ΑΩ - Alpha Omega | Takahata Town, Yamagata Prefecture Outdoor Art Exhibition Archive"Alpha Omega." This title had been on my mind for quite some time. It comes from the Book of Revelation in the New Testament, meaning "the beginning and the end," and no other phrase resonates more deeply with my understanding of painting within art. Painting is the beginning and the end of art (as any true art lover would likely agree, I am a painting supremacist). While perhaps a bit dramatic, I reveled in the self-indulgent title, dreaming of someday holding a painting exhibition bearing its name.
I began concretely thinking about the exhibition two summers ago after seeing Fukunaga-kun's work at Satoshi Ohno's studio in Fujiyoshida City. Seeing the painting, which is also featured in this exhibition, somehow clicked. By then, I had already collected several of Ishii-kun's works. Although their styles are quite different, I felt a shared, unique sense of sanctity in both. I simply wanted to see their paintings together in the same space. The time had come. "Alpha Omega."
Initially, I planned to hold it in a typical white cube gallery in Tokyo, following the "conventional art style." With the cooperation of "Hikari Studio" in Kyoto, we even had a neon sign designed by the two artists ready. I was thinking of holding it around May and was about to start preparations when, in the blink of an eye, the novel coronavirus became a pandemic. Following the Lehman shock, the black swan spread its wings once again, and the world changed drastically.
Closed borders, the death of Ken Shimura, daily increasing infection numbers, shocking footage from Europe and America, the postponement of the Olympics, the state of emergency declaration, stay-at-home orders... Stunned by the severity of the situation, I shut myself in at home, spending endless days playing PlayStation.
In early May, under the state of emergency, my wife and I headed to a villa in Nagano, which we happened to acquire from an acquaintance in March, for a change of scenery, carrying a slight sense of guilt for traveling from Tokyo to the countryside. The Dangozaka Service Area, usually bustling with people, was nearly deserted, with most shops closed. The highway was empty, not even transport trucks were running. Witnessing a scene reminiscent of a racing game's tutorial mode, I re-recognized the seriousness of the situation. It was clear that a significant economic downturn was imminent.
Minamiaiki Village in Nagano, where the villa is located, is at a high altitude, with open landscapes, abundant nature, sparse population, and incredibly fresh air. In Tokyo, even going to the local supermarket felt unpleasant due to the invisible fear of the virus, but here, that feeling was completely absent. Immersed in the liberating feeling of the forest for the first time in a while, enjoying BBQs and a tent sauna, my catchphrase became "Cities are over because of Corona." It was around this time that I vaguely started considering the "outdoors."
Meanwhile, the number of new infections began to settle down, and the state of emergency was lifted. I was half-impressed and slightly scared by the Japanese people's ability to reduce numbers so much without legal enforcement. I thought we might aim for zero new cases for several weeks, like Taiwan or Hong Kong, but instead, it seemed we chose "coexistence" along with a "new lifestyle." Could we really coexist with the novel coronavirus? I thought the numbers would probably increase again soon.
Under these circumstances, although it was difficult to tell the two artists, my honest feeling was, "This isn't the time for art." The planned white cube exhibition represented the epitome of close contact; people likely wouldn't come, or rather, I wouldn't want them to. If a cluster were to occur, it would be disastrous. Fundamentally, it felt contrary to public health ethics. After a while, conversely, I started thinking about what an exhibition that rigorously adhered to ethics during this period would look like. Could a "new art style" with zero infection risk, completely avoiding the "Three Cs" (Closed spaces, Crowded places, Close-contact settings), be possible?
The answer I arrived at was "outdoors" and "online." Even if outdoors was viable, I still believe an online exhibition is a far inferior experience to viewing in person, even with VR. Nevertheless, the obsessive focus on ethics and infection control, almost to the point of being sarcastic, seemed novel and interesting. I felt I had finally found a meaning in holding an art exhibition under these circumstances. We decided against any publicity to avoid attracting unexpected visitors, sent DMs just before the event, made the viewing website password-protected and invitation-only, and limited it to two nights only. I began to find a contemporary charm in this excessive consideration.
