Sakazaki Ryuichi

http://ryuichislhooq.wix.com/the-artist-jp
1990-1991 scholar of USIA (United State Information Agency Asian Young Cultural Leaders Project)

selected recent solo and group exhibitions
2016  "DO NOT ENTER Sakazaki Ryuichi Exhibition", Sawada Mansion Gallery room 38, Kochi, Japan
2015  "Expressions of / for being", Fukuoka Prefectural Museum of Art, Japan
2013  "Situations and Exchanges: Fukuoka Contemporary Art Chronicle 1970-2000", Fukuoka Prefectural Museum of Art / Fukuoka Art Museum, Japan

Greenroom

The sound of falling water can be heard from the crack under the door, mingled with music. If you look in through the small window, you see water continuously flowing out of the faucet. What appears to be works of art are randomly placed around and tentatively illuminated. Are preparations for an exhibition underway? If so, whose, and what on earth are they preparing? I had heard that no further exhibitions at the museum were planned before it closes temporarily for renovation. This waiting room (titled Greenroom) will be reborn as a new gallery after renovations are carried to increase the galleries' floor space. As a coda to its life in its current form, Sakazaki has staged this investigation of the boundaries between gallery and non-gallery, exhibition and non-exhibition, and objects that are worthy of exhibiting in a museum and those that are unworthy.
In reconstruction, presented in the second-floor lobby, the artist has intervened in the rest area, transforming the familiar space and causing us to focus consciously on a place we had taken for granted.

Oki Hiroyuki

http://www.arataniurano.com/artists/oki_hiroyuki/index_en.php
1988  BA in Department of Architecture, Engineer, Tokyo University
1989  Image Forum Institute of Moving Image, Tokyo

selected recent solo and group exhibitions
2016  "Aichi Triennale 2016 Rainbow Caravan", Aichi, Japan
2016  "Tam Ochiai x Hiroyuki Oki 're wild(e)'", ARATANIURANO, Tokyo, Japan
2015  "Hiroshima Trilogy: 70th Anniversary of the Atomic Bombing, Part1 Life=Work", Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
2014  "Gendaishi" Shionoe Museum of Art, Kagawa, Japan

LAST CITY 2016 FUKUOKA mix
Come
Doing history! Installation

In Oki Hiroyuki's videos, the past, the recent past, and the present are woven together by the process of editing and repeatedly superimposed on one another. His video work LAST CITY, for which Fukuoka is the setting, was first produced and presented in 2007 and has been continually updated since, and was re-edited with new footage added immediately before this exhibition opened. A connect-the-dots of curious coincidences grows and builds into a new magnetic field. Oki has consistently dealt with the themes of memory and documentation: in this work, what in Fukuoka's past has he documented, what of the future does he see in Fukuoka's present, what has he recorded and what will he record moving forward?
In the installation a multitude of things, tied to people Oki met and phenomena he encountered in Fukuoka, are stockpiled, organized, and arrayed. They bear witness to time past. The installation also incorporates drawings that bear witness to the artist's thought process.

Iiyama Yuki

https://yukiiiyama.tumblr.com/
2011  BFA in Joshibi University of Art and Design, Kanagawa
2013  MA in Tokyo University of the Arts, Japan

selected recent solo and group exhibitions
2016  "Yuki Iiyama '100 Living Tales'", Setouchi Triennale 2016 spring seasons, Miyanoura Gallery 6, Kagawa, Japan
2015  "Temporary home, Final home (APMoA Project, ARCH Vol.16)", Aichi Prefectural Museum of Art, Japan
2015  "SENSOU-GA STUDIES" Tokyo Metropolitan Art Museum, Japan
2014  "28zaki seaside art fair" Tamanoi Hotel, Fukuoka, Japan

Room of War Paintings
Past conversations in front of the collection
Untitled (On Return and Loss of Homeland)

Tamanoi Ryokan is an inn in Tsuyazaki, Fukutsu City, Fukuoka Prefecture with a history stretching back over 100 years. Iiyama Yuki has been a frequent visitor to Tamanoi Ryokan since 2013, and had the opportunity to talk with a man residing at the inn about several war paintings that were rediscovered among his family possessions in recent years. The man retraced his own memories of his grandfather, recounting his complex emotions toward the war paintings that his grandfather owned, and his intention to protect and preserve these paintings as artifacts of an era in Japanese history, while interpolating various multifaceted aspects of history into his narrative. In this project, Iiyama's stance of focusing on works at a specific site, and reimagining history and the past while attaining new perspectives through dialogue, are consistent with that of her other works such as Past conversations in front of the collection, composed of her work as a volunteer guide at the Fukuoka Art Museum and interviews with people she encountered in the vicinity of the museum.
Iiyama's works are exhibited in the lobby of the permanent collection galleries on the second floor (admission charged) and in front of the reading room in the first-floor lobby.

