AKIRA ISHIGURO
AKIRA ISHIGURO
FOREWORD In this book, we delve into the world of Akira Ishiguro, an artist who seamlessly blends geology and abstract art within the contemporary artistic landscape. His journey showcases a connection with nature and the surrounding. Ishiguro’s work, emerging from his curiosity for the natural world and passion for abstract expression, narrates the earth’s history and future through vibrant colours and textures. Ishiguro’s approach references actual geological elements into his paintings, creating a bridge between the viewer and the artwork. This technique not only blurs the boundaries between the canvas and reality but also invites the audience into a deeper, more immersive experience. This book aims to highlight how Ishiguro’s art resonates beyond the Japanese context, speaking a universal language that connects us to our planet. It reminds us of our relationship with the Earth and the importance of looking beyond the obvious. As you explore these pages, I invite you to immerse yourself in the world of Akira Ishiguro, a place where geology and abstract art intertwine with colour, texture, and form.
Jongsuwat Angsuvarnsiri Co-founder of SAC Gallery
Akira Ishiguro
BEHIND THE CANVAS Akira Ishiguro (b. 1974) is a Japanese artist based in Kawaguchi City, Japan. Since 2010, he has actively exhibited his works in Japan and internationally. Ishiguro is best known for his masterful painting skills, achieving the most realistic presentation of various stones and materials. In recent years, he has been exploring the Marblesque series, providing further insights into geological eras of our time and beyond. In 2017, he joined the SAC Residency Program in Chiang Mai, Thailand and has continued to exhibit regularly in both Thailand and Japan ever since.
His work presents a “landscape painting that depicts a scenery of geological time”. This landscape, with no vanishing point, encompasses the vastness of time described in the International Chronostratigraphic Chart. The Marblesque paintings depict views of the Anthropocene, a surface layer of stratigraphy that does not yet exist scientifically. The Gravitational Field painting series portrays a geological formation encompassing the Holocene and all previous geological epochs. Connecting these two series, the Painting of Marble series represents the transition from the Industrial Revolution to the Great Acceleration. In the past, Ishiguro’s paintings had strong materiality within the flat surface due to their realistic depiction of marble. In Elevated Marblesque, his solo exhibition in 2023, he experiments with giving his paintings materiality in a new way. He literally elevates the canvas, mirroring the earth’s changes such as elevation, subsidence, sedimentation, and erosion. The simple form of the raised canvas evokes a maquette, a small-scale model, and provides a bird’s-eye view of the earth’s transformation. The Elevated Marblesque series also resembles a thin section observed through a polarised light microscope, potentially offering a glimpse of the coming Anthropocene in the microscopic world.
IN CONVERSATION
SAC Gallery, Bangkok, Thailand
SAC Gallery: Would you be so kind as to share your identity? Ishiguro: I am Akira Ishiguro, the Japanese artist behind the solo exhibition “Elevated Marblesque” at SAC Gallery. SAC Gallery:
What sparked your inspiration for “Elevated
Marblesque”, and how does your creative process translate that inspiration onto the canvas? Ishiguro: My ambition is to imbue painting with a tangible presence, a physicality that transcends mere representation. Through experimentation, I sculpt shapes onto the canvas, inviting viewers to encounter the art as more than just visual spectacle, but as a tactile experience. SAC Gallery: If your vibrant colours could speak, what message would they convey to viewers? Ishiguro: Like a beacon in the night, the vibrant colours of my work draw in viewers, promising a captivating experience. It is a visual feast, a prelude to the deeper layers of meaning and emotion that lie within my art.
