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.


7 – 23 September, 2016

[Reception]7 September 18:00 –

[Tuesday – Sunday]11:00 – 19:00

LOKO GALLERY is pleased to announce a dual show by the Japanese-style painting artist Yuka Mori and the sculptor Hana Tobari. Although Mori’s original bodily expressions and Tobari’s heavy metal sculptures appear to be very different at first glance, an unexpected joint essence can be observed if you appreciate their works deeply.

‘Boundaries’ might be the keyword that links these works. While Mori attempts to eliminate the consciousness of the borders between ‘nature and human’ and ‘yourself and others’, Tobari’s theme unites the visible outside and the invisible inside and develops a relationship between them. Both artists seek to cross borders and allow a fusion of the inside and outside.

It is also interesting to compare their selection of materials. Tobari exposes the ‘flow of nature’ by using the chemical properties of steel that deforms through eventual thermal stress and rusts. In the Japanese-style paintings, Mori chooses media to emulate a ‘smooth texture’, such as the skin of a beautiful woman or a sense of moisture and temperature. Mori changes media flexibly to create ‘a painting that stimulates the memory of the five senses’. Thus, although these two artists belong to very different genres, they are closely connected as they both select media and create works based on their actual feelings.

Dan-dan-dan, Tan-tan-tan and Tale-tale-tales

11 August – 3 September, 2016

[Tuesday – Saturday]
11:00 – 19:00 *1st day 16:30 –
Sun, Mon

[Live drawing and writing]
“Draw & write, right now!”
11 August 16:30 –

11 August 18:00 –

“Dan Dan Dan. Tan Tan Tan.” is the duo show by the painter Keisuke Kondo and the novelist Hideo Furukawa. It’s been four years since the duo has had an exhibition. This will be the third exhibition since they began working together. The first two shows were the 2011 “E・Toho Kyofu Tan”(Picture・East Horror Story) and then the “Fuku・Toho Kyofu Tan” (Overturn・East Horror Story) in 2012.

The title “Dan Dan Dan. Tan Tan Tan.” was established from a number of improvised collaborative sessions. Without any pre-meeting, Kondo and Furukawa face each other across a sheet of white paper, Kondo draws a line and Furukawa writes some text in response. Through the repetition of this process, the Chinese character “譚 / Tan” (Story) became “淡 / Tan” (Slight) then again into “談 / Dan” (Talk). Finally, the meaning of the words would be lost and all that would remain is the beat of the rhythm “Dan Dan Tan Tan”.

The overlaps of these sounds and characters link closely to the content of the exhibition. Kondo and Furukawa visited the construction site of the LOKO GALLERY which has high ceilings. They were struck by the idea to pile up their paintings and their words. “Dan Dan Dan” is the sound from the construction site, the sound of gallery being constructed upwards is also the sound of works of art piling up. In the exhibition space, the layers of stories pile up as a form of painting and the exhibition forms like a narrative collection.

The layers will be connected by the eyes of the visitors, and then the exhibition comes to completion. The Syllables of “Tan Tan Tan” include elements such as the sound of visitors’ footsteps and the rhythm of climbing up stairways.
Additionally, the works from their first collaboration “E・Toho Kyofu Tan” will be exhibited in the show. The history of their resonance will emerge from many perspectives.

Masahiro WADA

July 8 – August 6, 2016

[Tuesday – Saturday]11:00 – 20:00
[Closed]Sun, Mon And Public Holidays

[Artist Talk]23 July 17:00 –

A giant fly lying down in a living room, a collapsing mountain of gold bullions, a grilled tree made Doner kebab, a running salaryman and a mountain witch in a deep forest … The motifs that Masahiro Wada takes up in his works are very diverse. These seemingly chaotic elements, once constructed by the hand of Wada, begin to emit messages and stories that are hard to describe. In all of his works, a world full of his originality comes out and faces us.

One of the features of Wada’ s recent works is the fusion of a large-scale movable set and video with a story. For example, in “Stylish Fly for Housewives” (2012), a big fly and a housewife live in a room that rotates as a washing machine. The figures and movie sets are shown in the video, but sometimes their territory expands to the exhibition room and jump out from the monitor. Categorization of genres as “Video” or as “Sculptures” or “Installation” doesn’ t make any sense for him.

In the planning stage of this exhibition, there were fragmentary words by the artist and the exhibition title with a drawing. Wada gave us some keywords like “Burning and rolling sphere” “Koshitsu-video (private adult video room)” “micro individual seen from macro cosmic point of view” . The title is the well known mathematical formula in the equation of gravitational fields in Einstein’ s general theory of relativity. The motif of mesh-like curves on the drawing express gravitational fields. These subjects will continue to be combined into one piece based on video, but neither the spectator nor the artist himself can expect what kind of form will be seen. Because the ideas and motifs collected by Wada’ s tentacles always converge in the labyrinth of his experiment and the mixture and creation continue until the last minutes before the exhibition.

Additionally, several members of “The National Museum Of Art, Okutama (MOAO)” , the artist-run space located in the forest a suburb of Tokyo that Wada takes part in, will participate in special exhibition on the basement floor aside of his solo show. We may sense another world from the mountain woods appears in the underground of central Tokyo.