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TIDE ‘BLOOM’

NOV 27 - DEC 26 2021

ON VIEW

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TIDE ‘BLOOM’

NOV 27 - DEC 26 2021

Hours 12:00 – 19:00
Closed Monday and Tuesday
Free Admission
 
The Mass presents BLOOM, a solo exhibition by Tokyo based artist TIDE. 
The exhibition will present all new works, including the most recent paintings from his ongoing CAT series, as well as the debut of a new painting series titled Life is Flat, and a three-dimensional installation that signifies a new chapter in his artistic practice. 

 BLOOM marks the second solo exhibition for the artist after his DEBUT exhibition at Gallery COMMON in 2020, both created in collaboration with HENKYO. The title of the exhibition is both a reference to the floral imagery that is present throughout his works, but also serves as a metaphor for TIDE’s developing identity as an artist. Within a short period of time, TIDE’s painting technique has progressed exponentially, with his style evolving into one full of layered complexity and detail. The title therefore serves as a personal challenge for the artist to grow in the pursuit of greater artistic challenges.
 
TIDE began his CAT series in 2019, and his feline character has evolved alongside his burgeoning career. Exploring themes of childhood, memory and nostalgia, TIDE’s works can be defined as an exercise in opposing juxtapositions. Set in eternal nightfall within an enigmatic domestic space, his works convey an uncanny sense of familiarity; simultaneously inviting and unsettling, alluring yet ominous. The central cat figure is like a children’s soft toy come to life, fulfilling our collective childhood fantasies by playing make-believe within an imaginary world. The backgrounds of the paintings feature soft furnishings, and a recurring motif of windows and billowing curtains that symbolise the intermediary between the inner and the outer world. Adopting the artistic trope of a window to represent spaces that are both real and fantastical; TIDE depicts his own mental landscape. The paintings draw from the artist’s personal memories, in particular recollections of his childhood bedroom at night, and capture the feelings and emotions of his past and present. This sense of sentimentality paired with ambiguity is a visual representation of the artist’s introspection, and the backgrounds can be interpreted as traces of memories constructed into a dream-like space.
 The monochrome universe depicted in the paintings are deceptively simple, with closer inspection revealing the complex layering of techniques and painterly styles that differentiate between background and foreground. The background uses a combination of acrylic and spray to render a three-dimensional interior, whilst living characters in the foreground are rendered in contrasting two-dimensions, affirming the boundary between animate and inanimate, real and fantasy, two and three dimensions. TIDE furthers his exploration of the interplay between dimensions with the inclusion of three new large-scale works that feature a shaped cat canvas, returning the flat cartoon-like image into a sculptural form that can be moved in and out of the context of the painting.
 
The exhibition will also present a new series of paintings, Life is Flat; a continuation of TIDE’s unique, monochromatic style and technique that exists in the same world as the CAT series. The series can be seen as a reinterpretation of the still life genre, with each work depicting a different bouquet of flowers in a vessel or vase. The paintings follow the rules of TIDE’s painted universe, with the living objects, flowers, rendered in two-dimensions, whilst the inanimate vases exist in three dimensions, subverting the typical mimesis of the still life genre. The flowers are also placed in vases in the shape of recognisable figures such as The Hulk and E.T, juxtaposing delicate floral images with monstrous and alien motifs. The use of these characters from movies and TV from the 1980’s, further expand on these themes of childhood and nostalgia, bringing universal elements of popular culture into our collective consciousness.
 
PROFILE 

TIDE was born in 1984 in Shizuoka, Japan, and currently lives and works in Tokyo. The self-taught artist first began painting while traveling abroad in Australia in his early 20s, returning to Tokyo and starting a career as an artist in 2009. TIDE was heavily inspired by the work of manga artist and historian Shigeru Mizuki, as well as old Hollywood movies and animations from the 30s to 50s, and began creating small scale and intricate pencil drawings in a pointillist style. He then began to explore various painting techniques, including watercolour and acrylic, and realised that these allowed for greater creative expression in both speed and scale. Continuous experimentation has led to his current multi-layered painting style that makes full use of these accumulated techniques, and his works draw upon universal themes of childhood and nostalgia to create a unique monochrome universe. TIDE has exhibited in Japan as well as internationally, having recently participated in group shows in Korea, Hong Kong, and the U.K., and exhibitions in New York and London set to take place in the near future.
 
