Art Brut 2022 Touring Exhibition Form, Fluid and Flex ible

Varied Materials, Diverse Ex pression

Venue 1 : Tokyo Shibuya Koen- dori Gallery Jul. 16 (Sat.) – Sep. 25 (Sun.), 2022
Venue 2 : Nerima Art Museum (Civic Art Gallery) Oct. 27 (Thu.) – Nov. 2 (Wed.)
Venue 3 : Fuchu Art Museum (Citizen's Gallery) Nov. 25 (Fri.) – Dec. 4 (Sun.)

Special event : Hachijo-machi Multipurpose Hall Ojare Aug.2(Tue)

Organized by the Tokyo Metropolitan Government and Tokyo Shibuya Koen-dori Gallery, Museum of Contemporary Art Tokyo,
Tokyo Metropolitan Foundation for History and Culture
Supported by Nerima City Cooperated by Fuchu City, Hachijo Town

2 ǀ 3

NotesCatalogue entries are followed by the author’s initials, as follows:[K] KAWAHARA Koya (Tokyo Shibuya Koen-dori Gallery)[M] MON Asuka (Tokyo Shibuya Koen-dori Gallery)[Y] YOSHIDA Yuri (Tokyo Shibuya Koen-dori Gallery)
For each artwork, the information is given in the following order:
Artist Name, Title, Date, Materials, Size (height × width×depth, cm), and Collection.
Information on the artworks is based on the data provided by the artist and the collector,
in addition to the data researched by Tokyo Shibuya Koen-dori Gallery.
Credits are listed at the end of the report.

4 ǀ 5

6 ǀ 78 ǀ 98 ǀ 9

AOKI Takeru

Born in 1968 in Fukushima prefecture. Wondrous ranges of
Mt. Fuji-like mountains. Faces with pronounced eyes . . . Aoki’s
works display striking compositions captured from uniqueperspectives and possess a power to captivate the viewer.
Still, they are drawn carefully with repeated strokes of a pen
or colored pencil, and do not suggest a forceful hand.
Prominent among his motifs are Showa-period stars andheroes (dark heroes) and heroines he knew in his childhood,and people and images that fascinated him in those days.
Aoki has enjoyed drawing since his elementary school days,
but he began to produce artworks prolifically as a result ofa r t ac tiv ities at the facility h e e n t e r e d i n 1 9 9 7 . Hi s
overflowing creativity, which became widely known throughfacility staff who spent time with him, later contributed to the
opening of the “Hajimari Art Center” (Fukushima prefecture).
His main exhibitions include “Art Brut Japonais II” (HalleSaint Pierre [Paris, France] 2018-2019).［ M］

1-1
Repassc. 1997-2004.
Crayon, Ballpoint pen, Colored Drawing paper (Black)
56.8×41.3

12 ǀ 13

IGARASHI Tomoyuki

Born in 1977 in Tokyo. Igarashi depicts motifs such as insects,
fish, shellfish, plants, and people using embroidery, pen
drawing, dyeing, and fabric folding. Although embroidering
without making a preparatory sketch, Igarashi depicts organic
forms with the precision and spontaneity of a pen drawing. The
names of motifs and odd combinations of words that accompany
the icons he depicts quietly accentuate his humorous
worldview. Igarashi has belonged to La Mano craft workshop
since 1996, and began working as an atelier member in 2014.
His main exhibitions include “Komorebi Art brut japonais”(Le Lieu Unique Center for Contemporary Culture [Nantes,
France] 2017) and solo exhibitions “Fellow Art Gallery vol.
13, “Igarashi Tomoyuki no koredake kodawari” (Yokohama
Civic Art Gallery Azamino [Kanagawa prefecture] 2014) and“Igarashi Tomoyuki shishu sekai konchu gyokai shokubutsu
tatemono” (Nijinone [Saga prefecture] 2019).［ K ］

2-13
Fish and Shellfish Chartc. 2014 - 2020
Cotton yarn ( Indigo dye), Cotton yarn, Cotton cloth /Hand embroidery
36×25.9

16 ǀ 17

INADA Moeko

Born in 1985 in Kyoto prefecture. With repeated circularmotions and a distinctive, relaxed rhythm, Inada draws
bundled soft lines that seem to catch the light. Her circle
motif, drawn mainly with colored pencils, displays mixed
overlapping colors that reinforce each other’s luminosity.
Portions of the paper left blank appear to emit bright light.
Her strokes, uniformly free and unconstrained, seemanimated by a joy inherent in the act of drawing. She has
belonged to La Mano craft workshop since 2003. She has
been an atelier member since 2006.
Her main exhibitions include “Komorebi Art brut japonais”(Le Lieu Unique Center for Contemporary Culture [Nantes,
France] 2017) , “Art Brut from Japan, Another Look” (Art
Brut Collection [Lausanne, Switzerland] 2018-2019) and“Co- L A B #1,2,3 : #2 Inada Moeko × Kokubo Yukihiro =√Drawing” (Borderless Art Museum NO-MA [Shiga prefecture]2020).［ K ］

