Insinuating the genesis and structure of the exhibition, the show is titled "Double Vision". Two curators, in two venues of the Moscow Museum of Modern Art show two opposite trends in art: reality and fiction. Two poles that constantly seem to be depicted in artistic contemplation, but still do not fail to fascinate.

The first section, covering the ordinary world or reality, includes such names as Yoko Ono, Chim↑Pom or  Kishio Suga, a vivid representative of the mono-ha movement („school of hings"). This postwar movement, marking a major turning-point in Japanese art history, was formed in the late sixties. Kishio Sugas piece separating space shows the main characteristics in their quintessences. Unaltered material that stands for itself, composed in a new way by the artists hand to alter or question its traditional meaning.

Kishio Suga "separating space" 1975, branch and cement block, H184 x W240 x D460 cm Photo by Yoshitaka Uchida

Chim↑Pom "SUPER RAT (diorama)" 2008, stuffed rats, diorama, video, monitor, DVD player, etc. Photo by MMOMA

Artworks in the section imaginary world/ phantasms come in all shapes and sizes, the largest, being over 6 meters tall. Kenji Yanobe`s sunchild made in 2011, after the destruction of Fukushima, leaves the visitor with an eery feeling despite, or because of its toy-like aesthetics.

The yellow hazmat suit constantly reappears in Yanobe`s work - radiation, atomic energy and its accompanying danger being one of his main topics for over a decade. 1997 he actually visited Chernobyl dressed in one of his suits.

Kenji Yanobe "Yellow Suit" 1991, Photo by MMOMA

A similar use for objects resembling memorabilia from childhood days, is made by Takashi Murakami, famous superflat artist and self declared Otaku. Boundaries between commercial fields or everyday life and fine art become blurry when Murakami lets out his toy soldiers to climb a 2 meters high slab of yellow resin. Minimalistic in form, this is one of his rare explicitly political pieces, dating back to the beginning of his career in the early nineties.  

The fairytale language of Motohiko Odani can be enjoyed through a small installation, using mushrooms and butterflies to locate the scene in a disneyesk forest. The beauty sitting in the middle of it all, appears to reach out somehow to the observer, trying to move but being held by a metal brace around her leg. Although there is no actual sign of her being in pain or even discomfort, the scene evokes images of suffering and distress. 

Motohiko Odani "ERECTRO (Clara)" 2004, Photo by Victor Boyko

But there are also more traditional techniques exhibited at the Moscow Museum of Modern Art. Yoshitomo Nara or Izumi Kato are both shown by paintings of different forms and formats. Though similar in composition and motif the expression of their paintings is quite different.

Yoshitomo Nara "Candy Blue Night" 2001, H1166.5 x W100.0cm, Acrylic on canvas

Yayoi Kusama "I`m here but Nothing" 2000, Photo by Victor Boyko

Web: Double Vision: Contemporary art from Japan
Address: 17, Ermolaevsky lane, Moscow, Russia

Exhibition Info
Date: 30 March - 1 April, 2012
Place: Tokyo International Forum
Web: Art Fair Tokyo
Address: 5-1 Matunouchi 3-chome, Chiyoda-ku, Tokyo, Japan

People were making a long line to purchase a ticket. The line did not disappear from the opening till the end.

Art Fair Tokyo which is the largest art fair in Japan, recorded over 53,000 visitors which was the highest number ever. 143 exhibitors were not only from Japan but from other Asian countries such as Korea, Taiwan and Hong Kong. Unlike other art fairs, Art Fair Tokyo accepts many kinds of genres not only contemporary but antiques and crafts. Take a look at the show from following photos.

Seeing detail of the sculpture, there is a little house set secretly in the forest.

ARATANIURANO, another Azito's partner galery was showing Takahiro Iwasaki's fragile works. Radio towers are settled on clothe made of its thread. 

Work by Takahiro Iwasaki. Tower on a tooth brush.

Works by Masaru Iwai at Takuro Someya contemporary art. Washing statue series.