VOYAGE, 2021 Acrylic on Canvas 2,273×1,818mm ©︎TIDE, The Mass

PAST

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I CARE BECAUSE YOU DO

MAY 29 - JUNE 27 2021

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Free Admission
 
Curated by The Mass x Matt Black
 
The Mass presents ‘I Care Because You Do’, a group exhibition of 15 international artists co-curated by The Mass and New York based curator Matt Black. The exhibition will explore the ways in which various artists from the end of the 20th century to the present day have elaborated, reacted and disrupted the narratives of Minimalism, Conceptualism and Post-Abstract Expressionism to create works that reflect the city environment in all its complexity.
 
©︎Courtesy of the artist and Tennis Elbow at The Journal Gallery, New York, New York.

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A Modest Scream

NOVEMBER 21 - DECEMBER 27 2020

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Free Admission
 
ささやかな叫び A Modest Scream
 
soh souen ‘A Modest Scream’
Dates: Saturday 21st November 2020 – Sunday 27th December 2020
Venue: The Mass (5-11-1 Jingumae, Shibuya-ku, Tokyo)
 
The Mass presents ‘A Modest Scream’, a solo exhibition by artist soh souen from Saturday 21st November to Sunday 27th December. Having previously worked under the name of Hajime Kuwazono, this exhibition will be the artist’s first exhibition since adopting the name of soh souen. The exhibition will present a variety of works including ‘tie’, the most recent pieces from the ongoing portrait series the artist has been producing since 2019. The exhibition will also debut souen’s abstract pastel works from the series ‘etude’ and ‘caress and hug’, as well as a three-dimensional installation titled ‘ my body, your smell, and ours’.
 
The abstract pieces from the series ‘etude’ and ‘caress and hug’ are made by mixing pigments with soil to create a range of unique pastels, with which souen draws directly onto paper using his hands. As he traces and interacts with the surface of the painting, as if he were breathing, the surface of the colors that gradually emerge evoke an inner energy that quietly rises to the surface.

Though it is common practice to use fixatives on pastel paintings to secure the medium and protect against ageing or deterioration; souen chooses not to fix the pigment to the paper. Instead he opts to utilise the physical properties of the medium, allowing the physical surface to remain ephemeral, endlessly reactionary to touch and subject to change over time. From the desire to incorporate a sense of physicality into the surface of the works, this mode of expression was born. In addition to the pastel works, the exhibition will also present a new three-dimensional work; ‘ my body, your smell, and ours’. Marking the first installation for the artist, the piece is made up of 25 sculptural human forms each containing different aromatic herbs and plants collected based on their healing and purification properties.
 
An exhibition catalogue will be published to coincide with the exhibition.
 
soh souen was born in 1995 in Fukuoka, Japan. Since graduating from university, souen has
consistently continued his pursuit for modern painting production as an entity with the body. His
previous series ‘body to body’ centered on the identities of the body, myself, and others. He has since
expanded his range of expression to include ‘tie’ and ‘caress and hug’. The exhibition will be souen’s
first solo exhibition at The Mass since participating in the 2018 group exhibition ‘PORTRAIT’.

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GENERATION Z

NOVEMBER 16 - DECEMBER 15, 2019

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Free Admission
 
from COMMAND Z to GENERATION Z
 
at the time of the COMMAND Z exhibition almost (20) years ago it was the dawn of the new millennium. at that time, GENERATION Z was arriving. I feel it is important to reflect on my past, as well as look to the future. McGurr explains. “Graffiti was a way for me to exist. I wanted the world to know my name. I wanted to be somebody…you just need to keep moving. don’t stop. just keep moving.”
 
The exhibition will showcase 4 different kinds of sculptures and 27 specially-commissioned canvas works–created exclusively during a residency in Japan in 2019.
 
Futura:
A pioneer when Graffiti met the formal gallery ecosystem, artist Futura 2000 (born Leonard Hilton McGurr) was known as early as the 1970s for his radical approach in the street, introducing abstraction to what was an entirely letter-based discipline. His work on canvas caught attention in the 1980’s, and established him as a leading voice within a wider art movement that included the likes of Jean-Michel Basquiat, Keith Haring, and Kenny Scharf. Entirely self-taught in what he calls “the subway school”, Futura has been compared to Wassily Kandinsky for his mastery of color, geometric composition and line—and is celebrated alongside his friends Dondi White and Rammellzee for his progressiveness and of-the-moment dynamism.
 
© Futura, SPRAYMASTERZ, 2019 
(164 × 227.3 × 4.8 cm)

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Mimesis

JUNE 29 - JULY 28, 2019

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Free Admission
 
The Mass is pleased to present Seb Janiak’s first solo exhibition in Japan.
 
