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OKAMOTO Mitshiro 69 works <1990-2016>

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magazine / interview ”üpŽè’Ÿ ƒCƒ“ƒ^ƒrƒ…[u‹K§‚Æ‚Ç‚¤‚‚«‡‚Á‚Ä‚¢‚­‚©Hv ”üpo”ŎЁ@2020”N4ŒŽ†
interview ARTLOGUE@2018”N7ŒŽ23“ú@—é–Ø‘å•ã‚³‚ñuƒ‹ƒCEƒ”ƒBƒgƒ“‚â“ú´H•i‚©‚ç‚̈³—݂͂̂Ȃ炸AŽEŠQ—\A’Ê•ñ‚É‚à‹ü‚¹‚¸•\Œ»‚ð‚‚¯‚éƒA[ƒeƒBƒXƒg ‰ª–{Œõ”Ž b •\Œ»‚Ì•sŽ©—RŽž‘ã 01v
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2021, Reiwa 3
book uŒ»‘ã”üp‚̏ê‚Æ‚µ‚Ẵ|[ƒ‰ƒ“ƒhv‰Á{‰®–¾Žq@2021”N@‘nŒ³ŽÐ pdf
review ƒMƒƒƒ‰ƒŠ[2021 Vol.5 ŽsŒ´®Žmu”ü‚ÌŽUô#5vƒMƒƒƒ‰ƒŠ[ƒXƒe[ƒVƒ‡ƒ“ pdf
review artscape 2021”N5ŒŽ15“ú ‚“ˆŽœ‚³‚ñu”üpƒ”ƒ@ƒMƒiv“W•]
review TOCANA 2021”N5ŒŽ6“ú ƒPƒƒbƒs[‘O“c‚³‚ñ@ŠJÃ’†‚́u”üpƒ”ƒ@ƒMƒiv“W‚ªƒ„ƒo‚¢I
review ‹ž“sV•·@2021”N5ŒŽ1“ú@‚“ˆŽœ‚³‚ñ u”üpƒ”ƒ@ƒMƒiv“W•]
revew artscape 2021”N4ŒŽ1“ú ‘º“c^‚³‚ñ@ŒÂ“W@uƒIƒLƒiƒEƒXƒe[ƒLvƒŒƒrƒ…[
revew ‰«“êƒ^ƒCƒ€ƒX 2021”N3ŒŽ16“ú ‹Œ´“c—y‚³‚ñ@u‰«“ê‚𓥂ÝçW‚é‚Ì‚Í’Nv ‰ª–{Œõ”Ž“W——‰ïuƒIƒLƒiƒEƒXƒe[ƒLvƒŒƒrƒ…[
interview ƒˆƒRƒnƒ}ƒA[ƒgƒiƒr@2021”N3ŒŽ10“ú
‚æ‚Þƒiƒr‚¨ŽdŽ–ƒCƒ“ƒ^ƒrƒ…[vol.8ƒMƒƒƒ‰ƒŠƒXƒgX“c ÊŽq‚³‚ñ
revew ”üpŽè’Ÿweb 2021”N2ŒŽ25“ú ŽR–{_‹M‚³‚ñ
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revew HUB‰«“ê 2021”N2ŒŽ18“ú ‹{Œ´ƒVJƒFƒtƒŠ[‚¢‚¿‚낤‚³‚ñ
ƒA[ƒg‚Í•ª’f‚ðæ‚è‰z‚¦‚é‚© ‰ª–{Œõ”Ž“WuƒIƒLƒiƒEƒXƒe[ƒLvƒŒƒrƒ…[
book ‰ª–{Œõ”Ž@ƒIƒLƒiƒƒXƒe[ƒL@‹L˜^W@eitoeiko 2021


2020, Reiwa 2
book ReFreedom_AichiŠˆ“®‹L˜^W-•\Œ»‚ÌŽ©—R‚ƃA[ƒeƒBƒXƒg@ReFreedom_Aichii•Òj 2020
text Peace art column@2020”N9ŒŽ2“ú@–LŒ©ŽR˜a”ü‚³‚ñ@ŒR—p‹@‚ª~‚Á‚Ä‚­‚éuŠy‰€v
text uí—F‚Æ‚µ‚āv˜hŒ©–›ŒÂ“WuVE¹‚È‚éƒtƒ@ƒeƒBƒAvƒJƒ^ƒƒO, KUNST ARZT@2020
book in USA Media Culture in Transnational Asia, Rutgers University Press, 2020
news ‹¤“¯’ʐM@2020”N‚WŒŽ‚Q“ú[@‰Á“¡x‚³‚ñwu–â‘èìv“WŽ¦‚Ƀn[ƒhƒ‹@R‹c‹°‚ꎖ‘OR¸‚àx@
text ŒŽŠ§ƒMƒƒƒ‰ƒŠ[@2020”N7ŒŽ†@’ºŽg‰ÍŒ´ƒ‚Ì‚¢‚¢‚½‚¢•ú‘è‚V‚Ɂu•\Œ»‚ÌŽ©—R‚ÌŠ÷‚Qvì•i‰æ‘œ
review ”üpŽè’Ÿ@2020”N8ŒŽ†@´…õ‚³‚ñ@u“V——”üpv “WƒŒƒrƒ…[ ”üpo”ŎЁ@
review Tokyo Art Now 2020/06/21@‰Ô–[‘¾ˆê‚³‚ñ‚É‚æ‚éu“V——”üpvÐ‰î
review artscape 2020”N6ŒŽ15“ú ‚“ˆŽœ‚³‚ñ‚É‚æ‚éu“V——”üpv“WƒŒƒrƒ…[
review ’†“úV•·{“Œ‹žV•·@@2020”N6ŒŽ11“ú@’JŒû‘å‰Í‚³‚ñ@u“Vc§‚ðƒA[ƒg‚Ŗ₤v@
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newspaper ’©“úV•·@2020”N5ŒŽ28“ú@“c’†‚ï‚ê“Þ‚³‚ñu“Vc§ƒe[ƒ}‚ɃOƒ‹[ƒv“Wv
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magazine TŠ§‹à—j“ú 2020”N5ŒŽ22“ú†u“V——”üpv“WÐ‰î
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newspaper _“ސìV•·@2020”N4ŒŽ30“úuƒA[ƒgŠÓÜA‘‹‰z‚µ‚Ɂv
magazine TŠ§•¶t@4ŒŽ16“ú†@@u÷‚ðŒ©‚é‰ï ¡”N‚àŠJÃv@•¶åYtH
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news ”üpŽè’Ÿ@2020”N@u÷‚ðŒ©‚é‰ïv
catalog ƒZƒŒƒuƒŒ[ƒVƒ‡ƒ“-“ú–{ƒ|[ƒ‰ƒ“ƒhŒ»‘ã”üp“W-@‹ž“sŽs—§Œ|p‘åŠw@2020
catalog ‚ ‚¢‚¿ƒgƒŠƒGƒ“ƒi[ƒŒ2019 ƒJƒ^ƒƒO@uî‚¯‚ÌŽž‘ãv@¶Šˆ‚Ì—FŽÐ@2020
magazine / interview ‹àˆäŒå‚³‚ñ ƒtƒCƒiƒ€EƒAƒ“ƒvƒ‰ƒOƒh@11†@ƒCƒ“ƒ^ƒrƒ…[u‚¨‘›‚ª‚¹ƒA[ƒg‚Ì‹«ŠEüv@u’kŽÐ@2020@SPRING SUMMER
magazine / interview ‘ò“c”ûŽq‚³‚ñ ”üpŽè’Ÿ ƒCƒ“ƒ^ƒrƒ…[u‹K§‚Æ‚Ç‚¤‚‚«‡‚Á‚Ä‚¢‚­‚©Hv ”üpo”ŎЁ@2020”N4ŒŽ†
catalog u—ˆ‚é‚ׂ«¢ŠE@‰ÈŠw‹ZpAAI‚ƐlŠÔ«v ÂŽRŠw‰@‘åŠw@2020”N


