ミヅマアートギャラリー
ミヅマアートギャラリー

Mizuma Art Gallery

  • Art | Galleries
  • Ichigaya
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Time Out says

Sueo Mizuma, active in the art world since the 80s, opened this gallery in Aoyama in 1994. In 2002 the gallery moved to Nakameguro, and then in 2010 a new contemporary art gallery was opened in Ichigaya. Its considerable history is backed up by the impressive list of contemporary, original and well-established artists it represents. From veterans to young up-and-comers, the remarkable line-up includes names such as Makoto Aida, O JUN, Jin Kurashige, Hiroyuki Matsukage, Jun Nguyen-Hatsushiba, Tomoko Konoike, Hisashi Tenmyoya, Akira Yamaguchi, Koji Tanada and Aiko Miyanaga. The gallery also exhibits the works of artists from Europe and North America who are still unknown in Japan, as well as actively participating in art fairs abroad – particularly those throughout Asia – to further promote its art on the international stage. In 2005 a new space called ‘Mizuma Action’ was opened to help throw the spotlight on the works of new, emerging artists. This gallery fully lives up to its reputation as a true representative of the contemporary art scene in Japan.

Details

Address
Kagura Bldg 2F, 3-13 Ichigayatamachi, Shinjuku-ku
Tokyo
Transport:
Ichigaya Station (Yurakucho, Namboku lines), exit 5; Iidabashi Station (Chuo, Sobu lines), west exit; (Tozai, Yurakucho, Namboku lines), exit B2a
Opening hours:
12noon-6pm, closed Sun, Mon & hols

What’s on

Mad Image

Bringing together 16 artists across generations and disciplines, this dynamic group exhibition explores the creative energy of ‘MADs’ – better known as AMVs or anime music videos – a phenomenon rooted in online communities where derivative works are made by deconstructing and reassembling existing media such as anime, games and sound. Co-curated by artists Namonaki Sanemasa and Kazuki Umezawa, ‘Mad Image’ spans painting, sculpture, video and sound installation, reflecting a diverse spectrum of practices united by the processes of fragmentation and reconstruction. Created by artists ranging from teenagers to established practitioners in their fifties, the works capture the fractured landscapes of contemporary life while questioning how meaning is made in an era where digital images and information flow endlessly across screens. For Sanemasa and Umezawa, who both exhibit in the show in addition to serving as curators, ‘Mad Image’ is less about offering a definitive framework than about creating a temporary space – a ‘small hut’, as Sanemasa puts it – where art can pause, reassemble, and invite reflection. In this gathering of experimental voices, Mizuma Art Gallery becomes a site for imagining new ways to connect amid the disjointed commons of our time.
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