Unforeseen Deviations


June 10 (Mon) – June 30 (Sun), 2024,
'Group Show of Contemporary Artists 2024: Unforeseen Deviations',
will be held at the Tokyo Metropolitan Art Museum.
Artists are Yumi Song, Yishay Garbasz, Jhon-nam Ha, Irem Tok, Alisa Berger, Aisuke Kondo, Hiromitsu Yoshikawa. Period June 10 (Mon) – June 30 (Sun), 2024, Closed on June 17 (Mon) Venue Gallery B, TOKYO METROPOLITAN ART MUSEUM, 8-36 Ueno-Park Taito-ku,Tokyo 110-0007 Admission Free Hours 9:30 – 17:30 (Last admission 17:00) Days of Extended Hours Fridays 9:30 - 20:00 (Last admission 19:30)



Mobility Does it really mean freedom?

Aisuke Kondo, who sees himself and his great-grandfather, who was incarcerated in a Japanese American internment camp in the USA during World War II. Yishay Garbasch retraces the footsteps of her Jewish mother, who was taken to Nazi Germany and travelled to camps across Germany. Alisa Berger traces the family tree of her mother, whose grandfather fled Korea during the Japanese Empire, and explores the heritage of her Jewish father. Yumi Song's father encountered the scene of a genocide in the establishment of a Korean identity that oscillated between North and South. Ha Jhon-nam moved from Japan to Korea as a bride. Iren Tok makes works about people physically travelling through books, which are accumulations of knowledge. Hiromitsu Yoshikawa pieced together words as he traversed knowledge in a vast collection of books.

Ambiguity is inherent in travel. Even an itinerary that you think you have decided on all by yourself is chosen by chance from a list of possibilities derived from your personal and company budget, schedule and the times. In some cases, what I thought was a temporary move becomes a safe haven. My choice is thus merely a chance encounter among the possibilities that open up before me. Even the places that I ‘must’ go to, their inevitability is based on the accumulation of many coincidences. There is also an accumulation of coincidences, such as something invisible that inevitably brings me here.

Brushes wading on paper. If you think that painting, or letters for that matter, only move inevitably, you are shallow-minded. Strokes have countless futures. On the other hand, there is a fixed set of letters. Without literacy, we would be fooled by strokes even if that aggregate were the same. Or it could be said that literacy has tricked us into not seeing the free strokes. Being able to understand what a painting depicts may be the same structure as following the strokes of a letter, or it may require a completely different thought process. And strokes, whether painted or written, struggle to keep escaping the inevitability of the collective.

We move around physically, on paper and in our imagination. Sometimes we are stranded. By personal, social or physical reasons. And then we are thrown out again.




Gallery tour and night picnic

June 10th (Monday) Tour 15:30–17:30, Night Picnic 18:00-
On the first day of the exhibition, visiting artists Alisa Berger, Aisuke Kondo, Jhon-nam Ha, Hiromitsu Yoshikawa, and Yumi Song will explain their works. A night picnic with artists will also be held at Ueno Park from 6pm. Please feel free to come by.
Venue: Tokyo Metropolitan Art Museum Gallery B/Participation fee: Free/No advance application required

Ha Jhon-nam's performance with the audience

Ha Jhon-nam's performance with the audience

Date Saturday, June 15th 15:00–16:30 Detail Would you like to attend Ha Jhon-nam's performance? Of course, you can also participate just by watching. Performance details are yet to be determined. However, rather than dance or intense movements, the participants will be adding a little touch to the work created by Jeong-nam.Venue Studio in Tokyo Metropolitan Art Museum Fee Free.Notice No advance application/Capacity 40 people

Rei Nagai

Hiromitsu Yoshikawa's Philosophical Dialogue vol.01 and vol02/Facilitation: Rei Nagai

Date Saturday, June 15th 10:00–12:00
Date Saturday, June 29th 10:00–12:00
Detail Movement, transition, and coincidence - Philosophical dialogue. Two philosophy dialogues will be held on migration, transition and chance - a dialogue with the audience. Philosopher/philosophy researcher Rei Nagai will be the facilitator.
Profile of Rei Nagai: ‘Ms Nagai is involved in a wide range of philosophy dialogues at schools, companies, temples and shrines, museums and municipalities, and is active in the Gotch-organised movement “D2021”. He is the author of 'Underwater Philosophers' (Shobunsha). Serials include 'Sekai no proper sōsō' (Gunzo), 'philosophy of sleep' (OHTABOOKSTAND), 'So this is what it is' (Novel Subaru) and 'Connecting through questions' (Re:ron). Winner of the 17th 'I, Nobody Award'. Likes poetry, botanical gardens and careful walks.
Venue Studio in Tokyo Metropolitan Art Museum
Fee Free.Notice /Capacity 40 people


Alisa Berger

Alisa Berger’s work explores the family tree of her mother, whose ancestors fled Korea during the Japanese Empire. She intertwines this history with those of other Japanese and Korean diasporas, creating a textile collage. Additionally, she presents a new video work that focuses on a friend from Donbas—a region where war has persisted for a decade. This friend, displaced and unable to visit his home for the past six years, is depicted in a unique digital confrontation with a 3D model of his home.