2019 Heisei 31 / Reiwa 1
book w‚ ‚¢‚¿ƒgƒŠƒGƒ“ƒi[ƒŒu“WŽ¦’†Ž~vŽ–ŒxŠâ”g‘“X@2019”N
book ŽR–{_‹M’˜uŒ»‘ã”üpŽjv’†ŒöV‘@2019”N
talk u—ˆ‚é‚ցJ‚«¢ŠEF‰ÈŠw‹ZpAAI‚ƐlŠÔ«vƒg[ƒNƒCƒxƒ“ƒg@ÂŽRŠw‰@‘åŠw@2019”N11ŒŽ15“ú
news ”üpŽè’Ÿ@2019”N11ŒŽ9“ú@AI‚Æ‘n‘¢A‚»‚µ‚ĉäX‚Í‚¢‚©‚ɐ¶‚«‚é‚©B
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review OutermostNAGOYA 2019”N9ŒŽ10“ú ˆäã¸Ž¡‚³‚ñu‰ª–{Œõ”Ž“W@ƒgƒ‰ƒ[ƒvv
talk ƒA[ƒeƒBƒXƒgƒg[ƒN@N-MARK 5G (‰©‹à4422 BLDG5ŠK)@2019”N9ŒŽ7“úi“yj17:00-18:00
text / interview –ˆ“úV•·@2019”N9ŒŽ1“ú@“ì—zŽq‚³‚ñou‰B‚³‚ê‚Ä‚¢‚é‚à‚́v•\Œ»p
news/report/review y‚ ‚¢‚¿ƒgƒŠƒGƒ“ƒi[ƒŒu•\Œ»‚Ì•sŽ©—Rv“W’†Ž~–â‘è•ñ“¹ziˆê•”j
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‚µ‚ñ‚Ô‚ñÔŠø@2019”N8ŒŽ14“ú@ƒAƒ‰ƒCƒqƒƒ†ƒLuŽ©—R’D‚¤ŽÐ‰ï@”’“ú‚É‚³‚ç‚·v
”üpŽè’Ÿ@2019”N8ŒŽ13“ú@“WŽ¦‚̍ĊJ‚ÉŒü‚¯‚½‹¦‹c‚ðBu•\Œ»‚Ì•sŽ©—R“WE‚»‚ÌŒãvŽÀsˆÏˆõ‰ï‚ª\‚µ“ü‚ê
review GS24.pl July 2019 Agata Maksymiuk‚É‚æ‚éuMono no awarev ƒŒƒrƒ…[
review ‹ž“sV•·@2019”N6ŒŽ1“ú@‰Í‘º—º‚³‚ñuˆÚ‚낤‹L‰¯‚âEEEv‚ɂāuƒgƒ‰ƒ[ƒvv‰æ‘œŒfÚ
review FASHION HEADLINE / ’©“úV•·DIGITAL&W 2019”N5ŒŽ25“ú –ì“c’BÆ‚³‚ñ@
magazine ŒŽŠ§ƒA[ƒgEƒRƒŒƒNƒ^[ƒY@2019”N3ŒŽ†
catalog –¥–ʂ̐XƒA[ƒgƒEƒH[ƒN 2017 ì•iW@2019”N1ŒŽ”­s
text u–¥–Ê‚Ì’n—ìv•½“c„Žu@i–¥–ʂ̐XƒA[ƒgƒEƒH[ƒN 2017 ì•iWj


2018, Heisei 30
web uInterview H—FˆêŽi 2000”N‘ãv 2018”N10ŒŽ28“ú@NPO–@lraco
review artscape 2018”N11ŒŽ1“ú† ‘º“c^‚³‚ñ‚É‚æ‚éuUFOv“WƒŒƒrƒ…[
talk uGEISTvƒg[ƒN@@2018”N10ŒŽ26“úi‹àj19:00-20:45@ 1•”F~ŠÖ–{‹ÓÆiTURNAROUNDj 2•”F~H“¡Œ’ŽuiÂXŒ§”üj
news ”üpŽè’Ÿ@2018”N10ŒŽ26“ú@‰ª–{Œõ”ŽuGEISTv
news CINRA.NET@2018”N9ŒŽ30“ú@‹‘å‚ȃIƒuƒWƒFu–¢Šm”F‰ñ“]•¨‘́v‚ª_Šyâ‚ɏoŒ»A‰ª–{Œõ”ŽwUFOx“W
news ”üpŽè’Ÿ@2018”N9ŒŽ13“ú@‹‘å‚ȁuUFOv‚ª–â‚¢‚©‚¯‚é‚à‚̂Ƃ́H
report ARTLOGUE@2018”N8ŒŽ2“ú@ ƒ‹ƒCEƒ”ƒBƒgƒ“A“ú´H•i‚©‚ç‚̉ñ“š b •\Œ»‚Ì•sŽ©—RŽž‘ã 01 ‰ª–{Œõ”ŽŽ‚Ì‹LŽ–‘΂µ‚Ä
interview ARTLOGUE@2018”N7ŒŽ23“ú@—é–Ø‘å•ã‚³‚ñuƒ‹ƒCEƒ”ƒBƒgƒ“‚â“ú´H•i‚©‚ç‚̈³—݂͂̂Ȃ炸AŽEŠQ—\A’Ê•ñ‚É‚à‹ü‚¹‚¸•\Œ»‚ð‚‚¯‚éƒA[ƒeƒBƒXƒg ‰ª–{Œõ”Ž b •\Œ»‚Ì•sŽ©—RŽž‘ã 01v
report The ARTRO, 11 July 2018, 'Scaling high in rainy metropolis, sArt Osaka 2018t '
news ƒfƒCƒŠ[ƒXƒ|[ƒcƒIƒ“ƒ‰ƒCƒ“ 2018”N6ŒŽ27“ú uƒŠƒAƒ‹EƒhƒU‚¦‚à‚ñ‚à“oêA‚i‚q‘åã‰w’¼Œ‹‚̃zƒeƒ‹‚ŁAƒA[ƒgƒtƒFƒAv
news ‹ž“sV•·@—[Š§@2018”N5ŒŽ26“ú@‘ò“c—º‰p‚³‚ñu—Œ’†—ŒŠOv‚É‚ÄMUSEUM, feel without seeing@Ð‰î
news –ˆ“úV•·@2018”N5ŒŽ19“ú@“ì—zŽq‚³‚ñu•Ç‚É29‚Ì“µv+web
news ¼“ú–{V•·@2018”N5ŒŽ8“ú –쑺‘å•ã‚³‚ñouƒhƒU‚¦‚à‚ñv•s“KØH}+YAHOOƒjƒ…[ƒXI
report ƒAƒ‹ƒgƒl 2018”N5ŒŽ7“ú –؉º‹MŽq‚³‚ñ{–žŠJ‚̍÷‚É•‰‚¯‚¸—ò‚炸lX‚ð–£—¹‚µ‚½u•Ÿ‰ªé‚܂邲‚ƃ~ƒ…[ƒWƒAƒ€v}
document ƒAƒEƒgƒIƒuƒgƒŠƒGƒ“ƒi[ƒŒ@FISHBONE SPECIAL ISSUE 2018 …‘°ŠÙŒ€ê 2018”N4ŒŽ
news ’©“úV•·@‹ãB”Å—[Š§@2018”N4ŒŽ6“ú@ŠÛŽR‚Ђ©‚肳‚ñAˆÀÖkˆê‚³‚ñuì•i–¼•š‚¹‚Ä“WŽ¦u‹‰J”íÐŽÒ‚É”z—¶vv
news –ˆ“úV•·@•Ÿ‰ª“sŽsŒ—”Ł@2018”N4ŒŽ5“ú@“n•Ó—ºˆê‚³‚ñuŽUô‚ª‚Ä‚çƒA[ƒg‚ɐG‚ê‚ā@”üp‰Æ‚Ul‚̍ì•i“_Ýv
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news ¼“ú–{V•·@2018”N4ŒŽ3“ú –쑺‘å•ã‚³‚ñu”üp~—ðŽj“IŒš‘¢•¨@˜E‚̍\‘¢¶‚©‚µ‚āv
news HUFFPOST 2018”N4ŒŽ3“ú ˆÀ“¡Œ’“ñ‚³‚ñuƒhƒU‚¦‚à‚ñv”íÐŽÒ‚Ö‚Ì”z—¶‚𗝗R‚ɁAƒ^ƒCƒgƒ‹‰B‚³‚ê‚é
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review Arte y Periodismo feb 2018 Cuauhtemoc Islas‚É‚æ‚éuMaterial Art Fairv“WƒŒƒrƒ…[
review WHITEHOT MAGAZINE feb 2018 Karen Moe‚É‚æ‚éuMaterial Art Fairv“WƒŒƒrƒ…[
report OCULA 2018”N2ŒŽ18“ú@Robert Ayers‚æ‚éuMaterial Art Fairv“WƒŒƒ|[ƒgiuƒƒ“ƒs[ƒXƒƒ“ƒsv‚ւ̃Rƒƒ“ƒg‚ ‚èj
review ƒPƒgƒ‹ Vol.41 2018”N2ŒŽ15“ú@¬è“NÆ‚³‚ñ‚É‚æ‚éuTHE ƒhƒU‚¦‚à‚ñ“W TOKYO 2017v“WƒŒƒrƒ…[ ‘¾“co”ÅŽÐ
web/Youtube COOL HUNTER MX 2018”N2ŒŽ11“úuSEMANA DE ARTE CDMX 2018viuƒƒ“ƒs[ƒXƒƒ“ƒsv‚¿‚ç‚èj
review artscape 2018”N2ŒŽ1“ú@‘º“c^‚³‚ñ‚É‚æ‚éuTHE ƒhƒU‚¦‚à‚ñ“W TOKYO 2017v“WƒŒƒrƒ…[
ivent ‹âÀ’Ó‰®‘“X 2018”N1ŒŽ15“ú - 2ŒŽ14“ú ’†‘ºãĎq‚³‚ñƒZƒŒƒNƒVƒ‡ƒ“‚É‚æ‚éu2018”N’–ڂ̃A[ƒeƒBƒXƒgv
text ‚ ‚¢‚¾@237 2018”N1ŒŽ20“ú”­s@u•ÄŒRƒe[ƒ}ìA”ñŒöŠJ‚ցv


