So see you again tomorrow, too? | Chim↑Pom from Smappa!Group

--- Project Index: ナラッキーNa-Lucky 2023
DOBUROKGEOLLIDOBUROKGEOLLI 2022
いつのことだか思いだしてごらんいつのことだか思いだしてごらん 2022
改名Name Change 2022
くらいんぐみゅーじあむCrying Museum 2022
SUNSUN 2022
はい、こんにちは Hello There 2020
May, 2020, TokyoMay, 2020, Tokyo 2020
A Drunk PandemicA Drunk Pandemic 2019
にんげんレストランNingen restaurant 2018
道Street 2017-
The other side 2017
Scrap & Build 2 2017
Scrap & Build 2016
Don't Follow The Wind initiated by Chim↑Pom 2015-
堪え難きを耐え↑忍び難きを忍ぶ10th ANNIVERSARY EXHIBITION 2015
金三昧KANE-ZANMAI 2014-
パラドックスPARADOX 2014
LOVE IS OVER 2014
マッドエリイMAD ELLIE 2013-
GARBAGE 2012-
PAVILION 2012-
REAL TIMES 2011
パズルPUZZLE 2011,2014-
IMAGINEIMAGINE 2010
BLACK OF DEATH 2008,2013
広島HIROSHIMA 2008-
日本のアートは10年おくれている世界のアートは7,8年おくれているJAPANESE ART IS 10 YEARS BEHIND, AND ART OF THE WORLD IS 7 OR 8 YEARS BEHIND. 2008
友情か友喰いか友倒れかBecoming Friends, Eating Each Other or Falling Down Together 2008
TPA 2007
サンキューセレブプロジェクト・アイムボカンTHANK YOU CELEB PROJECT "I'M BOKAN" 2007
ともだちTOMODACHI 2007
オレオレORE-ORE 2007
エロキテルEROKITEL 2007-
スーパーラットSUPER RAT 2006-
BODY 2005-

--- Overview　open/close: 「また明日も観てくれるかな？ So see you again tomorrow, too?」
2016年10月15日(土)ー2016年10月31日(月)
Venue: 歌舞伎町振興組合ビル　東京都新宿区歌舞伎町1丁目19-3
歌舞伎町振興組合……アジアを代表する歓楽街・歌舞伎町の基礎を作り上げ、ビジョンを描いてきた組合。日本でいちばん古い振興組合でもある。組合の事務所があるこの持ちビルは展覧会公開後に建て壊しが決定。

プロジェクト第2弾「道が拓ける」はこちらから

So see you again tomorrow, too?
15th Oct, 2016 - 31th Oct, 2016
Venue: *Kabukicho Promotion Association Building 1-19-3, Kabukicho, Shinjuku, Tokyo 160-0021
*Kabukicho Promotion Association....the organization that has been drawing a vision for the foundation of Asia’s leading red-light district, Kabukicho, is also the oldest promotion association in Japan. This building which houses its office is scheduled to be demolished after the exhibition. 　　

"Scrap and Build" vol.2

--- Media　open/close: "Cinra"Chim↑Pomが熱弁する結成からの10年と「全壊する個展」の意義 13/10/2016 PDF
"KAI-YOU"Chim↑Pom『また明日も観てくれるかな？』レポ　歌舞伎町で渦巻いた狂気の一夜 29/11/2016 PDF
"歌舞伎町ポータルサイト"『また明日も観てくれるかな？』 Chim↑Pomの歌舞伎町商店街振興組合ビルアート展はじまる。10月15日より31日まで PDF
"i-D the fifth sense"Chim↑Pomが選んだ新たな舞台は歌舞伎町、エリイが新作個展にかける想い 10/2016 PDF
"i-D"a guide to the new tokyo underground PDF
"Yahoo!ニュース"「流行ではなく文化が欲しい」――変化する歌舞伎町の奮闘 PDF
"ran dian"Chim↑Pom: So see you again tomorrow, too? PDF