SAC Gallery: Your work seems to have a deep connection to the earth’s ever-changing nature. Ishiguro: My artistic journey began with rocks, presenting
SAC Gallery: Rock admirer sounds interesting… Ishiguro: A shared experience many of us have is the childhood memory of picking up smooth stones along
a canvas for my early explorations. Now, with “Elevated
the riverbank or the ocean shore. These seemingly ordinary
Marblesque”, I delve into the earth itself, capturing its
objects often ignite a spark of wonder within us. As we
constant dance of rising and falling, exploring the shifting
hold these stones, remnants of ancient journeys, we ponder
surface of our ever-evolving planet.
their origin stories and imagine the tales they whisper of
SAC Gallery: I’m curious about your recent work, particularly your focus on capturing change through your art. Ishiguro: In pursuit of change’s essence, I embarked on a journey of artistic transmutation. Through a canvas of
bygone landscapes and the forces that shaped them. These questions captivate us: how did this rock reach our hands? What path did it travel? And how vast was the timeframe of its odyssey? These inquiries fuel a desire within us to delve deeper, to unlock the secrets held within Earth’s silent giants.
experimentation, I sought to manifest its fleeting spirit in simple, concrete forms. This marked a bold departure from my previous work, an unveiling of a newfound artistic
SAC Gallery: What’s the secret sauce behind your passion for geology? I’m curious to hear!
language. SAC Gallery: So you shifted your focus from artistic
Ishiguro: I yearn to explore the earth, to wander through geological parks and exchange ideas with other geologists.
exploration to understanding the science behind rocks.
I also long to roam freely, to let my own thoughts and
Can you share your experience with that transition?
creativity take shape. But now, the challenge before me
Ishiguro: From decorative painter to rock admirer, my
is to find a balance between my work and my research. It will be difficult, but I am determined to succeed. I know
journey began with capturing their form. But as I drew,
that I must find a way to harmonise these two aspects of
the rocks revealed their hidden beauty, sparking a curi-
my life in order to be truly happy.
osity about their ancient origins. The desire to understand their long history and transformation led me to delve into the fascinating world of geology. The learning process, of course, is a journey through geology.
SAC Gallery: Do you see your art as a bridge between the scientific understanding of geology and the broader public’s perception of it?
Ishiguro: What is surprising is that the majority of people, when they see my art, do not immediately comprehend it. They are initially perplexed. However, there is a select group of people who do understand, and they are geologists. SAC Gallery: What do they see? Ishiguro: They saw the familiar landscapes of their everyday lives, and they immediately grasped the meaning of what I was showing them. It was an experience that left me amazed. In the field of geology, we examine the material aspect, while on the other side, there exists an anthropological perspective. There are myriad facets within the rocks. It’s something that people, universally, feel. I believe I want to pursue that direction and broaden the perspective.
THE ARTIST’S EYES THE GEOLOGIST’S MIND with Akira Ishiguro and Asst. Prof. Dr. Burapha Phajuy
Department of Geological Sciences, Faculty of Science, Chiang Mai University, Thailand
Phajuy: I am Burapha Phajui, a professor in the
As we study more deeply, we understand the earth from
Department of Geology, Faculty of Science, Chiang Mai
its formation, from 4.6 billion years ago. Therefore, the
University. I teach geology in general because my expertise
work of geologists today is diverse, but all of it ultimately
and the courses I teach are in the field of stratigraphy
focuses on the physical nature of our planet.
and mineralogy. In the theme of Ishiguro’s art, which deals with the subject of The work of geologists is part of the study of geology,
rocks, minerals, or the transformation of rocks and minerals,
which currently has many branches. First, let me explain
although Ishiguro’s work is not entirely scientific in
the basics of being a geologist. We developed our studies
concept. In my view, Ishiguro’s work has a philosophical
from miners. This subject developed from the knowledge
perspective with a scientific touch.
of how to find minerals and geological materials, which are used throughout the world.
It is not created for beauty alone. It is a work that is trying to reach the sequence of events in the transformation of
Originally, knowledge about rocks and minerals was the
the earth by humans. It is also related to some aspects of
main knowledge. Once we got to know rocks and
geology in the environment close to humans. It is a
minerals well, it would help us understand the process of
philosophical work that I think makes it easier for people
rock formation, all kinds of minerals. It also helps us
to connect scientific information to everyday life.
understand the changes of the earth or natural phenomena that are related to geology.