Masaru Iwai was also showing this "Galaxy wash" video work. His works are asking our desire of cleanness in our everyday life. 

Works by Yodogawa Technique at Yukari Art. Yodogawa is a name of a river in Osaka. The artists collect garbage left in the river and create a large fish. At the fair they made a chair and table by the garbage.

Artwork by Noriko Ambe. Papers are fully set in this cabinet and when I looked at the top... 

Here is the view from the top! Looks like a eroded cave.

Kohei Nawa set the dark color paint to slope down naturally and put the sheet on a canvas slanted. Shown at SCAI the bath house.

SNOW Contemporary was showing Fuyuki Yamakawa's Atomic Guitar.

The guitars were making a sound when it detects any radiation from the soil taken from the Imperial Palace in Tokyo.

Imaginary insects created by Hiroshi Shinno at YOD gallery. 

Booth of Island gallery. The black paintings on the back looks like annual growth rings. 

Teppei Kaneuji was shown at Ullens Center for Contemporary Art since he will hold an exhibition this November.

Close up look of his sculpture. Could you find the dinosaur?

Yoshio Yoshimura drew his face on a newspaper. His family took a picture of the artist on the day when the newspaper is published and he drew his face from it.

This one in funny... The photo on the right is a picture of Ryoma Sakamoto who is famous for leading Japan to the first step of democracy and quite popular in Japan in a recent year. And on the left, someone is imitating it with wearing a lady's stocking on his face and actually looks similar! hahaha.

Team-lab was showing their video work "flower and corpse" with 12 screens held in line. 

Clothe brand Somarta was showing beautiful dresses like blam crickets.

This is from the jewelry booth. Each little circles are cut straws. They are melted and connected like a flower. Very cute!

Works created with great detailed techniques were seen in many booths and it must be one of the character of Asian artists. Also some of the works were dealing with the theme of radiation accident and I could see how deeply it had influenced people's mind.

Exhibition Info
Date: 30 March - 1 April, 2012
Place: Tokyo International Forum
Web: Art Fair Tokyo
Address: 5-1 Matunouchi 3-chome, Chiyoda-ku, Tokyo, Japan

Exhibition Info
Date: 15 March - 31 March, 2012
Place: Ueno Royal Museum
Web: VOCA 2012
Address: 1-2, Ueno Park, Taitoh-ku, Tokyo, Japan

Exhibition Info
Date: 25 February - 26 February, 2012
Place: Mori Arts Center Gallery
Web: G-Tokyo 2012
Address: Roppongi Hills Mori Tower 52F, 6-10-1 Roppongi, Minato-ku, Tokyo, Japan

TOKYO FORNTLINE's organizer, Mr. Shigeo Goto

We were excited to have an opportunity to hear a story from TOKYO FRONTLINE's organizer, Mr. Goto about art fairs in Japan and Japanese contemporary art world. TOKYO FRONTLINE's interesting and novel projects were born from his background as an art book editor and as a professor at Kyoto University of art and design. 

- Could you tell us why you decided to start the TOKYO FRONTLINE?

I realized that how Japanese art market is ossified, coming in touch with foreign art fair. Japanese galleries are not creative enough with the way of selling art. I thought if nobody didn't do, I would do.

- What do you mean by "market is ossified"?

There are few galleries that are managed with strategy. Some galleries went abroad and introduced the artists like Takashi Murakami or Yoshitomo Nara, which ended up with a certain success. But it's still "few". And there should be another way of promoting the artist.

- In that kind of situation, what effort does TOKYO FRONTLINE do?

We have three tasks to tackle - the one is developing a new business model, the second is training artists, the third is creating new buyers.

- Can you tell us more about it?

As an editor, I have worked on how to introduce the artist. I think that can be applied to art marketing. Or for familiar example, when promoting a TV personality, they discover a new talent, give lessons, take a promotion photo, and get a stylist for the person. I think there should be a similar steps applied in art and I don't understand why the art world doesn't do like that.

- I think I have never seen a person who has realized that kind of idea before.

