adrian's blog

Reviews and reflections on the Japanese contemporary art world

Raiji Kuroda on aLTERNATE fUTURES

I have just re-published a blog about Raiji Kuroda's new book BEHIND THE GLOBALISM by independent curator Eiko Honda (with link to the original blog)

a LTERNATE f UTURES is my new blog site on tumblr which discusses art and architecture in Japan in connection with issues of "post-growth" social, economic, political and cultural crisis.

Please join me in these important discussions!

2015/02/07 23:39

100 More Momoshimas

Which book have you read that most inspired you to think about a better future?

As part of my ongoing research into rural art projects in "post-growth" Japan, I am collaborating with curator Eiko Honda ( on a communication project for the upcoming exhibition "One Hundred Ideas on Tomorrow's Island", part of artist Yanagi Yukinori's Art Base Momoshima.

Momoshima is a small volcanic island in the Japanese Seto Inland sea, not far from Hiroshima. Formerly a residential village for about 3000 people, many of whom worked in the heavy shipping and transportation industries in the region, it now has a population of about 550, with over 67% of the island now over 65 and almost no children.

Our project, "100 MORE MOMOSHIMAS" is a virtual and exponential library of books for the future, to help the work on the island, chosen by a network of friends, colleagues, anonymous doners, and especially older residents of the island who we also interviewing (over 67% of the island is over 65; there are almost no children living there).

We ask you to send us via the "submit a book" link on the site an electronic photo of a physical book (by Instagram, or uploaded jpg), plus any "utopian" thoughts on why this book might help us.

The project was in part inspired by a photo (attached) taken in the (collapsing) village hall of the island: a small help-yourself library shelf for the residents. Behind it on the blackboard a monthly tally of the shrinking population is being noted.

As I know you love real books, please "donate" one! Any language ok.

Please feel free to forward this message to anyone you think might also have some good ideas.


You can read a recent talk (with lots of images) I gave about the Art Base here:


Momoshima Art Base website here:

Submit a book here!

Free "help yourself" library in the old Momoshima village hall. In the background is a chalk board where a tally is kept of the island's population (556 this month and falling)

2014/09/15 16:37

Islands For Life

I have just published a new essay, Islands for Life: Artistic Responses to Remote Social Polarization and Social Decline in Japan, about the amazing Momoshima Art Base project, led by Yukinori Yanagi

You can access it via my new blog ALTERNATE FUTURES

2014/08/04 03:27

aLTERNATE fUTURES...... My New Blog

I started this blog exactly five years ago! Amazing. I hope it continues to have some use as a living archive of Japanese contemporary art during this period. To help new readers, I have published a full A-Z index of artists, curators, writers and others on the Japanese scene here. Please enjoy!

There is also my now controversial book, Before and After Superflat: A Short History of Japanese Art 1990-2011, which I still hope some Japanese readers will try to read carefully. There is still hope too one day of a Japanese translation appearing... You can read parts of the book via the link below:




2014/07/03 04:18


Just in time for the Chinese New Year, a few thoughts on the year that has ended. I picked up the ArtAsiaPacific almanac today in the West Village. MAM curator Kenichi Kondo does a very thorough job in his summary of the year for Japan, also modestly not overplaying Mori Art Museum's various contributions to the year, which included an interesting but patchy Roppongi Crossing. Here, the obvious but vaguely defined theme of rethinking Japanese society in the cold light of the post 2011 disasters was one more instance of how this particular framing has become all dominant, the only current narrative of Japanese creativity at a time when the politics of the nation get gloomier and gloomier.

Partly, of course, there have been creative opportunities in the wake of the disaster: a real chance for artists and architects to show their meaning and significance for society. I would be the first person to endorse with relief the fact that everyone has now moved on from the period of vacuous pop art heralded by the era of "Cool Japan". On the other hand, concerned and engaged art does not necessarily make for good art, and a lot of what we have seen in the post March 2011 period has been weak and superficial.

In contrast, I hope to have showcased a few of the more important contributions this past year. It started exceedingly well: with brilliant shows by Lieko Shiga "Rasen Kaigan" at Sendai, and "Takamine Tadasu's Cool Japan" at Mito, both of which I wrote about.

