Voldemārs Johansons
Uncertainty Drive

25 Oct. wed. - 18 Nov. sat. 2017
Open: Tue- Sat 11:00 - 19:00
Closed: Sun, Mon and Public Holidays

Opening reception
25 Oct. wed. 18:00 -

Artist Talk
27 Oct. fri. 19:00 -
Embassy of Latvia in Japan
37-11 Kamiyama-cho Shibuya-ku,
Tokyo, 150-0047

Embassy of Latvia in Japan

Voldemārs Johansons is a composer and contemporary artist living and working in Riga, Latvia. His installation works are precisely designed like experimental devices based on scientific research that employ sound, light and video to focus on the relation between human perception and the natural environment.
For example, ‘Op. 39 (standing waves)’ at the Riga Cathedral is a sculpture of steel pipes that looks like a pipe organ which stands in the cathedral courtyard. Various bass sounds are produced and changed by capturing the influences of the surrounding temperature, wind and the audience’ s standing position. ‘Thirst’  is a video and sound installation with an image of surging waves, which was filmed using a super high quality camera from a rock in the North Sea, screened with a panoramic screen. Accompanied by a powerful sound system and smoke machine, the audience can experience the overwhelming power of nature as if they were at the scene.
For his first exhibition in Japan, Johansons chose ‘Uncertainty’ as the theme.
Ilya Prigogine, a physicist known for the theory of dissipative structures, stated that ‘instability and creativity are inherent in our world’ , further claiming that the laws of nature which are ‘unpredictable but not random’ have a significant influence on art and design, human creativity and imagination.
In Johansons’ new sound installation presented in the exhibition, a sample containing a trace amount of radioactive material is used. Radioactive substances emit radiation at the moment their nuclei collapse. The frequency of the probability of radioactive decay is determined by the type of substance, but the occurrence of the decay cannot be predicted. A Geiger tube in the work detects any unpredictable radiation emissions, and upon detection, an ‘instrument’ generates a sound in accordance of the live data. Invisible environmental changes in the exhibition space because of the radiation become audible through the artwork.
Radiation cannot be perceived by human senses, however, it exists in the natural environment in various forms and is used widely in fields such as energy, medicine and biotechnology. There have been a lot of discussions about the existence of nuclear weapons and nuclear power generation. And still it is lying in front of us as a big problem that we can not even see the path to resolving these issues.
Johansons’ work incites imagination as he seeks to enlighten audiences about elements that cannot be perceived, and is making us re-recognise that the situation we are facing is physically and socially complicated with various uncertain factors.


Voldemārs Johansons

Studied composition of electronic music at Royal Conservatoire, Instutute of Sonology, Den Haag, Netherlands. After graduation, he deepened his research on organic combination of acoustic, visual information and spatial forms, while engaged in a number of projects aiming for fusion of art, science and technology. He presents his works around the world as a contemporary artist, and also active as a composer and researcher. Johansons' works have been presented at : the Venice Biennale of Architecture, Ars Electronica Center (Lintz), BOZAR (Blussels), Ruhr triennale (Germany), STEIM (Amsterdam), LISTE ART FAIR (Basel), The Latvian National Opera, Kochi Biennale (India) and elsewhere.

Juuso Noronkoski
This Place is Nowhere

8 Sep. [fri] – 7 Oct. [sat]
[Reception] 8 Sep. [fri] 18:00‒
[Artist Talk] 8 Sep. [fri]19:00-
[tue ‒ sat] 11:00 ‒ 19:00
[sun, mon, public holidays] closed

Gallery Taik Persons
The Finnish Institute in Japan
FRAME contemporary art finland
Arts Promotion Center Finland

This Place is Nowhere is a part of an ongoing project by Juuso Noronkoski consisting of photo, video, object and text-based works. Noronkoski examines the borderlines of the photographic image in relation to its forms of perception in the real world – the demarcation between objects, images and written language. More specifically, how each individual means of expression, with different temporal and material qualities, contribute to a common conversational space.
The photographs that are taken or found by the artist, are conceptually and physically modified in various ways. An intervention in an image, made with a definite intention, both disambiguates and reconstructs the meaning of the subject and also concurrently obscures the boundary that separates the surface from the surrounding space and the “real” from the “imaginary”. By stressing the physicality of an object in relation to photographic imagery, Noronkoski aims to bridge the gap between here, the now and there, the latent and displaced.