Uriwari Sekitei Park, the venue, is in Takahata Town, Higashiokitama District, Yamagata Prefecture, where I lived until I moved to Tokyo at eighteen. I had never properly visited the park, only vaguely knowing it was quite popular with city dwellers and that an outdoor music event was held there last year. Searching online, I found that the park, originally a quarry, featured a series of loosely connected yet distinct spaces, including plazas surrounded by high cliffs and artificial caves. It seemed perfectly sized for an outdoor art exhibition. The presence of the caves, reminiscent of grottos, was significant. Without citing Bataille's "Lascaux," caves, sanctity, and painting are contextually inseparable. Amidst the pandemic, painting returns to its origins. It was truly "Alpha Omega."
After getting the artists' approval, I immediately consulted my father, who thought it would probably be usable. With the cooperation of the town office, we were granted permission. However, the project was presented as a "filming" rather than an exhibition. I wonder what would have happened if we had submitted it as an exhibition expecting general visitors, though that wasn't our intention. The aforementioned outdoor music event was canceled this year. Incidentally, museums in Tokyo were already open at that time under the "conventional art style" with few restrictions. I don't intend to judge either way, but that was the reality.
Entering July, as expected, infection numbers started rising again, increasing tensions. Despite this, the three of us calmly proceeded with site visits and preparations. It was decided that Fukunaga-kun would arrange his paintings on the cave walls, and Ishii-kun would project videos onto the rock faces along the path and the cliffs at the back. During preparations, due to my mother's frail health, I was subjected to a minor quarantine at my parents' house, using only the large room, toilet, and outdoor bath, at their request. While feeling bad for the artists, I, understanding the rural realities and ways of thinking firsthand, felt the troublesomeness of the coronavirus deeply and strengthened my resolve for the "new art style."
On August 27th, heading towards the main event, Ishii-kun, Fukunaga-kun, Usami-san, and I drove to Yamagata in a two-ton truck and a station wagon. Later, Katayama-san and Tezuka-san arrived, followed by Miyake-san. To prevent spreading infection from Tokyo to the region at all costs, the artists and staff lived in tents – another thorough implementation of the "new art style." During the period, Yamagata experienced an unusually intense heatwave for late August. Despite some people feeling unwell, we proceeded with the setup, aided by employees from my father's company, and somehow managed to reach the opening day.
The outdoor art exhibition "Alpha Omega" was realized under the guise of filming, but since we hadn't invited anyone, naturally, no one came. Only the artists, staff, and a few guests were present. Amidst the darkness filled with the roar of generators, I filmed with a BMPCC4K, while Usami-san took stills with a Canon SLR. Viewing these should give a good sense of the exhibition space. The display created by the two artists was magnificent. Ishii-kun's literally physical performance was soul-stirring, and Fukunaga-kun's paintings, illuminated by lanterns on the cave's stone walls, exuded a different kind of allure and sublimity than ever before. Their presence at the venue somehow resembled that of clergy.
On the other hand, it's true that an exhibition prepared with such effort and care, yet lacking an audience, felt somewhat empty and strange. It would be a lie to say I didn't wish more people could have seen it in person. But still, this was the fruit grasped after resisting reality. It had meaning precisely because it was done this way, now. It's certain that this exhibition was born from this era and these circumstances. As the organizer, I am proud to have presented a form of the "new art style."
At the end of August 2020, if the COVID-19 pandemic hadn't occurred, Japanese people would likely have continued their usual lifestyles, returning to daily life while basking in the afterglow of the Olympics, and "Alpha Omega" would have been held uneventfully in some white cube gallery. Realizing an exhibition fitting to mourn the lost worldlines, like a funeral rite for the past and future that never arrived, witnessing it firsthand, recording the footage, and being able to present it as an online archive now feels like an unparalleled blessing. Though it cost considerable money, time, and effort.