Lieko Shiga:

Takamine Tadasu:

Tadashi Kawamata transformed BankArt; I was thrilled to be able to do a sprawling two hour hour interview with him later in the year at the site of his "Collective Folie" tower of babel in Paris at the Villette. He was philosophical about what was surely the funniest (i.e., most ridiculous) event in the global art world this year: the "riot" and police brutality at his "favela" café at last year's Art Basel (google "favela art riot").


I also caught up with Shimabuku, and a delightful retrospective put on Jonathan Watkins at Birmingham's IKON gallery during the summer.


It has been a very good year for Shinro Ohtake and Koki Tanaka, who both featured at Venice, and found heavy attention back home. Ohtake finally seems to be getting some deserved international attention, which will hopefully help re-establish some of the true origins of Neo-Pop in Japan. Congratulations to two other artists I have focused on in my blog, Aiko Miyanaga and Tatzu Nishi, as well deserved winners at the first Nissan Art Prize. I certainly missed one great show everybody was talking about: Tomoko Yoneda's retrospective at the Tokyo Metropolitan Museum of Photography. Then there was the moving and quite brilliant posthumous tribute by Noi Sawaragi to the very sadly missed Takashi Azumaya at ArataniUrano and Yamamoto Gendai. Azumaya was the first true independent curator in Japan; a rare and fragile breed, who always struggle outside the conservatism of the mainstream museum system.

In New York, and therefore globally, it was a good year for the modern and contemporary Japanese Art Historians, with big shows at MoMA and the Guggenheim elevating the 1950s and 60s avant gardes to a more prominent place in the world pantheon. Also good to see Ushio Shinohara getting a lot of attention, with an exhibition and the film documentary with his wife, Noriko, Cutie and the Boxer. Genpei Akasagawa was also everywhere: I was very happy to co-host a book presentation by UCLA's William Marotti in Paris in December, about his recently published book on the 1960s, Money, Trains and Guillotines: Art and Revolution in 1960s Japan.

In the autumn, I was able to return to Japan for the end of triennale season. Aichi Triennale exceeded expectations, with a strong, politicised show. It was good to get the inside stories from curator Tetsuya Ozaki, particularly about the extraordinary anti-nuclear performances by jazz superstar Otomo Yoshihide. I missed Setouchi, because of other priorities in an insanely busy week. Top of my list was the amazing Kodai Nakahara retrospective in Okayama (surely the exhibition of the year -- its the one that Kondo unfortunately misses in his round up). I also met there with local heroine Erina Matsui and curators from Ohara Museum, as well as getting down to Beppu to interview Takashi Serizawa, the pioneering environmental curator, about the Beppu Art Project. As always it was a joy and privilege to pass by Fukuoka to talk with Raiji Kuroda at FAAM, and Kyoto to visit Mizuki Endo, check out his burgeoining HAPS organisation and talk about his hopes and fears for Japan today, reflected in Care of the Self, his amazing "poetical diary" of a dangerous solo walk he made along the coastline of Tohoku to the Fukushima exclusion zone. And I ended up on another island, Momoshima, with a chance to spend time with artist/curator Taro Furukata and explore his collaborative venture with Yukinori Yanagi.

The exhibition "100 Ideas on Tomorrow's Island -- What Art Can Do For A Better Society" turned the whole island of rotting orange trees, rusting mini-vans and empty shacks into a breathtaking gesamtkunstwerk. Yanagi's Art Base on Momoshima in the Seto sea is one of the most interesting and deep thinking utopian projects currently dealing with Japan's eery post-growth, post-industrial, post-disaster condition, and on this island of crows, cats and spiders (and about 500 old people), he is developing a long term transformative vision of this wasted landscape and how and why artists might decide to live there.

Yukinori Yanagi:

It was all a million miles away from hyper-commercial Tokyo, and the autumn announcement that the Olympics will be coming there in 2020. I know everyone cringes at the thought of a plastic coated nationalist branded Olympics using cosplay characters, maid cafés and smily cartoons to hide the ongoing reality of Fukushima, Tohoku and a thousand other genkai shuuraku wasting away in the shadow of the all devouring metropolis. But we better get used to this serially uncool idea, whether or not they recruit some famous artists to provide the imagery.

