서울의 갤러리 @pokettales 에서 개인전을 개최하게 되었습니다.
전시 첫 날에는 저도 전시회에 참석할 예정이니, 근처에 계신 분들은 꼭 한번 들러주세요.

I am thrilled to announce a solo exhibition at gallery pokettales in Seoul.
I will be there on the first day of the exhibition, so if you are in the area, please come and visit.

ソウルのギャラリー pokettalesで個展を開催します。
初日に在廊するので、もしお近くにおられる方はぜひ遊びに来てください。

“Two values”
Hidetaka Suzuki Solo Exhibition
히데타카 스즈키 개인전
포켓테일즈 서울시 중구 을지로 157, 9F
9F, 157, Eulji-ro, Jung-gu, Seoul
June 25 – July 13
12:00 – 18:00 (tue-fri)
11:00 – 15:00 (sat)

https://pokettales.com/

🔻Japanese is below

We are pleased to announce a two-person exhibition with Kentaro Takahashi at HIRO OKAMOTO, a gallery in Jingumae, Tokyo.
Although photography and painting are two different media, we have always felt that our works have something in common.
We hope that many people will come and see our works.

“Ghost Letter”
Exhibition Duration: 2024.06.08 – 06.23
Opening Hours: 11:00 – 19:00
Access: HIRO OKAMOTO, K’s Apartment 103, 3-32-2, Jingumae, Shibuya-ku, Tokyo, 150-0001, Japan
* Please call “103” on the main entrance intercom when you come in.

Introduction

Ghost Letter refers to phantom characters of unknown origin.

These characters are said to be the product of typographical errors and noise that got mixed up in the popular JIS Kanji code established in 1978, and 12 of them still exist like ghosts today.

No one knows how to read them or what they are used for, and no trace of their use has ever been found, making their existence doubtful.

Upon further investigation, it appears that the ghost characters were most likely the result of human error in the coding process, such as the accidental merging of different characters or the addition of extra lines.

The story seems to be that these errors were carved into the data and are still there to this day to avoid confusion.

Throughout history, letters have always changed and many words have disappeared. The existence of ghost letters seems to lie between the words that have already been lost and those that are used today.

The ghost letters, which have been mixed in by chance, are like shadows of letters that someone may have drawn in the past.

However, we have no way of confirming the truth. Even if the letters once had meaning, all we have left are their shapes.

This exhibition explores the ambiguity and certainty of memory, of things that do not exist but are familiar to us, through the mediums of painting and photography.

It is an attempt to quietly question how mysterious entities such as ghost characters affect our minds.

https://www.hirookamoto.jp/events/ghostletter

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神宮前のギャラリー、HIRO OKAMOTO にて Kentaro Takahashi と二人展を開催します。
写真と絵画という違うメディアですが、以前から作品の共通点があると感じていました。
ぜひたくさんの人にみていただけたら幸いです。

“Ghost Letter”
Exhibition Duration: 2024.06.08 – 06.23
Opening Hours: 11:00 – 19:00
Access: HIRO OKAMOTO, 東京都渋谷区神宮前3丁目32-2 K’s Apartment 103
※御来廊いただく際は、正面玄関インターホンにて「103」をお呼び出しください。

Introduction

Ghost Letterとは幽霊文字と呼ばれる出所が不明な幻の文字を指す。

これらの文字は、1978年に制定された一般的に普及しているJIS漢字コードに紛れ込んだ誤字やノイズの産物とされ、現在もなお12文字が幽霊のように存在している。

その読み方も用途も誰にもわからず、使用の痕跡すら見つからない実在が疑われる文字である。

調べてみるとどうやら幽霊文字はコード化の過程でのヒューマンエラー、例えば異なる文字の偶然の結合や余分な線の追加などによって生まれた可能性が高い。

このようなエラーがデータに刻まれ、今もなお混乱を避けるためにそのまま残されている、というのが事の顛末のようである。

歴史を振り返ると、文字は常に変化し、多くの言葉が消えていった。幽霊文字の存在は、すでに失われた言葉と現在使われる言葉の狭間にあるように感じられる。

何かの偶然で紛れ込んでしまった幽霊文字は、かつて誰かが描いたであろう文字の影のような存在だ。

しかし、現代の私たちにはその真実を確かめる術はない。その文字がかつて意味を持っていたとしても、今私たちに残されているのはその形だけである。

この展覧会では、実在しないがどこかで見覚えのあるもの、記憶の曖昧さと確かさを、絵画と写真という二つのメディウムを通じて探求する。

幽霊文字のような謎めいた存在が、私たちの心にどのような影響を与えるのか、静かに問いかける試みである。

https://www.hirookamoto.jp/events/ghostletter

My work was cited in the program booklet for the opera, “THE TURN OF THE SCREW”, Benjamin Britten directed by Andrea Breth, at the Royal Opera House of la Monnaie in Belgium.
I’m very happy to be featured along with the wonderful artists.