3-2
Untitled
2021.6.1 7
Colored pencil, Ballpoint pen, Drawing paper
36.4×51.6

3-5
Untitled
2021. 2.1 7
Colored pencil, Ballpoint pen, Drawing paper
36.5×51.5

20 ǀ 21

INOUE Masaru

Born in 1943 in Shiga prefecture. Human figures—drawn inclear lines in a large picture. The figures, depicted ingroups in various scenes, are all slightly expressionless but
present a calm demeanor similar in mood to the artist
himself. The color fields, filled so densely with coloredpencil that they glow, are created by layering short pencil
strokes. Inoue, who has belonged to Atelier Yamanami since
1999, began creating in earnest when over 70 years old
after encountering his materials: dark (soft) pencils andlarge sheets of rolled paper. During three hours of daily
work, he completely uses up a 10B pencil.Working in thisway, it takes him about 10 days to complete a picture.
His main exhibitions include “Art Brut Japonais II” (HalleSaint Pierre [Paris, France] 2018-2019) and “ART for SDGs:
Kitakyushu Art Festival Imagining Our Future” (Kitakyushu
Municipal Museum of Art [Fukuoka prefecture] 2021).［ M］

4-1
Face of five people
2014
Pencil, Watercolor paper
152×200

4-2
Dance
2013
Pencil, Watercolor paper
152×200

24 ǀ 25

SASAKI Sanae

Born in 1963 in Iwate prefecture. Round and square color
fields, seemingly floating in the space of the paper, are formedof concentrated lines drawn with a ballpoint pen or coloredpen. The artist’s repeated strokes create ripples in the paper,awakening subtle nuances in the picture. Sasaki’s artworks are
not created to be seen by others. After working in agriculture
until her 30s, Sasaki revealed her artistic talents to people
around her when she began learning saori weaving around1996. She is active in the creative group “Kokoro to Iro no
Kobo Mayura” at Lumbinii Art Museum. Through the years,
her approach has been to fully immerse herself in a technique,such as embroidery or pen, then move on to a new form of
expression.
Her main exhibitions include “Art Brut Japonais” (Halle Saint
Pierre [Paris, France] 2010-2011) and “Thailand and JapanART BRUT – Figure of Unknown Beauty” (Bangkok Art andCulture Centre [Bangkok, Kingdom of Thailand] 2019).［ M］

5-4
no titlec. 2012 -2015
Ballpoint pen, Paper
20.7 ×14.8

28 ǀ 29

HAGIO Toshio

Born in 1987 in Fukuoka prefecture. Sharply pointed horns andf a n g s , a n d a r m o r - l i k e p r o t r u d i n g p a r t s. Hagio’s
three-dimensional works are constructed primarily using flyers
and cellophane tape. Motivated by his interest in monsters
appearing in special effects TV programs, Hagio creates highly
original three-dimensional objects inspired by his favorite
characters and enjoys having them battle each other. His artistic
practice, which began 30 years ago when shaping a wet cloth on
the dining table as a toddler, shifted to paper as a medium in his
younger elementary school years. With his growth as an artist,he has achieved sharp, precisely made form. Approachingproduction as a part of daily life, Hagio works quickly andnimbly, finishing two or three works in a single day. He selects
flyers for use with attention to their colors or patterns.
His main exhibitions include “Kore, sunawachi ikimono nari”(Borderless Art Museum NO-MA [Shiga prefecture] 2015) and“Art Brut Exhibition Souzou wo koeru souzou” (Saga
Prefectural Art Museum [Saga prefecture] 2015-2016).［ M］

6-3
Untitled
2021
Flyer, Cellophane tape
22.5×13×8/32g

32 ǀ 33

HAMANAKA Toru

Born in 1948 in Hyogo prefecture. Having actively created art
since graduating from high school, Hamanaka in 2017
captured attention when exhibiting at the “Kyoto Totte-oki noGeijutsu-sai” art festival. Hamanaka depicts frogs, plants, andother familiar organisms as his principal subjects. He also hasa keen interest in mechanical devices and geometric patterns,
and depicts imaginary machines and stories on paper using
motifs of insects and snails. He begins by making a preparatory
drawing on tracing paper using a combination of rulers andcompasses. Next, after transferring his image to paper using astylus, Hamanaka draws each line carefully using coloredpencil or paint, bringing to life a world in which creatures andmachines move about in a lively manner.
His main exhibitions include “Little creatures I Found at theRoadside” (art space co-jin [Kyoto prefecture] 2018) and “Art
Brut — Kosa suru monogatari” (Borderless Art Museum
NO-MA [Saga prefecture] 2020).［ Y ］

7- 4
Little Creatures at the Roadside
2001
Watercolor, Pencil, Watercolor paper
31.8×32.1