Tokyo Olympics:

All my ART-iT blogs from 2009-2013, an A-Z of the Japanese art world, including featured artists, curators, writers, gallerists and collectors can be accessed through the following link. Check it! You might be in there.

ART-iT Index:

Horses. It is meant to be a lucky year. Let us hope so.

2014/01/26 11:24

Yukinori Yanagi

SUBMARINE (sculpture), 2013

I recently published a review of Yukinori Yanagi's New Works about his extraordinary Art Base Momoshima project online in Art Forum:

As usual here I publish the text along with a few additional images from the island, as well as the show, courtesy of Miyake Fine Art, Tokyo

Yukinori Yanagi, New Works
Miyake Fine Art
Tokyo, 26 Oct - 21 Dec

Japanese "neo-Pop" pioneer Yukinori Yanagi has had relatively low international visibility in recent years. After returning definitively to Japan from New York in 2000, his work took on an altogether different scale, both temporally and spatially, involving the artistic transformation of industrially despoiled, semi-abandoned volcanic islands in Japan's inland sea. The pieces in this exhibition are windows to a vastly ambitious new endeavour: the Art Base Momoshima project, commenced in November 2012 in a former junior high school on a small island near Hiroshima.





Using oil, graphite, and emulsion on twenty-one photographic prints of views looking out to sea, Yanagi sketches pieces of ships floating on barges; a surreal still life of the region's decaying industrial base.

MOMOSHIMA PROJECT NO.10 (collage, graphite and emulsion on paper), 32x50cm

These works are accompanied by a small rough-hewn sculpture Submarine, 2013, made from pieces of metal found on the island; and images of the battered 1950s movie theater in the village, re-imagined as a temple of failed modernity. Pictured on stage, a projection of Yanagi's signature neon hinomaru (Japanese flag) articulates his critique of crumbling nationalism, alongside a wry nostalgia for the post-war boom years.

MOMOSHIMA TOEI RECONSTRUCT PROJECT NO.2 (collage, oil paint, graphite, colored pencil and emulsion on paper), 50x65cm

Momoshima was once a thriving community based on orange farming, teeming with family life.


It is now a certifiable genkai shūraku, a settlement doomed to die out. Today the population is around 550 and falling, 70 percent of the residents are over sixty years old, and desperately few children are living on the island.


From the survivalist-style Art Base, Yanagi and a few young associates are plotting a temporary revitalization of the island, nursing it towards an inevitable future through a kind of slow art. A recent group show curated by the Berlin-based artist Taro Furukata (“100 Ideas on Tomorrow’s Island – What Art Can Do for a Better Society”), inspired German and Japanese artists in residency to clear several abandoned homes and convert them into repositories of memory and change.

See the website:



The resultant trail of discovery transformed the whole village into an eerie gesamtkunstwerk.



Amid empty shacks, rusting Toyotas, and villagers outnumbered by crows, cats, and spiders, the Momoshima project quietly explores post-industrial collapse and social decline—a possible future for any society in which development is based only on illusions of endless economic growth.



2013/12/09 02:00

Theory of Tempelhof

Utopian thinking from a single case study

On the walls of Berlin’s U-Bahn stations, there is a large city map. Amidst the expanse of grey matter that makes up the sprawl of the city, to the south of the centre, there is a huge green hole: the former Tempelhof airport. Thinking of this as a brain scan, with the city as a self-organising process as theories of emergence suggest, Tempelhof looks like an anomaly, or malignant growth. 400 hectares of wasted urban space; a mortal threat to the functional city.

The fascists developed the airport as a statement of power and modernity; it was in its time the biggest hub of mobility in Europe. The long curved main building, with its spectacular cantilevered roof and oversized yellow stone facades, was the longest building in the world. It then stood for liberty during the Berlin airlift of the 1950s, and until 2008 airline passengers could thrill at landing in the middle of this battered city and watching people cooking or making out through the apartment windows as the planes landed.