In the art world in Japan, few people know how long it takes for an artist to succeed and get a good evaluation. Realistic thing is considered to be NOT artistic. I'd like to change that situation.

I am also a professor at Kyoto University of Art and Design, where I saw many students with full potential yet who are worried about their future. They don't know how to promote themselves. Helping those talent is needed.

- Right, young talent needed to be supported. 

Also, now in Japan, there are a very few people buying contemporary art. In order to solve this problem, I'd like to work on creating a new market by developing a new business model and promoting artists with future potential.

Speaking of artists with future potential, I am also a judge of Art Award Tokyo Marunouchi.

- Yes, you are wearing many hats. Please tell us about the award.

We discover new talents from all over the country by visiting art university's graduate exhibitions. The selected students get a chance to exhibit at Marunouchi (building's show window) The committee of the judge is consist of leading gallerists and curators. Through this award, we help them belong to a gallery, and in the future, show their works at TOKYO FRONTLINE. I hope the artists get wide audience including curators and collectors through TOKYO FRONTLINE, and before long, get a chance to show their works at G-Tokyo, an art fair which Japanese top galleries get together.

- Why do you focus on young artists?

Because I believe that the best thing is good collectors buy the works by promising artists in the early stage. Artist is the vehicle which moves the art world. Increasing fans who support that artists leads to the revitalization of the art world.

I don't take it into consideration selling high-priced, value-fixed art works to the collectors who have investment purposes.





- Please tell us about the novel projects of TOKYO FRONTLINE. It is a very new idea collaborating with a department store, Mitsukoshi-Isetan or an online store, PARCO-CITY. Where did you get this idea?

This is one of our strategy for spreading art widely.  You may know, in the magazine, ELLE DECO, you can find a credit of art works hung on the wall as well as other furniture pictured in the photos. "Life with art" like that is my ideal.

- I didn't know that. In Japanese magazines, that unlikely happens. Do you aim to make people feel familiar with art by collaborating with a department store and online store?

Yes. We showed art works in display window cases in three branches of Mitsukoshi-Isetan department store. We're planning to continue this project for next 3 years. This year, we used only display windows, but we'd like to try to exhibit and sell art works inside of the department store next. Just like a department store allocates multi-brands on one floor, I think we can exhibit and sell works by selecting those by a concept and mixing those from different galleries or different genres.

- How did you choose the galleries or partners participating in TOKYO FRONTLINE?

Also, our target is not only Japan but the world. So it was an important point to choose PARCO as a partner that it has a branch in Singapore. Now, art is very hot in Asia.

Now, we're having a plan to exchange booths with Asian leading art fairs. This year, we have invited Taiwan gallery, Galerie Grand Siecle run by Richard who organize the fairs in Taiwan. After this, we'd like to exchange programs by putting our booth in foreign art fair and vice versa. We put eye on the fair which is not just a satellite fair which is opened around the large fair but the one which is quality oriented and has a originality in it.



- What kind of people are you targeting as a collector for the fair?

The artists whom TOKYO FRONTLINE promotes are in their late 20's to mid 30's. TOKYO FRONTLINE sets the target to the same generation.


- Why do you choose the "same generation" instead of the 40's or 50's?

Galleries already have the customers in 40's and 50's and the art fair should provide new customer base to the galleries. Another important point is that the buyers' generation should be close to the artists'. If promising young doctors or lawyers buy promising young artist's works, they both have potential to prosper. People like to support the one in the same generation. I think educating young buyer will be a good answer to the growth of art market.

Not extremely rich people, as you see. Almost the same people who we targeted.

- Would you mind giving us an example?

On the other day, a web designer at the age of 33 bought an art work for the first time in her life. I'm very happy to hear that! 

I think there are many people who are hesitating to buy art but willing to buy it if they are pushed a little more. Making the environment to let them take an action is necessary.

- I agree. Do you think the age that people like company workers buy art will come ? 

I think so.  Art is not only for rich people. Nowadays the class that supports art fair is people who buy 5000 thousand yen to 1 million yen. The typical country which has a large collector-ship is Germany. I'd like to create that kind of market in Japan.



