Gallery G-77


Kyoto

Japan

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Andrei Mikhailov   ()

About

Gallery G-77 was first established in 2003 in St. Petersburg. It was one of the first galleries in Russia to represent contemporary international artists with a particular focus on Japan, where the gallery’s owner spent more than 10 years. In 2011 Gallery moved to Japan and in November 2014 G-77 opened its new location in Kyoto city centre. Gallery G-77 presentation reflects the current trends in Japanese contemporary art. Unique artworks by young artists show an entirely original and Japanese approach.

Push Beyond One's Limits - Hiroko Tsuchida

Hiroko Tsuchida Push Beyond One's Limits
Concept
There are many events in this world that come as a surprise but we have somehow to deal with them. The theory related to this phenomenon is called "The Black Swan Theory”. The term itself is based on an age-old supposition that presumed that black swans do not exist in reality and that all swans are white. However, after black swans were indeed discovered in the wilds of Australia, this gave birth to a new way of thinking.

In other words, the term “Black Swan” means a phenomenon that cannot be predicted according to the lines of conventional logic, but the impact of this phenomenon is great.

The theory was developed by Nassim Nicholas Taleb and includes the following points:
1. The event comes as a surprise to observers.
2. The event has a major effect.
3. After the first recorded instance of the event, it is rationalized by a hindsight as if it
could have been expected; that is, the relevant data was available but was not taken into account.

Such kind of “Black Swan” phenomenon happens to me too. As I get older, I gain more experience and knowledge. The wall that could be called “common sense” becomes stronger in the environment surrounding me.

Therefore, when something happens outside my common sense, it becomes like a phenomenon I described above. To overcome the common sense, to lose it, though it may seem regrettable, is very important especially for the artist.
It is important to reshuffle and to review your own world.

I call on for stirring things until they fit you.
Whatever world or environment you are surrounded with, you should have your own place to live in there.
You should accept whatever happens but also challenge it.

Thus, from the outside I may look elegant and refined, but under the surface I am quick-tempered and not compliant.
And the surface of the water is not much disturbed only by the beautiful ripples.

May be I am not that pretty looking figure as the white swan.
May be I am the evidence that the black covers everything.
And the mouth that swallows it in is painted in the colour of blood.

Happiness and hardships, bitter things and pleasant ones – everything that is falling on me should be blended inside.

Then I become gentle and soft but strong.

And with this strength I unfold my wings and go beyond my current limits.

I want to become such a creature.

Room 305 -

Room 305
Hiroko Shiina (b.1986)
Rooted in Japanese centuries-old tradition of depicting small details, Hiroko Shiina externalises the women’s archetypal sexual allure, female genital mystery. In her new works Shiina provides her personal investigation into the hidden psychology of the female. She opens a Black Box, a parallel mysterious world where borders between reality, memory and dream, fear and pleasure of expectations are blurred. Images seem weightless. They are flicking, fluttering, moving inside themselves, hair is blown without the wind, streams of water and blood are in dilatation, we can hear the growth of grass, the pulsating heart of the fetus, bones turning into landscapes, sounds sinking into the black velvet background. Her world is astringently sensual intensified with the fleur of fatale romance. It is even more etherealised by subdued colours and infused coffee stains. These stains work like patina that lends old things their beauty and conveys the atmosphere of solitude or loneliness. Voyeuristic sensationalism derives from delicately depicted small details that work like special marks helping the viewer to perceive the artist’s world and to read it as an alphabet of reality.

STARLINE -

STARLINE
Concept
STARLINE
How can I achieve my goal from where I’m standing now?
I move measuring the angle of direction from the present state to my aim.
Wind direction (luck), the flow of time, the mind of people and many other factors influence changes.
Myself and other people change during the lifetime.
Go ahead measuring and confirming changes every time.
If you do not measure thoroughly, things might get out of the way and bring you to the wrong direction.
If there is really a place where you want to get to, be precise measuring every angle.
Do not lose the sight of your goal.
Moving in this way, you will understand what you see.
Connections between two points will acquire some form.
You should see not only the moment, which is changing just in front of your eyes, but also the star you are aiming for.
Because it is necessary to face honestly the light of your dream.

