GO FOR KOGEI

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Noritaka Tatehana


Tatehana reframes Japanese traditional culture with a contemporary flair by interpreting fashion not
as mere external adornment, but as an act of inscribing social roles, rituals, and values onto the body.
His signature work for this exhibition, Heel-less Shoes, is created using the exquisite craft of Edo
kumihimo braiding, and displayed in the former living quarters on the second floor of the palazzo.
In this space with its highly ornate ceilings, walls, and interior design, the footwear appears as a sculptural piece that defines the body’s posture, center of gravity, and gait, rather than as a fashion item or craft. The heelless design requires both body balance and tension, visually demonstrating how fashion can affect physical sensations and behaviors. The amalgamation of Edoperiod craftsmanship and contemporary
design in this historic building transforms fashion into a device that mediates time and culture, thereby redefining the body as the site where connections to systems and rituals are formed.

＿
1.Noritaka Tatehana, Installation view. Photo: Noriyuki Ikeda
2.Noritaka Tatehana, Installation view. Photo: Noriyuki Ikeda
3.Noritaka Tatehana, Center: Heel-less Shoes, 2026. Dyed cowhide, Japanese braided cord, plaster. Right: Baby Heel-less Shoes, 2026. Dyed cowhide, Japanese braided cord, metal fastener. Photo: Noriyuki Ikeda

ARTISTS
舘⿐則孝

舘⿐則孝は、「装うこと」を⾝体の外観的な装飾ではなく、社会的役割や儀礼、価値観を⾝体に刻み込む⾏為として捉え、⽇本の伝統⽂化を現代的に再構築してきた作家である。本展では、代表的な《Heel-less Shoes》を、江⼾組紐の⾼度な技法を⽤いて制作し、パラッツォの2階に残るかつての居住空間に展⽰する。
装飾性の強い天井や壁、室内意匠を備えたこの空間において、履物は単なるファッションや⼯芸品としてではなく、⾝体の姿勢や重⼼、歩⾏を規定する彫刻的存在として⽴ち現れる。ヒールを⽋いた構造は、⾝体の安定と緊張を同時に強い、装いが⾝体の感覚や⾏為をいかに変容させるかを可視化する。歴史的建築の内部において、江⼾期の技法と現代的造形が重なり合うことで、装いは時間と⽂化を媒介する装置となり、⾝体が制度や儀礼と結びつく場そのものとして再定義される。

1.舘鼻則孝　展示風景　撮影：池田紀幸
2.舘鼻則孝　展示風景　撮影：池田紀幸
3.舘鼻則孝
中央《Noritaka Tatehana x Ryukobo Heel-less Shoes》2026年 牛革、組紐、ファスナー
右《Noritaka Tatehana x Ryukobo Baby Heel-less Shoes》2026年 牛革、組紐、ファスナー
撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Mayu Nakata


Taking traditional urushi lacquer techniques as her starting point—particularly the kinma technique(in which patterns are created through the repeated process of engraving into a lacquered surface and filling the grooves with differently colored lacquer)—Nakata has redefined urushi as a contemporary medium that captures the fluctuations of time and memory, thus elevating it beyond mere decoration. Multi-layered colors are created by applying and polishing dozens of layers of colored lacquer, and the resulting patterns on the surface are more of a visual representation of the accumulated passage of time within than they are iconographic depictions. The repeated process of engraving a design, applying lacquer, and polishing it can take a long time, ranging from several months to a year, which settles within the material. Contrastingly, the design of Nakata’s work is highly simplistic and geometric. By eliminating excessive design or narrative, her forms direct the viewer’s attention toward subtle changes in color and depth rendered by the layers of lacquer rather than toward superficial ornamentation. Her works are on display in a room on the second floor of the palazzo which preserves the intimate vibes of the past. In this space filled with memories of life, the time accumulated in the lacquer layers and the time sunk into the
architecture quietly overlap. These works gently saturate the viewer’s physical senses as “objects with accumulated memories.”

＿
1.Mayu Nakata, Installation view. Photo: Noriyuki Ikeda
2.Mayu Nakata, Left: Soundscape, 2024. Lacquer. Right: Mirage, 2026. Lacquer. Photo: Noriyuki Ikeda
3.Mayu Nakata, Mirage, 2026. Lacquer. Photo: Noriyuki Ikeda