Organizer: Daisuke Akiba
Since March of this year, I've spent a lot of time at home. The reason is well-known, but I never thought I'd stop meeting people this much. I don't remember much about what I was doing back then, but mostly I recall taking care of my child. I taught university classes online from home, and of course, I continued my creative activities, but what stands out most is the time spent with my family. Daycares were closed, playground equipment was off-limits, malls were shut, and there were hardly any places to take a child. It felt like modern society as a whole was facing an unprecedented crisis. This wasn't just in Kitisenju where I live, but similar situations were occurring all over the world, and reasons for optimism seemed to dwindle day by day. I heard theories about bioweapons leaking due to mismanagement, the extreme proximity between cities and nature (meaning environmental destruction was the cause), or unsanitary conditions in livestock facilities. I couldn't possibly know the real reason. Although I stayed home a lot, I often went with my child to nearby shrines. Eventually, though, we started going more often to the Arakawa riverbank, about a 10-minute bike ride away. I looked for ways to play in the place famous as the setting for the TV drama "Kinpachi Sensei." There was a spot on the riverbank teeming with crabs, and we played by catching them. Catching crabs at Arakawa and bringing them home became a daily routine, and our entryway was filled with crabs. At first, the crabs would quickly hide when approached, but after a few days, their movements slowed, and they hardly fled even when touched.
I think it was around mid-July when we came to Uriwari in Yamagata Prefecture. My friend Akiba-san brought Fukunaga-san and me to his family home. Fukunaga-san and I have been artist friends, pushing each other since our prep school days. However, we had never participated in the same exhibition until now. All the exhibitions planned for this year had been postponed to next year or later. I had lost my immediate concrete goals, and I don't think the atmosphere in my home studio was conducive to continuing production as usual. It felt like it simply wasn't the time to produce anything. Akiba-san had been planning a two-person painting exhibition for Fukunaga-san and me in Ginza, but that too had lost its reality due to Corona. Not necessarily thinking deeply about avoiding the "Three Cs," we decided to hold an outdoor exhibition. But around the time we went to Yamagata, the second wave of Corona was starting in Tokyo, and it was absolutely not a situation where we, coming from Tokyo, could meet people. So, it became an outdoor exhibition in Yamagata, but without an audience, an online exhibition. Uriwari Sekitei Park was apparently a quarry until recently; a small mountain had been vertically cut away, exposing large rock faces. Trees grew thickly on the top of the vertical cliffs, making me think, "So this is what the inside of a mountain looks like." I also felt a sense of direct confrontation with the geological strata of this land. The quarry had cave-like spaces carved into the rock face and spaces enclosed on all sides by rock walls with only the top open. Fukunaga-san and I decided to use these spaces individually for our displays.
The exhibition title "Alpha Omega" was Akiba-san's idea. It's a monotheistic title that, frankly, isn't very familiar to me. I asked him the reason several times but never really understood it. However, I could tell he was attached to it, and he wouldn't budge. For the concept, please read the statement he wrote. While he decided the title, location, and participating artists, the interesting part of this exhibition was that the clear planning entity became ambiguous during the process. The reason lies partly in the element of play. Flipping through Bataille's "Lascaux," I found the term Homo ludens, meaning "playing man." Lascaux man painted murals because he was a playing man; Neanderthals were working men who didn't know play, so they didn't paint murals. Art originated from the play of Lascaux man, according to Bataille's thinking. However, recent geological surveys suggest that cave paintings date back much further than the previously thought 30,000 years, perhaps starting around 70,000 years ago. So, Bataille's idea that Neanderthals didn't paint murals is probably wrong. Neanderthals likely played too, and we also arrived at this exhibition through play, so let's leave it at that.
I had heard that summers in Tohoku were cool, but camping life at the exposed site amidst the intense heat was far from enjoyable. It was hotter than Kitasenju, and it rained too. Of course, it will become a memory. And the global situation with the Corona pandemic remains unchanged even now.
Tomohito Ishii
For the detailed background leading up to this exhibition, please refer to Ishii-kun's text, but this project started simmering around the end of 2018, so it had a run-up period of nearly two years. During that time, the planner Akiba-san, artist Ishii-kun, and I had several meetings, but I couldn't grasp the exhibition image until near the end, though it seems Akiba-san had a vision.