ベルギーのモネ王立歌劇場で行われたオペラ、「ねじの回転」（Benjamin Britten、Andrea Breth演出）のプログラムブックレットで作品を引用していただきました。
バルテュスやモネ、ボレマンスなど、素晴らしいアーティストと並んで掲載していただきとても嬉しいです。

https://www.lamonnaiedemunt.be/en/program/2660-the-turn-of-the-screw

I’m thrilled to be showing a solo presentation of new paintings with @ackerman.clarke  @newartdealers from May 2-5.

I will be in New York during the fair and look forward to seeing you all.
You can find us at Booth 3.09, 3rd floor of the 548 W. 22nd St. building.

https://www.newartdealers.org/programs/nada-new-york-2024/introduction

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第10回目の NADA New York に Ackerman Clarke のブースから参加します。
個展形式のプレゼンテーションをする予定です。
フェアの会期中ニューヨークに行く予定なので皆様にお会いできることを楽しみにしています。
Booth 3.09, 3rd floor of the 548 W. 22nd St. building.
2024/5/2 – 5/5

🔻Japanese is below
It is with excitement that I announce my participation in the group exhibition “Objecting Reality” at WOAW GALLERY.
This will be the my first exhibition in Hong Kong.
I am proud to be exhibiting with internationally acclaimed young artists.
The exhibition will be held at the same time as Art Basel Hong Kong, so if you are in the area, please visit the exhibition.
I would like to thank our curator Saša and the galleries for their support.

“OBJECTING REALITY”
at WOAW GALLERY
G/F, 3 SUN STREET WAN CHAI, HONG KONG
27 March – 26 April 2024
TUE – SAT , 11 AM – 7 PM
(Closed on public holidays)
https://www.woawgallery.com/exhibitions/81-objecting-reality/overview/

Niklas Asker, Jennifer Carvalho, Ginny Casey, Suzuki Hidetaka, Quinten Ingelaere, Heesoo Kim, Damien Meade, Filip Mirazović, Ken Nurenberg, and Wedhar Riyadi

Objecting Reality, a group exhibition curated by Saša Bogojev. Taking place during Hong Kong Art Month, the group exhibition showcases recent paintings of 10 distinguished international artists: Niklas Asker, Jennifer Carvalho, Ginny Casey, Suzuki Hidetaka, Quinten Ingelaere, Heesoo Kim, Damien Meade, Filip Mirazović, Ken Nurenberg, and Wedhar Riyadi. The exhibition focuses on the painting’s capability to petrify anything into a still image by converting the painted flat surface into an illusion of a lifeless object within a three-dimensional scene.
“Art is a lie.” “Painting is an illusion.” These notions reflect profound philosophical and artistic perspectives on the nature of art and its connection to reality. They express insightful concepts regarding the role of art in representing and interpreting the world. In this regard, the legacy of painting inanimate objects is a testament to humanity’s enduring fascination with the transfiguration of the ordinary into the extraordinary.
From depictions of food and possessions in ancient Egyptian tombs, decorative Roman wall paintings or floor mosaics, the portrayal of everyday objects carrying religious and allegorical meanings in the Middle Ages, and the emergence of still life as a distinct genre in Netherlandish painting during the 16th and 17th centuries, our artistic heritage is intertwined with the idea of objectifying reality. Through their inexplicable mastery of capturing depth and perspective, painters are capable of summoning the very essence of sculpted forms on a flat canvas, creating a theatrical world where light and shadow gracefully dance across rigid subjects.
While the Baroque period celebrated the drama of chiaroscuro to infuse life into their sculptural forms, contemporary painters are often drawn to capturing the deceptive glow of lustrous materials and polished surfaces. In an age increasingly defined by artificial, fabricated, inorganic, or virtual existence, there is an increased interest in capturing the stillness and lifelessness of our surroundings. Rather than portraying the essence of the subject, a convincing visual representation of the world is crafted by capturing the flare of life that surrounds it. Employing ainting’s sorcerous ability to transcend its two-dimensional boundaries and achieve sculptural illusion, a well-executed brushstroke holds the power to transform any segment of the natural world into veiny marble, gleaming gold, or translucent porcelain or glass.

I was interviewed with Floorr Magazine on issue 32.
Please check the exchange from the link.

https://www.floorrmagazine.com/issue-32/hidetaka-suzuki