https://goforkogei.com/, https://venice.goforkogei.com/jp/, https://venice.goforkogei.com/

GO FOR KOGEI, Venice (2026)

02/06/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Yui Watai

Wata’s creative process begins with the primitive tasks of manually plying threads, then dyeing and weaving them. This produces a three-dimensional structure that embodies the fabric’s internal structure and gravity itself. Her works are exhibited across the high-ceilinged space on the ground floor. Visitors can view the works from a distance at varying heights by traveling along the staircase, or from beneath by standing on the floor and looking up. The distant view reveals the fabrics’ overall structure and volume, while the view from the floor makes gravity’s presence physically evident through the overlapping threads, their tension, and hanging fabric. The fine spaces between the threads echo the voids and structures within the palazzo, blurring the border between the two-dimensional and the three-dimensional, as well as between supports and sculptures. By traversing the accumulated time in the historic architecture and the time spent on repetitive manual labor, Wata’s work transforms the viewer’s perspective and evokes different perceptions, providing an experience of the material-body relationship throughout the entire space.

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1.Yui Wata, Platonic Dancer, 2026. Cotton, soil. Photo: Noriyuki Ikeda
2.Yui Wata, Platonic Dancer, 2026. Cotton, soil. Photo: Noriyuki Ikeda
3.Yui Wata, Platonic Dancer, 2026. Cotton, soil. Photo: Noriyuki Ikeda

ARTISTS
綿結

綿結は、⽷を撚り、染め、織るという原初的な⼯程から制作を始め、布の内部構造や重⼒そのものを⽴体として⽴ち上げる作家である。本展では、天井⾼のあるグランドフロアに作品が広がり、⾜場の⾼低差をもつ階段動線からは距離を保って眺められる⼀⽅、フロアに⽴つ鑑賞者は、空間に展開する作品を仰ぎ⾒る体験へと導かれる。
遠景からは、織物が描く全体の構成や量感が把握され、フロアからは、⽷の重なりや張⼒、垂れ下がる布が⽣む重⼒の気配が⾝体的に迫ってくる。⽷と⽷のあいだに潜む微細な空間は、パラッツォに内在する空隙や構造と呼応し、平⾯と⽴体、⽀持体と彫刻の境界を曖昧にする。歴史的建築に堆積した時間の層と、反復的な⼿仕事によって⽣成された時間が交差することで、綿結の作品は、視点の変化とともに異なる知覚を呼び起こし、素材と⾝体の関係を空間全体で体験させる。

1.綿結《プラトニックダンサー》2026年綿、土　撮影：池田紀幸
2.綿結《プラトニックダンサー》2026年綿、土　撮影：池田紀幸
3.綿結《プラトニックダンサー》2026年綿、土　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

31/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Noritaka Tatehana

Tatehana reframes Japanese traditional culture with a contemporary flair by interpreting fashion not
as mere external adornment, but as an act of inscribing social roles, rituals, and values onto the body.
His signature work for this exhibition, Heel-less Shoes, is created using the exquisite craft of Edo
kumihimo braiding, and displayed in the former living quarters on the second floor of the palazzo.
In this space with its highly ornate ceilings, walls, and interior design, the footwear appears as a sculptural piece that defines the body’s posture, center of gravity, and gait, rather than as a fashion item or craft. The heelless design requires both body balance and tension, visually demonstrating how fashion can affect physical sensations and behaviors. The amalgamation of Edoperiod craftsmanship and contemporary
design in this historic building transforms fashion into a device that mediates time and culture, thereby redefining the body as the site where connections to systems and rituals are formed.