As the exhibition dates were becoming concrete early this year, the world was invaded by Corona. My part-time work decreased, and I spent my days cooking for myself, exercising a little, and then heading to production. Troublesome social obligations disappeared, leading to a simple, rational life where I felt the natural way of human living. The sense of fulfillment from meeting the necessities of living alone is surprisingly like this. However, that too was fleeting, and living alone without meeting anyone made me feel a critical sense of human regression. Whether due to this or not, and of course due to the Corona pandemic, the plan shifted from a regular gallery exhibition toとりあえず (toriaezu - for the time being/anyway) holding an outdoor exhibition.
My first impression upon visiting the quarry at Uriwari Sekitei Park in Yamagata, the exhibition venue, was that it was divided into several sites. There was a space surrounded by towering cross-sections of huge rock walls open to the sky above, and a large, cube-shaped space carved out like a cave. Each had distinct structural characteristics, making the overall space very unique. Since I was exhibiting paintings, I took charge of the cube-shaped space. Although I called it cave-like, it's more accurately like an assembly hall (it's actually used as such for events), a perfect cube space. It's simultaneously a natural object, a carved-out rock mountain, and also a very artificial space, being a quarry site. Innumerable lines carved by quarrying machinery remain vividly on the inner walls, top, bottom, left, and right. These lines further emphasize the space's horizontality and verticality, making it resemble a Western architectural structure like a church. Yet, it's also undeniably the ruins of a quarry, and the image of a hole=cave is inescapable. Hanging paintings here inevitably brings cave paintings to mind. This time, I symmetrically hung five paintings depicting mops and cleaning tools organically, illuminating them with two lanterns. My initial intention was thematic: the images of organic mops/cleaning tools worn out by labor would resonate with the lines left by the quarrying work, both being traces of labor. However, once the paintings were actually hung, the images of mops and cleaning tools lost their meaning, leaving only the forms and colors of the paintings. The surrounding stone wall carvings became more prominent, and the space felt like it came alive organically. The act of hanging paintings on the wall created an interaction between the wall and the painting, unifying the space. And it felt like an event that slightly touched upon the lineage of cave paintings and church paintings.
Daisuke Fukunaga
α Tomohito Ishii Ω Daisuke Fukunaga
The desire to see the invisible might be universal. One day, I found myself ordering a microscope on Amazon. Like in elementary school, I observed plant veins and various other things. Out of curiosity, I collected and observed blood, breast milk, and sperm from the human body. Various movements constituting the body, independent of consciousness, were actually happening there. Among them, seeing my own collected sperm as a visible entity for the first time was very exciting. Sperm usually exists as if ejected, sometimes feeling like waste, but seeing these fish-like things wriggling in the cloudy white liquid I expelled filled me with a sense of reverence. Watching the sperm swim sluggishly like carp or tadpoles, I felt I understood the nature of sexual desire. There is a strong impulse to break through the outer shell and head inwards. I wanted to project this strong impulse onto the rock wall of Uriwari. It felt somewhat similar to the quarryman's sensation of heading into the interior of the stone. The relationship between the movement of the organic sperm and the inorganic rock receiving its image reminded me of the concept of the "half-body" I had read about somewhere. My interpretation is that within the system of reproduction, one's own death is simultaneously contained.
Tomohito Ishii
In an empty lot in Uriwari, I asked the child of an artist friend living in Yamagata since July to collect stones. I had them arrange the collected stones on a scanner and turned that into video footage. Originally, I planned to gather local children and have them arrange stones all at once to collectively create the stone imagery, but it was difficult due to Corona. The painting exhibited this time, "Sub image (garden of jouissance 5)," is a painted version of that footage. Incidentally, all the footage projected during the performance also used this imagery. I often saw children arranging stones in daily life. Children always draw out the latent relationship between the human body and objects with full force. Looking closely at the stones scattered around Uriwari, I realized they were fragments from the quarry. These stones were likely born from the quarrymen's actions towards the stone. When quarrymen cut stone, they sense the inside of the stone through their chisels (though I imagine machines are often used too). The inside of the stone is sensed by the quarryman, and humans also enter the inside of the stone. Stone and human seem connected here. Such a relationship exists in the stone fragments scattered in Uriwari, and I felt it was ubiquitous there. The quarryman cutting the stone and the child arranging the stones provided the trigger to transform the image-like, which has a tenuous reality. I thought that by using this transformed image-like as an entrance, I could finally touch something that felt substantial. Painting is also the trace of that sensation.