- How will the TOKYO FRONTLINE evolve next year?

We have accomplished the goal like promoting young artists strategically by increasing artists' exposure on TV or in an department store. Next year, we put more effort to create new buyers and exchange programs with the foreign art fairs.

It's not our goal to just sell an art work. The ultimate goal is to create a new business model helping promising young artists grow with the market.

I'd like this art fair to be regarded as a place where "a lot of talented artists came out from that art fair!"



Interviewed on Feb 25th, 2012 by Yoshiko Anetai

text and photo by Yoshiko Anetai

Exhibition Info
Date: Feb 24, 2012 - Feb 26, 2012
Place: 3331 Arts Chiyoda

Address: 6-11-14 Soto Kanda, Chiyoda ku, Tokyo, Japan

Close-up of "dejavu" 2011 by Reika Nakayama, acrylic, pencil and pen on canvas. Black thin lines are drawn on white acrylic.

And in "eye-catch", she depicts textures of feather or fur with pencil on mat black paint. The set of two paintings left the strongest and most lasting impression on me. Several confrontations can be seen here, between colors & black-and-white, close-up view & distant view, predator & prey and abstract & figurative. These contrasts caused strong tension in this work.

"eye-catch" 2011-2012 by Reika Nakayama, acrylic and pencil on canvas


Close-up of "eye-catch" 2011-2012 by Reika Nakayama, acrylic and pencil on canvas. Texture of fur is minutely described with pencil.


Exhibition view of Reika Nakayama "Sleeping diary - to paradise -" at Mori Yu Gallery

Originally specialized in oil painting, however, Nakayama has explored various styles of art such as painting, collage and three dimensional works until now. She also studied printmaking at Universidad Nacional Autónoma de México during 2005-2007. After returning from Mexico in 2008, she begun devoting herself into painting. We can see deep influence of Mexican culture in her works. Angels, brightly-colored flowers and fluttering ribbons shown in "Sleeping diary - to paradise -" are common motifs in the decoration of altars in Mexico.


"Sleeping diary - to paradise -" 2011-2012 by Reika Nakayama, acrylic, pencil, pen and photocopy on canvas

The latest work from her most notable series "Safarism". As seen in "eye-catch", Nakayama often uses the juxtaposition of colorful image with black and white. She explains that colored side represents "outside" or "image seen while we are awake" and black and white represents "inside" or "image seen while we are asleep".


"Safarism-Zoom" 2011-2012 by Reika Nakayama, acrylic and pencil on canvas

The background of multicolored vertical and horizontal lines layered on top of each other is one of the peculiarities of Reika Nakayama. She says she was inspired by the vivid colors of Mexican fabric.


Detail of "Safarism-Zoom" 2011-2012 by Reika Nakayama


Exhibition view of Reika Nakayama "Sleeping diary - to paradise -" at Mori Yu Gallery

Smaller works are arranged in the next exhibition room. Small yet every piece has some kind of daydream-inducing atmosphere. This is one big reason why Nakayama's works attract and hold viewer's eyes firmly. Then we will unconsciously gravitate towards her vibrant dreamscapes filled with visions of paradise.


"See you in my dreams" 2011 by Reika Nakayama, acrylic and pencil on canvas


[left to right] "A" 2011-2012, acrylic, pencil and pen on canvas, "Deer flower" 2011, acrylic and pencil on canvas, "Flower Charm" 2011, acrylic, pencil and pen on canvas by Reika Nakayama


Exhibition view of Reika Nakayama "Sleeping diary - to paradise -" at Mori Yu Gallery


"Sleepless dream Vol.2" 2011 by Reika Nakayama, acrylic, pencil and pen on canvas


Mori Yu Gallery, located alongside Biwako-sosui canal in Okazaki, the most cultured area of Kyoto, is providing ongoing opportunities to meet noteworthy contemporary artists, both young and experienced. In 2008, they opened their second premises at Kagurazaka, Tokyo.


text and photos by Natsuki Niimi


Exhibition Info
Date: 21 January - 10 March, 2012
Place: Mori Yu Gallery Kyoto
Address: 4-19, Shougoin-rengezou-cho, Sakyo-ku, Kyoto, Japan

"DOMANI, The Art of Tomorrow Exhibition" was held at the National Art Center, Tokyo. 


