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

GO FOR KOGEI, Hokuriku, Venice (2026)

27/07/2026

ARTIST INTERVIEW｜Takahiro Komuro

“My work is deeply rooted in the aesthetics of Japanese and American toy culture—particularly the distinctive sculptural language of soft-vinyl figures. The awe once evoked by the transcendent beings of ancient myth now lies hidden within the figures and characters of today’s consumer culture, having taken on new forms. I see in these the potential for new objects of worship. By combining contemporary woodcarving with the language of mass-produced objects,I explore the boundary between the sacred and the secular.

For this exhibition, I present sculptures based on my own interpretations of Western mythology. At the entrance, I have installed a temporary gateway,flanked by life-sized wooden sculptures and large numbers of soft vinyl figures arranged in symmetrical pairs.
This installation alludes to the guardians at ancient temple gates and the formal traditions of sacred sculpture.

My practice is grounded in what I call a “dual loss of faith”:One is the collapse of a nation’s collective belief system brought about by Japan’s defeat in 1945,and the other is my family’s abandonment of the religion we once practiced.These two ruptures left emptiness where worship used to be, and gave rise to a worldview founded in that absence.

From the perspective of societies with deeply rooted faith, such as those in Europe, North America, and the Middle East, what I do may seem difficult to understand. And, even knowing there is nothing left for the sacred to dwell within, I cannot help but continue carving these figures, searching for a place where it might yet reside. For me, sculpture is the continuing act of calling into being a constructed sacredness to fill the void created by this absence.It is an act akin to a prayer.”

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ARTIST INTERVIEW | コムロタカヒロ

「私の作品は、日本やアメリカの玩具文化、特にソフトビニールフィギュア特有の造形美学に深く根ざしています。かつて古代の神話が担っていた『超越的存在への畏怖』は、現代社会ではフィギュアやキャラクターという消費物の中に形を変えて潜在しています。私はそれらの中に『新しい偶像』の可能性を見出し、現代的な木彫技法と大量生産品のフォーマットを交錯させることで、聖性と俗性の境界を問い直しています。

今回の展示では、西洋神話に登場するモチーフを独自に解釈した彫刻を扱っています。入り口には、仮設的な門を設置し、等身大の木彫と大量のソフビ像を左右対称に配置しました。この展示構成は、古代神殿の門番や神像彫刻の形式を暗示しています。

私の制作には『二重の信仰の喪失』という明確な立脚点があります。一つは、1945年の敗戦による国家的信仰の崩壊。そしてもう一つは、私自身の家庭において信仰されていた宗教の放棄です。この二つの断絶は、私にとっての『祀るべき中心』の空洞化と、その欠落を前提とした世界観を形作りました。

欧米や中東のような強固な信仰を持つ社会から見れば、私の行為は不可解に映るかもしれません。しかし、宿すべき対象がないと知りながら、それでも像を彫り、依代を求めずにはいられない。私にとって彫刻とは、この不在という空洞の中心に、捏造した聖性を像として立ちあげ抗い続ける、祈りにも似た行為なのです。」

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

Specially Sponsored by
Mitsubishi UFJ Financial Group, Inc., MIRAI TRUST Inc.

Sponsored by
Kawamura Arts and Cultural Foundation, JAKUETS, Sentio Inc., Etsuko HAYASHI, Pasand co.,ltd

In Cooperation with
TOYOTA CONIQ, Inc., Yuki Yokoe

Video by

21/07/2026

ARTIST INTERVIEW｜Kazuhito Kawai

“In a sense, this installation is like a self-portrait. For me, making art is a way of exploring questions like: Who am I? How do I relate to the world around me? I tend to ponder such things. This room is a visual record of that ongoing exploration.

Ceramics aren’t like paint—you can’t simply apply a color directly. To see how a color will turn out after firing, you first have to fire test pieces, then make clay in that color,and from there begin shaping the work. The physical act of touching the material is, to me, something quite unique. Rather than trying to realize a preconceived image, the work emerges as I interact with it through touch. That’s what draws me to this. It brings forth things that can’t be fully captured through thoughts or words alone.

Sexuality and gender are often defined through social norms and categorized therein—whether we fit into them or not. But when I work with clay, it brings forth something more primal—a desire to touch, to connect with something. It’s a kind of undifferentiated sexuality, brought out through that process.

Through these various images and collages, I construct a kind of inner world. And through that world, I connect with the world around me. When thinking about where my own originality lies, the answer is always quite ambiguous. There are things I share with others, and things that belong only to me. Within that dynamic, finding ways to express myself is perhaps the most honest thing I can do.”

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ARTIST INTERVIEW | 川井雄仁

「ここはひと言でいうとセルフポートレートのような空間です。制作やアート、自分とは何か。そして自分と世界との関係ってどうなんだろう、そういうことを探るようなところがあって、それがそのままこの部屋に視覚化されています。

陶芸は、絵の具のように色を直接使うことはできません。焼き上がりの色を見るためにまずテストをして、その色の粘土を作ってから、形をつくっていきます。“触る”ということ、そのすごく身体的なプロセスが特殊だなと思っていて。イメージを完結させるというより、触りながらものが出来上がっていく。僕はそこにすごく惹かれていて、考えていることや言葉では拾いきれないものを引き出してくれているような。
セクシュアリティーや性って、すでに社会規範化されている中で、当てはまるか当てはまらないかとカテゴライズされますが、土に触っていると、その前段階の、すごくプリミティブな“触りたい”とか“くっつきたい”といった、未分化な性みたいなものが引き出される。

こういった色々なイメージやコラージュで、仮想的な世界を一旦自分自身の脳内でつくって、それを通して世界と繋がっている。自分のオリジナルがどこにあるのか、すごく曖昧だなと思っていて。人と共通できることと、自分だけのところと。そのバランスの中に自分が表現できたら、一番誠実なんじゃないかと思っています」

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

Specially Sponsored by
Mitsubishi UFJ Financial Group, Inc., MIRAI TRUST Inc.

