BUG SCHOOL：Let's Move Our Body!
2023.11.29（WED）- 2024.1.14（SUN）
・About the purchase of exhibited artworks
The majority of the exhibited works will be sold during the exhibition. The proceeds from this sale of artwork,
excluding the artist s income, shipping costs and other expenses, will be donated to Save the Children to
support children of today and the future. In addition, a participatory program by nine participating artists
will be held as an opportunity for visitors to learn more about the artists and the background of their artworks
before purchasing them. It is also an attempt to consider the organic nature of buying and selling artworks.
If you would like to purchase, please check the QR code on the right for purchase flow details and Q&A.

・List of Works

FTappei
NOGUCHIWork List For each work, title/year/medium/size are noted. All works are in the collection of the artist.

GH

I

J

Ryo
UCHIDA

MamikoKAKITSUBO

Kohei
MAEDA

Learning space

Above the Cafe(NOGUCHI・MITSUOK A)

E

DC

B

A

HIR ATEYuka
HOT TA

Akari
FUJISE

TakuyaWATANABE

Koichi
MITSUOK A

Entrance

A : Koichi MITSUOKA-Keys to AppreciationMitsuoka climbs up the wall using the display shelves as a stool. The works on
the shelves may possibly fall down. What is forbidden in a normal exhibition
space happens with impunity, and in the wavering appreciation experience,
voice over images are played one after another from a group of monitors.It isokay to laugh even if you are about to do so unexpectedly. Why don't you
search for your favorite sights and words as if you are exploring the exhibition
space, which gradually becomes freer with the intervention of Mitsuoka's bodyand vocalizations ? You might even be able to superimpose your own words ifyour voice volume is small enough.

A-1
A-5

A-3
A-4
A-2

A-1
To the Unknowns
2023
Digital print
145.6×103 cm

A-2
Spinning Raw Spit Sparkling
2023
Mixed media, performance
Dimensions variable

A-4
drawing #1 〜
2023
Ink on paper
36×26 cm（ each ）*The number of works will change during the exhibition period. Please refer to the work list for details.

A-3
I was going to say something but I forgot
2022
Video : 4minutes

A-5
Keep a fish on the sole of your feet #1 〜 #2
2023
water based lacquer paint, acrylic mirror
20×12×0.2 cm（ each ）B : Takuya WATANABE-Keys to AppreciationLIKE GRAVITY , which attempts to deconstruct the meaning by repeating inverted
words, and Factory worker "K" based on interviews with Mr. K, who works at a tile
production factory, are screened. In Factory worker "K" , Watanabe tried to possess
Mr. K's physicality by continuously moving the tiles in a daze while ruminating
on Mr. K's words. In his new work Drawing as Labor , the word "labor" is painted
on these tiles with liquid gold under the physical load. If you look closely at thedetails, you can see Watanabe's physicality exuding from his brushstrokes.
Which tile represents your idea of labor ?

B-1
Drawing as Labor(7 out of a series of 50 works laid flat)
2023
Liquid gold, tile
9.8×9.8×0.2 cm（ each ）B-2
Drawing as Labor
2023
Liquid gold, tile, frame
20×20×3 cm

B-4
Factory worker "K"
2017
Video
21min 22sec

B-5
LIKE GRAVITY
2022
Video
7min 51sec

B-2
B-1
B-3
B-5

B-4

B-3Drawing as Labor
2023
Liquid gold, tile, frame
30×30×3 cm

C : Akari FUJISE
C-1-Keys to AppreciationFujise's representative work of drawing, Where the kiss will be tomorrow was createdby applying the papermaking technique. Instead of drawing lines on a preparedsupport, she considers the fibers of the paper as lines, and simultaneously createsthe support and the lines. By daring to create a method that is difficult to control, sheuses her physical senses as a means to respond to the complex world that surrounds
her. A large, multilayered but transparent membrane spreads across the exhibition
space, moving slightly as if it is breathing. We invite you to stop and take your time
to observe these works that are full of life.