36 ǀ 37

HONDA Masaharu

Born in 1983 in Fukuoka prefecture. Honda, who has enjoyeddrawing and painting pictures since childhood, attended
painting classes as a high school student at his family’s
encouragement. After graduating, he continued to paint at a
facility devoted to art production. Honda complexly constructs
simplified outlines, geometric patterns, and color fields to depict
vegetables, insects, landscapes, narrative characters, andvarious other motifs. Known for live painting performances inwhich he paints with precise brushstrokes, he also paints onbuilding walls, shutters, and heavy machinery.Honda’s painting
style has changed a number of times. He currently chooses fromseveral variations to suit different themes. In recent works, hecomplexly interweaves the different motifs appearing in his
narrative. Since 2018, he has worked at PICFA, a disability
welfare service office.
His main exhibitions include “Sugoi zo, kore ha!” (The Museumof Modern Art, Saitama [Saitama prefecture] 2015) and“Relationship Art Exhibition” (Saga Prefectural Museum [Sagaprefecture] 2021-2022).［ M］

8-2
MOMOTARO
2020
Acrylic paint, Watercolor paper ( Panel )65.2×53.1×2.5

40 ǀ 41

YOSHIKAWA Hideaki

Born in 1970 in Shiga prefecture. What appears like a pattern isactually an aggregation of facial parts. Yoshikawa invariably
depicts an “eye, eye, nose, mouth” motif. For more than 30 years he
has explored this motif, working on flat surfaces andthree-dimensional objects. On a sharply shaven clay surface, hecarves countless “eye, eye, nose, mouth” facial parts in rows,
from the top to bottom of the object. The parts are somewhat
large at first, but as he works, they grow smaller. Beards appear
in some of the works. The faces he repeatedly draws on paper
display calm, joyful expressions that meld with the overall
atmosphere of the picture. Yoshikawa joined Atelier Yamanami
in 1988.
His main exhibitions include“Art Brut Ki no geijutsu—Sonohakken to mirai”(The Museum of Kyoto [Kyoto prefecture] 1997),“Art Brut Japonais” (Halle Saint Pierre [Paris, France]2010 - 2011) and “eye eye nose mouth” (Harvard University
Asian Center [Cambridge MA, United States] 2019).［ M］

9-1
Eye eye nose mouth2017-2018Clay
24.5 -36×6-11×5.5-9

44 ǀ 45

WATANABE Aya

Born in 1987 in Niigata Prefecture. Watanabe began to paintworks of airplane theme after her experience of flying toOkinawa on a school trip. Drawing an outline using awater-based pigment ballpoint pen, she divides it into small
areas using colored pencil and colors them, creating apatchwork-like picture. Since 2017, she has produced works on
the theme of countries such as the United States and Spain. Her
playful spirit — seen in the countries’ iconic animals andbuildings, scattered about the picture along with parodies ofactual airline companies—invite viewers to travel the world.
Since 2006, she has belonged to Kobo-syu.
Her main exhibitions include “6th Disability Art Exhibition‘Discover Anata mo mitsuke ni’” (The Museum of Modern Art,
Saitama [Saitama prefecture] 2015), “POCORART World
Exhibition vol. 6”(3331Arts Chiyoda [Tokyo] 2016),“Contemporary
Outsider Art REAL – What Comes Next for Contemporary Art?
– ” (GYRE GALLERY in Omotesando [Tokyo] 2019), and otherexhibitions in Japan.［ Y］

10-4
Airplane2013
Pen, Colored pencil, Drawing paper
77×108.5

10-1
Airplane
2020
Pen, Colored pencil, Drawing paper
5 4×7748 ǀ 4964 ǀ 65

66 ǀ 67

68 ǀ 69

72 ǀ 73

Looking back at “Form, Fluid and Flexible”

Foreword

MON Asuka ( Curator, Tokyo Shibuya Koen-dori Gallery)
The Tokyo Metropolitan Government and Tokyo Shibuya Koen-dori Gallery arepleased to present the Art Brut* 2022 Touring Exhibition, Form, Fluid and Flexible.

Introduction
This exhibition follows two special exhibitions1 of Art Brut held by the Tokyo
Metropolitan Government and Tokyo Shibuya Koen-dori Gallery (hereafter“the Gallery”) in 2020 and 2021 with the aim of widely introducing Art Brut2
in Tokyo. The exhibition, being held as of fiscal 2022 under the new series
name “Art Brut Touring Exhibition,” began with a pre-event in April entitled“Live Painting by HONDA Masaharu .” Thereafter, the exhibition itself
commenced from July at the Gallery, Nerima Art Museum Civic Art gallery,and Fuchu Art Museum Citizen’s gallery, followed by a special event,“What is Art Brut? & Online Tour,” held in August in the island town ofHachijo, with the 2022 exhibition period wrapping up in December.
Featured were 10 artists active in Japan and abroad, among them artists
invited in recent years to represent “Japanese Art Brut” at exhibitions
overseas. With “form” and “change” as key words, the exhibition examined
the fascination of seeing familiar everyday objects transformed by creatorsand the shift occurring within us a result of encountering their artworks.
To introduce Art Brut in the exhibition context, we configured the venue
without assigning a route in order to create a place where visitors could
approach all the works as contemporaneous artistic expression and lookclosely at each one.