In a photographic career spanning over 30 years, Seb Janiak has explored a remarkably diverse range of areas. From his matte paintings with their revolutionary new techniques and unique perspectives, Janiak has successfully preserved a sense of cohesion while covering the full range of possibilities offered by photography. Janiak started out as a young freelance graphic designer without specific aspirations to be an artist, who wanted above all to give free rein to his curiosity and to experiment with a piece of equipment which he discovered by chance and which opened up the possibility of creating stunning images.
 
In 1987, images could be created and digitally enhanced using Quantel Paintbox. Janiak was one of the very first people to extend its use beyond the TV and film applications for which it was originally designed in order to produce photographic images for exhibition. In these photographs, scenes of unbridled fantasy were reconstructed with a hitherto unprecedented degree of realism. This marked the dawn of a new photographic esthetic. A variety of different shots taken all over the world could be assembled digitally into large- format images conjuring up a sci-fi world suffused with the staggering transparency of photography. This new style of image would become the staple fare of the next two decades, but Janiak’s achievement lay in being the first to create them.
 
Seb Janiak is a pioneer, spurred on by a restless desire to observe the world, challenge it and apply his artistic skills to reshaping it. He has an unquenchable thirst for everything that supplements our understanding of reality, opens up new perspectives and creates meaning. Whether he is dealing with institutionalized phenomena (religion, science, and astrophysics in particular) or niche areas (esotericism, ufology) his imagination draws on humanity in all its boundless diversity, transcending time and place. An overview of his work is instructive in this respect.
 
The success of his early digital photos was followed by a meteoric rise in the world of advertising in 1995. He made a seamless transition from still images to video and the most influential musicians quickly approached him to direct their music videos, including Daft Punk, Janet Jackson, and Robbie Williams.
 
In 2005, after ten years of frenetic activity, major health problems forced Janiak to make radical lifestyle changes. At the height of his artistic powers, he resumed his experiments with photography, free from the constraints of commissioned work. Drawing inspiration for his work from a variety of sources over the years such as traditional oriental texts including the Tibetan Book of the Dead or the history of Western art, Janiak created strikingly powerful ensembles in which human figures were replaced by nature and ideas.
 
Since 2009, Janiak has set new parameters on this research by restricting himself to the techniques of analog photography, namely double exposure, superimposition and photomontage.
 
—Paul Frèches, former gallerist and curator, currently cultural attaché at the Consulate general of France in Shanghai.
 
 
Mimesis (2012- 2014)
 
Mimicry/Mimesis is an adaptive imitation strategy involving various morphological, physiological, ecological and ethological aspects. Mimesis is a complex co-evolutionary mechanism involving three species: the model, the imitator and the dupe.
 
Eat or be eaten! This fundamental law of nature has seen animals develop a diverse range of survival techniques during the course of their evolution, one of which is mimesis.
 
For specialists, the term mimicry has a narrow definition that is limited to a resemblance of two zoologically distant organisms, which sees one (the mimic) imitate the other (the model). However, the term can also cover all types of camouflage used by species to ensure concealment from predators and avoid being seen by humans too.
 
Homochromy, homotypy, camouflage and mimicry in the strict sense of the term are the four fundamental mechanisms used by organisms for concealment. Mimicry is a strategy involving various morphological, physiological, ecological and ethological aspects.
 
When under attack, the victim reacts by using various adaptations, particularly venom, foul smells, escape or concealment. A fragile balance can be found in this struggle for life and concealment or camouflage are only one of the means by which animals ensure survival. When talking about camouflage or mimicry in relation to animals, it should be understood that animals do not make a conscious effort or use rationale like humans can. It is a matter of adaptation, the reasons for which are not known.
 
Technical Note: There are no changes made to the colors, no retouching or special effects applied to the image in post-production. As of 2009, Janiak has set new parameters on this research by restricting himself to the techniques of analog photography used since 1850, namely double exposure, superimposition and photomontage inspired by pioneers of photography such as Henry Peach Robinson, Édouard Baldus and Gustave Le Gray.
 
© Seb Janiak, Mimesis, Aphyllae Maleakht, 2014

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12 TITLES

FEBRUARY 9 - MARCH 10, 2019

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: Free
 
The Mass is pleased to present Toluca Éditions.
 