2017, Heisei 29
text A Pirate's View of World History ˆî‰ê”É”ü•Ò@‘ÛƒVƒ“ƒ|ƒWƒEƒ€50 2016 ‘Û“ú–{•¶‰»Œ¤‹†ƒZƒ“ƒ^[
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interview on web HARBER BUSINESS online 2017”N12ŒŽ3“ú@‹{Œ´ƒWƒFƒtƒŠ[‚³‚ñ@u‘–¯“IƒAƒjƒ‚̃pƒƒfƒBuƒhƒU‚¦‚à‚ñ“Wv‚Ɖ«“êŠî’n–â‘è
news HUFFPOST 2017”N12ŒŽ3“ú ˆÀ“¡Œ’“ñ‚³‚ñ@u••ˆó‚³‚ꂽƒA[ƒgw—Ž•Ä‚Ì‚¨‚»‚ê‚ ‚èx‚ªˆêŽž•œŠˆBv
news ’©“úV•· 2017”N12ŒŽ2“ú ŠÛŽR‚Ђ©‚肳‚ñ@•ÄŒR‹@’Ä—Žƒ‚ƒ`[ƒt‚̃A[ƒgì•iAêŠˆÚ‚µŒöŠJ‚ց{YAHOO!ƒjƒ…[ƒX
news ’©“úV•·@2017”N12ŒŽ2“ú ŠÛŽR‚Ђ©‚肳‚ñ@u—Ž•ÄvƒA[ƒgAˆÚ“®‚µŒöŠJ‚Ö
news ‰«“êƒ^ƒCƒ€ƒX@2017”N12ŒŽ2“ú@u•ÄŒRƒe[ƒ}ì•i@“WŽ¦‚ցv
news —®‹…V•ñ@2017”N12ŒŽ2“úu—Ž•Äv‚«‚傤‚©‚çŒöŠJ
web TV ŒŽŠÔƒŒƒ|TV.12ŒŽ†o‰‰@ 2017”N12ŒŽ01“úŽû˜^
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interview on web HUFFPOST 2017”N12ŒŽ01“ú ˆÀ“¡Œ’“ñ‚³‚ñu—Ž•Ä‚Ì‚¨‚»‚ê‚ ‚èv‚́A‚È‚º••ˆó‚³‚ꂽ‚Ì‚©H
TV news OTVƒjƒ…[ƒX@2017”N12ŒŽ01“ú
TV news RBCƒjƒ…[ƒX@2017”N11ŒŽ30“ú
review —®‹…V•ñ@2017”N11ŒŽ30“ú “W•]@ã‘º–L‚³‚ñ ou—Ž•ÄvŒöŠJ‚ð—v¿p‚Æ‚¢‚¤‹LŽ–‚Æ‚É‚æ‚é“W•]u‡ˆÓ‚Æ‹¤“¯–ÚŽw‚µI‚í‚è‚È‚«‘Θb‚ðv
news ‰«“êƒ^ƒCƒ€ƒX@2017”N11ŒŽ30“ú@oì•i”ñŒöŠJu“P‰ñ‚ðvp
news —®‹…V•ñ@2017”N11ŒŽ30“ú@ou—Ž•ÄvŒöŠJ‚ð—v¿p
review ‰«“êƒ^ƒCƒ€ƒX@2017”N11ŒŽ29“ú “W•]@’¬“cŒb”ü‚³‚ñ @u’m‚Ì“yë@“y’n’m‚è‘ñ‚­v
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news ‰«“êƒ^ƒCƒ€ƒXplus@2017”N 11ŒŽ20“úm‘匷¬Œ·nu—¬’e’ˆÓIv‚Æ‚¢‚¤•¨‘›‚ȊŔ‚ª‰«“ꎩ“®ŽÔ“¹‰ˆ‚¢‚É¥¥¥
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news ’©“úV•·+ƒfƒWƒ^ƒ‹@2017”N11ŒŽ18“ú@ŠÛŽR‚Ђ©‚肳‚ñu•ÄŒR‹@’Ä—Ž‚ª‘èÞ‚̃A[ƒgì•iA•¢‚¢‚©‚¯”ñŒöŠJ‚Ɂ@‰«“êv
news ’©“úV•·+ƒfƒWƒ^ƒ‹@2017”N11ŒŽ17“ú@ŠÛŽR‚Ђ©‚肳‚ñu•ÄŒR‹@’Ä—Žƒ‚ƒ`[ƒt‚̍ì•iAŽs‚ª”ñŒöŠJ‚ցv{YAHOO!ƒjƒ…[ƒX
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news ‰«“êƒ^ƒCƒ€ƒX@2017”N11ŒŽ17“ú@‹g“cL‚³‚ñ@•ÄŒRƒe[ƒ}ì”ñŒöŠJ‚ց@uƒCƒ`ƒnƒiƒŠƒA[ƒgv‚ÅŽ––±‹Ç@u—£“‡U‹»‚É‚»‚®‚킸v
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web info BLOUIN ART INFO Okamoto's eThe Dozaemon Exhibition Tokyo 2017' At Eitoeiko Gallery, Tokyo
magazine SAVVY1ŒŽ†i2017”N11ŒŽ22“új uƒEƒH[ƒzƒ‹”üpv“WÐ‰î
magazine “‡‚ցB@ŠC•—ŽÉ@2017”N10ŒŽ†@iƒCƒ`ƒnƒiƒŠƒA[ƒgƒvƒƒWƒFƒNƒgj
my text FISHBONE SPECIAL ISSUE 2017 …‘°ŠÙŒ€ê 2017”N9ŒŽ
catalog LOVE LOVE SHOW THE SECOND ÂXŒ§—§”üpŠÙ@2017”N”­s
talk ivent •\Œ»‹K§‚ƃ†[ƒ‚ƒA@å‘äåYpŽÉ/ creek ƒAƒgƒŠƒG 2017”N9ŒŽ8“ú
report web D!CE 2017”N9ŒŽ2“ú@‰¡•lŽõ’¬‚ǐ^‚ñ’†‚Ì‹ó’n‚É”p‰€‚ªoŒ»I
review artscape 2017”N08ŒŽ01“ú† uƒ‰ƒuƒ‰ƒuƒVƒ‡[2v‚ðU‚è•Ô‚Á‚Ä H“¡Œ’Žu‚³‚ñiÂXŒ§—§”üpŠÙj
talk ivent ‰ª–{Œõ”Ž@ƒg[ƒNƒVƒ‡[@2017”N6ŒŽ24“úi“yj14:00-15:00 ÂXŒ§—§”üpŠÙEŠé‰æ“WŽ¦Žº“à
infomation JESPA! 2017”N6ŒŽ4“ú@˜a‹vˆäØŽq‚³‚ñuƒCƒ“ƒXƒ^‰f‚¦‚·‚é”üpŠÙ!? ‹‘åƒA[ƒg‚Ǝʐ^‚ªŽB‚ê‚éuƒ‰ƒuƒ‰ƒuƒVƒ‡[2vv
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catalog u‹}‚°I‚ä‚Á‚­‚èv@Art Obulist 2016 2017”N”­s
catalog u“úX‚Ì—ô‚¯–ځv ‚¨‚¨‚ª‚«ƒrƒGƒ“ƒi[ƒŒ2015 IAMAS 2017”N”­s
review artscape 2017”N1ŒŽ15“ú@‚“ˆŽœ‚³‚ñ‚É‚æ‚éuƒtƒNƒVƒ}”üpv“WƒŒƒrƒ…[