Now, it is an airport no more; a dead airport, with what’s left of its luggage belts, EU entry signage, and fleets of airplanes -- one vintage Vokker out on the tarmac -- all strictly simulations. The land encompassing the two runways and service roads is a huge empty park, mostly concreted, grown over with grass and a few trees. In 2010, Berliners took back the space. Now they come here to play; to walk their dogs, race on roller skates, kiss and hold hands, or imagine the future of post-growth cities, while scanning the urban horizon; to do whatever they want, with no presuppositions, on land that is -- or could be -- close to zero developmental value.

Before the city and developers really move back in, there is a utopian moment; a quixotic investment of people in this massive pure urban space. Unfillable halls and hangers for open activity; in which the culture and the content is irrelevant. Things that can be done, which have and make no value, in a space in which almost whatever you do can have no impact upon it -- it is already so ruined with tarmac, rubble and industrial waste -- and where it is almost impossible to imagine any activity or construction that would be big enough to fill even a tiny part of it. It is utopian space, purposeless. Use-less. Devoid of material value. They gave it a name: Tempelhofer Freiheit. The last free urban space in Europe.

A dead airport in a dead city; or, rather, an anti-airport in an anti-city, because the people are still here, playing, after the functional city has disappeared. The architecture lost its function and freed its form, as the ruins of the future. We can now imagine this airport space, this anomalous growth at the heart of a new anti-Berlin. Circling the perimeter of the park, we can imagine how many of these other buildings we see on the horizon -- factories, carparks, shopping malls, gas stations, schools, universities, government buildings -- may no longer function as they did; they too could be ruins, with the people in them playing not working; the cars on the freeway are going nowhere, and small gecekondu (overnight buildings) built of wooden, tarpaulins and founds objects, grow up on the grass in the spaces and shade of older concrete and glass constructions... One by one the architecture of the functional city is disappearing as the urban economy slides slowly into decline, moving towards a steady state entropy in which everyone is able to live and play, but the functions of the old, growth-driven, developing city atrophy and wither away. The anti-city in which everyone is now an architect ...

Why here? Why Berlin? It is important to think about the rationale of the single, selective case. We scan the world and its cities for single examples and selective vignettes that might show us the way in urban theory. Berlin, for example, is the key to understanding why Japan -- and its 100% paved over urbanism in decline -- is the closest thing we have to the future. The world and its cities present us with near infinite diversity of forms -- no single models. Only the hazard of specific conditions and conjunctions of history, geography and place could have produced this anomalous hole in the middle of the city. Through the hole we see the future; before the developers move in again.

The utopian visison of Tempelhof, of course, is just that; the real plans for the space include some apartments and a public civic facility (a public library), which will redefine the space in a way at once humdrum and controlled. What they will build will be like Potsdamerplatz is now: an ersatz Berlin, albeit smoothly functional. No doubt someone will think it a good idea to give Starbucks a franchise. Re-development will seek to absorb Tempelhof whole back into the functional city. Dissolve the abnormal growth. But such a plan may literally be bankrupt; this kind of medicine never wins the battle, it only holds off the inevitable for a while. The only parts of Berlin which feel real now are the unfinished building sites -- shabby advertising hordings, mounds of broken concrete, and weeds growing through the cracks -- where the city is still becoming; the finished developments feel void, a generic global city that is Berlin no more.

The challenge of post-growth is to see negative development as qualitative progress. Deflation of value towards zero as productive. Societal output as tending towards stasis (what is often called entropy). Culture as nothing but empty, random content and play. We are left with the empty relics of a former civilisation: as anomalous and pointless as an ornamental graveyard, chateaux of the dead, rising up like some absurd gothic playground. Let us start our walk together here...

With thanks to Marta Rodríguez, architect -- and Julian Worrall, for ongoing conversations.

2013/09/25 21:28

Tokyo Olympics

So former Tokyo Governor Mr Ishihara's dream has come true, and Tokyo will have the Olympics in 2020. Congratulations, all round, I suppose. As a student of culture in the city politics, I have been watching the contest to hold these Olympics with great attention for some time. Basically, Tokyo -- which has been a no-hoper also-ran in two previous competitions -- got extremely lucky this time. A miracle happened, and despite having the weakest of the three bids, the event fell into its lap. It would have surely gone to Istanbul had Mr Erdogan -- a pugnacious "grande gueule" conservative capitalist politician in a similar mould to Ishihara -- not turned the police loose on the street protesters in May, destroying any further hopes of Turkey's liberalisation and integration into world politics. Madrid meanwhile was simply bankrupt, in the midst of Spain's worst recession in decades. With Tokyo still shaking from the effects of the 2011 disasters, and Fukushima still pumping unknown amounts of radiation into the atmosphere, the Olympics committee must have been wondering why on Earth they had narrowed the field to these three problematic contenders. But after Turkey screwed up, it had to go Japan. They closed their eyes and voted overwhelmingly in its favour.