--- Index　open/close: 4階青写真を描くversion 24th floor drawing a blueprint version 2
4階ルネッサンス憲章4th floor RENAISSANCE Charter
3階 BLACK OF DEATH3rd floor Black of Death
3階 SUPER RAT -Diorama Shinjuku-3rd floor SUPER RAT -Diorama Shinjuku-
3階みらいを描く3rd floor Drawing Mirai
3階性欲電気変換装置エロキテル5号機3rd floor Libido-Electricity Conversion Machine "Erokitel" Fifth Version
3階虹を見て思ひ思ひに美しき3rd floor Reflecting on the beauty of a rainbow
2階下町のパラドックス2nd floor Downtown Paradox
2階都市は人なり2nd floor The people make the city
2階 5輪2nd floor 5 Rings
1階ビルバーガー1st floor Build-Burger
1階賽1st floor 賽 - offering
1階また明日もみてくれるかな？1st floor So see you again, tomorrow?
地下1階仁義basement JINGI
地下1階 ART is in the pARTy at club 仁義basement ART is in the pARTy at club 仁義

--- Framing　open/close: 「Scrap and Build」
本展の展示物のうちChim↑Pomの作品群は、会期終了後にも撤去されず、ほぼ「全壊する展覧会」としてビルの建て壊しに伴って破壊される。その後、ビルと運命を共にしたそれらの作品の残骸を拾い集め、再構築。同じく建て壊し物件である渋谷PARCOのネオンサイン「C」と「P」なども加え、プロジェクト第2弾となる個展を、その後自らのアーティスト・ラン・スペース、Garter＠キタコレビルにて開催し、建築家・周防貴之とのコラボレーションとして、戦前からのバラックであるキタコレビルをD.I.Yに改築しながら展開する。

「Sukurappu ando Birudo」プロジェクト・ジオラマはこちらから

"Scrap and Build"
Chim↑Pom’s artworks will not be removed even after the show ends, meaning that this exhibition will be completely destroyed along with the building. Then Chim↑Pom will collect the fragments of artwork- turned-debris that will share the same fate as the building, and reconstruct them. Adding the “C” and “P” neon signs preserved from Shibuya’s iconic fashion mall PARCO, which will also be demolished, they will show the second iteration of this project at their artist-run-space Garter in Kitakore Building early next year. In collaboration with architect Takashi Suo, they will also DIY renovate Kitakore Building, a shack-like space that has existed since before WWII, for the exhibition. 　　　　　　　　　　　

”Scrap and Build” Project Model

--- Statement　open/close: 東京の街の変化が激しくなっている。歌舞伎町は街ごと作り替えが始まり、渋谷PARCOも建て替え。東京で最も古い駅として愛されてきた原宿駅も建て替えが決定。新宿駅や渋谷駅前は常に工事中で、2011年の震災以降の耐震対策なども相まって、東京都は街の大改造プランを発表し、推進している。「2020年、東京オリンピックまでに建て替える」という常套句が、アスリートへの応援とは別に大義名分として謳われている。国立競技場の建て替え問題は、それを象徴するような出来事だった。
そもそもなぜ「オリンピックまでに」なのであろう？東京の建設ラッシュで予想される建設作業員の不足から、福島をはじめとした震災の復興が取り残されることを懸念する人もいる。しかし政府はこのオリンピックを「復興オリンピック」と呼ぶことで、国際世論に意義を訴えかけてきた。思えば戦後の焼け跡が現在の東京の街へと整備されたのも、1964年の東京オリンピックがひとつの大きな契機であった。発展途上国だった当時の日本にとって、オリンピックは、インフラ整備や街づくり、経済大国になるためのひとつのビジョンとして存在したのだろう。かくいう本展の会場である歌舞伎町振興組合ビルが完成したのも、1964年、オリンピック開催の5ヶ月前だった。
長らく不況にあえぎ、大震災に見舞われた今の日本。2020年の東京オリンピックに、人々は当時の活況を重ねようとする。「世界中から人が来る」「景気が良くなる」……、そんな期待とともに、多くのポジティブなスローガンが再生産される。
復興とは？街とは？そもそも21世紀における未来とは、このように20世紀に描いたビジョンを繰り返すことで創られるものだったのか？多くの災害に見舞われながら、スクラップ＆ビルドを繰り返してきた日本の歴史。街並みの変化とともに生きてきた近代の日本人。展覧会そのものが体験するスクラップ＆ビルドから、日本人の「青写真の描き方」を問い直す。