Tomohito Ishii
This work is my first performance piece. During the performance, all I could see was the halo of light from the projector emitted from the pitch darkness, my own body receiving the image, the towering rock wall behind where the image was projected, and the shadow of my body. For me, it was often the case that the image-like is a phenomenon and feels lacking in reality. Even everyday urban life began to feel within the scope of this image-like. The word "image" is extremely abstract, but if I dare use it, the image and the substance are far apart, and the substantial is generally distant – this classical sense was one of the motivations for creating this work. It overlaps with my motivation when I usually create paintings. The location of the performance was surrounded by rock walls on four sides (strictly speaking, three sides), with only the sky open above. At night, the sky darkened, creating the sensation of being inside a hole, a cave. Inside the hole, inside the cave, I considered the structure of entering the inside of the eyeball, the inside of the camera. Stone felt like the opposite of the image-like. I decided to enter with my whole body into that space where image and substance are sometimes felt as separate things, and become the person in between.
Tomohito Ishii
From left: Daisuke Fukunaga, Tomohito Ishii, Arata Hasegawa, Nami Yokoyama
| 1981 | Born in Tokyo, Japan. Lives and works in Tokyo |
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| 2006 | Completed Master's Program, Musashino Art University |
| 2024 | "Icarus and the spirit of place" Tokyo Gallery + BTAP (Beijing, China) |
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| 2023 | "Sub Anaglyph" CAPSULE (Tokyo, Japan) |
| 2022 | "To the ground, to above the ground, into and out of the Crystal Palace" Tokyo Gallery + BTAP (Tokyo, Japan) |
| 2019 | "Plane of Jouissance" CAPSULE (Tokyo, Japan) |
| 2017 | "House of future" Maki Fine Arts (Tokyo, Japan) |
| 2011 | "Complex Circuit" Gallery αM (Tokyo, Japan) |
| 2025 | "Micro Salon" Tokyo Gallery + BTAP (Beijing, China) "Neo Moroism" Xinjiang Art Museum (Xinjiang, China) |
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| 2023 | "Urban Sansui β" kudan house (Tokyo, Japan) "Urban Sansui" kudan house (Tokyo, Japan) |
| 2022 | "Eloquence of the visual" Tokyo Gallery + BTAP (Tokyo, Japan) "Eloquence of the visual" Woong Gallery (Seoul, Korea) "touch the light" MITSUKOSHI CONTEMPORARY GALLERY (Tokyo, Japan) "αM+ vol. 2 My Hole: Hole in Art: Subterraneans and Mirrorless Mirror Part2: Mirrorless Mirror" gallery αM (Tokyo, Japan) |
| 2021 | "Resting Place in the distance" Mountain lodge in Minamiaiki Village (Nagano, Japan) |
| 2020 | "The Alpha and the Omega" Uriwari Sekitei Park (Yamagata, Japan) "Individual Sansui" Komagome SOKO (Tokyo, Japan) |
| 2019 | "Distance and Transmission" gallery N (Tokyo, Japan) |
| 2018 | "SURVIBIA!!" Digital Hollywood University (Tokyo, Japan) "Backlash" Space TGC (Tokyo, Japan) "Neo Moroism 5" Tsinghua University Visual Artcenter (Beijing, China) |
| 2017 | "Pharmakon: Medical-ecological approach for artistic sensibilization" The Terminal Kyoto (Kyoto, Japan) "New flat field" Digital Hollywood University (Tokyo, Japan) |