Alisa Berger was born in 1987 in Makhachkala, Republic of Dagestan, and raised in Lviv, Ukraine. She studied film and fine arts at the Academy of Media Art Cologne (KHM) and at the Universidad Nacional de Colombia Bogotá. With her diploma film and fiction feature debut, ‘The Astronauts' Bodies’, she was nominated for the Max Ophüls Prize and for the FIRST STEPS Award of the Deutsche Filmakademie. She was also the recipient of the Best Film Award for New Directors at Int. Film Festival Uruguay and the Screenplay Award of H.W. Geißendörfer.
Alisa Berger creates films and installations, often in a collaborative process, that are accompanied, created, changed or destroyed within performative interventions. She has had solo exhibitions at Seoul Art Space Geumcheon (Seoul), HMKV (Dortmund), or PATARA Gallery (Tbilisi) and participated in many group shows like the Museum Biennale (Krasnoyarsk), Kindl – Center for Contemporary Art (Berlin), KAI 10, Arthena Foundation (Düsseldorf), MMOMA - Moscow Museum of Modern Art (Moscow) or the BACC Bangkok Art & Culture Center (Bangkok).
Since 2011 she has collaborated with Lena Ditte Nissen under the name bergernissen. She is co-founder of the international film production company FORTIS FEM FILM, which dedicates its work to increasing the visibility of women and their stories in film. Additionally, Berger works in sound performance and hosts a monthly show on dublab.de as a DJ.

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Yishay Garbasz

I am a Berlin-based interdisciplinary artist. My work explores cultural specific inheritance of traumatic memories I am driven by my desire to see the darkest parts of humanity and to use my practice to illuminate them. By working with marginalized communities and in areas affected by war and disaster, I am engaged in a continual process of making the invisible visible, making the unsightly tenderly seen. My work has been exhibited in solo and group shows in galleries and museums internationally including Tokyo, Seoul, New York, Miami, Boston, Berlin, Paris, London, and at the Busan Biennale. I have two monographs and working on the third, the first of which was nominated for Deutsch photo book prize. I was Berlin women film maker in 2010, a 2021 Stiftung Kunstfonds Arbeitsstipendium recipient and a Thomas Watson fellow. Featured in Phaidon’s new book “Great Women Artists” as well as Prestel’s “Citizen women: Illustrated history of the women’s movement”.

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Irem Tok

Irem Tok (b. 1982) lives and works in Istanbul. My works found their base on concepts such as helplessness, fragility, temporariness of being a human and develop through one’s relationship with nature and knowledge. Nature’s coexistence with humanity and civilization, as well as it’s clash, holds an important place in my works. Besides, the concept of constructed history and the irony of human’s attempts to understand the whole universe even if we still can’t understand the origin of life comes interesting to me. The main character of the movie Dersu Uzala (1975) says “Everything is small in the face of nature.”. My works share the same idea, human is very little in relation to trees, mountains, sky and inside the life’s obscurity that one fell. Literature and poetry, as the products of human’s inner life, also science and philosophy as the products of struggle to understand the cosmos are my inspiration. I usually use different mediums, it change and transform in relation to the concept which I’m working on. I create dialogues between mediums such as sculpture, painting, animation, ceramics and scenes, atmospheres with fine details. Encyclopedia, history books, dictionaries appeal me with their content and as objects. In my works, encyclopedias find their place as symbols of knowledge and culture. Just like geological layers, I cut pages of history books and constitute natural scenes. I dig each page as an archeologist who tries to dig the history of world and humanity. On every new surface we encounter a time purified from past, a moment I witness. And sometimes a prehistoric time freed from writing comes out of the blue. Artist-in-residence programs: Kamiyama Air, Japan (2018) Cité des Arts, Paris (2013), Villa Waldberta, Munich (2012), art.homes, Munich (2011), School Gate Project of Incheon Foundation for Art & Culture, South Korea (2010), Litmus Community Space, South Korea (2009). Solo exhibitions are “Close Up” (Pilot, İstanbul, 2019) “Heian No Mori” (Kamiyama, Japan, 2018), “Where I Fell into Earth” (Pilot, Istanbul, 2016), “Against the Wind” (Pilot, Istanbul, 2013) and “Fade Away” (Outlet Galeri, Istanbul, 2011). Selected group exhibitions include; Buch Welten, Book World, Sinclair Museum, Frankfurt, Germany (2017), “Desire: Selections from the Borusan Contemporary Art Collection”, Istanbul (2015), “Signs Taken in Wonder”, MAK Museum, Wien (2013), “Blur”, Weltraum, Munich (2012), “Etats d’Ames” ENSBA, Paris (2010), “Mind Models: the First Show”, Borusan Music and Art Center, Istanbul (2010)