The text, which is in the form of a poetic short story, narrates the artist’ s thinking process that went behind his creation; however, it is left to the audience to understand if the text information accurately conveys the meanings indicated by the visual images. In other words, it is as if it were an experiment on ‘human empathy’ that has been related through words and images.

At an apparent level, the motifs of Noronkoski’ s works appear concrete, however, when examined at a deeper level, a universality that spreads beyond a specific culture or place is revealed. The photographs are not only a gateway to another time and place, but also mirrors that reflect the actual act of seeing.

In this exhibition, which is also Noronkoski’ s first presentation in Japan, he poses a question on subject and place: the perceptive space in which an image is ever-evolving and displaced. What is an image that exists between the actual and the imaginary and where is that liminal space – at the feet, and in unknown atmospheres?

Yuka Mori

2017.7.28 [fri] – 8.26 [sat]

[Reception] 7.28 [fri] 18:30 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun, mon, public holidays] closed

I feel like not having had come to such a bright place
My body plays in the faint and heavy light
And starts to hide actively
They scatter, find each hiding place, start to respire bating their breath


We are pleased to announce the first solo exhibition “Dawning” by Yuka MORI.

MORI has produced her painting considering about “body”, and “boundary” between the body and various things. So in this exhibition, her works having theme of “morning” will be shown.

She draws the morning as a time of “Awai (interval)”; the contour and border line of time or existence become obscure in the morning. In the early morning, the beautiful moment of dawn, she undergoes sensation like her body melts into the landscape or the world. The fresh comfortableness isn’t the only one thing which is there. The sign of purification of every emotion or memory; which elute from human, are united with the morning. MORI draws the sensibility of dissipation of; consciousness to body; border line between self and world. As her ideal.

And in these works, the new selection is piled about material or technique. Her major was Japanese-style painting in art university. But in these works, she tried to remove craft-like technic of Japanese-style painting; and to leave overglazed matiere, or improvised brush touch which causes to feel painter’s trace directly. These expressions haven’t been in her past work. So MORI has tried combination of Japanese-style painting material and oil painting material. In recent works, she uses heterogeneous material in each phase of groundwork, fixing material, pigment. The property of mixture is developing more complexly and organically.

Please come in touch the newest expression by MORI; who comes and goes own painting world flexibly.


All these works have theme of “morning”.
Light of morning, humidity of morning, temperature of morning, smell of morning, wind of morning, sound of morning.
I wanted to fix and keep in the painting; my longing or recollection to the sensibility of body which is enveloped in absolute “Morning”.


New Artist in Residence Program for Israeli Artist


The Program
For the first time the newly opened contemporary commercial gallery will cooperate with the Israeli Embassy in Tokyo and invite a single Israeli video artist for a unique residency program to be held in one of the most interesting neighborhoods of Tokyo.

The aim is to enable a new creation of a video instillation by an Israeli artist in the heart of this dazzling city and introduce a new voice to interact with the local art scene.

We wish to host an interesting, thought-provoking artist with the most intriguing and unique project.
Program summary
a) Creation of a new work: participant will begin a new work while in Japan or continue the work on an existing work and present the finished work at the end of the stay at LOKO Gallery.
b) Open Studio: participant will present the progress of his/her work being created as part of the program
c) Taking part in “Gallery Talk” and other Gallery event.
This contemporary art gallery opened in July 2016 in Daikanyama, Tokyo. It has a unique space with 2 floors and also offers artist residency facilities. “LOKO” means “place” in Esperanto. The gallery endeavors to create a place for the cultivation of emerging artists and to promote open communications among all people in the art community.


small, creative and hip district within Shibuya ward of the central Tokyo.
Between the Daikanyama station (Tokyu Toyoko line) and the JR Yamanote line tracks are numerous tiny cafes, art spaces, , clothing stores & boutiques that give Daikanyama its very special vibe.