Chim↑Pom　2016 Tokyo’s landscape has drastically started to change in the past few years. While Kabukicho is launching a district- wide reconstruction, Shibuya’s PARCO and Tokyo’s oldest station Harajuku are undergoing renovations, not to mention the constant construction taking place in Shinjuku and Shibuya Station. Coupled with anti-earthquake procedures taken after March 11th, the Tokyo Metropolitan Government has rolled out a major remodeling plan for the city.
The cliché of “rebuilding the city by the 2020 Tokyo Olympics” is being touted as the pretext for everything, aside from just supporting the athletes. In fact, the National Stadium reconstruction issue symbolized this tendency.
Why does it have to be by the Olympics in the first place? Some express concern over recovery efforts in the Fukushima area stalling due to the expected construction rush requiring more workers. However, the government has been appealing to the international community on the significance of the Olympics by calling it “The Recovery Olympics.” Looking back, the 1964 Tokyo Olympics was one of the big turning points for the post-war ruins to develop into the present city of Tokyo. The Olympics presented a vision for Japan, which was still a developing country at the time, to grow into an economic powerhouse through infrastructural and urban development. This exhibition venue, the Kabukicho Promotion Association Building, was also built in 1964 just 5 months before the Olympics.
After suffering a long recession, Japan was recently hit by the Great Tohoku Earthquake. People are trying to superimpose the situation back then onto the 2020 Tokyo Olympics. “People from all over the world will visit...,” “Our economy will improve...” Many positive mantras are reproduced with an ambiguous sense of hope.
What is recovery? What is a city? Was the future of the 21st century meant to repeat a 20th-century vision? Japan has historically continued to “scrap and build” while facing many disasters, and its people have lived alongside this changing cityscape. Through an exhibition itself that experiences a “scrap and build,” we question Japanese people’s method of drawing a blueprint.

--- 青写真を描くversion 2drawing a blueprint version 2　open/close

2016
サイアノタイプ、いわゆる「青焼き・青写真」と呼ばれる写真技術で、歌舞伎町商店街振興組合の事務所の痕跡を部屋にまるごと感光、焼きつけた。「青焼き」は、建築図面のプリントとして20世紀の建築家たちを支えてきたが、その需要は21世紀に入って激減。その一方で、「青写真を描く」との慣用句は社会に定着し、いまも未来のビジョンを描く意味で使われる。50年間にわたり、歌舞伎町の振興を担ってきた振興組合。まさに 20世紀のこの街のビジョンを描いてきた彼らの歴史の痕跡を、「青写真」として描き出した。 2016
Cyanotype, so-called “blueprint,” was exposed to light and printed in the office of the Kabukicho Shopping District Promotion Association. “Blueprints” have supported architects as prints of architectural drawings in the 20th century, but its demand had fallen sharply in the 21st century. On the other hand, the Japanese idiom “drawing a blue print” is a popularly established saying that is used in the sense of drawing one’s vision for the future. Kabukicho Shopping District Promotion Association has been responsible for promoting Kabukicho for 50 years. The traces of the history of the people who drew the vision of this very city during the 20th century is drawn out as a “blueprint.”

青写真を描くversion 2
2016
サイアノタイプ、部屋、インスタレーション
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO Productiondrawing a blueprint version 2
2016
cyanotype, room and installation
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production
青写真を描くversion 2
2016
サイアノタイプ、部屋、インスタレーション
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO Productiondrawing a blueprint version 2
2016
cyanotype, room and installation
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production
青写真を描くversion 2
2016
サイアノタイプ、部屋、インスタレーション
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO Productiondrawing a blueprint version 2
2016
cyanotype, room and installation
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production
青写真を描くversion 2
2016
サイアノタイプ、部屋、インスタレーション
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO Productiondrawing a blueprint version 2
2016
cyanotype, room and installation
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- ルネッサンス憲章RENAISSANCE Charter　open/close