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Aisuke Kondo

Aisuke Kondo, born and raised in Japan, and currently based in Berlin, Germany, is an interdisciplinary artist who engages in research-based art in various methods. Kondo explores questions of belonging, identity, memory, and history across a variety of media, from photograph and installation to video and performance, drawing and poetry; under the concept ‘Reconstruction of Memories’. In 2001, he graduated from the B-semi schooling system of Contemporary Art in Yokohama, Japan. In 2003, he moved to Berlin, Germany, and completed a Meisterschüler in Fine Art at the Berlin University of Arts in 2008. After his university graduation from 2012 to 2013, he received a grant from the KunststiftungKunze in Gifhorn, Germany. And In 2016 he received a grant from the Asian Cultural Council to research his great-grandfather who was incarcerated at Topaz concentration camp in Utah during World War Ⅱ. From 2018 to 2019, he worked in the Bay area on a grant from the Cultural Affairs Agency in Japan to conduct fieldwork as a visiting scholar in Asian American Studies at SF State. In his current “Matter and Memory” series (2017-present), Kondo retraces his great-grandfather’s life as an immigrant in the US from his arrival in 1907. In 2018, he started a drawing project "A picture you might have drawn". In 2021, he worked on an art project with a grant from the Academy of Arts, Berlin, on the history of Japanese American soldiers' participation in the liberation of the Dachau concentration camp. Also in 2022, he worked on an art project with a grant from the Stiftung Kunstfonds in Germany on the history of discrimination against Asians in Western society, including the Yellow Peril theory that began in the late 19th century. In 2023, he received “Research Stipends in the visual artists” from the Berlin Senate Department for Culture and Europe. Kondo has had solo exhibitions at KunstraumKunze, Gifhorn, Germany (2018), Gallery Turnaround in Sendai, Japan (2018), Kommunale Galerie Steglitz-Zehlendorf in Berlin (2018), MINTMOUE in Los Angeles (2017) TAM - Tokyo Art Museum in Tokyo (2016) and Kyoto Art Center in Kyoto, Japan (2016).

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Jhon-nam Ha

Born in Nagano as the third generation of Korean residents in Japan, she "got married and came to" Korea in 2017. After visiting Andong Hanji Workshop in 2018, she visited her great-grandfather's permanent residence in Korea. She was so moved and touched that she called her parents and found out that it was his memorial ceremony day. She felt the fate of being led by her ancestors. Currently, she is producing artwork and performance using a unique 'paper' by directly combining 'Hanji' with 'Matsuzaki Washi' from her hometown, Shinano Omachi in Japan. The main theme is to explore the diversified identity of Japan, Korea, and Korean residents in Japan, and to visualize gaps resulting from cultural and historical differences. Her recent exhibitions include ,Yellow Memory2023,Baggat Art Exhibition (Korea),Shinano Primitive Sens Art Festival (Japan 2015), the Korean Diaspora-Hanji airplane2022 (Incheon Art Platform), the SadoIsland Galaxy Art Festival 2021 (Japan), Intangible Residency #2 Ha Jhon-nam solo exhibitions, etc.

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Hiromitsu Yoshikawa

Writer, editor and youtuber. Born in Yonago City, Tottori Prefecture, Japan, in March 1972. Graduated from the Faculty of Policy Studies, Keio University. Worked at Kokushokan and Yahoo! Also engaged in editing at Shobunsha. Areas of interest include philosophy, science, art, dogs, cats, birds, digital gadgets, films and rock 'n' roll. Philosophy enthusiast. T-shirt enthusiast. Harley Davidson enthusiast. Table tennis enthusiast.

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Yumi Song

Organiser of this exhibition. She depicts what stories the land has to tell, not with a brush but with strokes of thought. She began his career with the performance ‘Umareppanash!’, in which she returned her influence to the area where he grew up, using temples and shrines in Tokyo as stages. In 2004, Began making installations. Also began writing critiques and other writings for art-related web media (2007-). Since 2010, she has also organised and curated exhibitions.
The installation ‘It Can't Happen Here’ (2013, YumiSONG Solo Exhibition, Chukyo University Art Gallery C-Square, Aichi) intersects the memories of the Jeju 4.3 incident (massacre) that her father experienced as a child and the artist's own memories of intimidation after the Great East Japan Earthquake, and is an abstract story that can happen to anyone, anywhere. 'Philosopher's Room'(2011, Nakanojo Biennale, Gunma, Japan), a bus tour through the town to follow the memory landscapes of the people who live there, which have shifted without being verbalised. 'Make a GOD' (2012, Shigaraki Act, Shiga, Japan), a collection of teacups that have been used for a long time by people living in the area, and a tea party dealing with the 'existence' that emerges from the materials triggered by the memories of the teacups.
She co-curated the exhibition 'When The Wind Blows'(2015, Millennium Court Arts Centre - Portadown, Northern Ireland) as an overseas trainee for emerging artists with the Agency for Cultural Affairs. General director of the 'ARAFUDO Art Annual' (2013, 2014, Fukushima, Japan) Curator of 'Fuji no Yama Biennial 2014, Travelling Theory' (2014, Shizuoka, Japan). Director of Kazenosawa museum (2014-2017, Miyagi, Japan), among others.
Since 2016, she has organised irregular Wikipedia editathons to increase the number of female authors. She also founded the artist-run Baexong Arts (2016-).

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