December 3 (Tue) – January 13 (Mon), 2024
Closed during winter holiday: December 28th – January 6th
Opening hours: 11:00-19:00 (last entry 18:45)
Closed: Mondays (if a public holiday falls on Monday, the gallery is closed the following day)
＜Exhibition Outline＞
In this exhibition, graphic designer SHUTO OTSUKI extracts from the city rational designs that are part of urban life, such as corporate logos, PET bottles, office buildings and parts of desk chairs, through the perspective of figuration and presents them as drawings.
In doing so, OTSUKI reveals the urban landscape stripped of function as mere figurative form, giving us a new impression of the city.
These works to be exhibited in gaps within bustling Ueno Station during the particularly busy end-of-year period will show us different aspects of reality.
*Events will be held during the exhibition period. Further details will be announced on the website at a later date.
＜Artist＞
SHUTO OTSUKI
1996 Born in Tokyo, Japan
2020 Graduated from Tama Art University, Department of Integrated Design
2023 Completed Master’s Degree in Design, Tokyo University of the Arts, Graduate School of Fine Arts
Graphic designer/Art director. Involved in the art direction and design of symbols, VI systems and advertising for cultural projects based on the theme of critical graphic design in advanced information society. Irregularly publishes typefaces and magazines from his own studio “non-sensu”.
＜Past Exhibition＞
2019 “Monuke no katachi” (The secret museum)
2020 Tokyo Type Directors Club 2020 Participating Artist (Ginza Graphic Gallery)
2021 “Japan Graphic Design Exhibition 2020 – I’M POSSIBLE” (798 ArtBridge / MUSEu&m)
2021 “non-sensu” (Alternative space F/Actory)
2023 “MANIFEST EXCHANGE” Participating Artist (√k gallery, Kagurazaka)
2023 “non-sensu” (Metro Ginza Gallery)
2024 ‘’Totemo benri na sen (Very convenient lines)” (COPYCENTER GALLERY)
＜Past works＞
“non-sensu” 2023, synthetic rubber and printmaking inks
All information gets consumed following the reverse order of the birth of letters. In today’s information-saturated world, various objects are automatically recorded subconsciously.
Through a certain point of view, the fragments of the present are collected and reassembled in this work.
It is a new language constructed by those living in the midst of globalization to describe the present.
Photo by Ryo Yoshiya
“Very Serious Lines” 2024, woodcut and print ink
By placing artworks, products, and tools as parallel entities in the exhibition space, the exhibition blurs the boundary between the known and the unknown of objects and visual information that we see on a daily basis.
Are the printing presses and books on the desks works of art or books on sale? Is the process of printing a poster an art performance or a printing process?
Photo by Ryo Yoshiya