2016
《青写真を描く version 2》のインスタレーションの一環として、歌舞伎町商店街振興組合の事務所にあった、いくつかの象徴的なものをパネル作品にしたシリーズの一つ。「歌舞伎町ルネッサンス憲章」は、「地域活性化プロジェクト」、「まちづくりプロジェクト」とともに、自治体や消防・警察、入国管理局や民間機関などとの協働・連携の下、歌舞伎町の「怖い」、「汚い」というイメージを払拭し、安全・安心対策を進める「クリーン作戦プロジェクト」を柱に掲げる。東京オリンピックの招致の裏側で、2004年に石原慎太郎都知事(当時)によって開始された「歌舞伎町浄化作戦」としても知られ、日本のジェントリフィケーションを巡る議論の重要なトピックでもある。 2016
As part of the installation for drawing a blueprint version 2, Chim↑Pom created a panel piece using some of the symbolic items found in the office of the Kabukicho Shopping District Promotion Association. The “Kabukicho RENAISSANCE Charter,” along with other community revitalization and town development projects, centers on such initiatives like the “Cleaning Operation Project” that promotes safety and security measures to dispel the stereotype of Kabukicho as a scary and dirty city, in collaboration with the local government, fire department, police, immigration control office, and private institutions. The “Cleaning Operation Project” is also known as the “Kabukicho Cleansing Operation,” which was initiated by the former Governor of Tokyo Ishihara in 2004. The project stood in contrast to the bid to host the Olympics in Tokyo, and has become an important topic in discussing Japan’s gentrification issues.

ルネッサンス憲章
2016
サイアノタイプ、インスタレーション
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionRENAISSANCE Charter
2016
cyanotype, installation
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ルネッサンス憲章
2016
サイアノタイプ、インスタレーション
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionRENAISSANCE Charter
2016
cyanotype, installation
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ルネッサンス憲章
2016
サイアノタイプ、インスタレーション
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionRENAISSANCE Charter
2016
cyanotype, installation
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 3階　BLACK OF DEATH3rd floor BLACK OF DEATH　open/close

2007, 2013
空のカラスに向けてカラスが仲間を呼び集める声をスピーカーで流し、カラスの剥製を見せながら車やバイクなどで移動するゲリラアクション。捕まった仲間を助けようして集まるカラスの習性を利用し、たくさんのカラスを国会議事堂前や渋谷の繁華街に集結させた。日本各地の街に生息するカラスたちは、スーパーラットと同様に、駆除への抵抗と人間が出すゴミの栄養によって非常にクレバーに進化している。2013年には、福島の帰還困難区域で置き去りにされた家畜などを餌に増殖したカラスたちを、区域外まで導き出して再制作した。 2007, 2013
In this guerrilla art act , Chim↑Pom attracts crows, using a stuffed crow and the recorded sounds of crow calls playing from speakers. Utilizing the natural behavior of crows to save fellow captured crows, we managed to gather many crows in front of Japan National Diet Building and in the busy streets of Shibuya. Crows that infest all over Japan including Tokyo have been evolving and becoming smarter like super rats as they gain nutrition from food waste and improve resistance towards extermination. In 2013, the idea was used again and assembled crows that proliferated whilst feeding on livestock left in the exclusion zone in Fukushima and shepherded them out of the zone.

BLACK OF DEATH
2008、2016
ビデオ
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionBLACK OF DEATH
2008 and 2016
video
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 3階　SUPER RAT -Diorama Shinjuku-3rd floor　SUPER RAT -Diorama Shinjuku-　open/close

「スーパーラット」とは、殺鼠剤などの毒への耐性を遺伝化させながら、都市圏で爆発的に増えているネズミの通称であり、ネズミ駆除業者による造語である。人間による様々なプレッシャーに適応しながらも活発に生きるスーパーラットは、街で活動を開始したChim↑Pomのポートレートでもある。

『SUPER RAT -Scrap & Build- 2017』

‘Super Rat’ is a nickname coined by pest controllers for a new breed of poison-immune rat proliferating explosively in urban area. Super Rats’ ever-evolving ways of coexisting with human beings are also a portrait of Chim↑Pom who started their activity on the city streets.

