed on 4th, and 5th Mar.
Closed on Sun, Mon, National holiday

We are pleased to announce the 3 artists show of Shigeru HASEGAWA (b.1963), imaginary Argentine artist, Luca COSTA (b.1989) and newly introducing virtual sculptor, Naoya HIRATA (b.1991).

Shigeru HASEGAWA shows his 3m dog painting painted in 1997. Luca COSTA will make an installation combining the new and previous works. Naoya HIRATA will show his virtual sculptures meant to be shown at Art Collaboration Kyoto. We look forward to welcoming you.

Satoko Oe Contemporary


Mitsuhiro IKEDA ” dawn “

31 October – 28 November, 2020
Opening hours: 12.00-19.00
Closed on Sun, Mon, and National Holiday

We are pleased to announce the solo show of Mitsuhiro IKEDA ” dawn ” at the above period.

The work of Mitsuhiro Ikeda (b.1978) involves carefully planning out complex and inexplicable perceptual architectures and experiences and painting them in numerous layers. Each landscape is not simply a record of a place, but structurally resembles a novel imbued with the memory of a place, a tale spun through the intricate intertwining of motifs, paint, and subject matter. Scattered fragments of paint converge, fragmentarily remembered scenes are selected, and the painting completed as if skimming the top layer of a concoction. While foreseeing the ways in which things develop, he sometimes pauses to observe phenomena, at other times is swept along by the unrestrained dynamism of the paint, eventually seeking out and guiding the work to its conclusion. Each ending leads to a new beginning, with a fresh canvas and a new tale to tell. He maintains faith that endlessly repeated acts will accumulate to give the works their richness.

Light shines in, and images of objects and phenomena vaguely emerge. The outlines of shapes appear gradually, like mere premonitions, then melt into slumber again. In the outlines that coalesce and dissolve again and again, images take shape. Storytelling, imagining, thought, and more––are all processes that begin in this state between sleep and awakening. Rather than immediately rendering the contours of things clearly, I let my gaze linger on an undifferentiated mass of things, separating them out one by one and weaving them together in slumber. This process is not one of assigning or capturing definite shapes of things, but of distributing possible states of being throughout spaces.
Mitsuhiro IKEDA

The exhibition title dawn refers to the time when the sky grows light, but also has other meanings including “beginning” and “premonition.” At a time when the way forward is so uncertain, we will be delighted if this exhibition heralds new beginnings, like the creation stories of mythology, and sheds new light on the future. The gallery plans to present four to six new works, with a new work entitled dawn (like the exhibition as a whole) as a centerpiece. We look forward to welcoming you at the exhibition.


Shinichiro KANO “logs”

5 September – 3 October, 2020
Opening hours: 12.00-19.00
Closed on Sun, Mon, and National Holiday

We are pleased to announce the solo show of Shinichiro KANO “logs” at the above period.
Interview with Shinichiro KANO



post_tate_Iwanaga のコピー 2

13 Jun – 11 Jul, 2020
Opening hours: 12.00-19.00
Closed on Sun, Mon, and National Holiday
We are pleased to announce the postponed group show “Evacuation” at the above period.

“Evacuation” is the group show with the works of all the artists we work with.
We aim to exist as an evacuation shelter in the society, and glad to welcome you again at our space.


Onsen Confidential

28 Mar – 12 Apr, 2020
We will have a joint party from 19.00 on 28 Mar, at Sunday, Mishuku.
Opening hours: 12.00-19.00
Closed on Sun, Mon, and National Holiday
We are open till 18.00 on the first day of 28th Mar.
We will open on 12 Apr, Sun (12.00-19.00)

We are pleased to announce the participation of “Onsen Confidential”

“Onsen Confidential” hosts the oversea galleries and exhibits the works at the host galleries in Tokyo.
We will host Arcadia Missa (London, UK), Good Weather (North Little Rock, USA), Federico Vavassori (Milan, Italy).

We look forward to welcoming you soon!

For more information → Onsen Confidential


Shigeru HASEGAWA solo show

Jan 25 – Feb 22, 2020
Opening hours: 12.00-19.00
Closed on Sun, Mon, and National Holiday

We are pleased to announce the solo show of Shigeru HASEGAWA (b.1963) “2003-2004” from 25 Jan which mainly introduces his unshown works produced especially between 2003-2004.

During 2003-2004, Hasegawa was based in the Netherlands where he used to live during 90s. In the Hasegawa’s works made during this period, we can find some of the essences of the Dutch paintings, as well as the paintings of interior scenes.

Hasegawa didn’t show any of his works for over 6 years from 2013 to 2019 until we had his solo in March, last year and he merely showed his works in 00s. Even though his paintings are in collection of some of the major museums in Japan, but we don’t see variation of them for that reason.

We sincerely hope this would be an opportunity to find out more about Hasegawa, and you will visit us while the exhibition is on view.


Shigeru HASEGAWA and Yoshinori NIWA

23 Oct – 16 Nov, 2019
Opening hours: 12.00-19.00
Closed on Sun, Mon, and National Holiday
Closed on Sat, 2nd Nov.

We are pleased to announce the 2 artists show of Shigeru HASEGAWA (b.1963) and Yosninori NIWA (b.1982) who newly joined to our gallery this year.
The show introduces their works never shown in Japan.
It would be very much appreciated if you could come and visit us at this occasion.