Time Capsules of Photography
 
The professional photography studios that proliferated in Japan in the 1860s initially produced portraits, in the form of daguerreotypes and then ambrotypes. Ten years after the introduction in 1848 of the camera into Japan by Shimazu Nariakira, who would later become the feudal lord of Satsuma, the opening up of foreign concessions in the country’s principal port cities provided Japan with Western technologies, including photography. Although the use to which it was put ―mainly portraiture and landscapes― was similar to its country of origin, the practices that developed in Japan around this remarkable, recently imported invention differed. Unlike in the West, where the glass plates were generally set off within a gilt frame, photographs were stored unframed in boxes of Japanese cypress wood, conceived in the manner of the tomobako, the boxes to be found accompanying any work of traditional craftsmanship. These boxes would generally include a mention, written in ink, of the date the image was captured and the identity of the subject. This traditional practice of preserving portraits, and the call inherent in it to a more private contemplation of the images, has since been lost in Japan, owing to the generalized use of photographic prints (on either albumen or gelatin silver print paper), which created the more lasting format of the photographic album. And the development of photographic printing techniques has in turn replaced this more personal practice by the photobook, whose crucial role in the place of photography at the heart of twentieth-century visual culture is well known. The integration of photography into publishing, in book form, has rendered its connection with text, and therefore with literature and theory, inseparable. Today, in an age of dematerialized photography and digitalized portfolios, the idea of photographs on glass plates in an ornamented box has something of the air of a fossil.
 
Nevertheless, a sumptuous and uncompromising approach to publication has made the photographic object endure by renewing it. Halfway between the boxed set and the photobook ―itself threatened by the digital dissemination of images―, Toluca Éditions has been creating unique photographic objects for fifteen years now. The principle is simple but unprecedented: an original case contains a combination of sheets bearing unpublished texts and original photographic prints. A photographer, a writer, and a designer submit individually the component parts of a work which is then put together and published by Toluca Éditions.
 
The publications of Toluca Éditions have maintained the text element of the photobook. This is still more striking in that the texts are not analyses (as in a monograph) nor accounts written by the photographers themselves (as in the works of Chris Marker or even of Nobuyoshi Araki), but constitute rather a work in themselves, with a supple yet intimate relation to the visual world of each series of photographs. Toluca’s publications have also preserved and developed the photobook’s relation to twentieth-century cultural production techniques, through the incorporation of three practices of the multiple: photography, text, and design. These three creative disciplines are based on a technical infrastructure that implies serial production. In this sense, each one of the publications of Toluca Éditions is a contemporary cultural object par excellence.
 
In an art of the multiple ―as is thrice the case here―, the very principle of the limited edition is an arbitrary decision, often motivated by commercial calculations: why limit the run of a photograph or a print ―which is multiple by nature― to just a few dozen copies, on the economic model of a sculpture? At Toluca Éditions, it is precisely the sculptural quality of the design applied to the production of each title that justifies the publication of small runs: the box contains a total work at the intersection of design, literature, and photography. An essential component in the appreciation of any one of the publications of Toluca Éditions is precisely its texture. Not only the grain of the photographs (and Toluca Éditions displays on this point a versatile taste, from the cleanly defined images of Candida Höfer to the supersaturated images of Tokyo produced by Daidō Moriyama), but also the search for the most appropriate paper (a constant also of quality photobooks), as well as a container which, in its material and its form, will crystalize the themes of the photographic and literary world it encloses.
 
More fundamentally, the uniqueness of Toluca’s productions resides in their complexification of the temporality proper to photography. Each photograph has its own temporality, marked initially by the moment at which it is captured, and by the semantic references of the image, which are then modulated by its intersection with a text. This ensemble, once it has been acquired by a collector, undergoes a slow aging process, protected from the elements, in its custom case. Every copy of Toluca’s limited editions is therefore a time capsule.
 
When it is opened, the case provides a space appropriate for a non-linear publication. The choices provided by a number of unbound sheets allow the photographs and texts to be explored as in an exhibition, reminiscent of the paradigm of Marcel Duchamp’s La Boîte-en-valise. Instead of a binding, one may find some folded sheets. The folds create not only a compartmentalized space and a new dimension, but also endows the reading of them with a different timeframe. The fold is a non-verbal frontier.
 
Let us imagine now the little universe formed by the forty-two titles published by Toluca Éditions, side by side in the same place, like so many microcosms, each one containing its own timeframe and a unique vantage point on reality. Photography lovers can only await with impatience the editions to come, which will continue to infuse new life into this complex, unique, and effervescent publishing venture.
 
Kei Osawa
Associate researcher, Intermediatheque, University Museum, University of Tokyo.
 
 
Toluca Éditions is an extraordinary publishing house based in Paris, founded in 2003 by Alexis Fabry and Olivier Andreotti. Each project is the result of a close collaboration between an artist using photography, a writer, and a designer, who contributes a custom-made slipcase. The ‘artist’s book’ as it had been understood since the early twentieth century, has given way to a hybrid art object, which occupies a novel position in the field.
 