2016, Heisei 28
review }‘V•·@2016”N12ŒŽ17“ú@ˆî‰ê”É”ü‚³‚ñ@uƒpƒNƒŠƒGƒCƒ^[ˆÙ•·v@
infomation TŠ§‹à—j“ú@2016”N12ŒŽ16“ú†uƒtƒNƒVƒ}”üpvÐ‰î@uƒ‚ƒŒƒVƒƒƒ“vŒfÚ
infomation –ˆ“úV•·’©Š§@2016”N12ŒŽ23“úuƒtƒNƒVƒ}”üpvÐ‰î@uƒ‚ƒŒƒVƒƒƒ“vŒfÚ
review ‹ž“sV•·—[Š§@2016”N12ŒŽ15“ú@‰Í‘º—º‚³‚ñuƒtƒNƒVƒ}”üpvˆê–ʂŏЉî
preview artscape 2016”N11ŒŽ15“ú@‚“ˆŽœ‚³‚ñ‚É‚æ‚éuƒtƒNƒVƒ}”üpv“WƒvƒŒƒrƒ…[
talk ƒA[ƒeƒBƒXƒgƒg[ƒN@2016”N11ŒŽ12“ú@gallery CAJ
catalog ˜Zbƒ~[ƒcEƒA[ƒg Œ|pŽU•à2016 2016”N11ŒŽ
review TH No.68 2016”N10ŒŽ@ƒPƒƒbƒs[‘O“c‚³‚ñ‚É‚æ‚éw69xŒÂ“W•ì•i}ŠÓ
leaflet MŠy‚Ü‚¿‚È‚©Œ|pÕ 2016”N10ŒŽ
review artscape 2016”N10ŒŽ15“ú†‘º“c^‚³‚ñ‚É‚æ‚éu69v“W•]
ivent ‰ª–{Œõ”Ž‚ÌŽdŽ–@ 2016”N10ŒŽ17“ú(ŒŽ) @Ž ‰êŒ§—§“©Œ|‚̐X
ivent ‚¿‚å‚Á‚ƁAÅ‹ßA•Y”’‚µ‚·‚¬‚¶‚á‚È‚¢HƒcƒdƒL 2016”N10ŒŽ8“ú(“y) eitoeiko
review artscape 2016”N10ŒŽ1“ú@H“¡Œ’Žu‚³‚ñu‰ª–{Œõ”Ž“W69vƒŒƒ|
ivent ‚¿‚å‚Á‚ƁAÅ‹ßA•Y”’‚µ‚·‚¬‚¶‚á‚È‚¢H@2016”N9ŒŽ29“ú@ÂŽRƒuƒbƒNƒZƒ“ƒ^[@ ‰ª–{Œõ”Ž~“s’z‹¿ˆê~H“¡Œ’Žu
NEWS ’©“úV•·DIGITAL 2016”N9ŒŽ26“ú@H‚̘ZbŽR‚ÅŒ|pŽU•à@uƒ~[ƒcEƒA[ƒgvŠJÃ’†
NEWS ŽYŒoWEST@2016”N9ŒŽ14“ú@‚¦‚ÁIH ˜ZbŽR‚ª‚܂邲‚ÆŒ|p‹óŠÔ‚Ɂu˜Zbƒ~[ƒcEƒA[ƒgvŠJ–‹
magazine cover design TŠ§‹à—j“ú2016”N7ŒŽ15“ú(1096)†•\Ž†ƒCƒ[ƒW
review artscape 2016”N7ŒŽ01“ú@H“¡Œ’Žu‚³‚ñuUFO after / –¢Šm”F’Ä—Ž•¨‘Ì ‚»‚ÌŒãv“W•]
report “Ϗ¬–q–¯•ñ@2016”N4ŒŽ27“ú@ŽR“cD‚³‚ñ@u‰ª–{‚³‚ñì•i“WŽ¦ŠJŽnv
report “Ϗ¬–q–¯•ñ@2016”N4ŒŽ27“ú@ŽR“cD‚³‚ñ@uƒA[ƒg‚͍l‚¦•û•Ï‚¦‚év
report –kŠC“¹V•·@—[Š§@2016”N4ŒŽ25“ú@“c•Ó—¢“Þ‚³‚ñu’Ä—ŽŒã‚͐HŒã‚ÌŽpv
reaflet uUFO afterv “Ϗ¬–qŽs”üp”Ž•¨ŠÙi–kŠC“¹j2016”N4ŒŽ23“ú‚©‚ç9ŒŽ4“ú
report SHIFT 2016”N2ŒŽ@Yoko Akiyoshi‚³‚ñ‚É‚æ‚éuƒAƒEƒg‚ðŒ¾‚¢“n‚³‚ꂽƒA[ƒgvƒŒƒ|
report TŠ§SPA! 2016”N2ŒŽ2“ú† ChimªPom ƒGƒŠƒC‚³‚ñuƒAƒEƒg‚ðŒ¾‚¢“n‚³‚ꂽƒA[ƒgvƒŒƒ|
interview TH No.65 2016”N1ŒŽ@ƒPƒƒbƒs[‘O“c‚³‚ñ‚É‚æ‚éƒCƒ“ƒ^ƒrƒ…[Aì•iÐ‰î
interview ‹ž“sV•·@2016”N1ŒŽ23“ú@‰Í‘º—º‚³‚ñ‚É‚æ‚éuƒAƒgƒŠƒGƒg[ƒNv
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interview SHIFT 2016”N1ŒŽ8“ú@AYA Shomura‚³‚ñ‚É‚æ‚éƒCƒ“ƒ^ƒrƒ…[Aì•iÐ‰î‚Ȃǁ@
English Version