"SUPER RAT -Scrap & Build- 2017"

SUPER RAT -Diorama Shinjuku-
2016
新宿で捕獲したネズミの剥製、新宿の街のジオラマ、ほか
撮影：森田兼次
Courtesy: Chim↑Pom StudioSUPER RAT -Diorama Shinjuku-
2016
Stuffed rat captured in Shinjuku, Diorama of Shinjuku and more.
Photo: Kenji Morita
Courtesy: Chim↑Pom Studio
SUPER RAT -Diorama Shinjuku-
2016
新宿で捕獲したネズミの剥製、新宿の街のジオラマ、ほか
撮影：森田兼次
Courtesy: Chim↑Pom StudioSUPER RAT -Diorama Shinjuku-
2016
Stuffed rat captured in Shinjuku, Diorama of Shinjuku and more.
Photo: Kenji Morita
Courtesy: Chim↑Pom Studio

--- 3階　みらいを描く3rd floor　Drawing Mirai　open/close

2016
歌舞伎町にある風俗店で働くデリヘル嬢、みらいちゃん(18歳)のシルエットを「青焼き」で感光、焼きつける。性風俗、性的マイノリティー、暴力、文化、芸能、外国人......、さまざまな生き方が混在し続けてきた歌舞伎町。それぞれの人生が交差するこの場所に、一人の人間が名乗る「みらい」の姿を描き出した。

『みらいの埋立地』2017年

　　
協力： TOKYO LOVEマシーン 2016
The silhouette of Kabukicho’s sex worker Mirai (age 18) is printed on the wall using blueprinting. Sex industry, sexual minorities, violence, culture, entertainment and aliens... Kabukicho continued to allow various ways of living. Chim↑Pom depicted the figure of Mirai, with a self claimed name which also means future, in this place where many lives intersect.

"Mirai’s Reclaimed Land" 2017

Support： TOKYO LOVE MACHINE

みらいを描く
2016
水彩画紙にサイアノタイプ
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionDrawing Mirai
2016
Cyanotype on watercolor paper
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production
みらいを描く
2016
水彩画紙にサイアノタイプ
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionDrawing Mirai
2016
Cyanotype on watercolor paper
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 3階　性欲電気変換装置エロキテル5号機3rd floor Libido-Electricity Conversion Machine "Erokitel" Fifth Version　open/close

石油や石炭、天然ガスなどの限りある資源の代替として、「性欲」を電気に変換することで永久に安定したエネルギーを供給すべく開発された作品。媒体問わずエロい広告にそれらしき文言と電話番号を掲載。広告を見た不特定多数の成人男性からかけられた電話の着信電波を、センサーによって感知して発電させる仕組み。5号機は3.11以降の「全壊する展覧会」にふさわしく、発電所をモチーフに制作。 As an alternative to limited resources such as oil, coal or natural gas, this work was invented to provide eternally stable energy by converting “libido” to electricity. Chim↑Pom inserted tiny ads with a phone number on various platforms, camouflaging them as erotic phone line information. Upon receiving a call from unknown male adults who saw those ads, the machine will convert radio waves into electricity by an optical sensor with a relay. The fifth model was created based on power plants, perfect for an "exhibition to be completely destroyed" in post-March 11th Japan.