In the study of geology, we examine the surface to understand what lies beneath. Answering questions
Until then, we expanded the scope of work of geologists.
about the earth’s deep interior requires imagination,
In addition to being miners and finding minerals, we also
which is why geology is sometimes called an
work with construction, called Engineering Geology. It
“art science”. We learn through images and use them to
also goes to the study of the environment, called
visualise the unseen world below. Ishiguro’s work
Environmental Geology. Or go to the study of Geohazard,
exemplifies this approach, offering a powerful visual
studying knowledge of what will happen in that area, or
representation of the Earth’s geological history.
how to prevent or correct it.
Ishiguro: From what I have read or heard, the work of a
Ishiguro: I have a dream. I saw a photo of a geologist
geologist is the discovery of minute objects that hold the
working in the field, and I was inspired. I want to experience
secrets of our planet. Studying and researching these
the world of geology firsthand. I want to know how rocks
specimens requires a great deal of time and effort. You
are formed, how lava flows, and how the earth has
have to go out into the field, venturing closer to the
changed over time. I believe that by experiencing
answers, uncovering the hidden history buried beneath
geology in the field, I can open up my imagination and
our feet. It’s an amazing job, and I have nothing but
create new and innovative works of art.
admiration for the work and the way it’s done. When I hear it like that, I think it’s a job that demands continuous
For example, I recently visited the Rainbow Cave. I know
effort, every single day.
that you have also been there, and I would love to hear your thoughts on the soil and rock layers there. I believe
The work of an artist is similar to a geologist’s work. Of
that the geology of this cave is truly remarkable, and I am
course, there’s a part that must be done continuously,
excited to learn more about it.
but it’s self-directed work based on chosen themes. Then begins a quest for meaning and understanding through
Phajuy: The Rainbow Cave is a cave that formed in
artistic expression.
limestone, probably in the Ordovician period. Limestone is primarily composed of calcium carbonate, but it can also
So I think the work of a geologist is a journey of discovery
contain other impurities when it is formed. When it forms
that demands even more dedication and perseverance.
in thin layers and then accumulates over time, it means that the environmental conditions of each layer are not
Phajuy: Ishiguro is a research-based artist, just like me.
the same. The impurities in each layer of limestone are
We both have to do our homework to create our works.
also not the same. Even if it comes into contact with air,
But there is one key difference between our works.
the layers with a lot of iron may be red, while the layers
Geology is a science, so it is based on facts and evidence.
with a lot of calcite may be white. The fact that the
Our findings must be proven to be true before we can
environmental conditions when the limestone was
present them to the world. But art is different. Art can be
forming in layers are not the same is what causes the
based on imagination or speculation. Artists can
different colours of the limestone layers.
communicate their ideas and perspectives through their work, even if they cannot be proven to be true.
Ishiguro: And what are those blueish colours that I saw?
Ishiguro: Yesterday, I saw many interesting rock formations. These formations, or walls, may have once been the bottom
Phajuy: In chemistry, the mineral calcite is composed of
of the sea. I imagine that the interesting shapes of these
calcium carbonate (CaCO). The calcium (Ca) atom can
walls were formed by the erosion of water. For example, I
be replaced by other elements, such as iron (Fe),
heard that Chiang Mai is a city with a basin shape. I
magnesium (Mg), or manganese (Mn). This substitution
wonder if this was caused by the uplifting of the land,
can change the colour of the calcite.
which then made most of the area mountainous. Are these two things related?
We see objects because light hits them and reflects back into our eyes. We see colour because some of the light is
Phajuy: The surface we see between valleys is called a
reflected back, while the rest is absorbed. If the material
basin. Its formation is due to a fault in the rock. This block
that the light hits changes, the reflected light will also
of rock has moved down. This movement is possible
change. For example, calcite will appear one colour if it is
because there is a force that pulls the rock apart. This
pure, but it will appear another colour if it is contaminated
causes the center of the rock to sink. When it sinks, it
with manganese. The same is true for magnesium.
becomes a basin. It is not a rock that bends up and down. This is a fault.
When we talk about something as simple as limestone, we often forget that it is not a homogeneous substance.