Held at three venues in Tokyo and as a special event on an island, this exhibition
features 10 artists now expanding their field of activity in Japan and overseas. It
examines the katachi（ form）
and fundamental creative charm of their diverse art
expression, ranging from paintings to three-dimensional artworks, created using
familiar everyday materials.
The Japanese word katachi（ form）
can mean appearance, shape, or design, or eventhe state of things. Katachi has many meanings, and its nuance in each case isexpressed with a different Chinese character
This exhibition presents artworks that differ in form, in the many ways that katachidiffers in meaning. The artists display special character in their handling of theirmotif–simple and strong repeatedly–drawn shapes, for example, or fine lines usedin delicate drawings. Their works, in every case, are highly original.
Another feature of the exhibition is each work’s deep connection with the artist’s
everyday life ‒ the story of its creative process, the choice of what to draw and thematerials to use. Creation and everyday life are inseparable, we are reminded.
We believe that through this exhibition, with Art Brut as a platform,
new possibilities in art and culture and the questioning of humankind’s
fundamental desire for expression will emerge vividly and in multifaceted ways.

Diversity from the Perspective of Form

Finally, we would like to express our profound appreciation to the artists who haveallowed us to exhibit their precious works and to everyone involved for theirtremendous cooperation.

Form is a word used on varying occasions in daily life. Not only can it mean
an object’s physical properties, such as figure, shape, or pattern, but it canalso mean a conceptual understanding: the condition or state of a thing.
Form is a word possessing widely varied nuances and, as such, it conjures
up different images for different people. It was our expectation that, throughencounters with many artworks, each viewer’s image of the word’s
meaning would likely change.
When selecting artworks to display, we not only valued originality of form
but also diversity among the artists in terms of production method,
circumstances motivating their expression, and other background factors.
To have viewers grasp the expressive breadth of Art Brut, a field where it isdifficult to categorize artists by their production method or medium, we
wanted to present as many examples as possible of each artist’s work.
As a result of our tracing each artist’s development and the thoughts
embodied in particular works, as we selected, an exhibition of truly
diversified content emerged.
In this exhibition, works of widely varying shape and form could be seen,
two-dimensional as well as three-dimensional works created using lead

*Art Brut is a term originally proposed by French artist Jean Dubuffet. Today, it broadly refers to art that isnotable for its unique ideas and means of expression, often created by artists who have not received a formal
art education.

July 2022
The Organizers

74 ǀ 75

A questionnaire, later distributed in the exhibition venue, drew comments
praising the display of the completed painting with a video document6
enabling viewers to know the changing stages of its production. In contrast,
HAGIO Toshio’s art is refined by his thorough absorption in what is simply fun
for him. Surprisingly, the monsters he continually creates in order to play withthem and have them fight are made using only flyers and cellophane tape withno central support shaft. The monsters have a supple form as if captured in a
moment of action.
Entry to the large room was arranged to have visitors pass through works
by HAMANAKA Toru on their way into the room. Until coming to attention in
the late 60s, Hamanaka had quietly created stories imagined from familiar
everyday things using a unique method of his own. Seeing an insect in a steel
nut found by the roadside or a cogwheel in the connected curves of a drawn
flower, he imaginatively imparts life to forms living quietly in the space of apicture. Displayed next were the clay sculptures and pen drawings of
YOSHIKAWA Hideaki, who has repetitiously depicted “eye, eye, nose, mouth”
forms for more than 30 years. Although simple and monochrome, anastonishing amount of time is packed into Yoshikawa’s works. On the opposite
side of the wall from Hamanaka were WATANABE Aya’s airplanes and motifs
of names, famous city scenes, and other actually existing things, drawn usinga unique patchwork approach. On the opposite side of the wall from
Yoshikawa, meanwhile, the colored pencil drawings of INADA Moeko were
hung. Watanabe’s and Inada’ s colored pencil drawings were, thus, positioned
next to each another. Beyond them was a section of embroidered pictures andpen drawings by IGARASHI Tomoyuki. In Igarashi’s unique world, we fallabsorbed in scenes of actual insects, observed in detail and skillfully depicted
dancing hand in hand, and their accompanying delicately rendered kanji andkana characters. SASAKI Sanae also works in embroidery along with various
other techniques. Whether in pen-drawn patterns or embroidery sketches,
Sakaki uses short, repetitive strokes. INOUE Masaru too, after first drawing
bold outlines, fills in color fields with short strokes of a pencil. Like Hamanaka,with whom he was displayed back-to-back this exhibition, Inoue draws
attention with his age, having begun drawing in his 70s. In complete contrast
with Hamanaka’s art, however, Inoue’s fascinates us with its boldness.
The art of AOKI Takeru, displayed opposite of Inoue, also features boldcompositions. Aoki’s pictures, which depict in close-up his subject’s featuresthat particularly attract him, show us that expression of strong feelings
can function as a technique for enhancing a picture’s appeal. In contrast,
the drawings of Inada, Sasaki, and Yoshikawa suggest that working
toward a concrete end result is not the only approach to creation.
For Inada, sensations pleasing to her, such as the feeling of her materials
all blending as one, resultingly take form as a wonderous circle that only
she can draw. This reminds us that art appreciation is not simply an act
of deciphering what is depicted and why, but rather how we feel in frontof the work is important.

