Press Release 2021.8.25

[Left] Kai Maetani | Scape | 2020 | Inkjet print | 91.5×137cm[Center] Haruka Matsumoto | Engrave the monument（Kurodoriyama Park） | 2020 | Lithograph, BFK Rives | 49×65cm[Right] Manami Seki | Hexaptyque | 2019 | Aluminum, styrofoam, stock photography, photographic paper, cut-out sticker, ceramic, cushion, brick, float, chair, handrail, cardboard, silicone tube | Dimensions variable | Photo:Shu Nakagawa

Ship, Reaching, ShoreManami Seki, Kai Maetani, Haruka Matsumoto-September 4 - October 3, 2021

*Please note that we may have a limited number of entry to the exhibition, in order to prevent infection and spread of the new coronavirus.-Talion gallery is pleased to announce the opening of the group exhibition “Ship, Reaching, Shore” by Manami Seki, Kai Maetani and Haruka Matsumoto.

The exhibition will be consisted of three artists' approaches and departures to/from the entangled intersection with clues of patterns and logics that connect deeply to each of their working methods.

Manami Seki is working thgrough following the exchanging process between language and image by juxtaposing representative spaces within some different levels, such as physical space and two dimensional paper or display. Recently, she presents performance works which respond to human language and body behaviors dealing with the sequential process of programs and systems. Putting himself in the place like a potential void within a group conformity such as at a room of capsule hotel, underfloor of house and on a stage of play, Kai Maetani creates photographic works which leave tracks of his own acts and body through releasing a shutter to himself. His recent works apply the method of self portrait, visiting hills and coasts which are gaps and cut sections between the towns to capture the relationship of sceneries and bodies. Through going to the fringe of incidents reported in mass media, Haruka Matsumoto tries to re-experience the happening and creates her works from images of the persons concerned, mainly with prints using method of lithography. The sight and detailed collage of local color which were accessible through walking the scene bring verbose figurativeness into one print. At the same time, the absence which cannot be recovered greatly stands out in a picture with overlapped images of parties substituting artist·s portrait for their figures.

The title “Ship, Reaching, Shore” is an incorporeal questioning itself and an intersection point where plural rephrased paradoxes are layered on. Through their unique approaches (or departs), the figurative representation of paradox and paradox which is inherent in the figure will be presented at the exhibition.

"In order for the word “I” to become meaningful, it is necessary to be said by someone. However, as soon as it was stated, this word “I” is understood as infinitely replaceable subject. It is possible to say “I” by anyone, but the contents of “I” varies for individuals. Thus “Individuality” is

“universally replaceable”."(Hayato Saigo, Shigeru Taguchi "What is 'Reality'? A transformation of the world view starting from mathematics and philosophy” Chikuma Shobo, 2019, Kindle No.1719-1722)I was vaguely aware of that the student riding road bike whom I passed in the morning is not one but actually three. It is not that the world mechanism went wrong as I left home earlier so that the point where I pass them deviates, but I just understood well.(April 15, 2019, Twitter)

Manami Seki

John Stilgoe who is a historian and also a photographer thought that etymology of “landscape” is from old Frisian language “landschop” = “shoveled land”. He imagined “landschop” as the act of throwing shoveled soils from the land to the sea (seeing the sea from the land) at the scene of Dutch reclamation and stated that when “landschop” was modified in English language, in the process sounds and meanings were changed, it becomes “landskip” = “landmark for sailor to recognize the land” (seeing the land from the sea) and changed as current “landscape”. Whenever I go to mountains and coasts at night for shooting, I feel with all my senses that I am surrounded by non-human beings. I started thinking if the scenery supposed to be seen by us is oppositely seeing me, as I felt like my body was melting into darkness when I walked inside the dark while checking footholds. I'll try to be caught between the bodies looked back, alien visions by cameras and scenery ever untouched somehow, at least.

Kai Maetani

“Conclusion of the Battle, the Stone that wants to be back"The very next day after I was asked about my practice by colleague M and told the story of my work “Almaguer Island (story of grandmother and grandaunt)”, I received a stone by M. The large stone filled a nylon shopping bag as it was inflated to limit. There are patterns as like EORRGV�VRDN�LQWR�WKH�VWRQH�HYHU\ZKHUH�RQ�LW��7KH�VWRQH�LV�EHORQJHG�WR�0·V�IDWKHU��:KHQ�KH�went to Corregidor Island on a business trip, he took a stone called blood stone which scattered on where a fierce battle was fought before.