The program
4 weeks in total spent in Tokyo, Japan
3 weeks – working
4 weeks – exhibition
1 Artist




Application period:
June 14th, 2017 to August 14th, 2017
Selection period: Latter half of August, 2017 to the end of September, 2017
*Applicants may be required remote Skype interview by selection committee in English.
Residency period: 4 weeks Feburary 2018 (3 weeks for working)
Exhibition: 4 weeks February – March 2018 (Artist will be present for the first week)
Result of the selection would be announced early October, 2017

Application Guideline
Focus Area
Visual Arts – Photography/Media Arts, Video Art
Israeli Artists (Israeli passport holder)
English language skills sufficient for daily conversation
Motivated to exchange with the local community through workshops and lectures
Artists who have had a least one solo show in leading gallery and participated in a minimum of 5 group exhibitions.
Be in good health.
Have access to the equipment necessary to participate in a remote interview (i.e. a computer capable of connecting to the internet and using Skype).
The works in the exhibition would be on sale. The condition of the sales would be discussed between the applicant and the gallery at the final stage of the selection.


  • Traveling expense: Available (up to ¥100,000)
  •  Production fee: Available (up to ¥70,000)
  •  Accommodation: Available
  •  Professional and staff support: Available
  •  Exhibition: Available at LOKO gallery




  • High-end Powerful Projector (EPSON EB-L1500U) and sound system available

PDF spec sheet

  • 40 inch LED monitor (Hisense HS40K225) x 3 available

PDF spec sheet

  • Blu-ray/DVD players available

*Filming, Recording and Editing devices for the production must be prepared by the artist.

application form
*Please fill out application form.
Additional images, links to videos and other materials regarding the artist or the proposal can be sent via e-mail.


This project is hosted by LOKO GALLERY with the support of the Embassy of Israel in Japan.

menora blue with b text

Exercise & Grandscape

2017.5.19 [fri] ‒ 6.17 [sat]

[Reception] 5.19 [fri] 19:00 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun, mon] closed

We are pleased to announce a dual show by two young painter, Kousuke Ishihara and Mishiho Fukuhama.

Ishihara had looked for definitive motif to himself, and piled up trial-and-error. In the process, he felt certain response in the clad human moving in the big screen, has produced such works. His main works in this exhibition; the 《Exercise》 series is the latest version. The transformed shapes of human body, the sense concerning matiere and color look like the entrance of his originality. Distorted human body and motion; face drawn by pencil; and matiere made of multilayer acrylic; there are fetish palatabilities about elements of painting. Fusion of them excites our imagination from exquisite angle, the works are humourous but don’t permit easy interpretation.

On the other hand, Fukuhama is the painter who is producing mainly 《Grandscape》 series; in the big screens of oil painting, miniature structures made by herself are drawn. At first glance, The landscape drawn by Fukuhama looks like different-dimension world. But the world is filled with nostalgia. The delicate and various gradation of ray; made of multitiered oil painting technique, illuminates the world with actual feeling and fantasticly. Or familiar parts which construct the miniature, cause unique déjà vu and strange feeling; by being expanded into big scale far from original. Fukuhama says “I pursuit the Landscape in which we have déjà vu but don’t know, and the world which exists only in painting”.

Representation of Ishihara and Fukuhama, both has familiarity; mystery and margin; which cause various interpretation of the viewer. Please come in touch the fresh world of them; who stand in front of entrance of their own world.