Yoshinori NIWA “The Communities We Must Have Imagined”

24 July – 9 Aug, 2019
25 Aug – 6 Sep, 2019
Opening reception: 17.00-19.00 on 24 July
Opening hours: Mon.- Fri. 12.00-19.00
Sat.&Sun. 12.00-17.00

We are pleased to announce the solo show of Yosninori NIWA (b.1982) “The Communities We Must Have Imagined” from July 24.

It is said that people are motivated by their emotions and by money, but the specific mechanisms involved are greatly influenced by values imprinted on each individual during the process of growth. Until just recently, it was widely accepted that video was a tool for capturing reality and conveying the truth, but advances in technology have swiftly undermined this assumption. However, people retain an undeniable desire to believe that the moving image is, in fact, reality. Nowadays, there is scarcely a news or media outlet free from sources and information that have been altered, fabricated, and disseminated in line with the broadcaster’s interests, but a world where we must doubt the veracity of everything we see, hear, and read only exhausts its inhabitants. It has come to seem that the problems caused by this “fake news” are not limited to societal chaos and political manipulation by those in power, but may even lead to collapse of “reason,” on which the survival of human civilization depends.

When photographic technology was imported from Europe to Japan, as the country opened to the world at the end of the Edo Period (1603-1868), people reacted in various ways. Those astounded by this unfamiliar technology believed all sorts of things, and there were widespread unfounded rumors that the photographic subject’s soul would be sucked out, or his or her hands would grow larger. The latter is evidently the reason that in many extant photographs from this era, people have their hands drawn inside their sleeves. Today this just seems like a joke, but it also shows how people seek to protect the rationality of the world they know by devising explanations of unfamiliar technologies, and how encounters with these new technologies create opportunities for thought. However, in contemporary society, people are so accustomed to new technologies appearing one after another that they have lost this ability to use their wits. This exhibition reconsiders fake news, a contemporary problem intrinsic to the moving image, from a critical standpoint, and explores its psychological effects.

Many of Niwa Yoshinori’s works take the form of social interventions spanning diverse media, including performance, film, installations, and projects that progress during the exhibition. The clearly stated titles of works are slogan-like and self-explanatory, and in most cases, the entire process of carrying out unproductive and meaningless actions in public spaces is documented on film. By exposing various disturbances generated in the course of putting the work’s title into practice, the artist has revealed the boundaries and limitations of the “public” concept in numerous projects in Japan and abroad. In 2016 Niwa moved his base of operations to the Austrian capital of Vienna, and has been focusing on the social functions of visual media. The current exhibition deals with the Tokyo Olympics approaching in 2020, and comprises a group of works centered on a fake documentary Niwa is producing from 2017 until just before the Olympics. The premise is that “The Communities We Must Have Imagined”

The work turns its attention to the Games’ enthusiastic welcome from the business community, based on the dramatic postwar economic growth that accompanied, or coincided with, the 1964 Tokyo Olympics. However, after a series of historic national crises, the radioactive contamination from the Fukushima nuclear meltdown, and immigration-related issues accompanying internationalization, it is clear that Japan’s situation has changed since then. In this project, Niwa edits together film addressing the Olympics from various perspectives, including interviews with athletes and team managers in the context of the 2020 Tokyo Olympics, archival footage of the 1964 Games, and political speeches by Prime Minister Abe, to create a fictional future documentary with a premise that nobody believes possible: a boycott of all events by Japanese athletes. By creating discrepancies between the video’s overall narrative content and statements made by those appearing in it, the work provokes thought on what ideologies are linked to the future we expect or hope for, what generates this future, and whether it truly reflects the future we anticipated, while re-examining the modern history of postwar Japan thus far.

Yoshinori NIWA artist page


paper works : IKEZAKI Takuya, Makiko MASUTANI

18 May – 22 June, 2019
Opening hours: 12.00-19.00
Closed on Sun., Mon., and public holidays

We are pleased to accnouce the show of “paper works: IKEZAKI Takuya, Makiko MASUTANI” from May 18.

IKEZAKI who’s based in New York since last year presents the new series of works “The Address on The Address” which he attempted to work on the parcels and mails he’s received at the new address in New York. He draws the cycadophyte leaves or the waves which reminds him the longed hometown in the south part of Japan. The waves are sometimes made with the handmade stamps, and some of these works are colourfully painted with vivid paints. The excessive packagings of the cloths bought through internet normally go straight into the bins, without notice. However IKEZAKI treats them delicately and transformed them into the irreplaceable artworks which shows his current address and his origin.

Masutani captures the plants at the botanical garden in Shinjuku-Gyoen which is situated in the right centre of Tokyo surrounded by the skyscrapers, and is close to the shops offer the sexual services. She draws the plants and the colourful neon signs in one work. The delicate pencil strokes remind us the human nature of the people who’s related in the town of Shinjuku, but the brave composition shows us the brave the bravery on the other hand. Masutani attempts to wrap the wall with the hand-stamped wallpaper at this show. She’s been using the technique of stamping at her works, but the oversized wallpaper suggests more physicality, and spatiality of the works.

Hope you could come and have a look at the new activities of the two artists.

IKEZAKI Takuya was born in 1981, currently based in New York.

Makiko MASUTANI was born in 1982, currently based in Ibaraki.