| 2016 | "The Greater Taipei Biennial of Contemporary Arts" National Taiwan Art University (Taipei, Taiwan) "Neo Moroism 4" 798 Art Factory BTAP (Beijing, China) "Adachi Delta" Adachidelta (Tokyo, Japan) |
| 2015 | "Siding Railroad 2015" Ex-Tokorozawa Meal Center (Tokyo, Japan) "My hole, Art of hole" Space 23℃ (Tokyo, Japan) "Neo Moroism 2" Red Tory Museum of Contemporary Art (Guangzhou, China) "Daiwa Collection Ⅶ" Okinawa Prefectural Museum & Art Museum (Okinawa, Japan) "Innocence" Temple du gôut (Nantes, France) |
| 2014 | "Parplume UniversityⅡ" Contemporary Art Museum Kumamoto (Kumamoto, Japan) "Neo Moroism 2" 798 Art Factory BTAP (Beijing, China) "Parplume University" YAMASHITABILDG (Nagoya, Japan) "Summer and Painters" ARATANIURANO (Tokyo, Japan) |
| 2013 | "Biennial Open Exhibition" NN Contemporary art (Northampton, UK) "ILYAURA The Window" The Window (Paris, France) "Day(s) dreaming" Le 59 Rivoli (Paris, France) "SOMANYIMAGES" Sprout Curation (Tokyo, Japan) |
| 2012 | "Pandemonium" XYZ collective (Tokyo, Japan) |
| 2011 | "4 Artist show" Shugo Arts (Tokyo, Japan) |
| 2008 | "15years" WAKO WORKS OF ART (Tokyo, Japan) |
| 2007 | "Portrait Session @NADiff" NADiff (Tokyo, Japan) "Portrait Session" Hiroshima City Museum of Contemporary Art (Hiroshima, Japan) |
| 2006 | "Masada Takeshi & Tomohito Ishii" WAKO WORKS OF ART (Tokyo, Japan) "Degree show" Musashino Art University (Tokyo, Japan) |
| 2005 | "flom/to #3" WAKO WORKS OF ART (Tokyo, Japan) |
| 2004 | "Graduation works" Musashino Art University (Tokyo, Japan) |
| 2023 | Nomura Foundation Art and Culture Grant |
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| 2019 | Arts Council Tokyo Single Grant |
| 2012 | Paris award, Musashino Art University |
| 2005 | The 20th Holbein Scholarship Student |
| 2017 | The Laforêt Summer Vacation Project (Ghiffa) |
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| 2012-2013 | Cité International des Arts (Paris, France) |
| 2022 | "αM+ vol. 2 My Hole: Hole in Art: Subterraneans and Mirrorless Mirror Part2: Mirrorless Mirror" gallery αM (Tokyo, Japan) |
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| 2019 | "My Hole: Hole in Arts series" Curation, Space23℃/ CAPSULE/ clinic |
| 2018 | "My Hole: Scab of the 21st Century" Curation, Space23℃ |
| 2017 | "New flat field" Direction, Digital Hollywood University |
| 2016 | "Adachi Deltra" Direction, Adachi Delta |
| 2012 | "Pandemonium" Curation, XYZ Collective |
| 2019 | "My Hole: Scab of the 21st Century" Catalog Published |
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| 2016 | "My hole, Art of hole" Catalog Published |
| 2013 | "ILYAURA The Window" Nuit Blanche joint event "ILPYAURA" Art Association ILYUAURA established |
| 2023 | "Sansui in Tokyo" Urban Sansui catalog, Ryosuke Kondo |
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| 2019 | "My swollen hand" Wolf and wolf, by Ryo Katsumata |
| 2018 | "New flat field" BT, by Takuya Nakao |
| 2014 | "Parasophia au Monde" Parazine, by Miki Okubo |
