TOKYO NONSENSE Scion presents
Feb 19, 2016
TOKYO NONSENSE
Scion presents
Within the Japanese vernacular the word “nonsense” has assumed various
meanings throughout modern history, often being associated with radical ex-
pression that presented a challenge to the dominant discourse of the moment.
In the early 1930s, “nonsense” was incorporated into the catch-all phrase ero-
guro-nansensu which the Japanese mass media used to label decadent and
salacious popular culture (literature, film, theater) that was viewed as a threat
to traditional family values. Then in the late 1960s, “nonsense” became the
rally cry for the disaffected youth of Japan’s student protest movement to ex-
press their frustration with the current political and social situation at home
and abroad. The rebellious and anti-establishment spirit evoked by the word
“nonsense” in Japan’s past lives on today, reincarnated and rearticulated by a
group of young artists working in Tokyo. Their work simultaneously reflects the
precedent set by the “nonsense” of the 1930s—mislabeled as absurd and
meaningless by the dominant discourse—while dismissing the dominant dis-
course itself as pure “nonsense,” reminiscent of the protest tactics employed
in the 1960s.
In order to articulate this duality, many of the featured artists have chosen to
work outside the traditional gallery/museum system by turning to more radical
forms of expression such as performance, video, and installation art. The six-
member artist group Chimi Pom creates video and sculpture that capture an
irreverent, raw energy that is born on the streets and back alleys of Tokyo.
While their performances evoke vulgar adolescent pranks, the growing social
consciousness in their work is evidenced by their recent project disarming
minefields in Cambodia. Sachiko Kazama is best known for her black-and-
white woodblock prints that parody Japanese history, politics, and social is-
sues with a healthy sense of irony and sarcasm. The work of Taro Izumi takes
its form as video, installation, and drawing characterized by the use of found
objects and a low-tech, do-it-yourself aesthetic. In his humorous yet ultimately
defeatist works, the artist quietly vents his feelings of frustration through futile
games and nonsensical play. The performances and mural paintings of Ichiro
Endo rely on the artist’s body to communicate his intense optimism and spir-
ited calls for change. Utilizing the energetic motto “GO FOR FUTURE!,” Endo’s
work explores the future’s endless creative possibilities through the limited
means of the present. Ai Kato (aka ai madonna) has amassed a cult following
through her live painting performances in Akihabara, where the artist paints
directly onto the side of her parked van. The means of executing her girlie,
anime-inspired paintings share the vitality of a street performer, while creatively
circumventing the traditional gallery system by exhibiting her works directly
to the public. Lastly Iichiro Tanaka creates humorous, understated works that
seemingly deny having any serious meaning. These deceptively simple works
skillfully “turn meaning on its head,” blurring the line between the absurd and
the profound.
—Gabriel Ritter, Curator
October 4 – 25, 2008
“GO FOR FUTURE”, “DON’T CRY”, “LOVE”, “VIVA ART!”… The message Ichiro Endo
carries is always simple yet strong. These straight forward and positive expres-
sions that Endo makes grab people by the heart, and often bring many people
together to produce powerful energy. Cheerful and uplifting messages, art,
and the world all remind us how important it is to keep hold of our dreams
and to appreciate the beauty that lies among us. Art blooms in everyone’s life
and their imagination, not within a gallery or a museum. Endo’s positive mes-
sage proves that this is not unperceivable or difficult. Endo has been delivering
these messages through various performances since he was a teenager. He
lives in his car, “MIRAI– E –GO” (“GO FOR FUTURE!”), which is filled with count-
less dreams of people that Endo has engaged during his life. With his dreams
and car, Endo marches on non-stop. Recently, he has launched a monthly pub-
lication, “NATURAL HI!!” and organizes programs and events to support young
artists. He also organizes a fashion line called “Tamagawa Casual” which he is
planning to sell.
1979 Born in Shizuoka, Japan Lives and works in Tokyo
Solo Exhibitions
2008 Super Art Exhibition, ZENSHI, Tokyo
Selected Group Exhibitions
2008 Future Art School, Kanagawa, Japan Performance at NADiff a/p/a/r/t, Ebisu, Tokyo ZENIN-TEN, magic room?, Tokyo Geisai Museum 2, Tokyo Big Site, Tokyo2007 Radio Glory Road 2057, Art Center Wi-CANP, Chiba, Japan SA KURA JIMA Project, Yamashitaya Ryokan, Kagoshima, Japan The Second Gandhara Film Festival: Towards a Beautiful Country, Uplink Factory, Tokyo2005 The Group 1965 Presents Seven Little Samurais + 1, ANPONTAN, Ginza, Tokyo Nishiogi Biennale, Makoto Aida’s home, Nishiogikubo, Tokyo
Ichiro Endo
“Someday, I will make something completely meaningless.”