pencil, colored pen, fabric, thread, flyers, and other everyday materials. The
artists’ tendency to select easily available materials and intimately familiar
motifs is a special characteristic of Art Brut. Then also, some works did notarise from a creator’s conscious intent, and artists also varied with regard to
motive for taking up art, workplace, and exhibition history. Their private life
was closely mirrored in their reason for choosing a medium and creating
what they created. In every case, the work had acquired form as a productof the artist’s thoughts and actions, and time invested in creation.
In their work, we see what we imagine to be a deeply personal reason for
creating. Yet, why do we feel as if watching a universal event: people simply
living their lives?

Each of the many forms; the changing gallery spaces
Here, I will discuss the 10 exhibiting artists, their works, and the exhibition
space. Their works were displayed against a background of panels printed
with the color fields composing the exhibition’s main visual3. The color fields
were also printed on the sides of display stands and cases. This was done asa device4 to impart a unifying image to the exhibition rooms for when the
exhibition traveled to three different exhibition venues and to awaken asense of collaboration between individual works and the overall venue. In
our placement of artworks in the Gallery, which served as Venue I,
furthermore, we gave attention to contrasts and a general sense of
relatedness among them.
The Gallery’s space was divided in two exhibition rooms, one large andone small. In the small room, a large, 4-meter canvas painting was mounted
on one wall, and on the opposite wall, a monitor showing a video of thecanvas being painted was mounted along with several paintings.
Three-dimensional works were installed in the middle of the room5.
The canvas—a work by HONDA Masaharu depicting what he felt and saw
while walking through Tokyo’s Shibuya district—was painted incollaboration with participants at a live painting performance / workshop
held as a pre-event in the Gallery’s Interactive Space. The participants, some
80 people ranging from small children to adults, took turns drawing andpainting while Honda, giving play their brushstrokes, layered the canvas
with different colors of paint using brushes and rollers. Until now, although
he did introduce the element of coincidence, Honda painted andoverpainted according to his own rules, creating a world where lines andfields form an orderly structure of geometric patterns.This work, however,finds him leaving a large, irregular color field in the canvas’s left extreme
where a participant painted out the outlines of the motifs. By intentionallyleaving this portion, which strikes us as disharmonious with the overallcomposition, he introduces an element that evokes Shibuya’s atmosphere asa district developed through repeated scrap and build. The painting
possesses reality because it born from a workshop gathering of people
active in one place and one time.
76 ǀ 77

List of Works

Conclusion
As I have thus shown, the exhibition featured widely varied forms ofexpression, created with diverse motives by artists from varying regions.
A further aspect, unique to a touring exhibition, was the way the works
changed in impression in different venue layouts on their travels to thesecond and third venues. Many comments in the questionnaire referredconcretely to aspects of the works that impressed them, with mention ofartist and work name. The artist’s particularity and emotions were a factor ineach work’s appeal, and recognition of this was reflected in viewers’
responses. While naturally a feature of art in general, in Art Brut this factor
provides an avenue for acknowledging and embracing differences of all
kinds. We hope the Gallery’s exhibition rooms will continue hereafter to be aresource for better living, where we can go anytime to experience art.

1 AOKI Takeru

Collection

Title

Date

Material

Size

1-1

Repassc. 1997-2004.

56.8×41.3

1-2

Untitled

c. 1997-2004.

1-3

Ghost

c. 1997-2004.

1-4

Cat

c. 1997-2004.

1-5

Urara-chanc. 1997-2004.