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1.Noritaka Tatehana, Installation view. Photo: Noriyuki Ikeda
2.Noritaka Tatehana, Installation view. Photo: Noriyuki Ikeda
3.Noritaka Tatehana, Center: Heel-less Shoes, 2026. Dyed cowhide, Japanese braided cord, plaster. Right: Baby Heel-less Shoes, 2026. Dyed cowhide, Japanese braided cord, metal fastener. Photo: Noriyuki Ikeda

ARTISTS
舘⿐則孝

舘⿐則孝は、「装うこと」を⾝体の外観的な装飾ではなく、社会的役割や儀礼、価値観を⾝体に刻み込む⾏為として捉え、⽇本の伝統⽂化を現代的に再構築してきた作家である。本展では、代表的な《Heel-less Shoes》を、江⼾組紐の⾼度な技法を⽤いて制作し、パラッツォの2階に残るかつての居住空間に展⽰する。
装飾性の強い天井や壁、室内意匠を備えたこの空間において、履物は単なるファッションや⼯芸品としてではなく、⾝体の姿勢や重⼼、歩⾏を規定する彫刻的存在として⽴ち現れる。ヒールを⽋いた構造は、⾝体の安定と緊張を同時に強い、装いが⾝体の感覚や⾏為をいかに変容させるかを可視化する。歴史的建築の内部において、江⼾期の技法と現代的造形が重なり合うことで、装いは時間と⽂化を媒介する装置となり、⾝体が制度や儀礼と結びつく場そのものとして再定義される。

1.舘鼻則孝　展示風景　撮影：池田紀幸
2.舘鼻則孝　展示風景　撮影：池田紀幸
3.舘鼻則孝
中央《Noritaka Tatehana x Ryukobo Heel-less Shoes》2026年牛革、組紐、ファスナー
右《Noritaka Tatehana x Ryukobo Baby Heel-less Shoes》2026年牛革、組紐、ファスナー
撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

29/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Junko Oki

Oki employs the iterative process of hand embroidery to imbue fabric with the memories of daily life and the physical body. Her creativity quietly sheds light on time spent on women’s labor, which has long been considered domestic and rarely visible, thus transforming it into art. Exhibited in a former living room on the second floor of a palazzo, her works resonate with natural light from the large windows, as well as with the mirror and chandelier.
Within this intimate, private space, the embroidered fabrics can be perceived as an accumulation of emotions and memories from everyday life rather than as mere decorations. The fabrics’ shades and textures shift with the changing light and the viewer’s position, evoking the inherent quiet time spent working in the home as physical sensations. Furthermore, the living room setting facilitates a re-examination through her work of the meaning behind the act of making, which involves care, repetition, and silence.

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1.Junko Oki, Installation view. Photo: Noriyuki Ikeda
2.Junko Oki, time machine, 2017. Cotton, linen, silk. Photo: Noriyuki Ikeda
3.Junko Oki, Installation view. Photo: Noriyuki Ikeda

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ARTISTS
沖潤⼦

沖潤⼦は、刺繍という反復的な⼿仕事を通して、布に⽣活の時間と⾝体の記憶を縫い込む作家である。その制作は、⻑らく家庭の内部に属するとみなされ、可視化されにくかったフェミニンな労働の時間を、作品として静かに⽴ち上げる。本展では、パラッツォ2階のかつて居間として使われていた空間に作品を展⽰し、⼤きな窓から差し込む⾃然光、鏡やシャンデリアと呼応させる。
親密で私的な空間において、刺繍された布は装飾ではなく、⽇々の⽣活の中で積み重ねられてきた感情や記憶の堆積として知覚される。光の移ろいと鑑賞者の移動に伴い、布の陰影や質感は変化し、家庭という場に内在する静かな労働の時間が、⾝体的な感覚として呼び覚まされる。沖の作品は、居間という空間を通して、ケアや反復、沈黙を含んだ制作⾏為の価値を、あらためて問いかけている。

1.沖潤子　展示風景　撮影：池田紀幸
2.沖潤子《タイムマシン》2017年　木綿、麻、絹　撮影：池田紀幸
3.沖潤子　展示風景　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

27/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Mayu Nakata

Taking traditional urushi lacquer techniques as her starting point—particularly the kinma technique(in which patterns are created through the repeated process of engraving into a lacquered surface and filling the grooves with differently colored lacquer)—Nakata has redefined urushi as a contemporary medium that captures the fluctuations of time and memory, thus elevating it beyond mere decoration. Multi-layered colors are created by applying and polishing dozens of layers of colored lacquer, and the resulting patterns on the surface are more of a visual representation of the accumulated passage of time within than they are iconographic depictions. The repeated process of engraving a design, applying lacquer, and polishing it can take a long time, ranging from several months to a year, which settles within the material. Contrastingly, the design of Nakata’s work is highly simplistic and geometric. By eliminating excessive design or narrative, her forms direct the viewer’s attention toward subtle changes in color and depth rendered by the layers of lacquer rather than toward superficial ornamentation. Her works are on display in a room on the second floor of the palazzo which preserves the intimate vibes of the past. In this space filled with memories of life, the time accumulated in the lacquer layers and the time sunk into the
architecture quietly overlap. These works gently saturate the viewer’s physical senses as “objects with accumulated memories.”