| 2011 | "Art Anatomy" Kyoto Newspaper, by Yasuyuki Nakai "Topography of /" BT, by Tomohiro Masuda "The Pandemonium of Image" αM Project, by Masayuki Tanaka |
| 2012 | "Pendulum of image" Pandemonium art book, by Keisuke Mori |
| 2005 | "Gallery Reviews" BT, by Yuichiro Takashima |
| 1981 | Born in Tokyo |
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| 2004 | Graduated from Tama Art University, Faculty of Art and Design, Department of Painting, Oil Painting Major |
| 2024 | "Time in Fermentation" Tomio Koyama Gallery Roppongi (Tokyo, Japan) "Self Meditation" High Art (Paris, France) |
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| 2022 | "Fertile Break" Antenna Space (Shanghai, China) "Beautiful Work" Nonaka-Hill (Los Angeles, CA) |
| 2020 | "Labor" Tomio Koyama Gallery (Tokyo, Japan) |
| 2015 | "Documenting Senses - From Cats' Eyes, Not Dogs -" Tomio Koyama Gallery (Tokyo, Japan) |
| 2013 | "Nostalgia" Tomio Koyama Gallery (Kyoto, Japan) |
| 2011 | "To have something as support" Tomio Koyama Gallery (Tokyo, Japan) |
| 2008 | "Local Emotion" Tomio Koyama Gallery (Tokyo, Japan) |
| 2006 | Tomio Koyama Gallery (Tokyo, Japan) |
| 2024 | "Mon Cherie CoCo" Institut français de Tokyo (Japan) "Let's See" ArtSpace@HeluTrans (Singapore) |
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| 2023 | "Some Stools" TACOSUAVE (Hachioji, Tokyo, Japan) "BLUE WIND" HIGH ART ARLES (Arles, France) |
| 2021 | "Natsuyasumi: In the Beginning Was Love" Nonaka-Hill (Los Angeles, CA) "Fifteen Painters" Andrew Kreps Gallery (New York, NY) |
| 2020 | "The Alpha and the Omega" Uriwari Sekitei Park (Yamagata, Japan) |
| 2019 | "island" Art Laboratory Hashimoto (Sagamihara, Kanagawa, Japan) |
| 2018 | "SUPER OPEN STUDIO 2018" LUCKY HAPPY STUDIO (Sagamihara, Kanagawa, Japan) "Satoshi Ohno Studio Exhibition" Satoshi Ohno Studio (Yamanashi, Japan) |
| 2017 | "waiting in vain" statements (Tokyo, Japan) "COOL INVITATIONS 4" XYZ collective (Tokyo, Japan) "Sayonara Jupiter" 356 Mission (Los Angeles, CA) |
| 2015 | "SOMETHINKS: Daisuke Fukunaga, Keisuke Yamamoto" Art Laboratory Hashimoto (Sagamihara, Kanagawa, Japan) "Taguchi Hiroshi Art Collection A Walk around the Contemporary Art World after Paradigm Shift" The Museum of Fine Arts (Gifu, Japan) |
| 2014 | "Group exhibition by Tomio Koyama Gallery" TOLOT/heuristic SHINONOME (Tokyo, Japan) "The Way of Painting" Tokyo Opera City Art Gallery (Tokyo, Japan) |
| 2013 | "The Storm for Art and Popular Culture" Nagoya Citizens' Gallery Yada (Aichi, Japan) |
| 2011 | "GOOD NIGHT MIHOKANNO" Akiba Tamabi21, 3331 Arts Chiyoda (Tokyo, Japan) "FM 'REISSUED WOMEN'" Sprout Curation (Tokyo, Japan) |
| 2010 | "Painting by Four Artists" Tomio Koyama Gallery Kyoto (Japan) |
| 2009 | "VOCA 2009" The Ueno Royal Museum (Tokyo, Japan) "TEAM 15 MIHOKANNO 'Hello! MIHOKANNO'" Tokyo Wondersite Shibuya (Tokyo, Japan) |
| 2008 | "AFTER THE REALITY 2" Deitch projects (New York, NY) "Vrishaba through Mithuna" Curated by Soshiro Matsubara, hiromiyoshii (Tokyo, Japan) |
| Morgan Stanley Art Collection |
| The Taguchi Art Collection |
| Ryutaro Takahashi Collection |
| 2009 | The 1st Koji Kinutani Prize, The Mainichi Newspapers |
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