Installation view, Accumulations

4649 /,2019
Shogo Shimizu / 清水翔吾, Romulus(Modelling Resin)

Joel Kirkam /
‘Getta Grip’, 2017, Air drying clay, acrylics, epoxy putty, glue
150 × 80 × 20mm

Mitchell Cumming, ‘Tacit’, Window Works, 2017
‘Tacit’ deodorant from Aesop

Yuko Hasegawa, Signed Book Publications, 2019 – 2022

4649 /, 2019
Yuhei Kobayashi / 小林裕平, See Stars(Silk Screen Tabacco Pack)

Joel Kirkham, ‘Sentinel’ (Sock Head), 2021
Stones, wood, epoxy putty, glue, nylon 240 x 80 x 60mm

Nao Osada, bubble wrap (blue) from “It’s that, It’s thus, – It’s so”, 2016
Silkscreen ink on satin, 310×230×30 mm. ed.3

Hiroaki Morita,  From Fuji Mineral Water to Mount Franklin, 2020
1.5L Fuji Mineral Water, Mount Franklin, Metal fittings, glass shelf

Hiroshi Sugito, Pink Paintings 1 & 2 , 2021
Acrylic medium on Linen, Stretcher tacs, Wall pins

Brian Fuata /  exchange valve ‘Turnstile’, 2013
Textual performance piece, Inkjet print on copy paper (A0) Reframed as laser cut on acrylic panel (A2), 
Ghost Portrait Performance photographs (A5) by Jesse Hogan / ジェシー・ホーガン / 

Jesse Hogan, Bracket s Underscore ( ______ ), 2022
Neon, transformer, aluminum, acrylic

Yuki Okumura, Transper sonal Ge stural Bicentrum, 2017,
Double-sided archival pigment print mounted on aluminum plate, 15.7 x 23.6 x 0.2 cm, Ed. 10. + Signature wood mount

Leon Isaac, Cracked Vase, 2021
Marble Sculptures

Leon Isaac, Sculptural Functionalism, 2022
Marble Sculptures, Wood, Brackets, 2 x 4

Manami Seki, Hexaptyque, 2019,
aluminium, styrofoam, stock photography, photographic paper, cut-out sticker, ceramic, cushion, brick, float, chair, handrail, card board, silicone tube
Photo: Shu Nakagawa

 
Haruko Kumakura, & AGS/MAM023: QR Code, 2015
QR Code for Video footage of Tokyo sent to Agatha Gothe-Snape as research preparation for MAM Project 023: AGS Uploaded to Youtube Aluminum

Agatha Gothe-Snape, ‘Oh Window’ Score, Floor Map, 2017, 
PPTX, Performance Sequences, MAM Project 023

Anna John, Select objects from Sea Tooth (Shhell), 2019
Cast bronze, ceramics, various materials, dimensions variable

Pablo Cendejas, The Realm of the Half Forgotten [忘れられつつある領域], 2021
a middle-class initiative for Nichido Contemporary Art Wall work, Exhibition Proposal, Vinyl Wall Text

Interviews with Ranzan Studio, 2019 (Photography by Hogan Jesse
Documentary Video Stills, Portraits

Brooke Amity Stamp, ‘a satellite, a letter, a rock, a s c ore’, 2017
Text, performance & archive

Kana Nishio, “How to be Comfortable”, 2019
Video Loop, fabric, text

Hirofumi Isoya, Onions and Postcards, 2015
Postcard of an Onion, being cut by a Postcard of a cut Onion + Signature wood mount

Helen Grogan, untitled notations (SET AND DRIFT), 2019-2020
PDF, Officeworks colour copy machine prints on OPS-A4 yellow, 200GSM & OPS-A4 white uncoated 300GSM

4649 /よーろーしーく/ Yuu Takamizawa / 高見沢ゆ
SALT & Fortune, 2019
Natural Salt Crystal, 1000 Yen Note

Photo: Koichi Nishiyama

Accumulations