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1.Mayu Nakata, Installation view. Photo: Noriyuki Ikeda
2.Mayu Nakata, Left: Soundscape, 2024. Lacquer. Right: Mirage, 2026. Lacquer. Photo: Noriyuki Ikeda
3.Mayu Nakata, Mirage, 2026. Lacquer. Photo: Noriyuki Ikeda

中⽥真裕

中⽥真裕は、蒟醤（きんま）を中⼼とする伝統的な漆技法を出発点に、漆を単なる「装飾」から解き放ち、時間や記憶の揺らぎを受け⽌める現代的なメディウムとして再定義してきた作家である。数⼗層に及ぶ漆の塗り重ねと研ぎの⼯程によって⽣まれる⾊層は、表⾯に現れる図像よりも、むしろ内部に蓄積された時間そのものを可視化する。彫り、塗り、研ぎという反復的なプロセスは、制作期間が数ヶ⽉から⼀年に及ぶこともあり、その⻑い時間が物質の内部に沈殿していく。
⼀⽅で、中⽥の作品の基本的な造形は、極めてシンプルで幾何学的である。過剰な形態や物語性を排したフォルムは、⾒る者の注意を表層の装飾ではなく、漆の層が⽣む微細な⾊の変化や奥⾏きへと向ける。本展では、パラッツォ2階の親密な雰囲気が残る室内に作品を配置する。⽣活の記憶を宿す空間の中で、漆の層に蓄えられた時間と、建築に沈殿した時間とが静かに重なり合い、作品は「記憶が沈殿する物質」として、穏やかに鑑賞者の⾝体感覚へと浸透していく。

1.中田真裕　展示風景　撮影：池田紀幸
2.中田真裕
左《サウンドスケープ》2024年　漆
右《ミラージュ》2026年漆　撮影：池田紀幸
3.中田真裕《ミラージュ》2026年漆　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

25/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Yoca Muta

Based on the ceramic painting techniques of Kutani ware, Muta uses the medium of ceramics to reinterpret the marginalized female figure and interpretations of nature within Japanese culture. Her central focus in recent works is the yamanba, or “mountain hag,” of Japanese folklore—a character known for embodying contradictory qualities such as motherliness and violence, blessing and terror,and the sacred and the vulgar. Despite being an established part of Japanese traditional folklore,the yamanba is also a representation of femininity that deviates from established systems and order.
The female figures depicted in Muta’s ceramic paintings are not externally objectified as “women to admire,” but instead constructed from the perspective existing within the female artist herself. Therein, nature transcends the role of mere background; it is depicted as an extension of the body and emotions, merging reality and fiction as well as real and imaginary presences. The uneven, hand-built forms and the painting process also express the fluctuating, multi-layered nature of female bodies and experiences into a visible form.
For this exhibition, her works are on display in a small space at the rear of the ground floor, facing the canal. Situated at the boundary between the city and the water, the interior and the exterior, this low-ceilinged space with its exposed rustic wood accentuates the marginality and ambiguity of her work. Here, the image of the yamanba does not represent oppression or fear. Rather, it is a silent yet powerful vision that reconnects the female body with nature, resonating with the time of Venice.