Crayon, Ballpoint pen, Colored Drawing paper (Black)
Crayon, Colored pencil, Ballpoint pen,
Colored Drawing paper (Black)Oil-based marker, Water-based marker, Crayon,
Colored Drawing paper (Red)
Ballpoint pen, Oil-based marker,
Water-based marker, Cardboard
Water-based marker, Ballpoint pen, Crayon,
Correction fluid, Cardboard

56.6×39.6
19×27
30.5×44.3
55.2×40.3

2 IGARASHI Tomoyuki

1 “Art Brut 2020 Special Exhibition, ‘In a sky full of shining stars, unknown gems can be found. - To feelchange and expansion in our universe.’” (2020) and “Art Brut 2021 Special Exhibition, ‘Unframed – Thelimitless flight of creativity and imagination’” (2021). See the Gallery’s website (https://inclusion-art.jp/) for
the venue, exhibition period, and other details.
2 See p.74 in this catalogue.
3 See p.9. An image expressing the exhibition’s concept, composed by removing only the overlapping
portions of lines when the Japanese characters for kawaru ( “change” ) and katachi ( “form” ) are overlaid,
then composing those portions as colorful color fields. (Design: 10 inc.).
At each venue, the artworks interacted collaboratively with the color fields and changed in impression.
4 A system enabling flexible venue composition by assembling the panels using frame boards was proposedby HIGURE17-15 cas and nmstudio, who handled the venue composition.

2-1

Insect Dancers
Scroll, List White

2015

Pen, Ballpoint pen, Correction
fluid, Washi

19.4×496

2-2

Human Dancer Seriesc. 2014-2015

Pen, Ballpoint pen, Colored pencil,
Correction fluid, Postcard

14.8×10 (each)

2-3
2-4
2-5

Human Dancer Seriesc. 2014-2015

2-6

Noble Orchidc.2014-2020

Pen, Ballpoint pen, Correction
fluid, Postcard
Cotton yarn (Indigo dye),
Cotton cloth / Hand embroidery

2-7

Traxacum albidumc.2014-2020

Cotton yarn (Indigo dye),
Cotton cloth / Hand embroidery

Right) embroidery
4×5.8 / cloth 28×44.2

2-8

Wisteria

c.2014-2020

Cotton yarn (Indigo dye),
Cotton cloth / Hand embroidery

2-9Nakazawaike-Koen

c.2014-2020

Cotton yarn (Indigo dye),
Cotton cloth /Hand embroidery

Right)embroidery 4.2×
6.5 / cloth 28×43.8
Left)embroidery
5×8/ cloth 28×43.8

2-10 Botanical gardenc.2014-2020

Cotton yarn, Cotton cloth (Indigo dye)
/ Hand embroidery

33×64

2-11 Insect Dancers Towelc.2016

Cotton yarn, Cotton cloth (Indigo dye)
/ Hand embroidery

27.8×93.5

2-12 Disney Taisha Shrinec.2014-2020

Cotton yarn (Indigo dye), Cotton cloth/Hand embroidery

38×26.5

2-13 Fish and Shellfish Chart

c.2014-2020

Cotton yarn (Indigo dye), Cotton yarn,
Cotton cloth /Hand embroidery

36×25.9

2-14 Things Disliked:
Creatures

2020

Cotton yarn (Indigo dye), Marker, Cotton
cloth / Hand embroidery

60.2×70.2

2020

Ballpoint pen, Loose leaf

29.7×212016

Cotton yarn, Cotton cloth (Indigo dye) /Hand embroidery

100.8×34

2-15

5 See pp.52-54.

Things Disliked : Creatures
Explanatory Guide

2-16 TOKYO SKYTREE

6 See p. 81 in this catalogue for detailed credits for the documentary movie “Shibuya no Machinami.”

78 ǀ 79

14.8×10 (each)Left) embroidery 5.3×
6.4 / cloth 28×44.2

3 INADA Moeko

7 HAMANAKA Toru

*Collection of the artist

3-1

Untitled

2019.9.3

Colored pencil, Drawing paper

36.3×51.5

7-1

Plant Specimen

Date unknown

Acrylic paint, Colored Drawing paper

39.2×50.8*

3-2

Untitled

2021.6.17

Colored pencil, Ballpoint pen, Drawing paper

36.4×51.6

7-2

Harmony of solar system

Date unknown

Acrylic paint, Color illustration board

51.5×36.4×t0.3*

3-3

Untitled

2022.2.1

Colored pencil, Drawing paper

36.3×51.4

7-3

It will snow soonc.2016 -2017

Acrylic paint, Color illustration board

36.3×36.3×t0.3*

3-4

Untitled

2020.11.10

Colored pencil, Highlighter, Drawing paper

36.3×51.5

Untitled

2021.2.17

7-4

2001

Watercolor, Pencil,Watercolor paper

3-5Colored pencil, Ballpoint pen, Drawing paper

36.5×51.5

Little Creatures at
the Roadside

31.8×32.1*

3-6

Untitled

2021.12.7

Colored pencil, Drawing paper

36.5×51.6

7-5

Boomerang Camerac. 1997-1998

Watercolor, Pencil, Illustration board

28.6×38×t0.3*

7-6

Cochlea Communication
Machine

1998

Watercolor, Pencil, Illustration board

346×424×t 0.3*

4 INOUE Masaru*Collection of Atelier Yamanami

4-1

Face of five people

2014

Pencil, Watercolor paper

152×200

*

4-2

Dance

2013

Pencil, Watercolor paper

152×200

*

4-3

Woman

2020

Pencil, Marker, Drawing paper

76.7×54.5

*

4-4

Face

2019

Pencil, Drawing paper

76.7×54.5

*

4-5

Human

2020

Pencil, Drawing paper

76.7×54.5

*

Face

2019

Pencil, Drawing paper

76.7×54.5*

4-6

INOUE Masaru’s Pencils

8 HONDA Masaharu*Collection (courtesy) of PICFA

8-1

Shibuya no machinami

2022

Paint, Canvas/Collaboration

400×160.2×4.6*

8-2

MOMOTARO

2020

Acrylic paint, Watercolor paper (Panel)