Ishiguro: Wow, I am humbled to admit that I still do not
It is made up of a variety of minerals, each with its own
fully understand this knowledge. I realise that I must be
unique properties. When light hits limestone, it interacts
more proactive in creating activities that will help me to
with these minerals in different ways, depending on their
connect with other geologists and learn more about the
composition. This is why limestone can appear in a
field. I am determined to make myself known to the
variety of colours, from white to red to blue.
geological community and to contribute to the advancement of our understanding of the earth.
Phajuy and Ishiguro
EPILOGUE
Ishiguro and Phajuy, two souls united by their fascination with the Earth, conclude their dialogue with an understanding that bridges the gap between scientific rigor and artistic expression. They recognize the shared journey of discovery, the dedication it demands, and the unique perspectives each field offers. Ishiguro’s artistic vision, inspired by his newfound passion for geology, seeks to translate the Earth’s whispers into a visual language. He dreams of venturing into the field, experiencing the raw power of geological forces firsthand. This desire mirrors the geologist’s constant quest to uncover the secrets hidden beneath the surface, to piece together our planet’s intricate history. Phajuy, the geologist, acts as a guide, illuminating the hidden stories within rocks and landscapes. He explains how the layers of the Rainbow Cave whisper tales of ancient seas and shifting environments, each color a testament to a unique moment in time. He delves into the science behind limestone, revealing its fascinating composition and how it interacts with light, creating a mesmerizing tapestry of color. Their conversation transcends the boundaries of their disciplines, highlighting the profound connection between art and science. In a world where knowledge is specialized, their exchange reminds us of the beauty that emerges when different perspectives converge. Ishiguro’s art becomes a bridge, translating scientific concepts into a language accessible to all. He invites us to see the Earth not just as a physical entity, but as a living, breathing storybook. His vibrant canvases become portals, transporting us to a world where geological wonders inspire awe and contemplation. As Phajuy shares his knowledge, he demonstrates the captivating nature of scientific inquiry. He paints a picture of a universe unfolding over billions of years, where the seemingly mundane rocks hold secrets waiting to be unraveled. This understanding ignites our own curiosity, encouraging us to look beyond the surface and explore the hidden wonders of our planet. Ishiguro and Phajuy’s journey is a testament to the power of collaboration and shared passion. It reminds us that the pursuit of knowledge, whether through artistic expression or scientific research, is an enriching and transformative experience. As we embark on our own journeys of discovery, let us remember their example: to remain curious, to embrace diverse perspectives, and to seek the beauty hidden within the Earth’s embrace.
EXHIBITION HISTORY WITH SAC GALLERY
ELEVATED MARBLESQUE
20 MAY - 19 AUGUST 2023
In the artist’s words My work presents a landscape painting that depicts a scenery of geological time. It is a tremendously long time in the International Chronostratigraphic Chart, a landscape with no vanishing point. The Elevated Marblesque painting series depicts views of the Anthropocene a surface layer of stratigraphy that does not yet exist scientifically, and the Gravitational Field painting series as a geological formation of the Holocene and all previous geological epochs; and connecting the two, the Painting of Marble series represents the transition from the Industrial Revolution to the Great Acceleration. In the past, my paintings have had strong materiality within the flat surface due to the realistic depiction of marble. In Elevated Marblesque, which is also the title of this exhibition, I am experimenting with giving materiality to my paintings by literally elevating the canvas in the image of earth changes such as elevation, subsidence, sedimentation, and erosion. It has a simple form like a maquette, like a bird's eye view of the earth's transformation. The Marblesque series also looks like a thin section observed through a polarised light microscope and may offer a view of the coming Anthropocene in the microscopic world.