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1.Yoca Muta, Installation view. Photo: Noriyuki Ikeda
2.Yoca Muta, The pot of pulses, 2026. Ceramic. Photo: Noriyuki Ikeda
3.Yoca Muta, Mountain Man, 2026. Ceramic. Photo: Noriyuki Ikeda

*日本語はコメント欄へ

23/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Ritsue Mishima

Mishima creates sculptures using only colorless, transparent glass through collaboration with skilled glass artisans in Murano, the long-standing capital of the glass industry. In Venice,glass serves as a symbol of light, water, trade, and craftsmanship, and the artist’s work brings this historical context into the present. Her sculpture is shaped by closely observing the ever-changing state of the glass in the flames and is guided by improvisation—an inevitable result of the interplay between intention and chance that she describes as “fruit of the fire.”
This exhibition features 39 works on display in the first room on the second floor of the palazzo, and the custom-made display stand emits a soft glow, transforming the exhibit into an installation of light. The stand serves as a device to capture and diffuse light, while the glass embraces and releases light into the space in the forms of refraction, reflection, and shadow. Each work morphs into a presence that visualizes the cycle of light,transcending the realm of individual sculpture. Merging with the architecture, they quietly evoke the memory of light in Venice.

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1.Ritsue Mishima, Installation view. Photo: Noriyuki Ikeda
2.Ritsue Mishima, Installation view. Photo: Noriyuki Ikeda
3.Ritsue Mishima, Installation view. Photo: Noriyuki Ikeda

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ARTISTS
三嶋りつ惠

三嶋りつ惠は、ガラス産業の中⼼地として⻑い歴史をもつムラーノ島の熟練職⼈との協働を通じ、無⾊透明のガラスのみを⽤いた彫刻作品を制作してきた。ヴェネチアにおいてガラスは、光と⽔、交易と技の象徴的な素材であり、三嶋の作品はその歴史的⽂脈を現代に引き寄せる。炎の中で刻々と変化する素材の状態を読み取り、即興的な判断によって導かれる造形は「⽕の果実」とも呼ばれ、意図と偶然のせめぎ合いから必然的に⽴ち現れる。
本展では、パラッツォ2階の最初の部屋に35点からなる作品群を配置し、特別に制作された展⽰台そのものが柔らかな光を発する構成によって、光のインスタレーションが展開される。展⽰台は光を蓄え、拡散させる装置として機能し、ガラスはその光を受け⽌め、屈
折や反射、影として空間に放つ。作品は単体の彫刻を超え、光の循環を可視化する存在
として、建築と⼀体化しながら、ヴェネチアの光の記憶を静かに呼び覚ます。

1.三嶋りつ惠　展示風景　撮影：池田紀幸
2.三嶋りつ惠　展示風景　撮影：池田紀幸
3.三嶋りつ惠　展示風景　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

21/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Takuro Kuwata

Kuwata intentionally exaggerates traditional ceramic techniques and forms, blurring the boundaries
between vessel and sculpture, and between the ordinary and the extraordinary. He creates forms in which completion and collapse coexist, actively integrating phenomena that are typically considered flaws or failures such as kannyu (fine surface cracking), ishihaze (lit. “stone bursts,”referring to irregularities and cracks on a ceramic surface caused by the expansion of small stones in the clay during firing), free-flow glaze, and ruptures. While his vessels serve practical purposes, they also function as sculptural pieces outside the institutionalized framework of ceramics.
In the exhibition space, which is segmented by scaffolding,his works directly engage in a dialogue with the stucco walls and stone floors of the palazzo. Cracks and free-flow glaze resonate with the old remnants and marks in the architectural surfaces, superimposing so-called accidents and failures inherent in the creative process onto the passage of time embraced by the aging building. These imbalances and distortions—qualities often overlooked in homogeneous exhibition spaces—are made highly visible here, with Kuwata’s works serving as devices to highlight the heterogeneous temporality inherent in the palazzo itself.
Kuwata’s approach completely reexamines the significance and the nature of time from within the framework of ceramics.