Olivier Andreotti is a graphic designer and artistic director. He works in a range of different fields, including regular publications, limited editions, exhibition catalogues, corporate identity, signalling systems, and exhibition design (at the Fondation Cartier pour l’art contemporain, the Jeu de Paume, the Museum of Islamic Art in Doha, the Musée d’Art moderne de la Ville de Paris, and the Museo Universitario del Chopo in Mexico City, among others venues), as well as on special projects for various prestigious brands, including Louis Vuitton, Veuve Clicquot, Hennessy, and Van Cleef & Arpels.
 
Alexis Fabry is the curator of the Leticia & Stanislas Poniatowski and the Anna Gamazo de Abelló photography collections. He has curated numerous exhibitions, including Urbes Mutantes (International Center of Photography, New York, 2014), Latin Fire (CentroCentro, Madrid, 2015), Daido Moriyama, Daido Tokyo (Fondation Cartier pour l’art contemporain, Paris, 2016), Transiciones (Círculo de Bellas Artes, Madrid, 2016), and Géométries Sud (Fondation Cartier pour l’art contemporain, Paris, 2018). He works as a consultant for private collections and is deputy artistic director of Hermès Maison.
 
VOL. 6 • Daido Moriyama, Michel Bulteau, Olivier Andreotti, Solitude de l’œil, 2006 © Toluca Éditions

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Flora

NOVEMBER 10 - DECEMBER 16, 2018

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: Free
 
The Mass is pleased to present Nick Knight’s first solo exhibition in Japan.
 
For the past four decades Nick Knight has consistently challenged the standards of beauty and, as a result, is celebrated as one of the world’s most influential and visionary photographers working today. His groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Gareth Pugh and Alexander McQueen, alongside his vanguard advertising campaigns for prestigious clients such as Dior, Shiseido, Tom Ford, McQueen or Nike have secured him as a major figure in fine art and fashion.
 
Alongside his successful commercial career, Knight has a rather more personal side of his practice that is demonstrative of a constant desire to experiment and challenge himself. In ‘Still’, Knight brings this somewhat more private work to Tokyo, in three distinct bodies of work: ‘Flora’, ‘Roses, Photo Paintings’ and ‘Roses From My Garden’ which are all exceptional examples of Knight’s restless journey with aesthetic margins. Unlike the images of flowers we are used to seeing, Knight’s compositions are balanced, harmonious compositions that move us to think about the innate power of nature and its fleeting beauty.
 
‘Flora’ was first published in 1997 as a book of the same name. A daring and comprehensive volume of 46 images of flowers and plants chosen from the Natural History Museum’s six million specimens, the book came to life after Knight and his wife, Charlotte, spent three and a half years in the herbarium mapping the infinite complexity of plants. The resulting compositions are enduringly fresh and beautifully poised in their simplicity. Each reads as form in space. Without border or perspective the compositions are almost palpable: Colours bloom; Structures wilt; Some even read like drawings organically unraveling. Knight flawlessly allows the beauty of each piece to come into sharp and unwavering focus.
 
From the original specimens he captured for the acclaimed book, Knight selected 15 prints representative of the arresting diversity in botany that he found so exciting when he first gained access to the herbarium to be his first limited edition portfolio which is making its Japanese debut at The Mass. As Knight himself says, “There are few things that make me happier than discovering a new way of seeing the familiar.“ Together, the images do exactly that.
 
As the first show outside of the UK to exhibit these bodies of work together, ‘Still’ lends insight into Knight’s relentless desire to find and capture new versions of beauty and new visions of the familiar.
 
Nick Knight OBE (b. 1958) is a British fashion photographer who is also founder and director of SHOWstudio.com. He is an honorary professor at University of the Arts, London and was awarded an honorary Ph.D. by the same university. For the last forty years, Nick has shot award-winning images for commercial and editorial purposes. His groundbreaking creative collaborations with leading designers including Yohji Yamamoto, John Galliano, Gareth Pugh and Alexander McQueen, alongside his vanguard advertising campaigns for prestigious clients such as Dior, Lancôme, Tom Ford, Calvin Klein or Yves Saint Laurent have helped to make him a household name in both fine art and fashion.
 
His stories in British Vogue, Paris Vogue, Dazed & Confused, Another, Another Man, i-D and W magazine have all pushed the industry past the classic parameters of fashion photography, while his award winning music videos for Björk, Lady Gaga and Kanye West have firmly established Knight as an eminent Director and Image Maker. His first book of photographs ‘Skinheads’ was published in 1982, winning a D&AD award in 1996. He then went on to published ‘Nicknight’, a twelve year retrospective of his work, and ‘Flora’, a series of inimitable still lives, both published by Schirmer/Mosel. His latest book, entitled ‘Nick Knight’, was published by HarperCollins in 2009. His work has been exhibited at such international art institutions as the Tate Modern, Victoria & Albert Museum, Saatchi Gallery, the Photographers’ Gallery, Hayward Gallery, the Daelim Museum, and the Gagosian Gallery.
 