August 2-31, 2016｜Fukuoka Art Museum

The Fukuoka Art Museum opened on November 3, 1979. After overcoming many hurdles prior to the opening and dealing with various other problems afterward, the museum has permeated and taken root in this place, where it is now a natural part of the landscape. After 37 years of constant activity, however, the museum will be closing temporarily on August 31, 2016 to undergo a large-scale renovation project for the next two-and-a-half years. The facility is set to reopen in March 2019.
After having been part of the regular landscape for 37 years, the museum will be closed temporarily. On the eve of this major milestone, we would like to reconsider what kind of place the museum is. For example, you might say it is a place where people's thoughts, memories, and objects, including art works, are linked on many different levels. Or, in light of the museum collection, you might also say that it is a place where various eras and regions of the world from the last 2,000 years intersect.
This exhibition, which takes its title from a phrase coined by Hokari Munoru, uses the Fukuoka Art Museum, beginning with its opening in 1979, as a starting point to reconsider the past, present, and future. While focusing on the here and now in the form of the museum building, which contains a multifaceted history, the exhibition transcends time and space, listening to the voices of those who have been involved with the facility, and documenting and remembering the present with the help of six artists.

The exhibition title was derived from the writings Hokari Minoru (1971-2004). We would like to express our sincerest gratitude to Hokari's bereaved family for allowing us to use the phrase, "Doing history!"

website: Being Connected with HOKARI MINORU
http://www.hokariminoru.org/

Umeda Tetsuya

http://www.siranami.com/
started artistic activities since sometime after 2000

selected recent solo and group exhibitions
2016  "Tetsuya Umeda: Almost over, Always around", OTA FINE ARTS Singapore
2016  "See, Look at Observed what Watching is" Portland Institute for Contemporary Art, Portland, U.S.A.
2016  "minus20degree Art & Architecture Winter Biennale" minus20degree, Flachau, Austria
2015  "Sounds of Us", TRAFÓ HOUSE OF CONTEMPORARY ARTS, Hungary
2014  Kunisaki Art Festival "The Principle of Hope", Former Kakadi town hall, Oita Japan

1,000,000 Years: Just the Beginning

Equipment, ceilings, walls, furniture, and miscellaneous items scheduled to be discarded or replaced due to the renovations are conjoined with objects that Umeda Tetsuya has brought in to space so as to become functional once more, gaining a last shot at life. An archive showing how things were different before and after the museum opened, including newspapers articles, photographs, audio tracks, etc., is also exhibited. Here, all things seem to speak out with an equally powerful voice.
Measured against the yardstick of one's own life, 37 years is a long time. However, compared with an utterly unimaginable length of time like a million years, it's just the blink of an eye. Seen from this perspective, it does not seem like a bad idea to pause and take stock of our surroundings. To gaze at the various phenomena, generated by Umeda's physical intervention, occurring in this gallery where multiple streams of time intermingle. When we are attuned to these, at some point, every sound, every movement in the museum seems to manifest itself, full of life, before our eyes.

Sakai Sakiho + ALBUS

http://www.albus.in/
2009  opened ALBUS (the photo studio) in Kego, Fukuoka City

selected recent solo and group exhibitions
2014  "TOTTOTTO?: Various ways to recollect and record ", Fukuoka Prefectural Museum of Art, Japan
2014  "Know without knowing: Photo Exhibition by Sakiho Sakai & Kei Maeda", Dazaifu Tenmangu Shrine Museum, Fukuoka, Japan
2011  "Criterium81 Sakai Sakiho", Contemporary Art Center, Art Tower Mito, Ibaraki, Japan

Listening to something

The museum's Curatorial Department is where exhibitions and various other projects taking place at the museum originate. For Sakai Sakiho, this place where the curators do their work, with its clock with the loudly ticking hands, is like the beating heart of the museum. Vestiges of former curators, and traces of past exhibitions, are scattered here and there, but curators do not pay too much attention to them day to day. Sakai listened closely to the voices and sounds in the curators' room, tuning in to minute details and waiting for objects and presences to begin telling a story.
Sakai usually takes photographs of people, but this time she turned the camera lens toward things and places. Things are witnesses to events that have happened in specific places, and the subjects that Sakai focused on here, while inanimate, have the power to awaken people's memories, and enable these memories to be shared.

Tashiro Kazutomo

http://pg-web.net/members/kazutomo-tashiro/
2010  PhD course in the figurative expression, Art study, at the Fine Arts Graduate school of Kyushu Sangyo University

selected recent solo and group exhibitions
2016  "Tokyo: Contemporary Japanese Photography, vol.13", Tokyo Photographic Art Museum, Japan
2015  "When hamayuris are in bloom / Diary", Fukuoka Art Museum Civic Gallery B, Japan
2015  "City of Camelia Vol.3", photographers' gallery, Tokyo, Japan
2014  "Photography Will Be", Aichi Prefectural Museum of Art, Japan

To Fukuoka: 2006-2016

While preparing for this exhibition, Tashiro Kazutomo retraced his past memories of time spent in Fukuoka, and attempted to revisit these experiences. People he met again for the first time in years did not necessarily become the subjects of photographs, but the various revisitations and reunions entered Tashiro's own inner archive along with new experiences, and served as the substrate for this exhibition. While thinking and reflecting on the nature of the hometown in general and Fukuoka in particular, Tashiro printed the photographs he had taken and lined them up for examination.
All the people he met in Fukuoka after departing his hometown and then returning. As always, he had called out to passersby and taken their pictures. His photographs arise out of disparate lives intersecting for just a few minutes. They compellingly convey Tashiro's feelings toward this city, and both capture in a single moment and document in perpetuity the scenery, the lives, and the present state of the subjects.