Lovers 100 -  Kaoru Yamamoto

Kaoru Yamamoto Lovers 100
Kaoru Yamamoto “Lovers 100”

Kaoru Yamamoto works in the aesthetics of technological sublime. She creates digital images in the computer moderated environment according to the logical construction of unique Japanese spatial contextual awareness. In her new work “Lovers 100” she is intuitively modelling the motion of traditional Japanese painting by putting a couple in love onto imaginable journey through the city of Osaka, which is represented by images of its famous places. This images work as spatial contextual awareness marks like a cartographic map, which present the environment of the user/viewer at the present time and location or at sometime could be anticipated future context. The context of the journey is defined in multiple ways. It is boundless like love itself. The work is composed of 35 individual scenes with no discernible central scene. The particular scenes are scattered around and the overall impression is one of randomness. Strategy used by the artist resembles of classical Japanese painting. For example, Jingoji Landscape Screen (beginning of the 13 century), where each individual scene is separated by small hills and banks of the river without any interference of other scenes, thus allowing a coexistence within the sphere of the picture plane.
The artist is literary cutting her work into separate pieces. “Cut” is kiri in Japanese language and is also a distinctive notion in traditional aesthetic discourse. The “cut” appears as a fundamental feature in ikebana in which organic life is cut off in order to let the true nature of the flower come to the fore. Or another distinctive example is the dry landscape garden which owes its existence to the landscape being cut off from the natural world beyond its borders. The best world wide known example is the Fifteen Rock Garden at Ryoanji Temple in Kyoto. At Ryoanji the dry rock garden is cut off from the outside by the wall that is low enough to permit a view of the natural surroundings. The function of cut is most evident in the contrast between the movement of nature and the stillness of the dry landscape.
Even though each individual image in the artwork is separated from others, the overall effect is that of interdependence. It is because these cuttings actually intensify the invisible lines of connectedness among the scenes, while interrelations are reinforced by the pervasive images of pulsating hearts and text messages.
There is important interplay between the objective reality of the city and then subjective presence of the sensation of feeling. Sensation of love could not be expressed in any direct way, so it is gently woven into the form of expression in such a way that the viewer could empathise with the artist this particular moment.
The artist poses an an interesting challenge. By rearranging images according to individual choices the user/viewer can traverse through augmented reality of space and compose his or her own artwork with idiosyncratic meanin

Lovers 100 -  Kaoru Yamamoto

Kaoru Yamamoto Lovers 100
Kaoru Yamamoto “Lovers 100”

Kaoru Yamamoto works in the aesthetics of technological sublime. She creates digital images in the computer moderated environment according to the logical construction of unique Japanese spatial contextual awareness. In her new work “Lovers 100” she is intuitively modelling the motion of traditional Japanese painting by putting a couple in love onto imaginable journey through the city of Osaka, which is represented by images of its famous places. This images work as spatial contextual awareness marks like a cartographic map, which present the environment of the user/viewer at the present time and location or at sometime could be anticipated future context. The context of the journey is defined in multiple ways. It is boundless like love itself. The work is composed of 35 individual scenes with no discernible central scene. The particular scenes are scattered around and the overall impression is one of randomness. Strategy used by the artist resembles of classical Japanese painting. For example, Jingoji Landscape Screen (beginning of the 13 century), where each individual scene is separated by small hills and banks of the river without any interference of other scenes, thus allowing a coexistence within the sphere of the picture plane.
The artist is literary cutting her work into separate pieces. “Cut” is kiri in Japanese language and is also a distinctive notion in traditional aesthetic discourse. The “cut” appears as a fundamental feature in ikebana in which organic life is cut off in order to let the true nature of the flower come to the fore. Or another distinctive example is the dry landscape garden which owes its existence to the landscape being cut off from the natural world beyond its borders. The best world wide known example is the Fifteen Rock Garden at Ryoanji Temple in Kyoto. At Ryoanji the dry rock garden is cut off from the outside by the wall that is low enough to permit a view of the natural surroundings. The function of cut is most evident in the contrast between the movement of nature and the stillness of the dry landscape.
Even though each individual image in the artwork is separated from others, the overall effect is that of interdependence. It is because these cuttings actually intensify the invisible lines of connectedness among the scenes, while interrelations are reinforced by the pervasive images of pulsating hearts and text messages.
There is important interplay between the objective reality of the city and then subjective presence of the sensation of feeling. Sensation of love could not be expressed in any direct way, so it is gently woven into the form of expression in such a way that the viewer could empathise with the artist this particular moment.
The artist poses an an interesting challenge. By rearranging images according to individual choices the user/viewer can traverse through augmented reality of space and compose his or her own artwork with idiosyncratic meanin