Sponsored by
Kawamura Arts and Cultural Foundation, JAKUETS, Sentio Inc., Etsuko HAYASHI, Pasand co.,ltd

In Cooperation with
TOYOTA CONIQ, Inc., Yuki Yokoe

Video by

08/07/2026

ARTIST INTERVIEW｜Shige Fujishiro

“When you enter this room, the first thing you notice is a pair of basketball hoops. Their nets stretch downward,becoming a waterfall. One represents clean water,while the other represents polluted water.

The themes of my work stem from things I notice in everyday life. One example is plastic waste as a result of consumerism. There is clean water and polluted water,and debris is tangled in the polluted water.

I’ve been working with the same materials for about 20 years, so my hands move almost instinctively, like knitting. But the process takes an enormous amount of time,and there’s a sense of solitude to it. I try to channel that feeling into my work.

The reason I use sports equipment is that I feel there are similarities between the mental state of an athlete and the process of making art. It’s a constant struggle with myself—the time it takes to make the work, and the time needed for daily life. There are many different tensions to navigate. I feel that mindset is similar to that of an athlete. That’s why I combine sports equipment with my work.

Venice is a city of water, so I brought together the elements of water and debris. I created the installation specifically for this room―a work that could only exist in this particular space.”

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ARTIST INTERVIEW | シゲ・フジシロ

「この部屋に入ってまず目にするのが、2つのバスケットゴールです。ゴールの網は伸びて、滝になっています。ひとつはきれいな水をイメージしていて、もう片方は汚れた水をイメージしています。

日常生活から自分が感じたことをテーマにしていて、例えば消費主義としてのプラスチックゴミ、きれいな水と汚い水。そして汚い水の方にはゴミが絡まっています。

20年ぐらい同じマテリアルで作っているので、編物のように手が進んでいくんですが、つくるのにすごく時間がかかるので、どこかすごく孤独感がある。それを作品に落とし込んでいます。

スポーツ用具を使用しているのは、スポーツ選手の精神的な感覚と、作品の制作が少し似ている部分があるのではないかという想いもあって。制作にかかる時間、生活の中に必要とする時間、自分との闘いー‥。さまざまな葛藤や、その精神がスポーツと似ているなと。

ベネチアは“水の都”ということで、水を組み合わせています。そしてゴミを組み合わせて、この部屋ならではの作品になるようなインスタレーションにしました」

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

Specially Sponsored by
Mitsubishi UFJ Financial Group, Inc., MIRAI TRUST Inc.

Sponsored by
Kawamura Arts and Cultural Foundation, JAKUETS, Sentio Inc., Etsuko HAYASHI, Pasand co.,ltd

In Cooperation with
TOYOTA CONIQ, Inc., Yuki Yokoe

Video by

08/06/2026

One month has passed since the opening of Ethnography of the Body and Material: Slowness and Depth in an Accelerated Society, an exhibition held in conjunction with the 61st International Art Exhibition – La Biennale di Venezia.

The city of Venice, with its labyrinthine alleyways and intricate network of canals, is bustling with visitors from around the world in search of encounters with art. The gentle rhythm of time that flows through this historic city of water and the excitement of engaging with contemporary artistic expression intersect in the movement of countless people, together enveloping the city in a unique atmosphere.

Our venue, Palazzo Pisani Santa Marina, is quietly nestled in a corner of Venice’s historic center, beyond a maze of narrow alleyways. Each day, we are delighted to welcome visitors who experience the exhibition with a sense of wonder and fresh discovery.
We invite you to step through its doors and experience for yourself the “slowness and depth in an accelerated society” that KOGEI brings to light.

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「第61回ヴェネチア・ビエンナーレ国際美術展」と同時開催中の展覧会『身体と物質のエスノグラフィー ― 加速社会における遅さと深さ』。開幕から1カ月が経ちました。
迷路のような路地と入り組んだ水路に囲まれたヴェネチアの街は、アートとの出会いを求めて世界中から訪れる人々で溢れかえっています。歴史ある水の都に流れるゆったりとした時間と、世界中の芸術に触れる熱気ー‥その二つが人々の往来で交錯し合い、この街を包み込んでいます。

ヴェネチア旧市街に位置する私たちの会場、パラッツォ・ピザーニ・サンタ・マリーナもまた、細い路地を抜けた一角にひっそりと佇んでいます。連日、多くの方々にご来場いただき、驚きや新鮮な発見とともに展覧会をお楽しみいただいています。
ぜひその扉を開き、作品たちが映し出す「加速社会における遅さと深さ」をご体感ください。

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

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

＿

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.”

＿
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.

＿
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.

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

＿

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

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