C-1
Where the kiss will be tomorrow2023
Thread, paper
300×210 cm

C-2
Muune #9 〜 #12
2023
Glass
12×13×13 cm

C-2

D : Yuka HOTTA

D-3-Keys to Appreciation-

D-5

Hotta's works experiment with how to reconstruct a sense of the body in relation tothe conditions of the place, such as the suppor t and the space. In her
two-dimensional works, she draws directly on a plywood or other support, converts
the drawing into data using a portable scanner including the camera shakes, prints
it on the surface of the support, fills in the gaps in the image that appear, and scans
the drawing again, repeating the process over and over again. While moving themedia, the process of the body compressed on the support emerges as an image.
We invite you to imagine this process as you view the work.

D-6

D-1 D-2

D-4

D-1
ey-1
2023
Pencil, gesso, paper, toner, lauan plywood
28×12.5×0.2 cm

D-2ey-2
2023
Pencil, gesso, paper, toner, lauan plywood
20×12×0.2 cm

D-3
ey-3
2023
Pencil, gesso, paper, toner, lauan plywood
34×26.5×0.2 cm

D-4
ey-4
2023
Pencil, gesso, paper, toner, lauan plywood
59.5×32.1×0.2 cm

D-5
eeeyyyyee.
2022
Pencil, silkscreen, gesso, plywood
143×89×0.2 cm

D-6〜
2022-2023
Wood
Dimensions variable

E : HIRATE-Keys to AppreciationThe exhibition focuses on humanoid object works (dolls) made of textiles andperformance recordings in which the artist performed with the dolls. In the video
recordings shown on the monitor, Hirate talks to the dolls, gets excited, andsometimes fights with them. What do we see in the relationship between Hirate andthe dolls ? Leaning on a pole hanger in the center of the exhibition,painless friendshipmachine Ｒ-1113 can actually be touched. Please approach and touch it gently. A
slightly different relationship may be born between the doll and yourself.

E-1
E-2
E-4
E-5

E-3

wall left
E-1
painless friendship machine Ｒ-1113
2023
Fabric, cotton, pole hanger
170×45×12cm

E-2
birthday cake with poop
2023
Fabric, cotton, melody card components
15×30×9 cm

E-3
A moment at the fire scene
2023
Fabric, cotton, beads
50×40×30 cm

E-4
it hurts
2022
Fabric, cotton, beads
40×20×5 cm

E-5
blind eyewitness B
2022
Fabric, cotton, leather
120×40×15 cm

E-6
documentary photo #1
2023
Digital print
42×59.4 cm

wall right

E-13

E-6

E-14
E-7
E-8

E-10
E-11
E-12

E-7
documentary photo #22023
Digital print
42×59.4 cm

E-9

E-8
documentary photo #32023
Digital print
29.7×42 cm

E-9
documentary photo #4
2023 年
Digital print
42×59.4 cm

E-10
documentary video
2023
Video
3min 33sec

E-11
drawing about friendship #1
2023
Paper
29.7×42 cm

E-12
drawing about friendship #2
2023
Paper
42×29.7 cm

E-13
drawing about friendship #3
2023
Paper
42×29.7 cm

E-14
drawing about friendship #4
2023
Paper
42×29.7 cm

F : Tappei NOGUCHI
F-1-Keys to AppreciationPractice between Octopus and Kite which is crawling over you, is a new "octopus
mikoshi" inspired by the octopus, each leg of which has its own independent
intelligence. All of the works, including Dried Alien Peddling Set and Alien -green
standing above the cafe, have an underlying story. This story is spun from a richcollection of images discovered through Noguchi's research into "octopuses" from awide range of fields, including history, biology, and sociology, and throughexperiments in carrying an octopus mikoshi with others. If you are interested in thestory, take a copy of the newspaper on the Exhibition Board.

F-4
F-3
F-5

F-1
Practice between Octopus and Kite
2023
Bamboo, vinyl string, paper, cinnabar, gelatin, kite string, etc.
Dimensions variable

F-3
Dried Alien #1 〜
2023
Bamboo, japanese paper, tyvek, cinnabar, gelatin
Dimensions variable*The number of works will change during the exhibition period.
Please refer to the work list for details.

F-4
Exhibition Board
2023
Video, newspaper, board
Video ： 1min 2sec, Board ： 53×100×44 cm*Please feel free to take the newspaper.