Night Cherry-Blossom -  Kazz Morishita

Kazz Morishita Night Cherry-Blossom

Night Cherry-Blossom Viewing
 -  Kazz Morishita

Kazz Morishita Night Cherry-Blossom Viewing

Full Blooming -  Kazz Morishita

Kazz Morishita Full Blooming

The Feast of venus - Inga Krymskaya

Inga Krymskaya The Feast of venus

Woman's Routine - Hiroko Tsuchida

Hiroko Tsuchida Woman's Routine
Woman’s Routine.
There is a popular saying - “woman’s hair is her life”.
For me, as a woman, this is true - my hair is my pride.
But I have abandoned this pride several times since my childhood. It is for this reason that hair has an important meaning for me.
When I feel wind with my long hear, I become vulnerable.
My hair is easy to hurt; it is thin and delicate. That is why I’m very sensitive to wind. Still I want to feel it.
I’m very sensitive to what is touching my hair, what is mingling with it.
I want to become very strong one day and stop feeling what is hurting and swinging me now.
I decided to obtain new strength and energy next time I cut my hair short.
Until that moment I will continue combing my hair, which is delicately swinging every day. I cannot fight when my hair is messed up.
Because my hair and me are both alive.
When my hair is combed, I can fight.
If it is combed, I can stay away from evil things and see the truth.
I comb my hair with a comb.
Then my heart calms down.
Disorder in the hair is the confusion of the heart.
If my heart is confused, I brush the confused heart and calm down.
Brushing calms the heart down. The beautifully combed hair calms your heart down. This brings the integrity of the mind.
When you run, your hair becomes tumbled.
But I do not care about it when I am running.
Can you calm down after your heart has become confused?
Do you have skills to calm the heart down?
I do not care even if this is a spell.
Even if it is not a proper thing by itself, but good for this person, this is fine.
Such action can ease a tired heart and remove negative energy.
If you do this, it will bring forth your good nature and you will walk with your head hold high.
Keeping the balance of the heart...
From time to time I adjust my hair with white combs. Combing the hair is a routine thing for me in sustaining my life as a woman.

Exhibiting Artists

  • Inga Krymskaya  (+)

    Biography : Selection of shows and exhibitions: 2017 "In Limbo" , Gallery G-77, Kyoto, Japan 2016 Scope Miami Beach, USA (Gallery G-77) Solo Exhibition, Dreamspace Gallery, London, United Kingdom AAF NYC, Amsterdam, Netherlands (VK Gallery) 2015 AAF Hampstead London, Amsterdam, Netherlands (Sixtyone Gallery) Solo Exhibition, Hay Hill Gallery, London, United Kingdom Art Hamptons, USA (Gallery G-77) SCOPE Basel, Switzerland (Gallery G-77) SCOPE New York, USA (Gallery G-77) AAF, Soul, Korea, (Gallery G-77) 2014 Paddle 8, The Prince’s Foundation for Children & The Arts, Saatchi Gallery, UK SCOPE New York, USA (Gallery G-77) 2013 International ART Show, Los Angeles, USA (Gallery G-77) Affordable Art Fair, Amsterdam, Netherlands SCOPE New York, USA, (Gallery G-77) 2012 Millionaire Fair , Amsterdam RAI, Netherlands (Sixtyone Gallery) Scope Miami, USA (Gallery G-77) Affordable Art Fair, Amsterdam, Netherlands Scope Basel, Switzerland (Gallery G-77) ART-SOUTHAMPTON, USA (Gallery G-77) 2011 The Affordable Art Fair Amsterdam, Netherlands Berliner Liste. TRAFO. Berlin, Germany Affordable Art Fair, Brussels, Belgium "Primavera'11" Gallery More Then Art, AHOY, Rotterdam, Netherland Affordable Art Fair NY, USA 2010 "Primavera'10", AHOY, Rotterdam, Netherlands Spring Celebration, Ten Elsenhuyze, Brasschaat, Belgium Art Laren, Netherlands Affordable Art Fair Amsterdam, Netherlands (Gallery G-77) 2009 Affordable Art Fair Amsterdam, Netherlands Reception and Art Exhibition, SPSP Amstelveen, Netherlands 2008 International Art Exhibit, The Modern Art Gallery, Los Angeles, California, USA 2006 De Kunst van het Wonen, Willa Arena, Amsterdam, Netherlands Reception and Art Exhibition, Edha Interior, Amsterdam 2005 Kunst - Event, Amsterdam, Netherlands Kunst - Event, Antwerp EXPO, Belgium 2003 Reception and Art Exhibition. SPSP, Amsterdam, Netherlands. 2002 Art Exhibit at ISA, Amsterdam, Netherlands 2001 Art Exhibit at Walls , Amsterdam, Walls Gallery, Netherlands 1997 International Art Ex