The real Japanese art world was there!

The DOMANI exhibition has been held 13 times, and this year marks its 14th anniversary. This annual exhibition is an opportunity for artists who studied abroad on the Overseas Study Program for Artists funded by the Japanese Agency for Cultural Affairs to present the results of their studies. This time, eight artists were featured, who recently went abroad on this program and have not yet exhibited their works at the DOMANI exhibition.


This overseas program also celebrates its 45th anniversary this year. To commemorate this, 53 artists who studied on this program in the past were exhibiting their works with the 8 featured artists.



We're going to show the variety of expressions by tomorrow's leading artists!





Makiko Yamaguchi "Wings No.2" 2011

When I entered the exhibit space, my eyes were glued to the large, softly colored canvases. The main theme of Makiko Yamaguchi's work is "rebirth".


detail: "Wings No.2"

She uses water pigments with gradation, bleeding and pooling techniques.

She controls her paintings' randomness, sketching over and over again in advance.



Makiko Yamaguchi　"Bird Joy No.1-8" 2011

"Bird" is a motif that attracted Yamaguchi during her stay in the UK on the Overseas Study Program for Artists. Her paintings of birds feel like a touch of shining life.






In the next room, the atmosphere changes completely.

Mamoru Abe has been working on iron installations.

He actually created his works using fire and his own body.
 

exhibition view of Mamoru Abe's work

His works have real presence, beyond that of the material.





Tsukasa Yokozawa, based in New York, is a photographer who presents fresh sceneries created from his unique point of view and sense of distance.


Tsukasa Yokozawa "Parallel Lives #A4" 2009, Motus Fort



In this picture, separate elements are shown as if adjoined.

Impossible visions become possible by lens effects.

This is the magic of photography!


Tsukasa Yokozawa "Lexington Avenue" 2011

To my amazement, the artist took photos of all the street trees from Gramercy Park up to 82nd Street, walking along Lexington Avenue in New York!

Look at the detail.


detail: "Lexington Avenue"



Ryo Shiotani is one of the most popular painters in the field of realistic painting.



exhibition view of Ryo Shiotani's work



His work is so delicate and beautiful.

I felt as if the models in the pictures were going to start moving!


Ryo Shiotani "Olga" 2008-2009, private collection 





Nobuko Watabiki stayed in Germany on the Overseas Study Program, and started to utilize used clothing for her work.
What she felt the most different from Japan were the colors of the clothes.

She considers used clothes to have colors chosen by German people.


Nobuko Watabiki  "Only the Toes are Honest to the Heart" 2010


detail: Nobuko Watabiki "Outside the Caves, There is a Night Shaped like a Cave" 2011

These are the arms of used clothes.　Arms imply signs of people.
There is nobody wearing them, but you definitely feel the presence of people.
It is a mysterious work.





Mutsumi Tsuda took up the descendants and history of Japanese immigrants in New Caledonia as the theme of her work. 



exhibition view of Mutsumi Tsuda's work

Her activities consisted of research of primary sources, interviews and photo shoots at areas where Japanese immigrants lived.





Mutsumi Tsuda "Nina - Nisei" 2006

In the pictures on the wall, people's smiles or their clam lives were surrounded by beautiful landscapes.　But I felt as if the immigrants' invisible sorrow and heavy history were oozing out of these photographs.  
 






Sako Kojima feels like she is a mouse, a tiny, fragile existence in this wide world. She has been working on the theme, mouse--her alter ego. 


exhibition view of Sako Kojima's work

The quiet cry of a mouse comes out of the movie..... 


exhibition view of Sako Kojima's work

Her works leave a strong impression, contrary to her motif of the fragile existence of mice.