Elevated Marblesque 30 December 2022, 2022 Acrylic on canvas 145.5 x 145.5 x 9 cm 57 1/4 x 57 1/4 x 3 1/2 in
Elevated Marblesque 11 December 2022, 2022 Acrylic on canvas 145.5 x 145.5 x 9 cm 57 1/4 x 57 1/4 x 3 1/2 in
Elevated Marblesque 24 November 2022, 2022 Acrylic on canvas 145.5 x 145.5 x 9 cm 57 1/4 x 57 1/4 x 3 1/2 in
Elevated Marblesque 18 October 2022, 2022 Acrylic on canvas 72.7 x 72.7 x 6 cm 28 5/8 x 28 5/8 x 2 3/8 in
EXHIBITION HISTORY WITH SAC GALLERY
LAND FORM
9 NOVEMBER - 18 DECEMBER 2021
Once upon a time, the history was written by human to tell the stories of our efforts to conquer nature, the survival of our race, humanity, to remain existing until the day when we develop our knowledge in various fields - science, social science, and anthropology for instance. It pointed out how small we are comparing to geological time scale, yet we have turned out to be the key player, the protagonist, of the activities occurring in this world which greatly transform the planet and become the footprints of this era. “Human change the world” over past 300 years, the advancement in healthcare and technology dramatically increased the human population by 10 times, which rapidly increased the natural resource consumption followed with the increased in production to match with consumption demand. The consumption left vast amount of human footprints in the ecosystem, through the layer of minerals and rocks that crumbed together and formed unique pattern which marked and separated our identical era from Holocene completely. The history of Geology had been revealed through evidence of minerals especially those appeared between layers of rocks. Collecting and whispering the stories from under the ground, turn them into land form which identified the unique tales of the identical era which filled with social and cultural reformation that merged together with earth system’s transformation into one layer. An effort to maintain earth system balance by embracing the volatility and transform the planet into whole new system which human being have to pause, witness and listen to those change.
The appearance of human which did not exist on the surface but appeared through the footprints left in the process of creating those dimensions, dive us deep into the landscape created through the process of painting by Akira Ishiguro, to demonstrate the layer of minerals made of air, water, and sediment compressed and pressured under the rock layer. Transforming the surface and carved the unique patterns and colours of the era, to identify the joint of period between the geological time scales which connected the story of humanity in history from Industrial Revolution to Globalization. Knowledge from “Land Form” exhibition is an approach to demonstrate changes in geology with the language of art connecting interdisciplinary together to reveal the image of changes invisible to our eyes and create land form of art which lead us to the arguments which human lifestyle played the key role in the activities that change and drive the world towards “Anthropocene Epoch”. Triggering humans to be more conscious about the planet, or the place where we live in, using the changing landscape in contemporary world, perspectives, predictions, and the notion of the period we take part in which contributing to those changes.
EXHIBITION HISTORY WITH SAC GALLERY
CRITICAL REFLECTION ON THE ANTHROPOCENE THROUGH THE MARBLESQUE PAINTINGS: I
2 FEBRUARY - 10 MARCH 2019
"When I paint marbles, I always see the same scenery." In his new series of paintings ‘The Marblesque‘, Akira Ishiguro questions about finding the value of paintings that are parallel to the visual culture where everything is valued through vision. As painting is a medium that has long been associated with visual arts, it is another technique that can come to take part in critiquing through this perspective. From the previous series ‘The Gravitational Field’, the depth of his paintings, despite appearing in flat plane, hold deep meanings. When Akira began to mimic the surface of various types of mineral stones that are considered as high value, this evaluation on the international standard of value allowed the artist to use the surfaces of the mineral stones as models for painting, in order to compare between the purity of the materials and teasing the state of what we call ‘high art’. Through his recent works ‘The Marblesque’, the visual culture is linked to linguistics that can lead viewers to decode and psychoanalyse. Akira compares his complex paintings with landscape paintings as they are able to reflect the current state of geological era, called ‘Anthropocene’. The layering of colours in the paintings represent ‘Technosphere’, which related to the transformation into the new geological era, which make his works act as historical traces or a mirror reflecting the present age. The works in this exhibition are presented as landscape paintings in another form of interpretation where there is no vision, no depth and no atmosphere. But paintings that encounter audiences with traces that appear like stratum and a gesture of colorful paintings which are matched to the layering patterns of elements and forms of the mind. Akira’s works invite viewers into the field of metaphors where the meanings of paintings originate, and where the connection between art, human and society emerge.