“I guess my father thought as like his brother not coming back from Philippine was willing to go home, and could not help bringing back it instead of his remains.” The stone is displayed at HQWUDQFH�RI�0·V�IDWKHU·V�KRXVH��Three years has passed since I made “Blood stone and Spider (Mt. Takahata / Corregidor Island)”. The other day, I visited a certain area in Wakayama prefecture to pick up stones. In this area, there is a legend of blood stone called “Spider blood stone (Kumo-chi-ishi)”. The QDPH�RI�VWRQH�LV�GHULYHG�IURP�WKH�VWRU\�WKDW�PRQVWHU�VSLGHU·V�EORRG�ZKR�IRXJKW�ZLWK�6DNDQRXH�no Tamuramaro dyed white rocks of the mountain. At now the battlefield becomes a golf course, and only the place name Shira-iwa (white stone) is remained. It was unable to confirm the existence of stone even from parishioner of neighboring temple. Nobody can tell whether stones picked up from this area is blood stone or not, but for me, this is the blood stone. It is said that when stone is carried out from the mountain, it cries saying “Bring me back there”. If the stone cries saying “I want be back” during the exhibition, I will also bring it back to that mountain. I am thinking about thoughts and acts of people when they work out a deal with incident that QRERG\�ZLOO�NQRZ�DQ\PRUH��,W·V�OLNH�D�HQGOHVV�EDWWOH�I wonder where the work starts and where it ends. I have been working with a clue of images from mass media and hearsay, but I often come back to the fringe of occurrence which gave PH�D�FKDQFH�WR�FUHDWH�WKH�ZRUN��5HPDLQ�IHHOLQJ�ZKLFK�GRHVQ·W�VRXQG�ULJKW�DQG�VHTXHO�RI�WKH�person concerned on the happening and work. They were given a form once, and not be concluded even now. I traced the details of events oppositely as like as considering right time to return the stone.

Haruka Matsumoto

Manami Seki

1990 　Born in Tokyo2013 　B.A. Sculpture department, Musashino Art University

Seki followes exchanging process between language and image by juxtaposing representative spaces within some different levels, such as physical space and two dimensional paper or display. Recently, she presents performance works respond to human language and body behaviors dealing with the sequential process of programs and systems.

SELECTED SOLO EXHIBITIONS2019 　"Site" gFAL, Musashino Art University （Tokyo）

SELECTED EXHIBITIONS AND EVENTS2019 　"KIROKUGAKARI vol. One day to remember and record the Hashima City Work Youth Home" Hashima City Working Youth Home (Gifu) 　"Container #observation" blanClass（Kanagawa） 2018 　"BEYOND MATERIALIZING" Tama Art University Art-Theque (Tokyo) "KIROKUGAKARI vol. How about Polynesian?"　　　　　 TALION GALLERY （Tokyo） 2017 "KIROKUGAKARI vol. new cave" Kohonya （Tokyo） "PJB" BankART Studio NYK（Kanagawa） "Vehicles #Appreciation" Railroad siding 2017（Saitama） "(real) time と study tables" space dike（Tokyo） "Vehicles" blanClass （Kanagawa）2016 "Pink Jerry Beans" TABULAE （Tokyo） 2014 "Dust of ruby"soh gallery （Tokyo） "Sight of display" blanClass （Kanagawa）2013 "boy meets cow" Railroad siding 2013 Former Tokorozawa-shi Dai-ni Gakko Kyusyoku Center（Saitama） "Musasino Art University selected works from degree show" Musashino Art University （Tokyo） 2012 "The 11th Gunma Biennale For Young Artist" The Museum of Modern Art, Gunma(Gunma)

Colorado, Arizona, New Mexico, Utah | 2014Lahti plywood, acrylic paints, hinge, Pastel crayon, tracing paper, photograph

Dimensions variablePhoto：Shingo Kakita

KIROKUGAKARI vol. One day to remember and record the Hashima City Work Youth Home | 2019