© Nick Knight, Flora, 1994-1997

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PORTRAIT

AUGUST 25 - SEPTEMBER 23, 2018

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: ¥500 (free for students)
 
The Mass is pleased to present PORTRAIT curated by Seika University Culture Club (*S.U.C.C.)
 
Taking the theme of portrait, this exhibition will draw connections between manifold artists of different ages and genres, providing an opportunity to see works with distinct expressions all in one space.
 
*S.U.C.C. is a group of popular culture studies (creation and PR) formed by Hiroshi Fujiwara who is currently a visiting professor at the Kyoto Seika University.
 
©︎ Mai Kurosaka, Face

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War and Flowers

JULY 20 - AUGUST 15, 2018

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: Free
 
The Mass is pleased to present ‘War and Flowers’. Curated by AMKK led by flower artist Makoto Azuma and The Mass; this exhibition includes a selection of photographs relating to war and flowers that Azuma and his team have collected intermittently over the past eight years forming the foundations for the exhibition, which brings together images that reflect on the subject of war from various aspects, compiled with the cooperation of international photo agencies: Magnum Photos, Asahi Shimbun and Kyodo News.
 
From birth to death, flowers occupy a familiar place in people’s lives; as gifts of celebration and encouragement, or in moments of mourning and prayer. From long ago people have offered flowers, investing their radiant appearance and transient existence with the role of conveying feelings, desires, and tenderness that sometimes cannot be expressed in words. Such actions can even be glimpsed within the darkest events of human history like war. The world has seen dramatic developments in science and technology over the last few centuries, together with a diversification of conflicts. We wish that through these photographs bringing together and connecting in one lens the seemingly contradictory elements of “war” and “flowers”, the negative historical facts of humankind are faced squarely in the hope that many visitors, and especially younger generations, will be given the opportunity to think deeply about peace.
 
AMKK
 
Azuma Makoto and Shiinoki Shunsuke were born in Fukuoka, Japan. Together they opened the on-demand ‘haute couture’ flower shop “JARDINS des FLEURS” in Ginza district in 2002. The shop is currently located in Minami-Aoyama, Tokyo. Around 2005 they launched a second line of operations when Azuma invented the genre ‘botanical sculpture’ and Shiinoki captured those creations in his photographs. Following a solo exhibition in New York, their audacious works have been repeatedly shown in Europe. They set up the experimental botanical lab Azuma Makoto Kaju Kenkyujo (AMKK) in 2009, they went on to exhibit their works at art museums, galleries and public spaces all over the world. In recent years, they have been focusing on projects that explore the connections between human beings and flowers.
 
AZUMA MAKOTO • Flower Artist
 
Azuma Makoto has been in the flower business since 2002, and is the owner of the ‘haute couture’ floral shop, “JARDINS des FLEURS” in Minami-Aoyama, Tokyo. In addition to the flower shop business, Azuma began to explore the expressive potential of plants in 2005. He invented the genre of the ‘Botanical sculpture’, creating works for which he soon received orders also from outside Japan. Following a solo exhibition in New York, his audacious works have been repeatedly shown in Europe. While launching the experimental botanical lab Azuma Makoto Kaju Kenkyujo (AMKK) in 2009, he went on to exhibit his works at art museums, galleries and public spaces all over the world. Every activity of Azuma Makoto focuses on elevating value of flowers and plants by finding unique and mysterious forms that they posses. Respecting the existence of nature and keeping its dignity, he converts and expresses these beautiful elements to aesthetic level of artwork.
 
The gallery will exceptionally open on August 14th and 15th, 2018
 
© Bernie Boston / The Washington Post / Getty Images / Kyodo News

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Marefumi Komura ‘Big ship’

MAY 19 - JUNE 17, 2018

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: Free
 
The Mass is pleased to present Marefumi Komura’ solo exhibition Big Ship.


 
In his new “subtraction” series, instead of building up layers of paint, Komura takes away thin washes of colour down to lines and scrapes in an attempt to express fragility, impermanence and imperfection.
 


The title Big Ship, a metaphor for the beleaguered state of Japan adrift on the sea of globalisation or even a symbol of the chaotic course of the cosmos, came to Komura in an intuitive flash after the death of his grandmother.
 