2015, Heisei 27
report bitecho 2015”N12ŒŽ@¬—э¹—F—¢‚³‚ñu‹ž“s‚Ì‚¨‚à‚µ‚댻‘ãƒA[ƒg‹’“_v
report SHIFT 2015”N12ŒŽ14“ú@Ayumi Yakura‚³‚ñ‚É‚æ‚郌ƒ|[ƒguƒA[ƒgƒtƒFƒAŽD–y2015v
review artscape 2015”N10ŒŽ15“ú@‚“ˆŽœ‚³‚ñu‰ª–{Œõ”Žv“W•]
review artscape 2015”N10ŒŽ01“ú@H“¡Œ’Žu‚³‚ñu‰»‚¯•¨“Wv“W•]
catalog u‰»‚¯•¨v@ÂŒ¶ŽÉ@2015”N7ŒŽ
review artscape 2015”N9ŒŽ15“ú@‚“ˆŽœ‚³‚ñuFace Frwardv“W•]
catalog uLIFE to LIFEv ‚¨‚¨‚ª‚«ƒrƒGƒ“ƒi[ƒŒ2013 2015”N”­s
catalog uƒfƒBƒYƒj[”üpv@KUNST ARZT 2015”N
news uUFOv‚ÉŠÖ‚µ‚Ă̐”‘½‚­‚ÌTVƒjƒ…[ƒX‚âƒoƒCƒ‰ƒ‹ƒƒfƒBƒA•ñ“¹
review artscape 2015”N6ŒŽ15“ú@‚“ˆŽœ‚³‚ñuƒfƒBƒYƒj[”üpv“W•]
review artscape 2015”N6ŒŽ15“ú@‘º“c^‚³‚ñuƒfƒBƒYƒj[”üpv“W•]
review –ˆ“úV•·@2015”N6ŒŽ12“ú•t@´…—F‚³‚ñuƒfƒBƒYƒj[”üpv“W
review –kŠC“¹V•·@2015”N5ŒŽ26“ú•t@‘º“c^‚³‚ñuƒfƒBƒYƒj[”üpv“W•]
text uƒpƒ‰l no.005v‘å‹v•Û”ü‹I‚³‚ñ‚̘AÚ‹LŽ–‚Ƀoƒbƒ^‚à‚ñÐ‰î@2015”N5ŒŽ
catalog utimelake-ŽžŠÔ‚̌΁v@timelakeŽÀsˆÏˆõ‰ï@2015”N3ŒŽ
text ¶”ç‚𔍂ª‚ꂽ<ƒoƒbƒ^ƒ‚ƒ“>-à€ˆó‚Æ’E”ç‚ ‚é‚¢‚̓Oƒ[ƒoƒ‹Žž‘ã‚̏¤•W‚Æ•¡»Œ 
ˆî‰ê”É”ü‚³‚ñ@w‚ ‚¢‚¾x218† (2015”N2ŒŽ20“ú”­s)
lecture uŒÕ“ꕶ‚Ì–`Œ¯[ƒRƒs[‚̃Rƒs[‚͉½‚𐶂ނ©Hv@ƒpƒŠ“ú–{•¶‰»‰ïŠÙ@2015”N1ŒŽ23“ú
catalog u‚¤‚‚íiŠíj‚Æ‚¤‚‚µ(ŽÊ)v@ƒpƒŠ“ú–{•¶‰»‰ïŠÙ/‘Û“ú–{•¶‰»Œ¤‹†Š@2015”N1ŒŽ
Utsuwa et utsushi, Maison de la culture du Japon a Paris , FR
review uartscapev2015”N1ŒŽ15“ú†•ŸZ—õ‚³‚ñ‚É‚æ‚éuƒ}ƒbƒNƒƒ|ƒbƒvv“W•]
review u”üpŽè’Ÿv2015”N1ŒŽ†‹ß“¡—º‰î‚³‚ñ‚É‚æ‚éuƒ}ƒbƒNƒƒ|ƒbƒvv“W•]
review/report ¼àV”üŽq‚³‚ñ‚É‚æ‚éu”ü­—‚ɉ½‚ð‹‚ß‚Ä‚«‚½‚Ì‚©v@—´¶@2015”N1ŒŽ†


2014, Heisei 26
catalog ƒ‚ƒmƒOƒ‰ƒ€”üp / Monogram Art , KUNST ARZT
review uartscapev2014”N12ŒŽ15“ú†‘º“c^‚³‚ñ‚É‚æ‚éuƒ}ƒbƒNƒƒ|ƒbƒvv“W•]
report Think of Fashion“Á•Ê•Ò ‹e“c‘ô–炳‚ñ‚É‚æ‚éu”ü­—~ƒtƒ@ƒbƒVƒ‡ƒ“u”ü­—‚Ì”üpŽjv“W‚©‚çl‚¦‚év
workshop u‚Ü‚ñ‚°‹¾vƒ[ƒNƒVƒ‡ƒbƒv@eitoeiko 2014”N10ŒŽ25“ú
catalog u”ü­—‚Ì”üpŽjv@ÂŒ¶ŽÉ@2014”N7ŒŽ
lecture ideas on the move#6u—\’è‚Í–¢’èv‹ž“sŒ|pƒZƒ“ƒ^[E˜aŽº–¾—ρ@2014”N7ŒŽ25“ú
text @uŽÐ‰ï‚ɃA[ƒg‚ȃNƒXƒŠ‚ðvŽ·•M@ƒs[ƒvƒ‹@u‘åã•ÛŒ¯ˆãŽGŽv@2014”N7ŒŽ†
lecture u‚±‚Ƃ΂̔üpv ‹ž“sµ‰ãŒ|p‘åŠw 2014”N7ŒŽ5“ú 13:00-15:00
magazinne ”üp‚Ì‘‹2014”N‚VŒŽ†H“¡Œ’Žu‚³‚ñ‚É‚æ‚éu¡ŒŽ‚̈ê•iv‚ɁuLIFElinev‚̏Љî
report book HAPS Research Map 2013-2014
book ’†‘º˜aŒb‚³‚ñ‚Ì’Ps–{udress after dressv•½–}ŽÐ 2014”NuLVƒoƒbƒ^‚à‚ñv‚̏Í
newspaper/international The Art Newspaper No.255 2014”N3ŒŽ†‚ɂāuƒ‚ƒmƒOƒ‰ƒ€”üpv“W‹LŽ–B
newspaper ‹ž“sƒŠƒrƒ“ƒOV•·@2014”N3ŒŽ29“ú†uƒ‚ƒmƒOƒ‰ƒ€”üpv“WÐ‰îB
text uƒ‚ƒmƒOƒ‰ƒ€”üpvŽ·•M@ŒŽŠ§‚Ý‚ñ‚Ï‚­2014”N3ŒŽ†@‘—§–¯‘­Šw”Ž•¨ŠÙ
magazinne ’|“àŒú‚³‚ñ‚É‚æ‚éƒCƒ“ƒ^ƒrƒ…[@Meets Regional 2014”N4ŒŽ†@‹žã_ƒGƒ‹ƒ}ƒKƒWƒ“ŽÐ
book ˆî‰ê”É”üŽ‚É‚æ‚é uŠG‰æ‚Ì—ÕŠE\‹ß‘ã“ŒƒAƒWƒA”üpŽj‚Ìž~ž‡‚Æ–½‰^v –¼ŒÃ‰®‘åŠwo”ʼnï@2014


2013, Heisei 25
magazinne K(ƒmƒ‹ƒEƒF[‚̃Jƒ‹ƒ`ƒƒ[ƒ}ƒKƒWƒ“)@SEPT 2013
lecture u21¢‹I10”N‘ã“ú–{•¶‰»‚Ì‹O“¹C³v‘Û“ú–{•¶‰»Œ¤‹†ƒZƒ“ƒ^[ 2013
catalog u•Ÿ‰ªŒ»‘ã”üpƒNƒƒjƒNƒ‹1970-2000v“WƒJƒ^ƒƒO@•Ÿ‰ªŽs”üpŠÙ{•Ÿ‰ªŒ§—§”üpŠÙ
catalog u‘Θb‚Ì’ëv“WƒJƒ^ƒƒO@NO-MA 2013