F-5
Dried Alien Peddling Set
2023
Carry pack, bamboo, paper
Dimensions variableG : Ryo UCHIDA

G-2

G-1-Keys to AppreciationUchida paints from a series of shapes and colors that emerge as he moves his brush
along with his senses.The 36 drawings in the pōnō series are a daily practice ofdrawing out and recording more primitive sensations, such as the traces of reactionsof his hands and eyes, and the subconscious that seeps out. In addition, WORM alarge-scale work, combines the process of tracing and moving shapes and moving
them back and forth within the canvas. We invite you to use your memory andsenses to imagine what kind of scenery you will see in Uchida's work.

G-1pōnō #1 〜 #36
2023
Acrylic paint on watercolor paper
36.4×25.7 cm（ each ）

G-2
WORM
2023
Acrylic paint on canvas
162×130.3 cm

H : Mamiko KAKITSUBO
H-3-Keys to AppreciationKakitsubo does not place a motif in front of her eyes, but rather uses her memories
as the starting point for her work. someday somewhere was created while recallinga scene of the sea she saw a long time ago. Wrapped in a transparent fabric,
someone exists faintly. You may superimpose the scenery of the sea or people you
have met in the past on these two works. In the video work One day I won’ tremember. , ice is slowly melting in the palm of your hand. The gradual blurring of
the ice's outline as you try to capture it accurately may gently remind us that there isindeed a time axis that we cannot retain memories of.

H-1
someday somewhere #1〜#9
2023
Terra cotta, glaze
16.5×16.5×2 cm（ each ）H-4
someone2023
Terra cotta, glaze, fabric, thread
57×25×15 cm

H-2
One day I won’t remember.
2023
Video20min 21sec

H-4

H-1

H-3
My cat2023
Glass5×6×3.5 cm

H-2

I : Kohei MAEDA

I-3-Keys to AppreciationThe starting point for each work was the investigation of "a certain river," which
focused on the imagination of the invisible, or folktales. In the performance the story
about that river the artist used his own body as a medium to develop what heexperienced, saw, and heard during his research. The projection screen for Good
River/Sungai Bagus is a loincloth that Maeda favored during his residency research,and the stains and wrinkles on it represent the fact and time that his body existed in"a certain river". What kind of river is the "Good River" in the title ? Imagine it as if itwere a pointillist drawing, with a dim, invisible presence.

I-1
Good River/Sungai Bagus
2023
Video, screen (saloon), rope, wood, frame standVideo : 2min 45sec, Dimensions variable

I-2

I-1

I-2
Good River/Sungai Bagus
2023
Pen on paper
90×90 cm

I-3
the stor y about that river
2023
Video
14min 37sec

J : Learning space
This is also a venue for participatory programs and a place to relax and read books recommended by exhibiting artists. You can take a break while
viewing the exhibition, or discuss your impressions with your friends. Please feel free to use the space in any way you like.
*BUG Cafe beverages are only available in the learning space. Eating and drinking are not permitted in the exhibition space.

Above the Cafe
A-2
Koichi MITSUOKA
Spinning Raw Spit Sparkling
2023
Mixed media, performance
Dimensions variable
F-2
Tappei NOGUCHI
Alien -green
2023
Bamboo, vinyl string, tyvek
Dimensions variable

A-2

F-2

Acknowledgements
We would like to express our sincere appreciation to the following individuals and organizations
for their generous cooperation in helping making this exhibition possible.
(Listed no particular order)

Kanako IWANAK A
Forn Woei Koong
Miho SHIMIZU
Kenta SUZUKI
Toyama Prefectural Universit y POLYGON
Takasegawa Monitoring Club
Takeshi MORIGUTI
Mayumi YAMAMOTO
Hiroaki YAMAMOTO
Adhari Donora
taufiq yendra
Nonblok Ekosistem
Rumah Budaya
Siku Keluang

BUG SCHOOL ： Let's Move Our Body!
Date：2023.11.29（ Wed ）− 1.14（Sun ）Organized by BUG

Curation：Kaho IKEDA（ Independent Curator）
Manegement：Yuki KOBAYASHI 、Takako ISHII（ BUG）
PR: Chisato KUWAMA, Mariko ISHITANI（ BUG）
Production: Yuumi IINO 、Fumie YOSHIZAWA（ BUG）
Graphic design：Akiko SEKIMOTO
Translation：Riho SUZUKI
Art works,venue shooting：Ryuta NASU
Inter view,venue video shooting：Masahiro NISHINO
Venue design：Kohei UCHIUMI
Venue Installation：HIGURE 17-15 cas