LIN Shan
6-Jul-24 ~ 28-Jul-24
at Ritsuki Fujisaki Gallery
Technology as a whole must become the technology of art. And the state must become the museum of its population. Just as the museum’s administration is responsible not only for the general holdings of the museum’s collection but also for the intact state of every given work of art, ensuring that the individual artworks are conserved and restored when they show signs of decay, the state should bear responsibility for the resurrection and continued life of every individual person.
(Groĭs, Boris (2018). Russian cosmism. Cambridge, MA: EFlux-MIT Press)

Taka Kono
13-Apr-24 ~ 12-May-24
at Ritsuki Fujisaki Gallery
"Lost and found" traditionally refers to a space for storing misplaced items until they can be reclaimed by their owners. The exhibition draws inspiration from the concept of lost property, exploring themes of retrieval and possession.

9-Mar-24 ~ 31-Mar-24
at Ritsuki Fujisaki Gallery
‘ Amfortas! Die Wunde! Die Wunde! Sie brennt in meinem Herzen! O, Klage! Klage! Furchtbare Klage! Aus tiefstem Herzen schreit sie mir auf.
Oh! Oh! Elender! Jammervollster! Die Wund sah’ ich bluten.

Parsifal, Act II

Hanna Umin, KAITO Itsuki, Sven Loven, Taka Kono
20-Jan-24 ~ 18-Feb-24
at Ritsuki Fujisaki Gallery
‘ The will of rebellion against these hidden and prescriptive powers is the fountain of contemporary goth, which traditionally has a self-destructive and ephemeral quality, however, while also connotating an elusive and complicated structure.

It is not an actual/simplified form like Dracula, a werewolf, diseases, drugs or terrorism, but a desire for a complex modern society.

Contemporary goth implies a quiet resistance towards social representations. Referencing the absence of history, it is akin to gazing into a three-sided mirror, a vision replete with a myriad number of diffuse reflections.’

- Ritsuki Fujisaki

25-Nov-23 ~ 25-Dec-23
at Ritsuki Fujisaki Gallery
‘The unmasking turn of mind’’ does not try to refute ideas, but to harm them by exhibiting their ‘‘extratheoretical function.’ (HACKING, IAN. The Social Construction of What? Harvard University Press, 1999.)

The title of this exhibition, "archetype," and the atoms used as motifs are not about their original universal roles.
In the process of painting composition, he seems to affirm the dynamic and perverse nature of the "archetype" by starting from the inversion of power relations in the painting.

Maggie Dunlap, Taka Kono
21-Oct-23 ~ 12-Nov-23
at Ritsuki Fujisaki Gallery
Give the public free access to the memory and data banks (Lyotard, Jean-Francois. The Postmodern Condition. Manchester University Press, 1984.)

 Death is an intensely personal event, yet the body enters a realm of anonymity post-mortem. There exist liminal spaces, moments neither alive nor dead—akin to crossing the River Styx or approaching the Pearly Gates.

Yagi Eri
9-Sept-23 ~ 1-Oct-23
at Ritsuki Fujisaki Gallery
It is the glory of God to conceal a matter, but the honor of kings is to investigate a matter. (Old Testament: Book of Proverbs 25:2)

The gesture of cutting up food on platters and serving it to visitors overlaps with the composition of this exhibition, which represents the broken up watchtower from various angles.

Su Group
29-July-23 ~ 20-Aug-23
at Ritsuki Fujisaki Gallery
The wind is rising! . . . We must try to live!
( Paul Valéry, Le Cimetière marin, 1920.)

The sea has been dividing something, however, simultaneously, it can seem to include everything.
Intermittent flashes of isolation and inclusion floating on the sea allure us.

10-Jun-23 ~ 2-Jul-23
at Ritsuki Fujisaki Gallery
They say, “He was the most beautiful young man I have ever seen,..” but the detail is not specifically described, but is omitted. Similarly, it has been noted that omissions are made regarding the emotions of the characters in the fairy tale.

3-Dec-23 ~ 25-Dec-23
at Ritsuki Fujisaki Gallery
While, sofvi culture today has moved away from reproductions and imitations of characters, machines and animals, and more and more sculptures are arising from the narratives of the individual artists, and Tanimura’s production is not exceptional. The Toy Shop, a window display of actual toys and advertising materials by Pop Art stalwart Peter Blake (b. 1932), stirs a longing for the past.

KOTANI Kurumi, Taka Kono, YAMAMOTO Kazuma, YAMAMOTO Shohei
29-Oct-22 ~ 27--Nov-22
at Ritsuki Fujisaki Gallery
In this age of reproducibility and abundance of images, the meaning of each representation itself has become radical, fragile, and unstable. The speed of those seemingly muddled and elusive images sometimes collide, leaving semantics behind, but there is always tension in the relationship among them.

3-Sep-23 ~ 2-Oct-23
at Ritsuki Fujisaki Gallery
Japanese tropes such as Yōkai, ghost stories, nature, festival masks, and mosquito nets are distributed in space along with disturbing and provocative way which are dressed by violence and humor.

Taka Kono
16-Jul-22 ~ 14-Aug-22
at Ritsuki Fujisaki Gallery
“What truly drives fear into my body is the possibility for my imagination to amass physical weight.
There is the low gurgle of water rising in a bath somewhere nearby.
My body has not made contact with any water in quite some time.”

28-May-22 ~ 19-Jun-22
at Ritsuki Fujisaki Gallery
Various harmful toys that were denied in the process of being familiar in a safe and rational social life, are not allowed to have them, and are destined to be forgotten in one corner of history.

                            2-2-10, Higashi Nihonbashi, Chuo, Tokyo, Japan