2012, Heisei 24
text uƒoƒbƒ^ƒ‚ƒ“v‚̍ėˆ, Battamon Returns –|–ó‚̐­Ž¡Šw‚Æ‘S‹…‰»‚Ö‚Ì’ïR ˆî‰ê”É”ü‚³‚ñ@w‚ ‚¢‚¾x198† (2012”N12ŒŽ20“ú”­s)
text IMAI NoriouMasked Portraitv Marianne Boesky Gallery, NY, USA
lecture ucrossing boundariesvKara-SA‹ž“s‘åŠw (‹ž“s)
text ŽRŒû—mŽOŽ‚ÌŠwŒ|ˆõƒŒƒ|[ƒgu•Ÿ‰ªŒ»‘ã”üpƒNƒƒjƒNƒ‹1970-2000vartscape@2012”N11ŒŽ15“ú†
text ^‰º“N‚³‚ñ@Artist's work“W ‹ž“s–¯•ñ@ 2012.6.24
fm uWind up ART KyotovFM79.7‹ž“sŽOðƒ‰ƒWƒIƒJƒtƒF ƒQƒXƒg 2012.6.7
review •ŸZ—õ‚³‚ñ‚É‚æ‚éuƒoƒbƒ^‚à‚ñ‚̃oƒbƒ^‚à‚ñv“W•]@artscape@2012 4 21
leaflet catalog uŽ„‚Ì’p‚¸‚©‚µ‚¢ì•iWv 2012”N4ŒŽ@CAS


2011, Heisei 23
Interview Cool Magazine vol.21 Sep 2011 ƒ_ƒjƒGƒ‰‚³‚ñ‚É‚æ‚éƒCƒ“ƒ^ƒrƒ…[‹LŽ–
text •ŸZ—õ‚³‚ñ‚É‚æ‚郋ƒCEƒ”ƒBƒgƒ“•\ŽQ“¹“X‚ł́uƒrƒŠ[EƒAƒLƒŒƒIƒXv“W•]@artscape 2011 12 3
seminar ’†”V“‡ƒfƒUƒCƒ“ƒ~ƒ…[ƒWƒAƒ€ de sign de@2011”N10ŒŽ12“úi…jde sign de > …—jƒZƒ~ƒi[
ƒA[ƒg‚ƃfƒUƒCƒ“‚ð‚æ‚è‚æ‚­Šˆ—p‚·‚邽‚ß‚Ì“ü–åuÀ ƒQƒXƒguŽt‚Æ‚µ‚ÄŽQ‰Á
text ‚ ‚¢‚¾185†@¡ˆäj—Y‚³‚ñƒ‹ï‘́„[‚»‚ê‚́uŽ„‚Ì‘åŠwv‚¾‚Á‚½@2011”N7ŒŽ
text –Ñ—˜‰ÃFŽuŒö‹¤«‚ƃA[ƒgv@ƒJƒ^ƒƒOuƒA[ƒg‚̉ۑèv @ƒg[ƒLƒ‡[ƒƒ“ƒ_[ƒTƒCƒg@2011”N6ŒŽ
book uƒ}ƒlƒLƒ“‚Ì‚·‚×‚Ä ‘±•Ò 1996-2010v•l“c ‹vm—Y‚³‚ñ‚É‚æ‚éuƒ}ƒlƒLƒ“ƒNƒƒjƒJƒ‹v
text ƒMƒƒƒ‰ƒŠ[@2011”N4ŒŽ”­s@ vol.4@u“W——‰ï‚ƃA[ƒeƒBƒXƒg‚Tv
text Œ|p”á•]ŽuƒŠƒAv25†@2011”N2ŒŽ28“ú”­s@˜hŒ©–›‚³‚ñ‚É‚æ‚éuwƒoƒbƒ^‚à‚ñxŽ–Œv
web ƒoƒbƒ^‚à‚ñ“P‹ŽŽ–Œ‚ÉŠÖ‚·‚é‚Ü‚Æ‚ß battamon @ ƒEƒBƒL
text ‚Ü‚·‚Ü‚·ŸŽè‚Ɋ֐¼ˆâŽY@yƒpƒ`‚à‚ñz@‰Í‡^”ü]‚³‚ñ@’©“úV•·@2011”N1ŒŽ12“ú


2010, Heisei 22
catalog ƒtƒ@ƒbƒVƒ‡ƒ“ãYæ / Fashion KITAN, _ŒËƒtƒ@ƒbƒVƒ‡ƒ“”üpŠÙ / KOBE Fashion Museum
news uŒ|p‚Æ’m“IàŽYŒ ‚ÌŠÖŒW‚́@ì•i“P‹Ž‚ß‚®‚èƒVƒ“ƒ|v_’Jç»‚³‚ñ@_ŒËV•·@2010”N12ŒŽ30“ú
symposium ŒöŠJƒVƒ“ƒ|ƒWƒEƒ€uŒ»‘ãƒA[ƒg‚Æ’m“IàŽYv2010”N12ŒŽ17“úi‹àj13:00 - 17:00 ‘åãH‹Æ‘åŠw
text y“PŽû‚³‚ꂽuƒoƒbƒ^‚à‚ñvz[Šž^•ä‚³‚ñ@Ž‹Šo‚ÌŒ»ê vol.7@ ‘çŒí‘–[ 2010”N11ŒŽ
news uƒoƒbƒ^‚à‚ñFƒuƒ‰ƒ“ƒh–Í—l“ü‚è”üpì•i„‚è‹c˜_|—ˆŒŽ‘åã‚ɍēoêvŽè’Ë‚³‚⍁‚³‚ñAŠÝŒjŽq‚³‚ñ –ˆ“úV•·@2010”N10ŒŽ21“ú@“Œ‹ž’©Š§{–ˆ“újp
English version
text TŠ§‹à—j“ú2010 10.15 ‘æ819† ‚«‚ñ‚悤‚Ô‚ñ‚©@”üp uƒoƒbƒ^‚à‚ñEƒŠƒ^[ƒ“ƒYv ‰ª–{Œõ”Ž
news uƒ”ƒBƒgƒ“ŽÐR‹c‚Å“P‹Ž@uƒoƒbƒ^‚à‚ñvÄ“WŽ¦v@’©“úV•·@2010”N10ŒŽ4“ú@¬ìá‚³‚ñ‚É‚æ‚é‹LŽ–ƒp[ƒg2@{asahi.com,
english news in magazine and web ArtAsiaPacific
Issue #70 September/October 2010
'Louis Vuittonfs Discriminating Support for Contemporary Art' by Irina Makarova

report ‰f‰æ”é•ó@2010”N10ŒŽ†@ˆÀ“¡Œ’“ñ‚³‚ñu••ˆóì•iƒNƒƒjƒNƒ‹v‘æ10‰ñuƒoƒbƒ^‚à‚ñv
report ‹Ù‹}ƒŒƒ|[ƒg]–¯ŠÔŠé‹Æ‚É‚æ‚éV‚½‚ÈŒŸ‰{\\ƒ‹ƒCEƒ”ƒBƒgƒ“‚ªˆø‚«‹N‚±‚µ‚½ì•i“P‹ŽŽ–Œ‚̃Œƒ|[ƒg
•ŸZ—õ‚³‚ñ@uŒŽŠ§‚ ‚¢‚¾v173†@2010”N6ŒŽ20“ú†
news

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‹U•¨‚¾‚炯•—Žh”üpuƒoƒbƒ^‚à‚ñv“P‹Ž‘›“®
–ˆ“úV•·@ŠÖ¼”Ł@2010”N‚VŒŽ‚W“ú@Žè’Ë‚³‚⍁‚³‚ñ‚É‚æ‚é‹LŽ–

review •ŸZ—õ‚³‚ñu•ž‘•’Ê‚¶Ž©•ªÄlv@‹¤“¯’ʐMŽÐ”zMA‹ž“sV•·ŽÐ‚Ù‚©@2010”N7ŒŽ5“ú
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news uƒoƒbƒ^‚à‚ñ‘›“®v@’©“úV•·@2010”N6ŒŽ27“ú@¬ìá‚³‚ñ‚É‚æ‚é‹LŽ–@{asahi.com,
english news@@ Artworks plucked froml exhibition by THE ASAHI SHIMBUN in asahi.com
english news Louis Vuitton Locust exhibition exterminated early by Robert Michael Poole
CNN International CNNGO 30 June,2010
@english news@ Louis Vuitton terminates exhibition at Kobe Fashion Museum
FlashArt online.com 5 July,2010
Chinese (Taiwan) News Ž©—RŽž•ñ The Liberty Times@28 June,2010