The decision is surely good news for the Tokyo art world. Despite its conservatism, there have been positive examples of support from the city government for art over the last few years. For all its problems, Tokyo Wonder Site has been an important and central venue for many initiatives. There will be many spin offs and opportunities, as well as an obvious injection of funding, that will bring many benefits to artists in Tokyo. Perhaps the world will start paying attention again to Japanese contemporary art.

I fear the worst in terms of branding: an Otaku Olympics. The use of embarrassing "Cool Japan" branding ideas during the campaign has continued, and there will be a temptation to turn the whole event into a ridiculous Japanese cartoon, no doubt full of smily flowers and cute girls in cosplay. Somebody needs to tell the nerdy conservative politicians in suits that this stuff is not cool.

Even more sinister, the Olympics will be a big excuse for a whole new round of global capital real estate and corporate development. Expect Ishihara to finally realise those plans for sweeping away some of the parts of Old Tokyo that have not yet been bulldozed in the name of tourist and capital redevelopment (including the famous Tsukiji fish market: The Sky Tree -- that huge upside down electric blue space age baseball bat shoved up into some of the poorest neighborhoods of North East Tokyo -- is the portent for the kind of insensitive urbanist boom time that is sure to come. I expect many of my favourite parts of Tokyo will be disappearing in the next few years.

Despite its roster of extraordinary world class architects, Japanese architecture has been snubbed in the Olympics plans, and the stadium has been given to Zaha Hadid. Tokyo will just get another one of her generic cliché global city monuments that you can see anywhere and everywhere. I find this selection kind of pathetic given the opportunity to have done something important for Japanese architecture.

Finally, is the Olympics good for Japan? Or just good for Tokyo? I suspect there will be very little benefit for cities and regions around the country, already suffering from the massive over-concentration of elite urbanisation in the capital city, and its winner-take-all drive. The spectacular social polarisation of city centre and rural periphery will continue, and continue to get worse in the next few years. There may however be the added drama of a few athletes expiring live in the heat of the competition. Given that the event is taken place in the middle of July, and in the last two years Tokyo has been seeing rising (and possibly radioactive?) temperatures of 40 degrees plus, the only sensible thing would have been to locate the event in Akita or Aomori.

2013/09/22 19:36


I have just published with Art Forum a review of the excellent current retrospective of Shimabuku at Birmingham Ikon Gallery, curated by Jonathan Watkins. Please enjoy!

The online review can be found here:

Here is the text:

Berlin-based global rover Shimabuku has long been recognized in his native Japan as a pioneer of social and relational art. This first extensive international retrospective offers a satisfying overview of his gently humorous musings on everyday life and community, usually in the form of videos, installations and photographic narratives about the places he visits and people he meets. Birmingham's neo-gothic late-Victorian Ikon Gallery—a kind of kunsthalle in a former school—offers an elegant backdrop, its variable spaces allowing for an appropriately roomy show, which puts a special emphasis on narrative works made over the years in the UK.

Cucumber Journey (2000) was just that, the story of a leisurely canal journey from London to Birmingham in which the artist learned how to make "slow food": in this case, cucumber pickles, given to friends on arrival. In Swansea Jack (2003), the artist invented and organised a memorial competition in which dogs retrieved objects from the sea in memory of a heroic black retriever who saved many people from drowning. In Fish and Chips (2006), a dreamy underwater video with music documented the blind date of a potato suspended on a fishing line "meeting" live fish in the River Mersey. And, in the one original work conceived for this show, a small catalogue was made available on the streets of the city, but only as a free supplement to The Big Issue, a magazine sold by homeless and unemployed vendors.