    Detailed Description : With her new project, 3045 Variations on “The Feast of Venus”, the artist explores all the different possibilities conceivable on one theme, using various mediums she is trying to expand this particular painting of Rubens and proved different conceptual interpretation each time. “I’ve been fascinated by the idea of how many forms this Rubens painting can take ever since I attended a lecture on his legacy. Intrigued by the multitude of variations on the same theme produced by a number of artists of Ruben’s epoch, I often find myself questioning the idea of authenticity. It is both intriguing and greatly satisfying to hear viewers asking me: Did you paint this?” Through such evolution of ideas and indirect influence of casual observers, ambiguity has become a core ingredient in her works.

    Artist's Documents:

    Artist's Objects:

    • Inga Krymskaya - The Feast of venus The Feast of venus

    Also exhibited by:

    Also represented by:

  • Kazz Morishita  (+)

    Exhibition :
    ・Solo Exhibition
    2005 "Midori(The Green)" at the KAZE Gallery in Tokyo, Japan
    2006 "SAKURA" at the KAZE Gallery in Tokyo, Japan
    2007 "-reincanation-" at the Gallery MOA in Heyri Artist Valley, Korea
    2008 "Cherry trees in full bloom" at the KAZE Gallery in Tokyo, & at the Gallery Shizuku in Saita, Japan
    2011 "It's the time to be 'Autumn'" at the Niche Gallery in Tokyo, Japan
    2014 "Moonlight Serenade"  at the Niche Gallery in Tokyo, Japan

    ・Group Exhibition
    2007 Art Shanghai in Shanghai, China
    2011 Art Shanghai in Shanghai, China
    2012 China, Japan and Korea Art Exhibition in Shanghai, China
            Third International Biennial of Graphic Digital Arts Gdynia
            Art Shanghai in Shanghai, China
    2013 Asia Gallery Art Fair in Shanghai, China
            Eko-An in Tokyo, Japan
             「天祭一0八(Tensai 108)」in Tokyo, Japan
            Art Shanghai in Shanghai, China
            ARTE LAGUNA Photographic Art Department
    2014 'fotofever' in Paris, France
    2015 LA ART SHOW in Los Angels, USA
            Infinity Japan 2015 in Taichu, Taiwan
            Affordable London in England
            SCOPE Basel in Switzerland

    Artist's Objects:

    •  Kazz Morishita - Night Cherry-Blossom Viewing
Night Cherry-Blossom Viewing
    •  Kazz Morishita - Full Blooming Full Blooming
    •  Kazz Morishita - Night Cherry-Blossom Night Cherry-Blossom

    Also exhibited by:

    Also represented by:

  • Toyohiko Nishijima  (+)