2009, Heisei 21
catalog In Search of Colors, ¬ˆÀ‘¢Œ`‘åŠwƒƒfƒBƒAƒZƒ“ƒ^[
review Nazia Parveen 'Japanese artist displays work in Blackburn' Lancashire TelegraphiƒCƒMƒŠƒXj2009”N8ŒŽ28“ú†
news BBC about 'Strange world' show in Blackburn Museum
Web-review artinliverpool September16,2009 about Strange world show
web-review ART IT ƒXƒgƒŒƒ“ƒWƒ[ƒ‹ƒh@2009
web-info Complex Magazine 2009


2008, Heisei 20
catalog color as communication, ¬ˆÀ‘¢Œ`‘åŠwƒƒfƒBƒAƒZƒ“ƒ^[
web-review artwall about 'FCV' show 2008
web-news ARTFORUM 2008
web-review ARTdlant about All of This is Melting Away show 2008
web-info Hustler of culture All of This is Melting Away 2008
web-info PING MAG 2008
web-TV info CURRENT 2008
Šˆ“®‹L˜^W u‚Ç‚ñ‚ȉ肪‚Å‚é‚Ì‚©‚ȁH•ƒvƒƒ~ƒXv‚l‚d‚f‚`[‚o‚q‚nA‚Q‚O‚O‚W


2007, Heisei 19
catalog Thermocline of Art - Asian New Wave, ZKM
catalog ”üp‚̃{ƒP / Bijyutsu no BOKE, CASO
review u”üp‚Ɛ푈vŽR–{~•v‚³‚ñ,2007


2006, Heisei 18
˜AÚ / Serialization TŠ§‹à—j“ú ˜AÚuàÛàè”j‰óv589†i2006”N1ŒŽ13“új‚©‚ç660†i2007”N6ŒŽ29“új‚܂ō‡Œv72‰ñ˜AÚ
review u“ú–{“Ž¡Žž‘ã‚̐_ŽÐ‚̍Č»ƒvƒƒWƒFƒNƒgvŠâØ‚Ý‚¨A”üpŽè’Ÿ@2006”N2ŒŽ ”üpo”ÅŽÐ
catalog “ꕶ‚ÆŒ»‘ã Art and Object, ÂXŒ§—§”üpŠÙ / AOMORI Museum of Art
catalog Kio-A-Thau Artist-in-Residence 2005, Sugar Field Factory
catalog Well Done, Taipei MOCA


2005, Heisei 17
review ã]“cíŽÀu”–‚¢”ç‚̉º‚ɉB‚ê‚Ä‚¢‚錻ŽÀv—®‹…V•ñi2005”N4ŒŽ13“új
catalog views from abroad, Stadtgalerie Kiel, Germany
catalog 5 Austellung, Kunstleratelier Schleswig-Holstein-Haus Rostock
my text •”—Ž‰ð•ú u—Ž•Ä‚Ì‚¨‚»‚ê‚ ‚èv@2005”N9ŒŽ†


2004, Heisei 16
catalog ƒRƒs[‚ÌŽž‘ã / The Copy Age, Ž ‰êŒ§—§‹ß‘ã”üpŠÙ / The Museum Of Modern Art,Shiga
catalog Immaterial schmuck, Schloss Plueschow
review –Ñ—˜‹`Žk@i‚¼Žs—ðŽjŽ‘—¿ŠÙj@artscape 2004”N‚VŒŽ‚P‚T“ú
review ¼Œ´ˆê¬@Žl‘V•·i2004”N6ŒŽ10“új
review u‘‹«‚ð‰z‚¦‚čL‚ª‚éAƒVƒjƒJƒ‹‚ц[ƒ‚ƒ‰ƒX‚Ȑ¢ŠEvÂ–쏮ŽqAVOGUE Nippon@q2004”N9ŒŽr“úŒoƒRƒ“ƒeƒiƒXƒg
text u¡T‚̂ЂƁvŽR’†“oŽuŽq@ŽÐ‰ïV•ñ@q2004”N7ŒŽ16“úrŽÐ–¯“}
interview uKANSAI ARTIST FILEv’†˜eŒ’Ž™@KPO artnetwork SUMMER 2004 q2004”N4ŒŽrKPOƒLƒŠƒ“ƒvƒ‰ƒU‘åã
text u\”NƒA[ƒeƒBƒXƒg‚É•·‚­¡”N‚Ì•ø•‰vŒŽŠ§ƒMƒƒƒ‰ƒŠ[@q2004”N1ŒŽr


2003, Heisei 15
˜AÚ / Serialization ŒŽŠ§‚ ‚ꂱ‚ê uƒA[ƒgƒhƒ‰ƒSƒ“ƒXƒNƒŠƒ…[v2003”N4ŒŽ†-10ŒŽ†
review ŽRè—zŽqi 2003”N7ŒŽ12“ú j@@’·–ìŽs–¯V•·
review ‘¾“cŠ_ŽÀ@@‹ž“sV•·q2003”N5ŒŽ17“úr@‹ž“sV•·ŽÐ
text ’§”­‚·‚é”üp‰Æ‚½‚¿‚QE’Ê•ñ‚³‚ꂽ“ú–{’†‚̃gƒCƒŒv[Šž^•ä@‹ž“sV•·q2003”N5ŒŽ10“úr‹ž“sV•·ŽÐ
text u’¿–­‚È“ú–{“IƒCƒ[ƒW‚ðƒe[ƒ}‚ɁEEEvŽR‰º—¢‰Á@SAVVY‚UŒŽ†@‹žã_Lƒ}ƒKƒWƒ“ŽÐ
catalog A.G., Schloss Plueschow


2002, Heisei 14
catalog nebelleben, Neues Kunsthaus Ahrenshoop, Germany
catalog Simple Beads and cultured seeds, Schloss Plueschow, Germany
catalog 167c-‡U FERNSUCHT, 167c Berlin, Germany


2001, Heisei 13
review ŽR–{~•v artscape (2001”N7ŒŽ)
review ŽR’†‰p”V@@‹ž“sV•·q2001”N6ŒŽ16“úr@@‹ž“sV•·ŽÐ
˜AÚ / Serialization N-mark HP‘¼uƒjƒ…[ƒfƒŠ[•Ö‚èv2001”N1ŒŽ-4ŒŽ


2000, Heisei 12
catalog ƒLƒbƒYEƒA[ƒgEƒ[ƒ‹ƒh‚ ‚¨‚à‚è2000, ÂXŒ§‹³ˆç’¡”üpŠÙ®”õEŒ|pƒp[ƒN\‘z„iŽº
catalog ƒA[ƒg‚ÅŠw‚Ú‚¤ ƒA[ƒg‚ð—V‚Ú‚¤, L“‡ŽsŒ»‘ã”üpŠÙ / HIROSHIMA,MOCA
catalog given, ƒMƒuƒ“‹L˜^Ž•ÒWˆÏˆõ‰ï
review u“W•] ”üpŠÙv@@”üpŽè’Ÿq2000”N11ŒŽr@@Ž™“‡‚â‚æ‚¢@@”üpo”ÅŽÐ
text uƒA[ƒgƒpƒ‰ƒ_ƒCƒXv@@—¬s’ʐMq2000”N11ŒŽr@@Ž™“‡‚â‚æ‚¢@@ƒCƒ“ƒtƒ@ƒX
interview uƒA[ƒeƒBƒXƒgƒCƒ“ƒ^ƒrƒ…[ Vol.18 ‰ª–{Œõ”Žv@word:Œ´‹vŽq@ƒ^ƒEƒ“ƒA[ƒgƒMƒƒƒ‰ƒŠ[q2000”N1ŒŽr
review ‘¾“cŠ_ŽÀ@@‹ž“sV•·q2000”N12ŒŽ16“úr@@‹ž“sV•·ŽÐ
interview Œ´‹vŽq@@ƒCƒ“ƒ^[ƒlƒbƒg@@ƒ^ƒEƒ“ƒA[ƒgƒMƒƒƒ‰ƒŠ[q2000”N12ŒŽ22“úr