The ideas can be hit and miss, and the works collectively demand a suspension of sophisticated critical habits. Nowhere is irony intended; Shimabuku seeks a pure kind of artistic wonder, devoid of the edge so often sought in social art. Ikon director Jonathan Watkins has a long track record in selecting important Japanese contemporary artists who confound our expectations about the country’s popular culture or high-tech futurism; in Shimabuku he has found the perfect ambassador.

An index to all my blog writings for ART-iT can be found here:


2013/08/23 18:20

Index of Blogs

With the upcoming change of format at ART-iT and the ending of the "Official Bloggers" part of the site, it is the end of an era for me. I have been publishing essays here since early July 2009: four years and 140 blogs in total that amount to a kind of archive or encyclopaedia of Japanese contemporary art of this period (2009-2013). It is the place where I have tried out all my first thoughts and drafts for my book BEFORE AND AFTER SUPERFLAT, and grappled with all the mysteries, joys and absurdities of the Japanese contemporary artworld.

It has been fun, and I am sure I will continue to blog in some form or another. Below in alphabetical order is a list of artists discussed in some detail (with weblinks) followed by a list of curators, writers, gallerists and collectors. Of course, in my sociological artworld, curators, writers, gallerists and collectors are every bit as important as the artists.

Blogs with basic translations in Japanese are marked (jp). These should always be read carefully in conjunction with the English originals ;)

While every effort has been made to check and update these blogs, I am grateful for any necessary corrections or suggestions to improve them.

Special features on artists or artworld personalities are marked below with **

Please enjoy.


Aida Makoto ** (jp) ** **

Aikawa Masaru

Ai Weiwei **

Ao Shusuke

Aoyama Satoru ** **

Araki Nobuyoshi

Arima Sumihisa

Asai Yusuke

Atelier Bow Wow

Bellars Peter

Berlin artists

Beuys Joseph

Chaos Lounge **

Chim ↑ Pom (jp) **

China Mania (jp)

Dumb Type (jp)