65.2×53.1×2.5*

8-3

The Bremen town musicians2021

Acrylic paint, Watercolor paper (Panel)

53×45.5×2.2*

8-4

50 Days Challenge
Animal Paradise2019

Acrylic paint, Paint,
Paint Watercolor paper (Panel)

116.7×91.1×3.2*

50 Days Challenge
Documentary2021-Reference Material (Video)-

50s

*

*

Video

5 SASAKI Sanae*Collection of the artist

5-1

no titlec. 1996

Thread (Mix ) / Saori-ori

29× 372*

5-2

no titlec.1998-2000

Ballpoint pen, Paper

25×17.5*

5-3

no title

c.2012-2015

Ballpoint pen, Paper

20.7×14.8*

5-4

no titlec. 2012-2015

Ballpoint pen, Paper

20.7×14.8*

c. 2000-2004

Ballpoint pen (Water-based pigment),
Drawing paper

24.3×35.2

*

25×35

5-5

no title

5-6

no titlec. 2000-2004

Ballpoint pen ( Water-based pigment),
Colored ballpoint pen, Marker, Paper

5-7

no titlec. 2008-2012

Thread, Cloth/Hand embroidery

6 HAGIO Toshio

Documentary Movie "Shibuya no Machinami" 2022 17m 40s
Cast. HONDA Masaharu, HARADA Hiroyuki, To all participants
Creative Director : IKEDA Masanori Editorial Director : KIKUCHI Kentaro
Photography/Videography : IKEDA Masanori, KIKUCHI Kentaro, SOEDA Kohei, IKENOYA Yuka,
Assistant photographer : MICHIYUKI Kotono Music by OHNO Shingo

9 YOSHIKAWA Hideaki*Collection of Atelier Yamanami*

9-1

Eye eye nose mouth2017-2018

Clay

24.5-36×6-11×5.5-9*

25.8×16× t0.5 *

9-2

Face

1995

Clay

53.5×26.5×26.5*

9-3

Eye eye nose mouth

2015

Marker, Drawing paper

38×54

*

9-4

Eye eye nose mouth

2020

Marker, Drawing paper

38×54.1**Collection of the artist

6-1

Untitled

2021

Flyer, Cellophane tape

30×10×35/38g*

6-2

Untitled

2021

Flyer, Cardboard, Cellophane tape, Marker

28×12×27/61g*

10 WATANABE Aya

6-3

Untitled

2021

Flyer, Cellophane tape

22.5×13×8/32g

*

10-1

Airplane

2020

Pen, Colored pencil, Drawing paper

54×77

6-4 Untitled2021

Flyer, Cellophane tape

18×8×37.5/32g*

10-2 Airplane

2021

Pen, Colored pencil, Drawing paper

54×77

Untitled

2021

Flyer, Cellophane tape

12.5×14×35.5/32g*

10-3 Airplane

2021

Pen, Colored pencil, Drawing paper

54×77

6-6 Untitled2021

Flyer, Cellophane tape

28.5×32.5×12/32g*

10-4 Airplane

2013

Pen, Colored pencil, Drawing paper

77×108.5

6-5

80 ǀ 81Pre-event

Harada: Exactly. And the way the taping was done. When I asked him, “Howshould they tape it?” he usually answers, “Tape it straight, please.” But hesaid, “Any way is fine.”

Live Painting by HONDA Masaharu— Event Report & Retrospective Talk by Staff

Ikeda: Any way.

Date/Time: (Sat) 16 April and (Sun) 17 April 2022
10:30-12:00/13:30-16:00

Harada: That kind of thing.

As a pre-event to this exhibition, a live painting performance / workshop was held inviting HONDA
Masaharu, one of the exhibiting artists, to paint in collaboration with participants what he saw andfelt walking through Tokyo’s Shibuya district. The completed canvas, Shibuya no Machinami, wasdisplayed with a video work documenting the production process, “Documentary Movie Shibuya
no Machinami,” in Venues 1 and 3. The video documentary only was shown in Venue 2.
This section features excerpts of a talk held with HARADA Hiroyuki (Director, PICFA disability
welfare service office) and IKEDA Masanori (photographer) who handled art direction of the
documentary movie 1. [Talk: September 20, 2022; Moderator: Mon Asuka (exhibition curator),
Transcription: UNOZAWA Masaki]

Ikeda: He was perhaps wanting to transcend the image. Seeking an accident.
“Introducing an accident is what makes it a collaboration,” this kind of thing.

