arteming
Artemin gallery 創立於2020年,品牌以其為名,期望自身對於藝術的感知有如神經傳導般的敏銳與快速,並致力於尋找生活中每刻光景與藝術的連結,找尋潛力藝術家,發現當代藝術的無限可能。

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飯川雄大 (Iikawa Takehiro)

Hyogo Prefecture, Tokyo

飯川雄大(Iikawa Takehiro),1981年出生於日本兵庫縣。2003年畢業於成安造形大學設計學科的影像專業。他擅長以影像、攝影、設計與繪畫等多媒體形式創作,關注日常生活中容易被忽略的現象,並以獨特視角呈現。飯川常在作品中融入幽默與哲思,探索觀看者與作品之間的互動,並通過獨特的裝置藝術和影像敘事啟發觀眾思考,突顯不經意瞬間中的戲劇性或日常行為中的神聖感。

Born in Hyogo Prefecture in 1981; currently based in Kobe. Iikawa is a graduate of Seian University of Art and Design. In 2007, he began making the Decorator Crab series. His numerous works include Decorator Crab – Expecting Spectators, in which objects and spaces are transformed by the viewer’s active involve- ment; Very Heavy Bag, a bag that appears to have been forgotten; and Decorator Crab – Mr. Kobayashi the Pink Cat, a sculpture so large that it cannot be viewed in its entirety. Iikawa’s works provoke thought and taking a positive attitude toward chance events, which are caused by the viewer’s actions.

Solo Exhibitions:

2023 Decorator Crab – Measuring the Future, Pulling Time, Kirishima Open Air Museum, Kagoshima, Japan

2022 Decorator Crab – Occurring Simultaneously Or Awareness Being Delayed, The Hakone Open-Air Museum, Kanagawa, Japan Decorator Crab – Make Space, Use Space, Hyogo Prefectural Museum of Art, Japan

2021

Dokokade? Genbi Video Art Project: Takehiro Iikawa, Hiroshima MOCA Tsurumi Annex 101, Japan

Art Lab 04: Decorator Crab – Expecting Spectators, Chiba City Museum of Art, Japan

2020

Decorator Crab – Intercepting Perception, Takamatsu Art Museum, Kagawa, Japan

KAAT Atrium Video Art Project: Takehiro Iikawa, Kanagawa Arts Theatre (KAAT), Japan

Decorator Crab – Mr. Kobayashi the Pink Cat, Namiki Clinic, Yokohama, Kanagawa, Japan

Decorator Crab – Mr. Kobayashi the Pink Cat -Park Line in Taichung City, Taiwan

2019 Decorator Crab – Expecting Spectators, Art Center Ongoing, Tokyo, Japan

2018 Decorator Crab – Arrangement, Adjustment, Movement, A-Lab, Hyogo, Japan

2017 Impulses and Things Around Them, Hiroshima Art Center, Japan

2016

Decorator Crab – Pink House, Shioya Higashi Civic Park, Kobe, Hyogo, Japan

Winning Position, Secondhand Bookstore Worldends-garden, Kobe, Hyogo, Japan

All for one?, Hotel Anteroom Kyoto Gallery 9.5, Japan

2015

Decorator Crab – Impulses and Things Around Them, Shioya Higashi Civic Park, Kobe, Hyogo, Japan

A Few Centimeters of Positioning, SUNDAY, Tokyo, Japan

HIGH LIGHTS SCENE, Koganecho Area Management Center, Site-A Gallery Beneath the Railways, Yokohama, Kanagawa, Japan

2014

HIGHLIGHTS SCENE, Marma Berlin Projekt, Berlin, Germany

2013

Outdoor, Art Center Ongoing, Tokyo, Japan

Happening Upon, The Museum of Modern Art, Shiga (now Shiga Museum of Art), Japan

2012

Fade out, fade up, Seian Art Center (Seian University of Art and Design), Shiga, Japan

Fade out, Fade up & Decorator Crab, Kodama Gallery Tokyo, Japan (toured to Kodama Gallery Kyoto, Japan)

2010 Good Streetlamp, Kodama Gallery Tokyo, Japan

2008 Good Situation, Kodama Gallery Osaka, Japan (toured to KodamaGallery Tokyo, Japan)

2007 The Clock for Practice of Time, Kodama Gallery Tokyo, Japan

2006 The Clock for Practice of Time, Kodama Gallery, Osaka, Japan

Group Exhibitions:

2023 Re-presentation-site: Reflecting On Long-term Projects During The Museum’s Closure, Hiroshima MOCA Tsurumi Annex 101, Japan New Places, Art Gallery Miyauchi, Hiroshima, Japan

2022 ATAMI ART GRANT 2022, ACAO Spa & Resort, Shizuoka, Japan Range of the Senses: What It Means to “Experience” Today, The National Museum of Art, Osaka, Japan

2021 Sumida Mukojima Expo 2021, Tokyo, Japan

2020 Yokohama Triennale 2020 – Afterglow, Yokohama Museum of Art and PLOT 48, Kanagawa, Japan

2019

Roppongi Crossing 2019: Connexions, Mori Art Museum, Tokyo, Japan

The Seven Lamps of The Art Museum, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan

Sapporo Art Stage 2019, Sapporo Cultural Arts Community Center SCARTS, Hokkaido, Japan