Hisaharu Motoda describes the end of the world--big cities without people, eroded by growing plants.
 These scenarios are all totally fictitious, but don't you feel like you've seen them? 


Hisaharu Motoda "Indication-Diet Building, Tokyo3" 2008


Hisaharu Motoda "Indication-Tokyo Tower5" 2007-2009


In addition to the above artists, 53 leading artists were exhibited their works.
The view of the museum where the works by experienced artists were gathered was really overwhelming!




text and photo by Yoshiko Anetai




Exhibition Info

Date: 14 January - 12 Februrary, 2012

Place: The National Art Center, Tokyo

Address: 7-22-2 Roppongi, Minato-ku, Tokyo, Japan 

Now, here's good news for all of you who read this article to the end.


Exhibition catalogue of "DOMANI" 2012.

To show our appreciation for your warm support, we are happy to give out two exhibition catalogues wherever you live. The winners will be selected in a drawing and will be informed by email. Please fill in the form below and submit it. 

Painting "Nyctalopia" by Fuyuko Matsui (2005, collection of Mr. Akimitsu Naruyama) Photo: Yokohama Museum of Art

The three most prominent themes in her work are pain, insanity, and death. It is interesting, therefore, to see how she conveys such harrowing concepts through very feminine imagery. In "Insane Woman under the Cherry Tree," a female figure stands with long strands of hair in her right hand and a breast in her left hand, while she regurgitates a fetus. In "Light Indentations Mingle and Run in All Directions," a woman carries a fetus in her womb, along with a skull. It is tempting to read into such symbolic images, but Matsui provides context and clarification for her paintings by placing explanatory placards next to many of her pieces. In one of the show's highlights, "Keeping up the Pureness," the artist explains to her audience that the painting presents the state of being a woman capable of reproducing in contemporary society. Her fear-provoking works also act as "purifying agents," which she creates to face and go through painful, terrifying experiences on behalf of those who may actually be in agony or in fear.


Painting "Insane Woman under the Cherry Tree" by Fuyuko Matsui (2005, private collection)


Painting "Keeping up the Pureness" by Fuyuko Matsui (2004, permanent loan to the Hirano Museum of Art) Photo: Yokohama Museum of Art


Detail of painting "Keeping up the Pureness" by Fuyuko Matsui


Painting "Immediately Turning Gentle and Falling Asleep" by Fuyuko Matsui (2004, Gallery Naruyama)

Painting "Unification of the Four Limbs" by Fuyuko Matsui (2011, collection of the artist)

Painting "Virgin Specimen" by Fuyuko Matsui (2009, Mori Art Museum)

Painting "Place of Bodies" by Fuyuko Matsui (2011, collection of the artist)

Coming out of the exhibit, I felt like I got a glimpse of a very private part of the artist's mind. However, the austerity of the nihon-ga production process seems to transform intimate secrets into carefully crafted messages. While the exhibition is full of what should be grotesque, frightening, and sometimes even depressing visuals, such negativity did not stick with me. As a woman, I came out thoroughly impressed by the young artist's talent and her capacity to empathize with her own sex, and I reflected on my own life, looking forward to my own future.

text and photos by Makiko Arima

Curator's quote: Sae Yatsuyanagi, "Matsui Fuyuko--The Artist and the Art" in Fuyuko MATSUI: Becoming Friends with All the Children in the World, trans. Brian Amstutz (Tokyo: Editions Treville, 2011).
Artist's quote: Fuyuko Matsui, "Becoming Friends with All the Children in the World" in Fuyuko MATSUI: Becoming Friends with All the Children in the World, trans. Brian Amstutz (Tokyo: Editions Treville, 2011).

Exhibition Info
Date: December 17, 2011 - March 18, 2012
Place: Yokohama Museum of Art
Address: 3-4-1 Minatomirai, Nishi-ku, Yokohama, Japan

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NANZUKA and Yamamoto Gendai booth in Art Stage Singapore 2012

We Are Asia', roared the ad campaign for the second edition of Art Stage Singapore, and Japan was not short on representatives at the island nation's second attempt to establish itself as a vital destination in the Asian art scene. 