中⽥真裕

中⽥真裕は、蒟醤（きんま）を中⼼とする伝統的な漆技法を出発点に、漆を単なる「装飾」から解き放ち、時間や記憶の揺らぎを受け⽌める現代的なメディウムとして再定義してきた作家である。数⼗層に及ぶ漆の塗り重ねと研ぎの⼯程によって⽣まれる⾊層は、表⾯に現れる図像よりも、むしろ内部に蓄積された時間そのものを可視化する。彫り、塗り、研ぎという反復的なプロセスは、制作期間が数ヶ⽉から⼀年に及ぶこともあり、その⻑い時間が物質の内部に沈殿していく。
⼀⽅で、中⽥の作品の基本的な造形は、極めてシンプルで幾何学的である。過剰な形態や物語性を排したフォルムは、⾒る者の注意を表層の装飾ではなく、漆の層が⽣む微細な⾊の変化や奥⾏きへと向ける。本展では、パラッツォ2階の親密な雰囲気が残る室内に作品を配置する。⽣活の記憶を宿す空間の中で、漆の層に蓄えられた時間と、建築に沈殿した時間とが静かに重なり合い、作品は「記憶が沈殿する物質」として、穏やかに鑑賞者の⾝体感覚へと浸透していく。

1.中田真裕　展示風景　撮影：池田紀幸
2.中田真裕
左《サウンドスケープ》2024年　漆
右《ミラージュ》2026年 漆　撮影：池田紀幸
3.中田真裕《ミラージュ》2026年 漆　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund

Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

ARTISTS
Takahiro Komuro


Inspired by visual cultural mediums including soft-vinyl figurines, science fiction pictures, and American comics,Komuro has been exploring unique sculptural expression that traverses wood sculptures and mass-produced action figures. In this exhibition, Komuro’s world unfolds across scaffolding of various heights placed in the entrance hall on the ground floor.
Visitors experience his works through physical movements such as looking up, looking down, and going around.
The height and bird’s-eye perspective gained from the scaffolding transform the works from mere “extensions of toys” to figures that evoke worship and mythology. The sudden appearance of the giant character sculptures in the historic palazzo blurs the boundary between idols of worship and icons of the consumer society, stimulating viewers’ physical sensations and stirring up value perceptions. The head-on collision between the accumulated stratum of time in the palazzo and these pop-centric, artificial sculptures prompts rethinking of the very acts of viewing and admiring such sculptural images,threedimensionally exploring the structures of worship and desire in the modern era.

＿
1.Takahiro Komuro, Installation view. Photo: Noriyuki Ikeda
2.Takahiro Komuro, Installation view. Photo: Noriyuki Ikeda
3.Takahiro Komuro, Dog dragon, 2023. Wood, acrylic. Photo: Noriyuki Ikeda
4.Takahiro Komuro, Installation view. Photo: Noriyuki Ikeda

ARTISTS
コムロタカヒロ

コムロタカヒロは、ソフビ玩具やSF的イメージ、アメリカンコミックスといった視覚⽂化を起点に、⽊彫彫刻と量産フィギュアを横断する独⾃の彫刻表現を展開してきた。本展では、グランドフロアの⼊⼝空間を舞台に、⾼低差のある⾜場が組まれ、その上にコムロの世界が⽴ち上がる。鑑賞者は、⾒上げ、⾒下ろし、回り込むという⾝体的な移動を通して、作品と出会うことになる。⾜場によって⽣まれる⾼さや俯瞰の視点は、作品を単なる「玩具の拡⼤」から、崇拝や神話を想起させる像へと変容させる。歴史的なパラッツォの中に突如出現する巨⼤なキャラクターは、信仰像と消費アイコンの境界を曖昧にし、鑑賞者の⾝体感覚と価値判断を揺さぶる。パラッツォに堆積した時間の層と、ポップで⼈⼯的な造形が正⾯衝突することで、「像を⾒る」「像を仰ぐ」という⾏為そのものが問い直され、現代における崇拝と欲望の構造が⽴体的に浮かび上がる。

1.コムロタカヒロ　展示風景　撮影：池田紀幸
2.コムロタカヒロ　展示風景　撮影：池田紀幸
3.コムロタカヒロ《Dog dragon》2023年　木にアクリル絵具　撮影：池田紀幸
4.コムロタカヒロ　展示風景　撮影：池田紀幸

ーーーーー
Title:
Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society

Dates&Hours:
May 9–November 22, 2026 (Closed Tuesdays)
May 9–September 30: 11:00 AM–7:00 PM
October 1–November 22: 10:00 AM–6:00 PM

Venue:
Palazzo Pisani Santa Marina (Cannaregio 6104, 30121 Venice)

Curator:
Yuji Akimoto, Artistic Director of Go for Kogei

Participating Artists:
Shige Fujishiro; Kazuhito Kawai; Takahiro Komuro; Takuro Kuwata; Ritsue Mishima; Yoca Muta; Mayu Nakata; Junko Oki; Noritaka Tatehana; Yui Wata

Organised by
NPO Syuto Kanazawa

Supported by
Japan Creator Support Fund