AKIRA ISHIGURO Born
Yokohama, Kanagawa, Japan, 1974
Selected Award
2009 - “For Rent! For Talent! 5” Mitsubishi-Jisho ARTIUM, Fukuoka, Japan
Selected Solo Exhibitions 2023
- Elevated Marblesque, SAC Gallery, Bangkok, Thailand
2022
- Quarry, Roentgenwerke AG, Spiral Aoyama, Tokyo, Japan
2019
- Critical Reflection on the Anthropocene Through the Marblesque Paintings: III, StudionAme, Leicester, UK - Critical Reflection on the Anthropocene Through the Marblesque Paintings: II, Roentgenwerke AG, Tokyo, Japan - Critical Reflection on the Anthropocene Through the Marblesque Paintings: I, SAC Gallery, Bangkok, Thailand
2017
- Painting of Marble, Loko Gallery, Tokyo, Japan
2016
- The Interval of the Torsion of the Truth and Falsehood, Old Tanaka House, Saitama, Japan
2012
- One Wall Art Project, OralCare.Inc, Tokyo, Japan
2010
- ISHIGURO-YA, nca | nichido contemporary art, Tokyo, Japan
2008
- GIFT, Gallery LE DECO, Tokyo, Japan
Selected Group Exhibitions 2021
- “Door to Contemporary Art” Nihonbashi Mitsukoshi Main Store, Tokyo, Japan - “Beauties of Nature” Nihonbashi Mitsukoshi Main Store, Tokyo, Japan
2020 - “Artist’s Bookshelf” Minnano Gallery, Tokyo, Japan 2018
- “Radi-um: Lounge Re-mix” Spiral Room, Tokyo, Japan - “KOH-JUTSU CAHPTER IX `FU-EN’” TEZUKAYAMA GALLERY Viewing Room, Osaka, Japan - “GEN-SCH-AN” Roentgenwerke AG, Tokyo, Japan - ”Depression Contour” S.A.C. Subhashok The Arts Centre, Chiang Mai / Bangkok, Thailand
2017
- “KOH-JUTSU chapter 7.5” Roentgenwerke AG, Tokyo, Japan
2016
- “neko neko Rieko” KUNST ARZT / JIRO MIURA GALLERY Kyoto / Tokyo, Japan
2014
- “Identity X” nca | nichido contemporary art, Tokyo, Japan
2013
- “Femme Fatale” Shun Art Gallery, Shanghai, China - ”small works” nca | nichido contemporary art, Tokyo, Japan - “enishi” Seibu Department Store in Shibuya, Tokyo, Japan - “ARTLINE KASHIWA 2013” Mitsui Garden Hotel, Kashiwa, Chiba, Japan - ”TOH-KAI KO- JUTSU CHAPTER IV” Spiral Garden, Tokyo, Japan - “KO-JUTSU 3.50” Roentgenwerke AG, Tokyo, Japan
2009 - “For Rent ! For Talent ! 5” Mitsubishi-Jisho ARTIUM, Fukuoka, Japan - “GAISAI #12” TOKYO BIG SITE, Tokyo, Japan 2008 - “Debli Project Art Tour” Starbucks Coffee Japan, Japan 2007 - “Debli Project” Gallery LE DÉCO, Tokyo, Japan
Art Fairs 2021
- “KOGEI Art Fair Kanazawa 2021” Minnano Gallery, [PROJEKTE:] RÖNTGEN KUNSTINSTITUT, Kanazawa, Japan - “ART FAIR ASIA FUKUOKA 2021” Minnano Gallery, Fukuoka, Japan - “ART OSAKA 2021“ [PROJEKET:] RÖNTGEN KUNST INSTITUT, Osaka, Japan - “WHAAAAAT’S INTERNATIONAL CONTEMPORARY ART FAIR”, Taipei, Taiwan - “ART FAIR TOKYO 2021“ Gallery Kogure, Tokyo, Japan - “ART NAGOYA“ [PROJEKET:] RÖNTGEN KUNST INSTITUT, Nagoya, Japan
2020 - “Art Osaka Wall“ [PROJEKET:] RÖNTGEN KUNST INSTITUT, Osaka, Japan - “artTNZ“ [PROJEKET:] RÖNTGEN KUNST INSTITUT, Tokyo, Japan - “WHAAAAAT’S STUDIO OPENING” Taipei, Taiwan - “ONE ART Taipei 2020” Roentgenwerke AG, Taipei, Taiwan 2019