KIROKUGAKARI:Akiko Tamaki,Manami Seki |PperformancePhoto:Taiki Isogawa

PJB | 2017 | Theater | 70minWritten and Directed by Takuya Kawahara + Manami SekiCast : Takuya Kawahara , Manami Seki , Marlowe Sekine

Stage effects : Mitsuru Tokisato | Photo : Ujin Matsuo

Vehicles #Appreciation | 2017 | Performance | 90minPerformer :Takuya Takemoto,Sana KomotoManami Seki

Photo : Hibiki Miyazawa,Tomohiro Miyakawa

Kai Maetani

1988 Born in Ehime2011 B.A. Ceramic Art, Kyoto University of Art and Design 2013 　　M.A. Fine Art, Kyoto University of Art and Design

Putting himself in the place like a potential void within a social life such as at a room of capsule hotel, underfloor of house and on a stage of play, Maetani creates photographic works and installations as a method for confirming his own bodies through releasing a shutter to himself.

SELECTED SOLO EXHIBITIONS2021 "Night Think of Day, Day Think of Night" Art Center Ongoing (Tokyo) 2019 "Kapsel" FINCH ARTS (Kyoto)2018 "One Night Stand"Shibu House (Tokyo) 2016 "Drama research and Self Filming Technics" Division (Kyoto)2014 "Second Kiss" YEBISU ART LABO (Aichi)2013 "Capsule Size Me" Shinjuku Ophthalmologist Gallery (Tokyo)

SELECTED GROUP EXHIBITIONS2020 "5ROOLQ�5ROOLQ·" FINCH ARTS (Kyoto)　　 　"The Analogical Mirrors" Yamanaka suplex (Shiga)　　 　 "Daikyoto Art Festival in Kyotango 2020" Asamogawa Hall (Kyoto)　　　 "SPR" FINCH ARTS (Kyoto)　　　 "AT PAPER.11 launch exhibition" VOU (Kyoto)2019 "Great Kyoto in Kyotango 2019" Former textile factory of Yoshimura Co. ltd (Kyoto)　　　 "Kamikoani Project2019"Kamikoani village Yagizawa hall (Akita) 　　　 "2019 Korean DMZ Daeboung lake Art Festival" Kangwon-Do/South Korea (Korea) 　　 　"Roppongi Crossing 2019: Connexions" Mori Art Museum (Tokyo) 　 　　"The 14th Gunma Biennale for Young Artists 2019" The Museum of Modern Art, Gunma (Gunma) 2016 "Rokko Meets Art 2016" Rokko Alpine Botanical Garden (Hyogo) 2015 "ULTRA AWARD 2015" Kyoto University of Art and Design, Garelie Aube (Kyoto)　　　 "Hypertonic Age" Kyoto Art Cente (Kyoto)　　　 "Installing of the Exhibition “BNF” & Artist" ARTZONE (Kyoto)　　　 "12 Windows" CAP STUDIO Y3 (Hyogo) 　　 　"On the Way to the Future, and Then"　 Kyoto Institute of Technorogy, Kyoto (Kyoto)2014 "Politics Narcissism" ARTZONE (Kyoto)　　　 "KUAD graduates under 30 selected"　　 Kyoto University of Art and Design, Garelie Aube (Kyoto)2013 "New Cosmos of Photography 2013 Tokyo Exhibition" Tokyo Metropolitan Museum of Photography (Tokyo)

SELECTED AWARDS2016 "Rokko Meets Art 2016" Encouragement Prize����������.8$'�JUDGXDWHV�XQGHU����VHOHFWHG��7KH�3DUD]LQH��3DUDVRSKLD·V semi-official newspaper) Award、Kyoto Art Center Art Coordinator Award2013　 "New Cosmos Photography 2014" Honorable Mention Award

Kapsel 7102 | 2014 | C-print | 50.8 × 61 cm

Kapsel | 2019 | C-print, ink jet printト | Variable size"Roppongi Crossing 2019: Connexions"

Installation view at Mori Art Museum | Photo by Keizo Kioku

Burns on the Retina (Dear Cells) | 2020 | Video projection | 5 min"The Analogical Mirrors" Installation view at Yamanaka suplex (Shiga）

Family Portrait | 2020 | Inkjet print | Dimensions variable

Haruka Matsumoto

1993 Born in Kyoto2015 　 　B.A. Printmaking Course, Faculty of Art, Kyoto Seika University2018 M.A. Print making, Department of Painting, Graduate School of Arts, Kyoto City University of Art

Through going to the fringe of incidents reported in mass media, Matsumoto tries to re-experience the happening and from the images of persons concerned she creates the works, mainly with prints using method of lithography. The sight and detailed collage of local color which were accessible through walking the scene and the absense of parties who are substituted to the author· s portrait bring verbose figurativeness into one print.