The word ship, or scip in Old English, derives from the Indo-European skep, meaning “cut” or “trim”, yet partakes of the notion of skipan “shaping” that suffixes such compounds as friendship or relationship — hence it somehow reflects elements of Komura’s method of “shaping by removing”. His images hint at lost senses, evoking hidden landscapes, reawakening primal memories.
 
© marefumi komura「Subtract (Big ship 1) 」

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ECAL Design for Luxury & Craftsmanship

MARCH 24 - APRIL 22, 2018

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: Free
 
The Mass is pleased to present ‘ECAL Design for Luxury & Craftsmanship’, a selection of student projects of ECAL/University of Art and Design Lausanne from their Master of Advanced Studies in Design for Luxury & Craftsmanship.
 
The exhibition highlights some of the many collaborations undertaken with international brands from the fields of luxury and craftsmanship. In addition to the exhibited prototypes, a selection of mock-ups and sketches illustrates the students’ creative process.
 
ECAL / University of Art and Design Lausanne (Switzerland)
 
As a school of international renown in the fields of design, photography, graphic design, cinema, new technologies and art, ECAL has been constantly ranked among the top 5 art and design schools. Since 2011, ECAL has been headed by Alexis Georgacopoulos and it has grown and established itself as a leader in the creative world. This could not have been achieved without the involvement of skilled practitioners, artists and designers of global renown or the many collaborations and commissions for cultural companies and institutions. As a consequence, ECAL students acquire a sound knowledge and benefit from a challenging practice-oriented education.
 
The Master of Advanced Studies in Design for Luxury & Craftsmanship (MAS DLC)
 
This unique course is specifically aimed at Bachelor and Master graduates who wish to further their design education in areas of excellence as varied as ne watchmaking, tableware, fashion, gastronomy, ‘Métiers d’Art’ or who wish to learn particular techniques with regards to the use of noble materials. The students (fifteen or so each year from all over the world) are able to work in collaboration with high-profile companies, which can draw on a heritage of a hundred years or more, and to gather skills from workshops organized by major players from the international design scene.
 
©︎ ECAL, Einat Kirschner, Hyunjee Jung, Table Clock (mockup), La Montre Hermès, 2016

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Takeshi Masada

NOVEMBER 18 - DECEMBER 17, 2017

Hours 12:00 – 19:00

Closed Tuesday and Wednesday

Admission: Free

 

ARTIST TALK on November 25th from 14:00 to 15:00.

Takeshi Masada × Tomoaki Ishihara (Guest Artist)

Entrance: Free

 

The Mass is pleased to present Takeshi Masada first solo exhibition in five years.

 

Basing his work on a story of “Madness” and “Purification”, Masada once again awakens a unique expressive style taking three-dimensional forms, creating both sculptural works made using Cray-pas oil pastels in unconventional ways and oil paintings rendered on large canvases.

 

A selection of collaborations produced by Takeshi Masada × fragmentdesign × NOMA t.d. will be available in our store during the exhibition.
 
© Takeshi Masada, Fukigen na Yamabiko、Kiregimi no Yamabiko、Sore ha A-ko no Kokoromoyou, 2017

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Nick Knight Rose Portfolio

JUNE 30 - JULY 30, 2017

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: Free
 
The Mass is pleased to present a SHOWstudio takeover.
 
Drawn to the sublime, yet delicate beauty of flowers, photographer Nick Knight began an almost daily ritual in 2010. During the summer months, Knight began cutting roses from his own garden, laying them out into carefully arranged floral still lifes. Capturing the eternally changing blossoms, colours and foliage of the roses from his garden, the resulting images are meditations on nature’s cycles, and the fleetingness of human existence. Like the Dutch still lifes of the 16th century, Knight’s hyperrealistic compositions consider the universe’s quintessential paradoxes; life and death, beauty and decay.
 
A selection of images from this wonderfully personal series have been released as part of a limited edition print portfolio. The portfolio includes 12 compositions (24 x 24 in.) which come in a beautiful, custom-made clothbound clamshell box. The images in the portfolio were shot between 2010-2012.
 
©︎ Nick Knight, Roses From My Garden, 2010-2012

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71-84

MAY 27 - JUNE 25, 2017

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: ¥1,000 (free for students)
 
This exhibition explores movements such as music, art and fashion that were created during 1971 and 1984.

 
71-84 Book fully illustrated in nine volumes boxed with in a slipcase, 1,468 pages. Designed by mo’des book.

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Henry Leutwyler ‘DOCUMENT’

MARCH 24 - APRIL 15, 2017

Hours 12:00 – 19:00

Closed Tuesday and Wednesday

Admission: Free

 

We are happy to present Henry Leutwyler’s first solo exhibition in Japan. Document, an exhibit chronicling a twelve-years project.
Henry Leutwyler was born in Switzerland in 1961. He lived and worked in Paris for a decade before finding his way to New York City in 1995, where he established his reputation as portrait and still life photographer.