    Biography : Solo exhibitions 1993, 95 Solo exhibitions(Kyoto) 1997 «Return to Nature : Water » (Kyoto) 2001 «Nagare – the Stream – » (Kyoto) 2002 «Floating Soul » (Kyoto) 2005 «Flowering Flame of his Mind » (Kyoto) 2006 «Light - Flowers of Flame» (Yokohama, Osaka) 2007 «Floating flowers in the sky» (Tokyo) 2008 «Impermanence, Nature teaches me » (Tokyo) 2010 «Inner Light : Brilliance in silhouette » (Kyoto, Tokyo, Yokohama, Nagoya) 2011 Solo exhibitions (Tokyo) (Nagoya) (Shiga) « Toyohiko Nishijima and Coco » (Carrousel du Louvre in Paris) 2012 « - Hanae •You- » (Tokyo, Osaka) 2013 France Solo exhibitions (as a guest of honor) 2014 «Morning – Between Light and Water –»(Tokyo) 2015 «Faces of the gods of Japan »(Tokyo)Toobi Art Fair (Tokyo) New York solo exhibitions (NY) 2016 Solo exhibitions(Kyoto) Group exhibitions, prizes, etc. 1994 Participated in the Exhibition of Nihonga prize of the newspaper Kyoto Shimbun (Kyoto) 1995 Exhibition of Young talented Nihonga artists of Kyoto (Hiroshima, etc.) 98-07 Collaboration with the Nihonga artists group « NEXT » (Kyoto, Tokyo, etc.) 1999 Exhibition of the Grand prize of Tatehiko Suga, (Osaka, Okayama). Also in 2005 and in 2008 2002 Exhibition of Young talented artists of Arts and Crafts of Kyoto city (Museum of Kyoto) Exhibition of Young talented artists of Kyoto city (The Kyoto Municipal Museum of Art) 2003 Exhibition of the Nihonga artists’ association in Kyoto Received the prize of the newspaper Yomiuri Shimbun (Museum of Kyoto) 2004 Exhibition « Kyoto Today » (Museum of Kyoto) Acquisition of one of his works by Kyoto city 2006 Received the Prize of the new talented artists of Kyoto city Exhibition of Grand prix of Nihonga of the newspaper Nikkei (The New Otani Art Museum) 2007 Illustrated covers of books and reports of « Women writers’ Association : Documents » 2009 Exhibition Nihonga-Kyo (Tokyo, Kyoto, etc.) Since, annual participations in the exhibitio

    Also exhibited by:

    Also represented by:

  • Hiroko Shiina  (+)

    Detailed Description : Black Box - Consolation, 2017 Ink, coffee, coloured pencil,  paper on wooden panel 117 x 73 cm (46 x 28.7 inches)  Rooted in Japanese centuries-old tradition of depicting small details Hiroko Shiina externalise women’s archetypal sexual allure, female genital mystery. In her new work “Black Box - Consolation, 2017” Hiroko Shiina provides her personal investigation into the hidden psychology of the female inside. She opens a Black Box, a parallel mysterious world where borders between reality, memory and dream, fear and pleasure of expectations are blurred. Images seem weightless. They are flicking, fluttering, moving inside themselves, hair is blown without the wind, streams of water and blood are in dilatation, we can hear the growth of grass, pulsating heart of the fetus, bones turning into landscapes, sounds sinking into the black velvet background. Her world is astringently sensual intensified with the fleur of fatale romance. It is even more etherealised by subdued colours and infused coffee stains. This stains work like patina which lends old things their beauty and conveys the atmosphere of solitude or loneliness. Voyeuristic sensationalism derives from delicately depicted small details which work like special marks helping the viewer to perceive the artist’s world and to read it as the alphabet of reality.

    Artist's Documents:

    Also exhibited by:

    Also represented by:

  • Hiroko Tsuchida  (+)

    Detailed Description : Material, shape, dimension, structure all express the philosophy of Hiroko Tsuchida. Things that she wants to express wonder around her head and finally, they materialize as solid concept. Hiroko Tsuchida  turns safety pins, bells, band-aids, whistles, scissors and other ready-made objects into conceptual tools for “self-reflection”. Using these everyday things, as “forms of media” she endows them with new meanings, urging viewers to reconsider implications of newly constructed images. Thus, protractors in “Starline, 2017” become not only a measuring instrument but also turn into a symbol of envisioning the artist’s path into the future. “BLEND ~push beyond one’s limit-, 2016“ made of 12321 plastic muddlers and based on the “Black Swan” theory by N. Taleb. Artist is trying to deal with Black Swan events which happen around her. In such situations the artist should blend inside everything that is falling on her. She should unfold her wings and go beyond current limits of her knowledge and experience to deal with the uncertainty of the world.