SELECTED SOLO EXHIBITIONS2021 "Ride a fictitious dragon over the sea to a phantom island" kara-Sgallery（Kyoto） 2020 "The Fate of an Udo" Medel Gallery Shu （Tokyo） 2019 "A living crab, pot lid" Mitsubishi Ichigokan Museum （Tokyo） 　 "Blood Stone and Spider" YEBISU ART LABO （Aichi） 2018 "Kaorama" Kyoto Art Center South / North（Kyoto） 2017 "Confidential and cock" SUNABA Gallery （Osaka） 2015 "Haruka Matsumoto Exhibition" O Gallery eyes （Osaka）

SELECTED GROUP EXHIBITIONS2021 "The 15th Gunma Biennale for Young Artists" The Museum of Modern Art Gunma（Gunma） "Tracing the soul" PRIVATE （Tokyo） "Hatoba vol.18" HATOBA （Aichi） 2020 "ALLNIGHT HAPS 2020 Probable Cause" HAPS office 1F （Kyoto） 　　 　"Observers of Everyday Life" HOTEL ANTEROOM KYOTO l Gallery 9.5 （Kyoto） "HER/HISTORY" Kishiwada muninciple Hall Jisen-kaikan （Osaka） 　　"Kyoto Art for Tomorrow 2020"The Museum of Kyoto （Kyoto） 2019 "timelake - Single screen / The moment when breathing begins -"　　　 TO OV café/gallery (Hokkaido), minamo (Kagawa)/MOTIF（Kagawa）/　　 　 Kanzan Gallery (Tokyo)/ Yushido (Osaka)/ The Third Gallery Aya（Osaka） 　　 "Aspects of Light" Seian University of Arts and Design（Shiga）2018 "Lighter but Heavier" C.A.P （Hyogo） "Ma-Ma" THE TERMINAL KYOTO （Kyoto） "KAISEI" pe.hu (Osaka)、CORNER PRINTING kg （Tokyo）、　　　　GALERIE P38 （Paris） "Art Award Tokyo Marunouchi 2018" Gyoko-dori Underground Gallery （Tokyo） 　　 "Four artists who will lead the next generation" Keihan Moriguchi Department Store 6F Art Gallery（Osaka） 2017 "The 10th Kochi International Triennale Exhibition of Prints" Ino-cho Paper Museum （Kochi）

Eat the ears of evil gods (Sano City）| 2020Lithograph, BFK Rives｜66×53cm

Observers of Everyday Life｜2020Installation view at HOTEL ANTEROOM KYOTO Gallery 9.5

Photo : Takuya Matsumi

Water (Kitayamada cho) | 2019 | Lithograph, Kakita paper｜49×65cm

A living crab, pot lid｜2019Installation view at Mitsubishi Ichigokan Museum | Photo : Keizo Kioku

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[ Exhibition Informations ]Title Ship, Reaching, ShoreArtist Manami Seki, Kai Maetani, Haruka MatsumotoDate September 4 - October 3, 2021 11 am - 7 pm Closed on Monday, Tuesday and HolidaysVenue TALION GALLERY (2-2-1 B1, Mejiro, Toshima-ku, Tokyo)Directed by Tsuyoshi Ueda (TALION GALLERY)

[ Notice ]We kindly request visitors for following measures to protect guests from infection during their visit. Please check the updated information on our web site (taliongallery.com).

・To prevent overcrowding, we may have a limited number of entry to the exhibition. ・If you have a fever or symptoms such as coughing, sore throat, please refrain from visiting the gallery.・Please wear a mask and disinfect their hands upon entering.

[ Inquiries ]TALION GALLERYEmail: info@taliongallery.com Tel/Fax: +81-3-5927-9858171-0031 B1 2-2-1 Mejiro, Toshima-ku, Tokyo URL: www.taliongallery.com