Akira Ishiguro
Painting of Marble

2017.4.7 fri – 5.6 sat
[Reception] 4.7 fri 18:00 –
[Tue – Sat] 11:00 – 19:00
[Sun, Mon, 4.29(sat)] Closed
in cooperation with:nca | nichido contemporary art

Akira ISHIGURO has been exploring ‘Genuine and Fake’ and ‘Truthfulness and Falsehood’ through the painting series, ‘A Steganographic Romance’ that replaces characters of 19th century academic art with Japanese “Anime” figures, or ‘GRAVITATIONAL FIELD’ that duplicates the surface layer of marble quite realistically as a painting. In these series, his works are presented as ‘Fake’ of existing famous old paintings or natural stone. His respect for ‘Genuine’ can be seen from the thorough adherence to reproducibility, denying that it is an easy parody, and the composition of the binary confrontation which was clearly made proves his attempt is carefully set up and is different from mere sampling or appropriation. The beholder’s senses perceive the uncertainty of ‘Reality’ coming and going between truthfulness and falsehood.
In this show, the un-exhibited large works from ‘GRAVITATIONAL FIELD’ would be shown with his new series of works named ‘Marblesque’. The former is the precise reproduction of a marble surface, whereas the latter is the expression of the artist’s appetite for creation and energy. These reality and abstraction are very contrasting as paintings; however, the aspect of his jittery expression ‘between twisted truth and false’ emerges by exhibiting the two series in front and back of his creation in the same space.
Moreover, his altisanistic method to reproduce the formative of art used in both the series is fostered through his vast experience, which is the core of his creative process and works as the foundation of his philosophy. It is an important component of Ishiguro’s art in the pursuit of true and false.
The marble-covered building directs wealth and power, spreading widely as a symbol of prosperity since the Roman Empire. At the same time, as a cheap replacement for marble, a technique to draw fake (Faux Finishing) spreads, and in the 19th century, when neo-classicalism prospered, it revolutionises and develops greatly. What I saw in Europe seemed to be at the core as an expression while being a fake, although there was a difference in style depending on the region. I attempted to consider ‘the truth in the false’ through consciously reproducing the marble as a painting.
The ‘Gravitational Field’, which draws fragments of nature encompassing the whole world as a landscape painting without perspective, is a figure exploring the texture of genuine marble. Moreover, ‘Marblesque’, which has a surface layer developed oppositely, captures the glossy sensation ‘the metamorphism by heat’, which multiplies the marble-generation process and the reality of creation of its own and turns metamorphism on the canvas. It can be said that it is a painting of an imaginary scenery.
When I look at the marble carefully, there is nature’s beauty, transcribing ‘the line extracting the law of nature’ like sutras and filling the canvas. In that process, unintentional metamorphism is repeated irrespective of my creativity. This is an abstract expression for me.


Little Gloomy Spring

2017.5.19 [fri] ‒ 6.17 [sat]

[Reception] 5.19 [fri] 19:00 ‒

[tue ‒ sat] 11:00 ‒ 19:00
[sun, mon] closed

[entrance] free

From stage design to performance, Yuki Sakuma is an artist who is active in mainly performing arts. She has just graduated from art university in this March. This time, we exhibit her latest work titled “Little Gloomy Spring”. Sakuma says that she wants to be active in the border between fine arts and performing arts variously from now on. The huge magnolias raise their necks as if they develop from her quiet and powerful will. Please come in touch the fresh world of Sakuma who begins to walk to new season.


It is myself
who decided to exit

But I can’t leave yet
from the familiar warmth

There is no place I must go
ahead of a twig which has a bud

Though, I look upward a little gloomily
like the magnolias point to north


2017.2.17 fri - 3.18 sat

[Tue - Sat]11:00 - 19:00
[Sun, Mon, Public Holidays]Closed
[Reception]2.17 fri 18:00-

The sculptor Yuuki Tsukiyama spent three months in Dubai, the United Arab Emirates in 2016 participating in the residence programme ‘See Saw Seeds’. Fourteen artists and researchers from four countries participated in this programme.

The exhibition ‘roundabout’ is the first in Japan to display the large-scale collage work that was executed and exhibited there as the result of the program.