＿
1.Takuro Kuwata, Installation view. Photo: Noriyuki Ikeda
2.Takuro Kuwata, Installation view. Photo: Noriyuki Ikeda
3.Takuro Kuwata, Untitled, 2025. Porcelain, glaze, pigment. Photo: Noriyuki Ikeda

ARTISTS
桑⽥卓郎

桑⽥卓郎は、陶芸における伝統的技法や形式を意図的に過剰化し、器と彫刻、⽇常と⾮⽇常の境界を攪拌する実践を続けてきた作家である。貫⼊、⽯はぜ、釉薬の流動や破裂といった、通常は⽋点や失敗とみなされがちな現象を積極的に引き受けることで、完成と崩壊が同時に⽴ち現れる造形を⽣み出してきた。その作品は、⽤のための器でありながら、制度化された陶芸の枠組みを逸脱する彫刻的存在として振る舞う。
本展では、⾜場によって分節化された展⽰空間の中で、桑⽥の作品がパラッツォの漆喰壁や⽯床と直接対話する。ひび割れや釉薬の奔流は、建築に刻まれた経年の痕跡と共鳴し、制作⾏為に内在する「事故」や「破綻」を、建築が抱え込む⽼いの時間と重ね合わせる。
均質な展⽰空間では⾒過ごされがちな不安定さや歪みは、ここではむしろ可視化され、作品はパラッツォそのものが孕む不均質な時間性を浮かび上がらせる装置として機能する。
桑⽥卓郎の実践は、陶芸という制度の内側から、その価値と時間の在り⽅を根源的に問い直している。

1.桑田卓郎　展示風景　撮影：池田紀幸
2.桑田卓郎　展示風景　撮影：池田紀幸
3.桑田卓郎《無題》2025年磁土、釉薬、顔料　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

19/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Takahiro Komuro

Inspired by visual cultural mediums including soft-vinyl figurines, science fiction pictures, and American comics,Komuro has been exploring unique sculptural expression that traverses wood sculptures and mass-produced action figures. In this exhibition, Komuro’s world unfolds across scaffolding of various heights placed in the entrance hall on the ground floor.
Visitors experience his works through physical movements such as looking up, looking down, and going around.
The height and bird’s-eye perspective gained from the scaffolding transform the works from mere “extensions of toys” to figures that evoke worship and mythology. The sudden appearance of the giant character sculptures in the historic palazzo blurs the boundary between idols of worship and icons of the consumer society, stimulating viewers’ physical sensations and stirring up value perceptions. The head-on collision between the accumulated stratum of time in the palazzo and these pop-centric, artificial sculptures prompts rethinking of the very acts of viewing and admiring such sculptural images,threedimensionally exploring the structures of worship and desire in the modern era.

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1.Takahiro Komuro, Installation view. Photo: Noriyuki Ikeda
2.Takahiro Komuro, Installation view. Photo: Noriyuki Ikeda
3.Takahiro Komuro, Dog dragon, 2023. Wood, acrylic. Photo: Noriyuki Ikeda
4.Takahiro Komuro, Installation view. Photo: Noriyuki Ikeda

ARTISTS
コムロタカヒロ

コムロタカヒロは、ソフビ玩具やSF的イメージ、アメリカンコミックスといった視覚⽂化を起点に、⽊彫彫刻と量産フィギュアを横断する独⾃の彫刻表現を展開してきた。本展では、グランドフロアの⼊⼝空間を舞台に、⾼低差のある⾜場が組まれ、その上にコムロの世界が⽴ち上がる。鑑賞者は、⾒上げ、⾒下ろし、回り込むという⾝体的な移動を通して、作品と出会うことになる。⾜場によって⽣まれる⾼さや俯瞰の視点は、作品を単なる「玩具の拡⼤」から、崇拝や神話を想起させる像へと変容させる。歴史的なパラッツォの中に突如出現する巨⼤なキャラクターは、信仰像と消費アイコンの境界を曖昧にし、鑑賞者の⾝体感覚と価値判断を揺さぶる。パラッツォに堆積した時間の層と、ポップで⼈⼯的な造形が正⾯衝突することで、「像を⾒る」「像を仰ぐ」という⾏為そのものが問い直され、現代における崇拝と欲望の構造が⽴体的に浮かび上がる。

1.コムロタカヒロ　展示風景　撮影：池田紀幸
2.コムロタカヒロ　展示風景　撮影：池田紀幸
3.コムロタカヒロ《Dog dragon》2023年　木にアクリル絵具　撮影：池田紀幸
4.コムロタカヒロ　展示風景　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