性欲電気変換装置エロキテル5号機
2016
ミクストメディア、携帯電話、歌舞伎町振興組合ビルにあった電飾看板、広告
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO Production Libido-Electricity Conversion Machine "Erokitel" Fifth Version
2016
Mixed media, mobile phone, neon sign that was in the Kabukicho Promotion Association building, advertising
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 3階　虹を見て思ひ思ひに美しき3rd floor Reflecting on the beauty of a rainbow　open/close

ホストの方々にとある女性の似顔絵制作を依頼。褒め上手な彼らによる女性の美しさをたたえる音声と、素人が描いた決して上手とは言えない似顔絵の対比から、「美とは何か」という人類史的命題に迫る。タイトルは文芸誌「ホトトギス」（『坊ちゃん』や『吾輩は猫である』などが掲載された明治から続く文芸誌）の理念を提唱したことでも知られる、明治から昭和初期に活躍した俳人・高浜虚子の俳句から引用。 Easel, portrait, box seat, business card, chandelier, recorded audio
Chim↑Pom requested host club men to draw portraits of a certain woman. Comparing the recorded voices of the men, known for their skillful complimenting, praising the woman's beauty, and the inevitably inadequate portraits drawn by these amateurs, this piece approaches humanity's proposition on "The Definition of Beauty." The title is a quote by haiku poet Kyoshi Takahama, active in the Meiji through early Showa period and known for proposing the idea for literary magazine "Hototogisu," which was started in the Meiji era and published "Botchan" and "I Am a Cat."

虹を見て思ひ思ひに美しき
2016
イーゼル、似顔絵、ボックス席、名刺、シャンデリア、音声
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionReflecting on the beauty of a rainbow
2016
Easel, portrait, box seat, business card, chandelier, recorded audio
Courtesy of the artist, ANOMALY and MUJIN-TO Production
虹を見て思ひ思ひに美しき
2016
イーゼル、似顔絵、ボックス席、名刺、シャンデリア、音声
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionReflecting on the beauty of a rainbow
2016
Easel, portrait, box seat, business card, chandelier, recorded audio
Courtesy of the artist, ANOMALY and MUJIN-TO Production
虹を見て思ひ思ひに美しき
2016
イーゼル、似顔絵、ボックス席、名刺、シャンデリア、音声
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionReflecting on the beauty of a rainbow
2016
Easel, portrait, box seat, business card, chandelier, recorded audio
Courtesy of the artist, ANOMALY and MUJIN-TO Production
虹を見て思ひ思ひに美しき
2016
イーゼル、似顔絵、ボックス席、名刺、シャンデリア、音声
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionReflecting on the beauty of a rainbow
2016
Easel, portrait, box seat, business card, chandelier, recorded audio
Courtesy of the artist, ANOMALY and MUJIN-TO Production
虹を見て思ひ思ひに美しき
2016
イーゼル、似顔絵、ボックス席、名刺、シャンデリア、音声
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionReflecting on the beauty of a rainbow
2016
Easel, portrait, box seat, business card, chandelier, recorded audio
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 2階　下町のパラドックス2nd floor Downtown Paradox　open/close

お掃除ロボットを使った巨大ペインティング。延々と掃除しながらも自らペンキで床を汚し、またその掃除を繰り返す。無限やカルマ、パラドックスをテーマにしつつ、ダウンタウンでの落書きや浄化運動などをギャラリー内で可視化する。 A giant painting painted by cleaning robots. The robots endlessly clean yet make the floor dirty with paint, and continue cleaning all over again. Centered on the theme of infinity, karma, and paradox, this piece visualizes downtown graffiti and cleanup movements within the gallery space.

下町のパラドックス
2016
掃除ロボット、ペンキ、ペンキ缶、ゴミ、ローラー、床
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionDowntown Paradox
2016
Cleaning robot, paint, paint cans, garbage, roller, floor
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production

---
2階　都市は人なり2nd floor The people make the city　open/close

2016
ビルの解体現場の中にリアル造形で作られたエリイの頭を配置し、撮影した写真を、サイアノタイプでプリントした。戦後、疎開先から焼野原となった新宿に戻った鈴木喜兵衛氏の「東向きに芸能施設をなし、道義的繁華街を建設する」という構想に、地域最大の地主であった峯島茂兵衛氏が協力し、新宿は歌舞伎座の誘致を目指した。「歌舞伎町」という名前は、都職員として復興に奔走していた石川栄耀都市計画課長が提案した。その後、歌舞伎座の誘致は成功しなかったものの、鈴木氏の誘致活動によって、いまの劇場街の原型が出来上がった。石川氏が理想としたのは、中心に広場があり、市民が集う、民主的市民社会に支えられる西欧型の都市構造だった。都市の風格とは市民の心や行動によるものであり、そこに集う人々の姿が、すなわち街の姿であった。「都市は人なり」は石川氏が残したとされる言葉である。(歌舞伎町商店街振興組合HPを参照した。)