The title of this exhibition refers to a type of circular intersection without a traffic light that is common in Europe and the Middle East. Tsukiyama depicted the image of a roundabout with Arabic text taken from local newspapers and magazines, propping it on a support of over four metres in height. The roundabout, where cars flow in and out, overlaps with the image of Dubai as a prosperous hub in the Middle East and its active exchanges. However, the Arabic text printed on the thousands of pieces of paper that compose the image is incomprehensible for those who do not understand the language. It makes us imagine the current state of the world, where the rapid progress of globalisation without mutual understanding is leading to serious confrontations between ethnic groups and religions. Simultaneously, the overwhelming, large image crafted by steady handiwork and its bright colour tones induce a positive energy that disassociates the feeling of despair brought about by communication breakdown. Through his experiences of being surrounded by the unfamiliar Arabic language while stuck at a roundabout in Dubai, Tsukiyama became strongly aware of his existence in a different culture and under different rules. To overcome his alienation and feeling of helplessness in Dubai, he resorted to a form of prayer through his craft: he relied purely on handiwork to produce his work, without using even common tools such as scissors.

Yuuki Tsukiyama (b. 1976) studied sculpture at the Kyoto University of Art and Design and is based in Kobe, his place of birth. He uses a wide range of materials, such as metal, resin, wood and paint, but the starting point of his production is always the material itself. He calls his method of creation ‘play’—it involves finding the characteristics of the material through repeated trials. It is part of the theme of his works, together with the enormous amount of handiwork that they require. In recent years, he has expanded his expressive range, creating an installation that uses the exhibition space itself as the material and synergistically applying the use of other materials.

the Tower

18 November – 18 December , 2016

18 November 18:00 –

[tue – sun]11:00 ‒ 19:00
[mon, public holidays]closed

We are pleased to announce London-based sculptor Keita Miyazaki’s first solo exhibition in Tokyo in seven years.

Miyazaki studied metal casting at Tokyo University of the Arts. Then, he received his M.A. in Sculpture at Royal College of Art, London. His work has been published in ‘The Independent’ and has also been selected for ‘Sculpture in the City (2015)’, an art project that involves a one-year sculpture exhibition in the City of London.

His recent works are characterised by a fusion of different materials, such as car parts, polished bronze and delicately handcrafted paper and felt. Some of his works have a speaker system that produces sounds from a train station or supermarket. They stir our emotions both through vision and hearing and raise the complicated problems of modern society through their ambiguous concepts.

Miyazaki picked ‘Tower of Babel’ as the theme of his exhibition. He says the well-known mythological episode overlaps with modern society in which extreme globalism and nationalism are rampant. He finds a function in the combination of such contradictory elements as ‘Reality and Illusion’ and ‘Sacred and Profane’ and aims for a kind of purification and recovery of creation through his works. In this exhibition, a 5 m sculpture that uses ‘Babel’ as a motif and other recent works will be exhibited.

Yukari ARAKI
Gravity of vision

30 September – 29 October , 2016

[Reception]30 September 18:00 –

[tue – sun]11:00 ‒ 19:00
[mon, public holidays]closed

LOKO GALLERY is pleased to announce Aichi-based artist Yukari Araki’s first solo exhibition in Tokyo.

Araki’s work first came to prominence through her solo exhibition ‘Something which is everything and nothing’ in the Aichi Prefectural Museum of Art (2012) and was then seen in the group show ‘WABI SABI SHIMA’ in Brussels (2015). Araki has been working on sculptures assembled from monotone materials since 2010. Her sculptural works are constructed from women’s accessories and daily necessities and are imbued with a sense of both feminine beauty and a touch of the grotesque.

‘I treat all materials equally’, Araki has said. She uses materials from animals and plants to industrial products, and when the diversified materials are bundled according to the ‘same colour’-rule, their original functions and meanings are renounced; through the emphasis on their shape and colour, they close in on us like unknown creatures.These distortions in the assembled materials reshape our old prejudices and perspectives, dissimilating our sensibilities.

The theme of this exhibition is ‘Gravity’. It displays Araki’s unique vision of the comprehension and distortion of the governing role that gravity has in our world.