Hirofumi Isoya: Roppongi Crossing 2019: Connexions (Mori Art Museum, Tokyo)

Hirofumi Isoya, Flowers and Bees, Translucent Archive, 2018

Hirofumi Isoya: Roppongi Crossing 2019
Connexions (Mori Art Museum, Tokyo)

9 Feb - 26 May 2019

Period:
2019.2.9 [Sat] - 5.26 [Sun]
Open everyday

Open Hours:
10:00-22:00 (Last Admission: 21:30)
* 10:00-17:00 on Tuesdays (Last Admission: 16:30)
* April 30 [Tue] open until 22:00 (Last Admission: 21:30)
* May 25 [Sat] open until 6:00 a.m. the following morning due to “Roppongi Art Night 2019” (Last Admission: 5:30)

Venue:
Mori Art Museum (53F, Roppongi Hills Mori Tower)

Admission:
Adult 1,800 yen
University / Highschool student 1,200 yen
Child (Age 4 up to Junior highschool student) 600 yen
Senior (Ages 65 & over) 1,500 yen

Curated by
Tsubaki Reiko (Curator, Mori Art Museum)
Tokuyama Hirokazu (Associate Curator, Mori Art Museum)
Kumakura Haruko (Assistant Curator, Mori Art Museum)

More info: https://www.mori.art.museum

Participating Artists / Artist Groups * in alphabetical order of artists’ (sur)names

ANREALAGE (Established in 2003 / Based in Tokyo / Morinaga Kunihiko: Born 1980 in Tokyo)
Aono Fumiaki (Born 1968 in Miyagi / Lives and works in Miyagi)
Bandai Yosuke (Born 1980 in Tokyo / Lives and works in Tokyo)
Doi Itsuki + Ogawa Kohei + Ikegami Takashi + Ishiguro Hiroshi x Justine Emard (Doi Itsuki: Born 1989 in Hyogo / Ogawa Kohei: Born 1982 in Aichi / Ikegami Takashi: Born 1961 in Nagano / Ishiguro Hiroshi: Born 1963 in Shiga / Justine Emard: Born 1987 in Clermont-Ferrand, France)
Dokuyama Bontaro (Born 1984 in Fukushima / Lives and works in Tokyo)
Enomoto Koichi (Born 1977 in Osaka / Lives and works in Kanagawa)
Hanaoka Nobuhiro (Born 1980 in Hiroshima / Lives and works in Kyoto)
Hayashi Chiho (Born 1988 in Aichi / Lives and works in Kanagawa)
Hirakawa Norimichi (Born 1982 in Shimane / Lives and works in Tokyo)
Hyslom (Formed in 2009 / Based in Kyoto)
Iikawa Takehiro (Born 1981 in Hyogo / Lives and works in Hyogo)
Imazu Kei (Born 1980 in Yagamuchi / Lives and works in Bandung, Indonesia)
Isoya Hirofumi (Born 1978 in Tokyo / Lives and works in Tokyo)
Kawakubo Yoi (Born 1979 in Toledo, Spain / Lives and works in London)
Maeda Yukinori (Born 1971 in Japan / Lives and works in Kyoto)
Maetani Kai (Born 1988 in Ehime / Lives and works in Kyoto)
Mé (Formed in 2012 / Based in Saitama)
Sato Masaharu (Born 1973 in Oita / Lives and works in Ibaraki)
Sugito Hiroshi (Born 1970 in Aichi / Lives and works in Aichi and Tokyo)
Takekawa Nobuaki (Born 1977 in Tokyo / Lives and works in Saitama)
Tamura Yuichiro (Born 1977 in Toyama / Lives and works in Shizuoka)
Tsuchiya Nobuko (Born in Kanagawa / Lives and works in Kanagawa)
Tsuda Michiko (Born 1980 in Kanagawa / Lives and works in Kanagawa and Tokyo)
Tsukuda Hiroki (Born 1978 in Kagawa / Lives and works in Tokyo)
Yamauchi Shota (Born 1992 in Gifu / Lives and works in Kanagawa)

The “Roppongi Crossing” series of exhibitions, launched in 2004 by the Mori Art Museum, provide an overall snapshot of the state of the Japanese contemporary art scene every three years. This sixth edition of the series, the first to be jointly curated by three curators of the Museum’s own alone, will showcase the work of around 25 Japanese artists and collectives, primarily practitioners born in the 1970-80s.

“Roppongi Crossing 2019: Connexions” will take a close-up look at “connections” revealed via contemporary artistic expression. An era such as ours, characterized by the fast-paced development of information, communication and myriad other technologies at an accelerating pace, also brings with it new problems. Though there is greater recognition of diverse values, “divisions” of various sorts are also becoming increasingly apparent - as seen in the problem of the internet, or more particularly in the realm of social media - which by rights ought to foster openness, conversely reinforcing opinions and perceptions of a similar nature; conflict sparked by political bias; and ever-growing economic disparity.

Amid this, artists offer us many types of “connection” through their works: by joining polar opposites, by fusing the heterogeneous, by giving visual expression to connections that already exist. Their efforts also serve as critiques of today’s society, as ways of turning ideas upside down, and perhaps even as clues for addressing “divisions.” It is our hope that the new “connections” born out of this exhibition will offer meaningful opportunities to engage with Japan as it is right now.