1974 Born in Aichi, Japan1997 BA Visual Communication Design, Musashino Art University, Tokyo2001 MA Design, Tokyo National University of Fine Arts and Music Lives and works in Tokyo
Solo Exhibitions
2008 Spring Sale Show, Yuka Sasahara Gallery, Tokyo2006 Classical music karaoke 2006, Yuka Sasahara Gallery, Tokyo2004 The Second Solo Exhibition -LIFE. Fresh,Fresh,Fresh,Fresh. roentgenwerke, Tokyo
Selected Group Exhibitions
2007 Roppongi Crossing 2007: Future Beats in Japanese Contemporary Art, Mori Art Museum, Tokyo2006 Art and Play, The Museum of Modern Art Saitama, Saitama Food and Art part 2, BankART1929, Kanagawa aM Project Iichiro Tanaka×Tatsumi Masuoka, ASK? (Art Space Kimura)2003 108, Ise Cultural Foundation, New York Nemure Night, Live performance, move, Nishi-Azabu Bullets, Tokyo Ropponpon, Live performance, super deluxe, Tokyo THE FORCIBLE REBOOT, roentgenwerke, Tokyo
Iichiro Tanaka
Video and Zombie (I want to enter the video)
Like light and shadow, it is well known that video images are pliable. But be-
cause my body is not flexible, I need a device to enter into the picture. First,
I need to get into the video camera that I use for filming. Even for an octopus,
this is a difficult thing to do. Taking out my shoulder bone is not nearly enough—
if I could just get my fingertips into the camera I would be doing alright. But
even if I were somehow able to get into the video camera, next I’d have to
enter the TV monitor. Bending over backwards would still not be enough, and
even if I happened to get into the monitor, I could never predict which way
my head would be facing. In this way, in order to enter the video, I must prepare
myself for the irrationality of becoming a zombie. If I figure out how to make
use of video imagery, I can multiply my body and draw out ordinarily hidden,
unconscious actions. Even when I leave this country, video will continue to
move like an undying zombie.
1976 Born in Nara, Japan2000 B.A. (Fine Art) Tama Art University, Japan2002 M.A. (Fine Art) Tama Art University, Japan Lives and works in Tokyo
Solo Exhibitions
2008 Jungle Book, Gallery Stump Kamakura, Kanagawa, Japan2007 Game Pedestal (Warehouse), buro013 by hiromi yoshii, Tokyo2006 Trolly, hiromi yoshii, Tokyo2005 GENIUS EPISODE 1 & 2, HIROMI YOSHII FIVE, Tokyo
Selected Group Exhibitions
2007 The Door into Summer – The Age of Micropop, Contemporary Art Gallery, Art Tower Mito, Ibaraki, Japan COLLECTOR’s CHOICE: Collection 2, Daelim Contemporary Art Museum, Korea Out of the Ordinary: New Video from Japan, The Museum of Contemporary Art,
Los Angeles Techniques of Storytelling: Speaking of Unspeakable, SSamize Space,
Alternative Space Loop, Seoul2006 After The Reality, Deitch Projects, New York
Taro Izumi
Like many artists, my work is influenced by the environment in which I was born
and raised. In addition to being born with a tendency toward Lolicon* and
the Otaku** spirit, I have been greatly influenced by manga and anime. For this
reason, my love for beautiful young girls of the two dimensional world seems
perfectly natural. People often ask me why I only draw girls, and I answer hon-
estly, “Because I like them the best.” I think that believing in what you love the
most and drawing it is the simplest way to reach the audience’s heart.
For this exhibition, I will focus on creating lively and vivacious works while
communicating with both image and materials. Set in a Japanese style PVC
greenhouse, I will create an installation full of drawings of young beautiful girls.
Since the vinyl exterior of the greenhouse is transparent, I expect the light that
comes through will change the atmosphere as if looking into a large amusing
kaleidoscope. I hope to share and enjoy this kaleidoscopic world of beautiful
girls with you all.
August 2008,
KATO Ai
*Short for “Lolita complex”, it describes an attraction to young girls, or an individual with such an attraction.**Otaku, coined in the 1980s to refer to a fan of, or someone who specializes in any particular theme or hobby.
1984 Born in Tokyo, Japan2007 Kato began introducing herself as “ai madonna” in her Live Paintings
Lives and works in Tokyo
Selected Activities
2008 Group Exhibition, Chashing for the Cobalt Blue, ZENSHI, Tokyo Group Exhibition, ZENIN-TEN, MAGICROOM?, Tokyo LIVE Painting, magical ARTROOM 2nd ANNIVERSARY, pulse gallery, Tokyo2007 Event, JAPAN WEEK 2007, Warsaw, Poland LIVE Painting, NATURAL HI!! ai madonna project began on the streets of Akihabara.2005 Group Exhbition, Nishiogi Biennale, Makoto Aida’s home, Nishiogikubo, Tokyo 2004 Group Exhibition, KOTATSU-HA 2, Mizuma Art Gallery, Tokyo Group Exhibition, Les metamorphoses du quotidan, Museum of Modern Art, Gunma
Ai Kato
Super Rat, November 2006
Art, Rock, Punk,
the culture that whishes being just as beautiful as a rat
Japanimation, Gals or Japan-Pop.
All of them are at the cross-point of “Super Flat”
We considered it resembled the cross-point in Shibuya
We assumed
We assumed so
Then we took a train to Shibuya Center-gai.