『都市は人なり』2017年

2016
A cyanotype print that was made from a photograph of a plastic mold of Ellie’s head placed in the demolition site inside the building. Based on Kihee Suzuki’s idea “to construct a morally busy district with an entertainment center facing the east” upon returning to the burnt-out ruins of Shinjuku from his evacuation destination after the war, Shinjuku aimed to invite Kabuki-za with the cooperation of Mohee Mineshima, the region’s largest landowner. The city planning section chief, Hideaki Ishikawa, proposed the name “Kabukicho” in hopes of creating a name fitting for a city promoting culture. Although the invitation to locate Kabuki-za in Shinjuku was unsuccessful, Suzuki’s efforts to attract them created the foundation for the current theater district. What Kabukicho’s godfather Ishikawa envisioned was a Western urban structure supported by a democratic civil society with a square at the center that gathered citizens together. Ishikawa believed that a city’s character is dependent on the mind and actions of its citizens, and that the people gathering there create the form of the city. “The city as its people,” Ishikawa would say. (With reference to the website of Kabukicho Shopping District Promotion Association.)

"The people make the city" 2017

都市は人なり
2016
サイアノタイプ・プリント、紙、パネル
撮影：宮島径
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionThe people make the city
2016
Cyanotype print, paper, panel
Photo: Kei Miyajima
Courtesy of the artist, ANOMALY and MUJIN-TO Production
都市は人なり
2016
サイアノタイプ・プリント、紙、パネル
撮影：宮島径
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionThe people make the city
2016
Cyanotype print, paper, panel
Photo: Kei Miyajima
Courtesy of the artist, ANOMALY and MUJIN-TO Production

---
2階　5輪2nd floor 5 Rings　open/close

5輪
2016
掃除ロボット、ペンキ、ペンキ缶、ゴミ、ローラー、旗
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO Production5 Rings
2016
Cleaning robot, paint, paint cans, garbage, roller, flag
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 1階　ビルバーガー1st floor　Build-Burger　open/close

2016
歌舞伎町商店街振興組合ビルの4階、3階、2階のフロアを180~ 220センチ四方で切り抜き、そのまま真下の1階に積み重ねた巨大彫刻作品。壊すことと建築することという相反する二つのプロセスによって、「スクラップ&ビルド」を可視化した。タイトルは、各階にあったさまざまな用品を挟み込んだ、その姿に由来。ファストフード的大量生産・大量消費を、街や都市の在り方に重ねて想起させる。

『ビルバーガー』2018年

2016
A massive sculpture piece piling the 4th, 3rd and 2nd floors on the 1st floor by cutting the floors out in a square of size 180-220 cm. Through two conflicting processes of “breaking” and “constructing,” it visualizes “Scrap & Build.” Since the sculpture includes various materials from each floor, the title is associated with fastfood- ish mass production and mass consumption in cities.

"Build-Burger" 2018

ビルバーガー
2016
3階分のフロア、事務用品、空調、家具、照明器具、カーペットなど
撮影：森田兼次
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionBuild-Burger
2016
3 floors, office supplies, air conditioner, furniture, carpet and more.
Photo: Kenji Morita
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 1階　賽1st floor　賽 - offering　open/close

入場時に観客が、斫（はつ）ったコンクリートガラを積み上げる観客とのコラボレーション・プロジェクト。死んだ子どもが父母供養のために三途の河原で石を積んで塔を作ると、鬼がそれを壊すが、地蔵菩薩に救われてまた石を積み始める……、という賽の河原にまつわる無限ループの行為に由来する。『ビルバーガー』とともに「Scrap and Build」をテーマに含みつつも、その「終わらない建築」というプロセス自体にフォーカスをする。 A collaboration project with the visitors to pile up concrete rubbles chipped from the building by themselves. It originates from an infinite loop action from a story of purgatory, in which a dead child piles stones to make a tower at the Styx for the parents’ soul but an ogre breaks it down, and Kshitigarbha (a bodhisattva) helps the child so the child can begin to pile the stones up again. This work includes the theme “Scrap and Build” as well as “the Build-Burger” but also focuses on the process itself of “Never-ending architecture”.