The sophomore edition of Art Stage Singapore drew 133 galleries from 19 countries and a swarm of 31,000 visitors who flocked to Marina Bay Sands' Convention Centre by the sea to see some of Asia's most exciting works. The exhibition ran for four days, from 12 - 15 January. 

Azito's three partner galleries, NANZUKA, Yamamoto Gendai and Mori Yu Gallery made a strong showing as well. 

The combined NANZUKA, Yamamoto Gendai galleries saw a non-stop flow of visitors to their booth.

Hajime Sorayama. 'Headbangers' on the right, 'Sleepers' on the left, were colourful acrylic pieces 

Close up of 'Headbangers'. The meticulous work, crazy colours and movement made this piece one of my favourites in the exhibition. 

Kei Imazu's 'Off the walls' was another instantly eye catching piece. 

An installation piece by Muneteru Ujino at Yamamoto Gendai booth provided a steady rhythmic beat that became a 'soundtrack' at their booth. 

Keiichi Tanaami's irrepressibly energetic works were on display as well, and here is his '[Superabundant existence]' 

Another of Azito's partners, Mori Yu Gallery, presented a more selective but visually captivating series of art pieces by the painter Sakae Ozawa. 

Sakae Ozawa's haunting dreamscapes on display at the Mori Yu Gallery booth. 

Sakae Ozawa's 'Silent Phase' 

Ozawa's surreal 'The world becomes dream, dream becomes world.' 

Besides Azito's partner galleries, a host of other Japanese galleries also exhibited at Art Stage 2012. The art pieces on display at Tomio Koyama Gallery had a distinctly pop art sensibility to them, which was right up my alley. 

Atsushi Fukui's 'the meadow of bunnies' 

Close up of 'the meadow of bunies', ink on paper 

Hideaki Kawashima's 'reflesh' and 'calm', from left to right. 

Osaka's Tezukayama Gallery's emotive series of photographs remembered the March 11 earthquake-tsunami that devastated the north-east coast of Japan, and inevitably came to dominate Japanese consciousness. 

Hirohito Nomoto's Façade and Debris prove that the catastrophe also pervaded the minds of Japanese artists. 

Hirohito Nomoto's Façade is a montage of 20 photos capturing the facades of 20 buildings wrecked in the disaster during his trip to affected areas. 

Ota Fine Arts' exhibit was one of the few video installation in the whole Art Stage 2012, having brought in the work of Hiraki Sawa. The walls of its darkened, enclosed booth were used as a projection screen for two nameless films, while what seemed to be an old antique television ran a monochrome film on loop in a lit corner. 

Tiny antique television. Artwork by Hiraki Sawa.

Still of one of the video pieces playing. In this section of the video, sand trickled down on the left hand side of the book shelf. 

A favourite find of mine however, has to be the simultaneously cute and awe-inspiring wood statues by Yoshimasa Tsuchiya, on display at the booth by Megumi Ogita Gallery. 

The 1.18m-tall 'Qilin', a mythical Chinese creature here re-interpreted by the artist Yoshimasa Tsuchiya, is both cute and elegant. Real crystal was embedded for eyes, and the artist used opals and other gems for the eyes of his other wooden statues as well. 

The Yoshiaki Inoue Gallery also put up an interesting variety of pieces, including a comic strip that when looked at from afar, formed the portrait of US sex siren Marilyn Monroe. 

The Yoshiaki Inoue Gallery booth 

'arenitsuitenomudabanashi-03' by Japanese artist U-die 

Hisaya Taira's series of seemingly mundane 'photos' are revealed to be impressively realistic paintings upon closer inspection, which speak of the artist's painstaking attention to detail. 'Escalator#24' 

Last but not least, Gallery Cellar put up a vibrant collection by the artist Tetsutaro Kamatani, whose vibrant photos were a joy to behold. 

Untitled piece by Tetsutaro Kamatani