Young people these days like us
the “Super Rats” which were created from the urban life
by modern people
furrowing their brows
We have a great deal of empathy for
spending a distorted life with human beings
Every single catches each other with the net bought
at shopping amusement “Don Quijote”
Not for extermination as if we can’t imagine a cow
although we eat beef everyday
We swear to our terrifying and strong spirit of animal protection
The Only purpose is
to create the real “Pikachu”, that’s all.
Holding that dream,
we kick a pile of garbage bags
and chase after rats that are running along a wall
“Wait, Super Rats,
We are not your enemy.
We are chim↑ pom!”
At the center of Japan
where everything seems to be explained apologetically
we chased after rats and a dream to create our art.
ChimgPom
Formed in Tokyo, August 2005
Members of Chim Pom
Ellie Ryuta Ushiro Yasutaka Hayashi Masataka Okada Toshinori Mizuno Motomu Inaoka
Formed by six young artists in 2005, Chim Pom has continued subverting the Japanese Art scene since its debut with “ERIGERO”. Initially shown at AIDA Makoto’s exhibition in San Francisco, the video work records the only female member Ellie drinking and vomiting pink liquid repeatedly. The other members are USHIRO Ryuta, HAYASHI Yasutaka, MIZUNO Noriaki, OKADA Masataka and INAOKA Motomu. Their first solo exhibition “SUPER RAT” provoked controversy with brown rats dyed yellow to mock a famous character. Their next exhibition,
“Oh My God!” highlighted their continued interest in “life and death” as the main theme. The following exhibition, “Thank You Celeb Project: I’m Bokan” displayed and auctioned off luxury brand products they bombed with landmines in Cambodia, which earned them the grand prize at the Hiroshima City Museum of Contemporary Art in 2007
Solo Exhibitions
2008 Japanese Art is 10 Years Behind, NADiff a/p/a/r/t, Tokyo2007 Thank You Celeb Project I’m BOKAN, Mujin-to Production,Tokyo Oh My God, Mujin-to Production, Tokyo2006 SUPER RAT, Mujin-to Producion, Tokyo
Selected Group Exhibitions
2008 KITA!! Japanese Artists Meet Indonesia, Jogja National Museum, Yogyakarta When Lives Become Form: Dialogue with the Future - Brazil, Japan,
The Museum of Modern Art of Sao Paulo2007 Event HARAJUKU PERFORMANCE +, LAFORET MUSEUM, Tokyo Event Thank You Celeb Project: I’m BOKAN Charity Auction, P-House, Tokyo Emotion Burglar, BankART Studio NYK, Yokohama, Kanagawa DAIIWA RADIATOR FACTORY VIEWING ROOM vol.4, DAIIWA RADIATOR FACTORY
VIEWING ROOM, Hiroshima Special Exhibition: Re-Act, Hiroshima City Museum of Contemporary Art, Hiroshima2006 Event IKE IKE ACTION, A.R.T., Tokyo Event Eizo dayo ! Zenin Shugo!!, Mizuma Art Gallery, Tokyo
2005 Makoto Aida Solo Exhibition: Drink Sake Alone, Lisa Dent Gallery, San Francisco
ChimgPom
HL dots in the city
In my childhood, around the entrance of Ueno park used to be a lot of beggars
who were wounded in the war. Clothed in white with khaki military caps, those
old men missing an arm or a leg used to play music with a harmonica or an
accordion, waiting for somebody to throw coins into the box on their knees.
Now I feel it strange that they all wore white kimonos, still the scene has lived
in my memory as a symbol of post-war Japan thirty years after her defeat.
Just like them, people who lost their place often end up in Ueno park after
drifting here and there. Earthquake victims, war orphans, the unemployed,
homeless people... Those shadows of society never cease to dot their lives
in parks. The winter of economic prosperity has seen a lot of homeless people
living in parks in Tokyo. In Shibuya Miyashita park there are homeless dwellers
struggling against anti-homeless fences camouflaged as a fertile ground. Be-
neath the metropolitan building are homeless squatters, just as offending as
crows, irritating the governor of Tokyo. Villages of blue-tarp tents in Yoyogi park
are reminiscent of wartime bases used for military drills. From one park to
another, they alter the form of dwellings and live in floating urban environments.
In Tokyo, a city twinkling with neon and electric lights, the deep shadows of the
homeless and their blue-tarp dwellings—just like the park greenery—dot black
and blue across the urban scenery, having stolen into the flow of the seasons.
1972 Born in Tokyo, Japan1996 Graduated from Department of Print Making, Musashino Art School Lives and works in Tokyo
Solo Exhibitions
2007 MANTETSUJIN VS PRISON SU GAMO, Mujin-to Production, Tokyo2005 criterium64: KAZAMA Sachiko, Contemporary Art Center, ArtTower Mito, Ibaraki2003 Night, Futon and a Napalm bomb, Ningyo-cyo Exhibit Space VISION’S, Tokyo
Selected Group Exhibtions
2006 The 10th Exhibition of the Taro Okamoto Award for Contemporary Art, Taro Okamoto Museum of Art, Kawasaki, Kanagawa2001 VOCA 2001, The Ueno Royal Museum, Tokyo
Sachiko Kazama
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