(omitted)

Ikeda: That’s really true.

Mon: The special feature of our live painting event this time was to walkthrough Shibuya in the morning and have everyone spend time together inthat atmosphere, then undertake painting production. For Mr. Ikeda, whojoined us throughout the entire event, capturing it all and making it into a
new work, it was quite a special project, I think.

Harada: If not, he wouldn’t paint over a picture he himself already painted.
Masaharu has often used the painting-out method until now, but each time,
he made sure to leave something in exchange. When changing something,
he might say “I’ ll change the color,” but he would in fact leave lines showing,for example.

Harada: To be honest, I felt worried at first about our walking throughcrowds among the buildings. Masaharu walks at a terribly fast pace when hedoesn’t like the conditions. We get left behind (laughter). Yet almost nothing
like that occurred this time. Even when I was explaining things toparticipants, he stood not close but just a little apart from everyone . . .

Ikeda: We see that he’s quite cool and calm.

Harada: Yes.
Ikeda: A painter’s way of promoting a dialogue.
Harada: He also has confidence, knowing he can fix it up somehow in theend. He’s so good, it’s awful (laughter).

Harada: Yes.
Ikeda: He also left a portion (painted out by someone else) that he thought
looked pretty.

Ikeda: Waiting?

Harada: And yet this is the first time in 20 years I have seen him leavesomething like that.

Harada: Listening. He has become quite an adult these 20 years.

Ikeda: That’s what you said.

Ikeda: He’s become an adult! You’ve been watching him since high school, I think.

Harada : I don’t know how many times we’ve done live painting before. I wasvery surprised. I felt sure he would finally put something new into thepainted-out portion, but he said, “Okay, finished,” and I thought, “You’rekidding!” He’s really become an adult. The two days were fun for him, I think.
Taking a walk in a new place and new space, a town walk like never before.
This is not to say he hasn’t done town walks before, but this time, along withthe architectural tour, we went through a tunnel and found graffiti and abicycle parking lot. He probably felt something from it all, in his way.

Harada: Right. So, he has thankful feelings, such as “Everyone has gathered
like this for my sake” and “What is the best way me for to respond to
everyone?” This kind of thing. The live production lasted two days, but withparticipants continually coming up to paint—and Mr. Ikeda was also
watching this—it looked like he would forever keep erasing everything,
don’t you think?
Ikeda: Yes.

Also, he generally was looking at the sky. While looking at buildings. Coming
out of a street, he always looked at the sky, and he looked in buildings andat their structural lines.

Harada: Whatever pictures they painted. Even pictures painted by smallchildren, he steadily painted over everything, intending fix it up himself at end.
But there was a moment when the children were noisily working away and hestood back and watched, and I really thought, “Ah, he’s become an adult.”
Maybe Tokyo as a place had an influence. I sensed a mood as if he wereseeking an exchange of values. My values and your values, how to exchange
them. In his own way, Masaharu was maybe thinking this kind of thing.

Ikeda: So that’s what. He was looking at the buildings’ structural lines.
(omitted)
1 A transcription of the talk will be provided on the Gallery’s website at a later date.
2 See p. 76 and illustrations on p. 42-43.

Ikeda: Such as with this portion that he left 2.
82 ǀ 8384 ǀ 85

Exhibition
Curator: MON Asuka (Tokyo Shibuya Koen-dori Gallery)
Curators: KAWAHARA Koya,YOSHIDA Yuri (Tokyo Shibuya Koen-dori Gallery)
Exhibition Space Design: HIGURE17-15cas, nmstudio
Design: KAKINOKIHARA Masahiro, UCHIBORI Yuu (10 inc.)Picture Framing : TERA inc.
Publication Printing: Kanto Tosho Co., Ltd
Press Officer: AOKI Makiko, ASANO Moe,
UESHIMA Rumi (Tokyo Shibuya Koen-dori Gallery)

Catalogue
Planning, Texts, Editing: MON Asuka
Texts: KAWAHARA Koya, YOSHIDA Yuri
Translation: Brian AMSTUTZ (Brian Amstutz Communications)［ pp.1, 12-48, 74-78, 82-83］
Design, Editing: KAKINOKIHARA Masahiro, UCHIBORI Yuu (10 inc.)
Printed by: LIVE Art Books Inc.
Published by: Tokyo Metropolitan Government,
Tokyo Shibuya Koen-dori Gallery, Museum of Contemporary Art Tokyo,
Tokyo Metropolitan Foundation for History and Culture
Publication Date: February 2023
Artwork © The Artist© 2023 The Tokyo Metropolitan Government and Tokyo Shibuya Koen-dori Gallery, Museum of Contemporary Art Tokyo,
Tokyo Metropolitan Foundation for History and Culture.