Eguchi Satoru

Endo Ichiro **

Gekidan * Shiki

Gokita Tomoo **


Gutai **


Hashimoto Yuki

Hayashi Toru

Higashionna Yuichi

Higashiyama Kaii

Hiyama Takao

Ikeda Masanori **

Ikeda Mitsuhiro

Ikeda Ryoji **

Ikeda Takeshi

Ishibashi Yoshimasa

Isozaki Arata

Itadani Ryu **

Ito Gabin

Ito Toyo **

Izumi Taro **

Jikken Kobo **

Kaikai Kiki

Kaneuji Teppei **

Kano Tetsuro

Kasahara Izuru

Kawamata Tadashi

Kawao Tomoko

Kinoshita Parco

Kitano (Beat) Takeshi

Kito Kengo

Kofuneko Tomoko **

Koganazawa Takehito

Koizumi Meiro

Kojima Sako

Kojin Haruka

Kondoh Akino

Koons Jeff

Korean artists

Kurashige Jin

Kusama Yayoi ** **

London artists

Los Angeles artists

Machida Kumi ** (jp) **

Mai & Naoto **

Mario A

Matsukage Hiroyuki ** **

Matsui Erina ** (jp) ** **



Mitamura Midori ** **

Mitsuya Toshihiko **

Miyake Mai

Miyanaga Aiko **

Mono-ha **

Morimura Yasumasa (jp) **

Murakami Takashi **

Murayama Macoto

Murayama Nobuhiko

Murayama Ruriko **

Nakahara Kodai

Nakamura Masato ** ** (jp) **

Nakazawa Hideki **

Nara Yoshitomo ** ** (jp) **

Nawa Kohei ** **

New York artists

Ninagawa Mika **

Nishi Tatzu

Niwa Sijiro

Odani Motohiko

Ohba Daisuke **

Ohno Satoshi

Ohtake Shinro **

Oiwa Oscar

O Jun

Okada Hiroko

Okutsu Ayaka **

Ono Yoko **

Orimoto Tatsumi **

Ozawa Tsuyoshi ** **

Paris artists

Sakamoto Keiko


Satom Saki

Sawa Hiraki **

Sekine Naoko

Shibuhouse **

Shiga Lieko **


Shimizu Jio **

Shinohara Ushio

Shiota Chiharu

Shirai Mio

Showa 40 nen kai ** ** ** **

Sone Yutaka (jp) (jp) **

Suda Yoshihiro **

Sugimoto Hiroshi

Suzuki Atsushi

Suzuki Hiraku **

Tabaimo **

Tabata Kouichi

Taguchi Yukihiro **

Takamine Tadasu (jp) **

Takeda Yousuke

Takemura Kei **

Tanaka Atsuko **

Tanaka Koki **

Tanaka Iichiro

Tazuke Cousteau

Teruya Yuken (jp) **

Tezuka Aiko



Ujino (jp) **

Watanabe Go

Yagi Lyota

Yamaguchi Akira

Yamamoto Motoi **

Yanagi Miwa **

Yanagi Yukinori ** ** **

Yanai Shino **

Yasugi Akihiro

Yoneda Tomoko **

Yoshida Yuki

Young British Artists

Curators, Writers, Gallerists & Collectors

Aoyama Hideki

Asada Akira

Blum & Poe

Borggreen Gunhild

Cavaliero Sophie

Elliott David

Endo Mizuki

Favell Adrian (Before and After Superflat / Extracts)

Favell Adrian (Tokyo to LA Story / Essay)

Fukutake Soichiro

Fujiki Rika (Mujinto Productions)

Fujitaka Kosuke

Furukata Taro

Hasegawa Hitomi

Hasegawa Yuko

Hayashi Kiyohide

Hayashi Michio

Ikeuchi Tsutomu

Imamura Yusaku

Ito Haruka

Jack James

Jansen Gregor

Kajiya Kenji

Kamiya Yukie

Kataoka Mami **

Kato Mizuho

Kawauchi Taka

Kibukawa Ei (eitoeiko) **

Kinoshita Chieko (jp)

Kitagawa Fram ** (jp) **

Kondo Hidenori

Kondo Kenichi (jp)

Koyama Tomio

Koyanagi Atsuko

Kubota Kenji (jp)

Kudo Kiki

Kuroda Raiji

Kurose Yohei

Kusumi Kiyoshi

Marx W. David

Matsui Midori ** (jp)

McDonald Roger (jp)

Mitsuma Sueo

Miyake Shinichi

Mouri Yoshitaka

Muir Gregor

Nakamura Hiromi

Nanji Fumio

Nariai Hajime

Nishihara Min ** (jp) ** (jp)

Nose Yoko

Ohayon Shai (The Container) **

Ozaki Tetsuya

Presneill Max **

Rawlings Ashley **

Ritter Gabriel

Sasao Chigusa

Satani Shugo

Sawaragi Noi **

Schimmel Paul

Shimizu Minoru (jp) **

Shiner Eric

Snow Jean

Sumitomo Fumihiko

Takahashi Mizuki

Takahashi Ryutaro ** (jp)

Takahashi Yohsuke

Tatehata Akira

Tezuka Miwako **

Thornton Sarah **

Tiampo Ming

Tomii Reiko **

Trofimchenko Rodion

Tsuzuki Kyoichi

Tsutsumi Seiji

Uematsu Yuka

Walker Johnnie

Watkins Jonathan

Worrall Julian **

Yabumae Tomoko

Yamaguchi Yumi

Yamamoto Yuko (jp)

Yamamoto-Masson Nine

Yamano Shingo

Yoshimoto Midori
2013/07/14 23:24

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15/02/07 23:39
Raiji Kuroda on aLTERNATE fUTURES
14/09/15 16:37
100 More Momoshimas
14/08/04 03:27
Islands For Life
14/07/03 04:18
aLTERNATE fUTURES...... My New Blog
14/01/26 11:24
13/12/09 02:00
Yukinori Yanagi
13/09/25 21:28
Theory of Tempelhof
13/09/22 19:36
Tokyo Olympics
13/08/23 18:20
13/07/14 23:24
Index of Blogs

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Mario A / 亜 真里男
SANAA in Copenhagen
10/07/19 22:29
Motus Fort
Roppongi Crossing 2010
10/05/19 12:43
Beat Kitano à Paris


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