17/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Kazuhito Kawai

Rather than using clay as a mere material, Kawai harnesses it as a medium for projecting desire,fiction, and fluctuating identity, creating voluminous sculptural pieces with extreme colors. His work is heavily influenced by the 1990s Harajuku culture, street fashion, and mass-media-constructed realities. A sense of dissonance and instability is ever-present in his work, arising from the gap between a consumerist, saccharine exterior and the reality beneath.
For this exhibition, his works are displayed in the plain space of a former storeroom in the palazzo,which was purposefully chosen from among the numerous more ornate rooms.
In this unadorned space, his works are arranged directly against the substantialfeeling
walls and floors. The oozy, dripping appearance of his ceramic works imbues the solid material with fluidity and moisture,visualizing the process of desire surfacing and circulating. The stark contrast with this space stripped of ornamentation highlights the works’ extreme coloring and massive presence, inviting viewers to oscillate between sweet and unsettling feelings.

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1-2.Kazuhito Kawai, Installation view. Photo: Noriyuki Ikeda
3.Kazuhito Kawai, I’ve Never Been to Hawaii., 2025. Ceramic. Photo: Noriyuki Ikeda

*日本語はコメント欄へ

15/05/2026

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Shige Fujishiro

Fujishiro transforms familiar, everyday scenery into imaginary paradises through accumulated, painstaking manual labor using glass beads, which have long been treasured as accessories and ancient commodities, along with safety pins. His works are on display in the former living quarters on the second floor of the palazzo, arranged to resonate with the natural light coming through the windows facing the canal, the chandelier on the ceiling, and the preserved furniture. With the absence of scaffolding on this floor, viewers can experience the delicate shimmer of the beads and the density of time through their bodies amid the original scale and intimacy of the building.
In the context of Venice, the City of Water, a motif reminiscent of a basketball court is interpreted as a “waterfall” with the falling and flowing water resembling court lines. Venice’s canal system, which encompasses the clean and wastewater cycles, is overlaid as an icon of the space between labor and dreams, as well as freedom and constraint. Beneath its decorative aesthetics, his work embraces the contrasting elements of the city and the human body, as well as purification and stagnation. It encourages a gentle rethinking of the relationship between seeing and imagining in conjunction with architecture.

1. Shige Fujishiro, Installation view. Photo: Noriyuki Ikeda
2. Shige Fujishiro, Where is my paradise? (Basketballgoal / Waterfall), 2015-2026. Glass beads, safety pins, wire, basket ball goal (iron). Photo: Noriyuki Ikeda
3. Shige Fujishiro, Garbage / Under the sea, 2023. Glass beads, safety pins, wire. Photo: Noriyuki Ikeda

ARTISTS
シゲ・フジシロ

シゲ・フジシロの作品は、ガラスビーズと安全ピンという、装⾝具や交易品としての歴史をもつ素材を⽤い、膨⼤な⼿作業の集積によって⽇常の⾵景を幻想的に変容させる。本展では、パラッツォの2階に残るかつての居住空間を展⽰の舞台とし、運河に⾯した窓から差し込む⾃然光、天井のシャンデリアや室内に残る家具と呼応するかたちで作品が配置される。⾜場を⽤いないこの階では、鑑賞者は建築本来のスケールと親密さの中で、ビーズの微細な輝きと時間の密度を⾝体的に感じ取ることになる。バスケットコートを想起させるモチーフは、⽔の都ヴェネチアの⽂脈において「滝」へと読み替えられ、コートのラインは⽔の落下や流れとして⽴ち現れる。そこでは、汚⽔と清い⽔が循環する都市ヴェネチアの構造が、労働と夢、⾃由と制約のあわいを象徴するイメージとして重ね合わされる。シゲ・フジシロの作品は、装飾的な美しさの背後に、都市と⾝体、浄化と滞留という相反する要素を内包し、建築とともに「⾒ること」と「想像すること」の関係を静かに更新する。

1. シゲ・フジシロ　展示風景　撮影：池田紀幸
2. シゲ・フジシロ《Where is my paradise? (Basketballgoal / Waterfall)》2015-26年
ガラスビーズ、安全ピン、バスケットゴール（鉄）、孔雀（剥製）撮影：池田紀幸
3. シゲ・フジシロ《Garbage / Under the sea》2023年ガラスビーズ、安全ピン、ワイヤ　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

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