    Artist's Objects:

    • Hiroko Tsuchida  - Woman's Routine Woman's Routine
    • Hiroko Tsuchida  - Push Beyond One's Limits Push Beyond One's Limits

    Also exhibited by:

    Also represented by:

  • Kaoru Yamamoto  (+)

    Detailed Description : Kaoru Yamamoto “Lovers 100” Kaoru Yamamoto works in the aesthetics of technological sublime. She creates digital images in the computer moderated environment according to the logical construction of unique Japanese spatial contextual awareness. In her new work “Lovers 100” she is intuitively modelling the motion of traditional Japanese painting by putting a couple in love onto imaginable journey through the city of Osaka, which is represented by images of its famous places. This images work as spatial contextual awareness marks like a cartographic map, which present the environment of the user/viewer at the present time and location or at sometime could be anticipated future context. The context of the journey is defined in multiple ways. It is boundless like love itself. The work is composed of 35 individual scenes with no discernible central scene. The particular scenes are scattered around and the overall impression is one of randomness. Strategy used by the artist resembles of classical Japanese painting. For example, Jingoji Landscape Screen (beginning of the 13 century), where each individual scene is separated by small hills and banks of the river without any interference of other scenes, thus allowing a coexistence within the sphere of the picture plane. The artist is literary cutting her work into separate pieces. “Cut” is kiri in Japanese language and is also a distinctive notion in traditional aesthetic discourse. The “cut” appears as a fundamental feature in ikebana in which organic life is cut off in order to let the true nature of the flower come to the fore. Or another distinctive example is the dry landscape garden which owes its existence to the landscape being cut off from the natural world beyond its borders. The best world wide known example is the Fifteen Rock Garden at Ryoanji Temple in Kyoto. At Ryoanji the dry rock garden is cut off from the outside by the wall that is low enough to permit a view of the natural surroundings.

    Artist's Documents:

    Artist's Objects:

    •  Kaoru Yamamoto - Lovers 100 Lovers 100
    •  Kaoru Yamamoto - Lovers 100 Lovers 100

    Also exhibited by:

    Also represented by:

Other Represented Artists

  • Kento Kimura

  • Izuru Mizutani

  • Miyako Suzuki  (+)

    Biography :

    Exhibition : Solo Exhibitions
 2009 Miyako Suzuki Exhibition (galley SUZUKI / Kyoto) 
2012 dots + (gallery APA F2 / Aichi) Art Fairs: 2013 LA Art Show, SCOPE NY, SCOPE Basel

  • Tamura Yoshiyasu

  • Naoko Watanabe

  • Yuriko Yamamoto  (+)

    Biography : In 2002 Graduated from Seika Art University, Kyoto, Japan

    Exhibition : 2013 Scope Art Fair NY 2012 Swab barcelona,Barcelona,Spain 2011 SCOPE ART ASIA,Miami,U.S.A [double wander],Satellite gallery,Nagoya,Japan 2010 [STAY-at joykaiso-],Jyokaiso,NAgoya,Japan [VISIT-Moving shape-]Anex Hall in Menard Museum,Nagoya,Japan [Kobe Art Collection 2010],Orbis Hall,Kobe,Japan 2009 [Kobe Art Collection 2009],Kobe Fashion Museum,Kobe,Japan 2007 [The tree in the room 16],Shinbi-gallery,Kyoto,Japan [GO HOME,Amuse ARTJAM],Kyoto Culture Museum,Kyoto,Japan 2006 [Amuse ARTJAM 5th Anniversary Selections],Kyoto Culture Museum,Kyoto,Japan [Kyoto Culture Festival2006],Kyoto City Office Plaza,Kyoto,Japan [Nagoya ART EXPO2006],nishinomon-yoshinoya,Nagoya,Japan 2005 [Nagoya ART EXPO2005-Togabi Project-],Togura Junior high school,Nagoya,Japan [Kyoto Culture Festival2005],Kyoto City Office Plaza,Kyoto,Japan 2004 [A reason why the snow fall in the room],Ishida-taiseisya hall,Kyoto,Japan 2003 [PHILIP MORRIS K.K.ART AWARD 2002 THE FIRST STEPS],P.S.1 Contemporary Art Center,N.Y. U.S.A 2002 [PHILIP MORRIS K.K.ART AWARD 2002 THE FIRST MOVE],Tokyo International Forum,Tokyo,Japan Awards 2002 PHILIP MORRIS K.K.ART AWARD 2002 P.S.1 award 2005 AMUSE ART JAM bennese award