1999, Heisei 11
interview u‰ª–{Œõ”ŽƒCƒ“ƒ^ƒ”ƒ…[v@@Fragmentsq1999”N7ŒŽ VOL.4r@FragmentsOffice
text Î‹´ˆ»@@uCAFE coffee breakv“Wƒpƒ“ƒtƒŒƒbƒgq1999”N11ŒŽr@@FragmentsOffice
review ‰–“c@@¼“ú–{V•·q1999”N10ŒŽ6“úr@@¼“ú–{V•·ŽÐ
review ‘¾“cŠ_ŽÀi”üp”á•]‰Æj@@‹ž“sV•·q1999”N9ŒŽ4“úr@@‹ž“sV•·ŽÐ
review ŠâØ‚Ý‚¨@@ƒCƒ“ƒ^[ƒlƒbƒg@@ƒ^ƒEƒ“ƒA[ƒgƒMƒƒƒ‰ƒŠ[u¡T‚̂ЂƂ±‚Ɓvq1999”N9ŒŽ
catalog CCA Research Program 98/99, CCA–k‹ãB / CCA KITAKYUSYU


1998 , Heisei 10
catalog ˆÙ‚Ȃ鎋ŠE, ‘åã•{—§Œ»‘ã”üpƒZƒ“ƒ^[
review ŽR’†‰p”Vi‹ž“sV•·ŽÐ•¶‰»•”j@@‹ž“sV•·q1998”N6ŒŽ13“úr@@‹ž“sV•·ŽÐ
review ˆÀ•”•¶”́iƒA[ƒgƒR[ƒfƒBƒl[ƒ^[j@@’©“úV•·q1998”N2ŒŽ27“úr
review –k—¢Wi¼“ú–{V•·ŽÐ•¶‰»•”j@@¼“ú–{V•·q1998”N2ŒŽ27“úr
review ”ü”Z‚¿‚Ç‚èi”üp•]˜_‰Æj@@ƒCƒ“ƒ^[ƒlƒbƒg‚ÌPC-VANuŒfŽ¦”v


1997, Heisei 9
review ŽR’†‰p”Vi‹ž“sV•·ŽÐ•¶‰»•”j@@‹ž“sV•·q1997”N1ŒŽ18“úr@@‹ž“sV•·ŽÐ
text u2–œ‰~‚Å‚±‚ñ‚ÈŒ»‘ãƒA[ƒg‚ª”ƒ‚¦‚év@@ƒJƒsƒ^ƒ“q1997”N10ŒŽ†r@@•¶åYtHŽÐ


1996, Heisei 8
review HELEN A. HARRISON@@THE NEW YORK TIMESq1996”N9ŒŽ15“úr
review ‹g‰i”ü–çŽqiOPEN HOUSE EXHIBITION ŽåÉj@@“úŒoƒA[ƒgq1996”N8ŒŽ†r“úŒoBPŽÐ
text ‰Í–{MŽ¡i‹ž“s‘—§‹ß‘ã”üpŠÙŠwŒ|ˆõ-“–Žžj@uFUJIYAMA GEISHA seriesv“Wƒpƒ“ƒtƒŒƒbƒg
review ”öè²’qŽqiŽ ‰êŒ§—§‹ß‘ã”üpŠÙŠwŒ|ˆõ-“–Žžj@@‹ž“sV•·q1996”N3ŒŽ9“úr@@‹ž“sV•·ŽÐ
review Šì‘½‘º–¾—¢i‹ž“sŽs”üpŠÙŠwŒ|ˆõ-“–Žžj@@”üpŽè’Ÿq1996”N6ŒŽ†r@@”üpo”ÅŽÐ
review ’†’JŽŠGi‹ž“sŽspŠÙŠwŒ|ˆõj@@ƒOƒ‰ƒX&amp; ƒA[ƒgq1996 NO.14 ‰Ä†r@@‰hŒõ


1995, Heisei 7
˜AÚ / Serialization ƒTƒbƒgƒDƒouƒjƒ…[ƒˆ[ƒN•Ö‚èv1995”N4-7ŒŽ
my text ƒAƒNƒŠƒ‰[ƒg•ÊûuŒŒ‚ÌŠG‰æ‚ɂ‚¢‚āv ƒzƒ‹ƒxƒCƒ“


1994, Heisei 6
˜AÚ / Serialization ‚µ‚µ‚­’ʐMuƒjƒ…[ƒˆ[ƒN•Ö‚èv1994”N12ŒŽ-1995”N3ŒŽ
catalog “ú–{ƒrƒWƒ…ƒAƒ‹EƒA[ƒg“W, ‘ÛŒ|p•¶‰»V‹»‰ï
catalog ‹âÀ”ª’š–ÚŽžŒv‰®‰½Žž“W, ƒŠƒNƒ‹[ƒg


1993, Heisei 5
text uŒ|p‚ÌŽ©—§v@@ŒŽŠ§ƒMƒƒƒ‰ƒŠ[Rq1993”N3ŒŽ†r@@RIo”Å
catalog URBANART#1 ƒpƒ‹ƒR
catalog Œ|pÕ“Tg‹žh•ñ‘ ‹ž“sŽs


1992, Heisei 4
catalog “ú–{ŠC”üp“W •xŽR‹ß‘ã”üpŠÙ
tetxt uì•i‚Ì‚±‚±‚ë5v@@–k—¤’†“úV•·q1992”N12ŒŽ1“úr@@–k—¤’†“úV•·ŽÐ
1991, Heisei 3
preview u¡T‚Ì‹C‚É‚È‚éƒGƒLƒWƒrƒWƒ‡ƒ“v@@‚‚Ž‚‚Žq1991”N3ŒŽ28“úr










SITE SPECIFIC WORK
‹´Že“ª_ŽÐ‹«“àÄŒ»ƒvƒƒWƒFƒNƒgNS#272 KEIDAI Reappearance
NS284 “úŽ®Î“•âčȚi‹´“ª_ŽÐ‹«“àÕ’nA‘ä˜pj
Japanese stone-lantern reconstruction (Ciaotou,Taiwan)
–â‚¢‡‚킹F
Kio-A-Thau Art Village
‹´Že“ª“œ±åYp‘º
‘ä˜p‚—Yãp‹´“ª‹½‹»“œ˜HŽOJŽOåj
No.3, Lane 3, Singtang Rd., Ciaotou Township, Kaohsiung County, 825, Taiwan (R.O.C.)


FG#484 Pajarita and so on
Can Serrat,Barcelona,Spain
http://www.canserrat.org/








ƒA[ƒeƒBƒXƒgEƒXƒe[ƒgƒƒ“ƒg

Ž„‚Ì•\Œ»‚́Au‚±‚̐¢‚ð‚¤‚Â‚·‹¾v‚Å‚ ‚肽‚¢‚ƍl‚¦‚Ä‚¢‚Ü‚·B
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Artist statement

Art is a mirror that reflects the actual world, at least my artwork would be.
Nevertheless, the surface of my mirror has a subtle distortion of my own sense of aesthetic, humor, my spiritual and intercultural experience.
If there were something invisible in the world, there would be a reason. It may be that it is not impossible to see, but it should not to do. My artwork visualizes an image that could not see without it.

<English translation: KIBUKAWA Ei/ eitoeiko>