2018 Residency Artists Exhibition #2, Taipei Artist Village, Taiwan

2017 Genbi Dokodemo Tenji 2017, Hiroshima City Museum of Contemporary Art, Japan

KAAT EXHIBITION Open theater, Kanagawa Arts Theatre (KAAT), Japan

2016 Rokko Meets Art, Mt. Rokko, Hyogo, Japan ROLE PLAY, Suhara Building 202, Osaka, Japan

2015 Tsutsuuraura, HIGURE 17-15 CAS, Tokyo, Japan

2014

What is Faith Today? “My god | Your god,” Seian Art Center (Seian University of Art and Design), Shiga, Japan

Search project vol.3: Apartment One One One, Art Area B1, Osaka, Japan

TERATOTERA Art Project: Civic Pride, Mitaka City, Tokyo, Japan

2013 Once was Now, Now is Over, Yet will Come (two-person exhibition with Yagi Lyota), Platform China, Hong Kong

2012 NIPPON-ISMES, Galerie DA-END, Paris, France

2009

Rendezvous 09, Institut d’art contemporain, Villeurbanne, France

Souvenirs From Kenji Miyazawa, Mitsubishi-Jisho ARTIUM, Fukuoka, Japan

2008 Ignore Your Perspective #4, Kodama Gallery, Osaka, Japan

2007

Awaji Island Art Project 2007, Awaji Island, Kobe, Japan

Ignore Your Perspective #3, Kodama Gallery, Osaka, Japan

2005 Art Court Frontier 2005, Art Court Gallery, Osaka, Japan

2004 Invisible Garden Project #2: Ie Skirt, Kyoto, Japan

2003 Invisible Garden Project #1: Invisible Garden, Neyagawa, Osaka, Japan

Video Screenings:

2007 Istanbul Film Festival 2007 (“MIACA Compendium” Program), Turkey LUX SALON: MIACA@LUX, LUX, London, UK

2019 KENPOKU Art Project 2019, Takahagi Junior High School, Matsuoka Junior High School, and Akiyama Junior High School, Ibaraki, Japan

2018 Taipei Artist Village, Taiwan

2017

Decorator Crab – Impulses and Things Around Them, Takamatsu

Symbol Tower, Kagawa, Japan

Uminaka Taiyoso AIR, Taiyoso, Fukuoka, Japan

2014 MARMA BERLIN Residency program, Berlin, Germany

2013 Art Center Ongoing – residency program, Tokyo, Japan

2007

Yomoyama Art Project, Yomoyamaso, Ibaraki, Japan

Voin Pahoin, Kanagawa, Japan

HAJIMETEN
2013 HAJIMETEN’s “Chockablock Storage” Exhibition, NADiff gallery, Tokyo, Japan

2012 HAJIMETEN EXHIBITION, Café & Books Bibliothèque / E-ma, Osaka, Japan

2011 Rokko Meets Art 2011, Rokko Country House, Hyogo, Japan

HAJIMETEN and Funny Audience, NADiff Window Gallery, Tokyo, Japan

2010 Spectacle in The Farm, Nasu Animal Kingdom, Tochigi, Japan

Couma

2005 YOKOHAMA 2005: International Triennale of Contemporary Art, Yamashita Pier No.3 and No.4 warehouses, Kanagawa, Japan

Shinkaichi Art Street, Kobe Art Village Center, Hyogo, Japan

Re:Olympic, CASO, Osaka, Japan

Table Tennis Players, ART ZONE, Kyoto, Japan

BAUMIMI

2012 Let’s draw four-panel comics!!!, Tottori Prefectural Museum, Japan

2008 Let’s draw four-panel comics!!!, OSTEC Exhibition Hall, Osaka, Japan

Hiroshima City Museum of Contemporary Art, Japan Takamatsu Art Museum, Kagawa, Japan

2023 Kobe City Cultural Encouragement Award

2022 Hyogo Prefecture Art Encouragement Award

2017 Takamine Tadasu Award, Genbi Dokodemo Kikaku Kobo

2017 Hiroshima City Museum of Contemporary Art

2002 Selected Grants And Awards

2002 “Young Video Artists Initiative”(Synait: collaborative work with Nishihara Akira), Mori Art Museum

DECORATOR CRAB (2007—)

This project was inspired by decorator crabs that mimic their surroundings.

These crabs decorate themselves by wearing things found onsite. They always appear different.

Is this crab a living creature or a crab? It is difficult to identify what it is.

No one has seen the crab bare, wearing nothing. No one is interested in the crab when it’s bare.

What matters is the “impulse” we feel when we see something.

When we feel the “impulse,” there should not be an excess of information. Information needs to be controlled.

This is a project that generates that “impulse” within a spectator.

It is directed at zero or more spectators.

It is scattered everywhere, but sometimes it remains unnoticed.

The decorator crab does not disclose its information, such as its location, color, shape, size, or weight.

The decorator crab disseminates partial information through prints, objects, videos, and the Web.

There is a “guidebook” to help you find the decorator crab.

The information is primarily and exclusively visual.

The decorator crab does not like attention-grabbing actions.

The decorator crab evades being the object of your gaze.

The decorator crab is difficult to find.

I installed the decorator crab without the intention of attracting a large number of viewers.

No one needs the decorator crab.

We are witnesses to the decorator crab.

When a spectator accidentally finds the decorator crab, a strange scenery emerges.

I am going to implement this project in various locations.

I wonder if you would be able to communicate to someone about the “impulse” that you may feel when encountering the decorator crab.

Iikawa Takehiro