exhibition

[Special Exhibition] "Count the Waves — Connecting the Invisible" @ Chinretsukan Gallery, Tokyo University of the Arts

【企画展】「Count the Waves – 見えないものをつなぐ」@東京藝術大学大学美術館陳列館

“Count the Waves — Connecting the Invisible”

As part of the “Art Producing Practicum” course taught by Professor Yuko Hasegawa at Tokyo University of the Arts, a special exhibition co-curated by five master’s-course students in the Curatorial Studies field of the Graduate School of Global Arts (Arts Producing) was held.

Chinretsukan Gallery, The University Art Museum, Tokyo University of the Arts
Chinretsukan Gallery, The University Art Museum, Tokyo University of the Arts

Titled “Count the Waves — Connecting the Invisible,” this exhibition takes “invisibility” as its theme and introduces 14 artists and designers from Japan and abroad.

Exhibition Concept
The exhibition title “Count the Waves” is a metaphor for the act of trying to grasp “the invisible,” as though counting the endlessly overlapping waves that keep breaking on the shore.
Entering the 21st century, the internet — which has become the foundation of digital communication — has produced both hypervisibility and anonymity, creating the illusion that only what can be viewed there truly exists.
At the same time, “invisible” things — time (past and future), human emotions and intentions, the unknowns that humanity can never reach — are always present in our lives.
This exhibition takes up works that give presence to “the invisible,” asking how we perceive the traces of what cannot be seen (or how we merely think we perceive them).
By confronting that question through the exhibition, we explore the invisibility that lurks between contemporary society and the people who live in it, and the shape of new “connections” that emerge.

Dina Kadia, "Word Handicap," 2015
Dina Kadia, “Word Handicap,” 2015
Dina Kadia, left: "Viewer and a Mosaic Vase," 2015; right: "Fear of Multiplying Gestures," 2015
Dina Kadia, left: “Viewer and a Mosaic Vase,” 2015; right: “Fear of Multiplying Gestures,” 2015
Yuki Hirakawa, "Buring a Second," 2016
Yuki Hirakawa, “Buring a Second,” 2016
Rintaro Fuse, "Retina Painting (Turn Over)," 2019
Rintaro Fuse, “Retina Painting (Turn Over),” 2019
Rintaro Fuse, "The Cave of Metaphor in a World Without Metaphor," 2019
Rintaro Fuse, “The Cave of Metaphor in a World Without Metaphor,” 2019
Installation view
Installation view
Lim Sokchanlina
Lim Sokchanlina
Kenta Nishimura, "Monument," 2014
Kenta Nishimura, “Monument,” 2014
LY display corner
LY display corner
LY, "LUV," 2015/2017
LY, “LUV,” 2015/2017
Seen from above, the lines of sight subtly miss each other...
Seen from above, the lines of sight subtly miss each other…
LY, "He's on the street," 2019
LY, “He’s on the street,” 2019
Front work: BIEN, "Day For Bight," 2019
Front work: BIEN, “Day For Bight,” 2019
Near the second-floor entrance of Chinretsukan Gallery
Near the second-floor entrance of Chinretsukan Gallery
Lee Kit, "Flowers," 2018
Lee Kit, “Flowers,” 2018
Yuki Tawada, "I am in You," 2018
Yuki Tawada, “I am in You,” 2018
Kanako Kitabayashi's works — installation view
Kanako Kitabayashi’s works — installation view
Lieko Shiga, "Blind Date [Series]," 2009
Lieko Shiga, “Blind Date [Series],” 2009
Nile Koetting, "Whistlers," 2016-2019
Nile Koetting, “Whistlers,” 2016-2019
Miyu Inagaki, "Vacant Lot," 2019
Miyu Inagaki, “Vacant Lot,” 2019

Things in our daily lives that we cannot see, uncertain things, things that make us ask whether we are really seeing them at all… the experience was one that swirled and unsettled the sensibilities within us.

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