賽
2016
歌舞伎町振興組合ビルのコンクリートガラ、インスタレーション
Courtesy of the artist, ANOMALY and MUJIN-TO Production賽 - offering
2016
Installation with concrete rubbles of the Kabukicho Promotion Association Building
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 1階　また明日も観てくれるかな？1st floor So see you again tomorrow, too?　open/close

2016
2014年、30年以上続いた国民的テレビ番組「森田一義アワー笑っていいとも!」の最終回で、最後にもかかわらず、司会のタモリはお馴染みのキャッチフレーズ「また明日も観てくれるかな?」で締めくくった。この「お決まり」と同じように、NHKは毎日の番組終了時に必ず日の丸と「君が代」を放送し、「今日」の終わりを告げている。ビル自体の最終回ともいえる「また明日も観てくれるかな?」展と同じタイトルのこの作品は、必ず訪れる「終わり」、そして途切れることなく来る「明日」の狭間の当事者として、オーディエンスに未来の在り方を問いかけている。 2016
In 2014, at the end of the final episode of a nationally popular TV show “Kazuyoshi Morita Hour Waratteiitomo!” that had continued for over 30 years, the host Tamori (Kazuyoshi Morita) wrapped up the show with his well-known phrase “So see you again tomorrow, too?” despite the fact that it was the last show. Similar to this “routine,” NHK (Japan’s public broadcasting organization) played the national anthem and showed the national flag at the end of the show everyday, to wrap up the day. This piece of work has the same name as the exhibition title “So see you again tomorrow, too?,” which was held as the last show of the building. It brings forward the question of the way of future existence to the audience, as they are sandwiched between the inevitable “end” and the continuous “tomorrow.”

また明日も観てくれるかな？
2016
ビデオ（3分00秒）
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionSo see you again tomorrow, too?
2016
video (3’00”)
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 地下1階　仁義basement JINGI　open/close

著名人の墓拓シリーズのひとつ。昭和20年代、新宿の闇市を根城にした伝説のヤクザ、石川力夫の墓拓。自分の親分を殺害し、刑務所内で自殺。「仁義」に背いた反逆者として名を馳せながらも、墓に「仁義」と彫ることを遺言に遺す。1975年に公開された深作欣二監督の映画『仁義の墓場』の主人公モデルである。 One of the series of frottage of famous people’s gravestone. This frottage is taken from legendary yakuza Rikio Ishikawa who was active in black market of Shinjuku in 1940’s. He killed his own boss and killed himself in prison. Although he was called a traitor who betrayed “Jingi,”which means humanity and justice, he left a will to inscribe the word “Jingi”on his gravestone. He is the model for the film “Graveyard of Honor (1975)”by Kinji Fukasaku.

仁義
2016
和紙、墨
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionJINGI
2016
Japanese paper, sumi
Courtesy of the artist, ANOMALY and MUJIN-TO Production

--- 地下1階　ART is in the pARTy at Club 仁義basement ART is in the pARTy at Club 仁義　open/close

Club Jingi, a renovated abandoned bar in the basement, organizes various events including an internet-streaming channel, TOCACOCAN on the first floor. Inviting a colorful line-up of musicians and cultural figures associated with Shinjuku and long-time business holders of Kabukicho, talk events and all-night performances are held with the exhibition for a memorable ending of the building. Click here here for details.

ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production
ART is in the pARTy at Club 仁義
2016
パフォーマンスイベント
撮影：前田ユキ
Courtesy of the artist, ANOMALY and MUJIN-TO ProductionART is in the pARTy at Club Jingi
2016
Performance events
Photo: Yuki Maeda
Courtesy of the artist, ANOMALY and MUJIN-TO Production