- “KOGEI Art Fair Kanazawa 2019” Minnano Gallery, Kanazawa, Japan - “ART TAIPEI 2019” Roentgenwerke AG, Taipei, Taiwan - “LUMINE ART FAIR -My First collection-” Roentgenwerke AG, Tokyo, Japan - “Art Expo Malaysia 2019” SAC Gallery, Kuala Lumpur, Malaysia - “ART FAIR ASIA FUKUOKA 2019” Minnano Gallery, Fukuoka, Japan - “rooms 39” Roentgenwerke AG, Tokyo, Japan - “RIN” Roentgenwerke AG Tokyo Japan - “HOTEL ART FAIR 2019” SAC Gallery, Bangkok, Thailand - “TAIPEI DANGDAI” Roentgenwerke AG, Taipei, Taiwan
2018
- “SHU SHU SHU SHOW” Roentgenwerke AG, Tokyo, Japan - “Asia Contemporary Art Show Fall 2018 Edition” Minnano Gallery, Hong Kong - “START ART FAIR 2018” SAC Gallery, London, UK - “RIN” Roentgenwerke AG, Tokyo, Japan - “ART OSAKA 2018” Roentgenwerke AG, Osaka, Japan - “HOTEL ART FAIR 2018” SAC Gallery, Bangkok, Thailand - “ART TAINAN 2018” Roentgenwerke AG, Tainan, Taiwan - “ART STAGE SINGAPORE 2018” Gallery Kogure, Singapore, Singapore
2017
- “SHU SHU SHU SHOW” GEN-SCH-AN, Tokyo, Japan - “ART TAIPEI 2017” Roentgenwerke AG, Taipei, Taiwan
2015
- “BAZAAR ART JAKARTA 2015” nca | nichido contemporary art, Jakarta, Indonesia
2014
- “ART TAIPEI 2014” nca | nichido contemporary art, Taipei, Taiwan - “BAZAAR ART JAKARTA 2014” nca | nichido contemporary art, Jakarta, Indonesia
2013
- “ART FAIR TOKYO 2013” nca | nichido contemporary art, Tokyo, Japan
2011
- “ART TAIPEI 2011” nca | nichido contemporary art, Taipei, Taiwan
2010
- “Mancy’s Art Nights” nca | nichido contemporary art, Tokyo, Japan - “KIAF 2010” nca | nichido contemporary art, Seoul, South Korea
Invited Residencies 2019 - StudionAme, Leicester, UK 2018 - Depression Contour, SAC Art Lab and Residency Program, Chiang Mai, Thailand 2016 - Fuwari No Mori Art Project, Narita, Japan
SAC GALLERY SAC Gallery is a contemporary art gallery based in Bangkok, Thailand focusing on investigating the cultural, historical, social, and environmental aspects of our contemporary time through art. Since 2012, SAC Gallery has been dedicating our programme first and foremost to Thai and Asian artists, as a platform to connect to the international art world; but at the same time the gallery also reciprocates dialogues with international artists so that Thai artists can be contextualised in relations to the global art world. Apart from being a commercial gallery, SAC Gallery also includes art residency, education programme, as well as conservation services. Over the past decade, we have exhibited more than 110 exhibitions, and have collaborated with more than 100 artists that engage with our local audience about our contemporary culture.
ADDRESS 160/3 Sukhumvit 39, Klongton Nuea, Watthana, Bangkok 10110 Thailand OPENING HOURS Tuesday - Saturday: 11AM - 6PM Closed on Sunday, Monday, and Pubilc Holidays FAIR RELATED CONTACTS RUNGSIMA +66 61 926 2669, +66 92 669 2949 rungsima@sac.gallery DANISH +66 85 569 0678, +66 92 455 6294 danish@sac.gallery For more information: info@sac.gallery