 

Steidl published Leutwyler’s first book Neverland Lost: A Portrait of Michael Jackson, in 2010. The first edition of Ballet was published in 2012, the second edition in 2015. The images from Ballet and Neverland Lost have been exhibited in solo shows in Los Angeles, New York, Paris, Moscow, Madrid and Zurich. His work has graced the pages of numerous magazines around the world and has earned him countless honors and awards.

 

A glove worn by Michael Jackson, James Dean’s door at the Iroquois Hotel symbolize the only stability in the nomadic existence of a young actor whose career was skyrocketing, Jean-Michel Basquiat’s hip Issey Miyake sunglasses, James Gandolfini’s Cadillac – his favorite possession, Astronaut and Apollo 14 crew member Alan Shepard’s golf club used to play golf on the moon, to name a few.
Leutwyler says “The people I was really interested in died before I could photograph them, so I thought, Let me make a list of my heroes and some villains and research what they owned.” (ARTE FUSE, 2016)

 

We will exhibit a selection of 45 photographs from Document which features the issues of American History over 100 years.
 
©︎ Henry Leutwyler, The Charter Arms .38 caliber revolver used to shoot and kill John Lennon, 2016

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12×12 ART×MUSIC

FEBRUARY 25 – MARCH 19, 2017

Hours 12:00 – 19:00

Closed Tuesday and Wednesday

Admission: Free

 

The Mass is pleased to present 12×12 ART×MUSIC – Contemporary Art meets Music on 12 inch square − produced with Seika University Culture Club *(S.U.C.C.).
 
In this exhibition, we are featuring about 80 record jackets designed by artists such as Richard Prince, Damien Hirst, Banksy to name a few.
 
12×12 ART×MUSIC catalog will be available in our store during the exhibition. Edition of 2000
 
*S.U.C.C. is a group of popular culture studies (creation and PR) students formed by Hiroshi Fujiwara who is currently a visiting professor at the Kyoto Seika University.

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Fumio Tachibana ‘Plastic’

NOVEMBER 25 - DECEMBER 18, 2016

Hours 12:00 – 19:00

Closed Tuesday and Wednesday
Admission: Free
 
Tachibana continues to produce work by freely unraveling, collecting, accumulating and arranging letters and paper.
Within his ever-changing 2D and 3D forms, which directly question the origin of letters, it is possible to discover new “characters.”
In this exhibition, sculptural works made in bronze will be presented together with 2D works.
 
Fumio Tachibana is a Japanese artist and graphic designer. Born in 1968 in Hiroshima.
 
© Fumio Tachibana, Kuchi ル1, 2016

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FLOWER HUDDLE

AUGUST 27 - SEPTEMBER 25, 2016

Hours 12:00 – 19:00
Closed Tuesday and Wednesday
Admission: ¥500
 
The Mass is pleased to present ‘FLOWER HUDDLE’ of collaborations produced by FRAGMENT, Seika University Culture Club (S.U.C.C.) , AMKK. Following showcase produced by S.U.C.C. on December 2015 in Osaka, this is the second installment of “FLOWER HUDDLE”.
 
The walls were filled with framed flower-themed pieces and we’ll also exhibit “Drop Time”, an installation produced by AMKK.
 
A selection of collaborations produced by FRAGMENT×S.U.C.C.×AMKK will be available in our store during the exhibition.

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Avant-Garde Symbolism

JULY 29 – AUGUST 14, 2016

Hours 12:00 – 19:00

Closed Tuesday and Wednesday

Admission: Free

 

In this inaugural exhibition organized by The Mass, we are pleased to present Russian avant-garde artworks from the poster collection of Ruki Matsumoto. Created in the 1920s at a time straddling the Russian Revolution, these posters are examples of propaganda (political and philosophical) and movie advertisements that served national cultural policies—as can be inferred from the word “avant-garde”, which was originally a military term—and encapsulate works of visual art that reflect strong political elements. The works shown in this exhibition are referred to as examples of Russian Constructivism, and can be said to directly communicate their meaning through the arrangement and extreme restriction of characters, images and colors in a single image, making it possible to express and convey the essence of “graphics”. This exhibition of Russian avant-garde posters, which represented a new culture within a chaotic era that was by no means positive, will provide a valuable opportunity to question the significance of their existence as graphic design forms that stand as innovative and groundbreaking symbols, while retaining the identities of their creators.
 
©︎ The Mass, Author unknown, October, 1928