Warehouse TERRADA to Hold TERRADA ART AWARD 2023 Finalist Exhibition from January 10th (Wed), 2024

The five finalists, Mitsuo Kim, Yuma Tomiyasu, Yuki Harada, Satoshi Murakami, and yang02 will show their artwork at a warehouse venue

Warehouse TERRADA will hold TERRADA ART AWARD 2023 Finalist Exhibition at our event space from January 10th* (Wed) until January 28th (Sun), 2024.
* Limited access for invitational guests only on January 10th

In TERRADA ART AWARD 2023 Finalist Exhibition, the five finalists will create unique shows based on the plans they submitted for this award, and present their works, including unreleased new creations, in five solo exhibitions in our G3-6F event space renovated from a warehouse. On the exhibition’s premiere, the final jury, Takahiro Kaneshima, Yukie Kamiya, Yuki Terase, Daito Manabe, and Meruro Washida, will present each jury’s award to the five finalists.

TERRADA ART AWARD is a contemporary art award designed to discover emerging artists. We want to foster a society in which artists can thrive. Through TERRADA ART AWARD, we fully support the careers of our finalists—artists with the potential to drive the arts forward into the future—as they venture out into the world, break conventions, and discover their raison d’être.
Please see the following for details of each artist’s exhibition plan for TERRADA ART AWARD 2023 Finalist Exhibition.


Title: TERRADA ART AWARD 2023 Finalist Exhibition
Dates: January 10th* (Wed) – January 28th (Sun), 2024
* Open everyday
* Limited access for invitational guests only on January 10th
Venue: Warehouse TERRADA G3-6F (2-6-10 Higashi-Shinagawa, Shinagawa-ku, Tokyo 140-0002)
Open hours: 11:00 AM – 6:00 PM (Last admission at 5:30 PM)
Entry fee: Free * No reservation required

[Finalist Exhibition Plan]

Mitsuo Kim

On a metal display stand equipped with a heat source, I will exhibit an installation of a red canoe made of wax that slowly melts and collapses over time, along with two-dimensional works also made of wax. Since last year, I have been seeing a lot of news about the war in Ukraine. Seeing images of fathers going to the war and their wives and children fleeing the country reminded me of the stories of my mother and grandparents. This is not a story which I am unfamiliar with. This time, the melting red canoe is not only a sinking canoe, a parting, or an ideological divide, but also a departure for a new world, and a hope for peace and tranquility. It will be an exhibition that shows what continues while encompassing fragility and contradiction.


Yuma Tomiyasu

I have been interested in the shift in perspective, such as switching between one’s own perspective and that of others. It could be a transcendent being’s viewpoint, or it could be a ghost’s one. Or it may be the multiple overlapping gazes of the self that transcend dimensions. The viewpoint of dreaming is not captured by the eyes, but we recognize that we indeed see it. Such shifting between multiple perspectives induces a strange sensation of going back and forth between dimensions and makes us aware of the instability of its foundation.
The structure of a magic mirror means that when it is not visible from one side, it is visible from the other side. The monitoring camera in the room set in this installation should also show the viewers outside the room, but it will not show the viewers at a time when they can see the monitor. In this work, the programming of the lighting forces the visible objects to shift, thereby shaking up the concept of seeing and being seen.

Yuki Harada

I myself don’t go anywhere. I myself am always there, waiting for me to return, like a shadow―this is part of the script for this “shadowing” series.
In the past, Japanese emigrants who moved to various parts of the world have created transnational cultures represented by “pidgin languages” in contact with other cultures and languages. The process they experienced will be replayed through “voice overlap” by shadowing as language learning and “emotion overlap” by having my own facial expressions tracked by a digital human.
We have a nature that makes us return to “ourselves” no matter where we go, and yet we are compelled to move forward. I would like to express this distorted yet powerful progress through the installation.

Satoshi Murakami

“I’m just a stage prop. I don’t have any lines or anything.”
I dreamed that was talking to me on the stage. She was put on stage without being told what was going on, had no idea what she was supposed to do, and seemed to be in trouble. I felt that there was a kind of universal form of that permeated from the era of the industrial revolution to the present day.
Around the same time, I knew that my grandfather, who was suffering from dementia, thought the coat hangers in the hallway was a person. I thought about the possibility that it was not really a coat hanger, but something else, and that only a person who has grown old and become a “cognitive general” would be able to recognize its existence. When giving form to these experiences as an artwork, I had an epiphany that I might also be able to consider the issue of “outline” in drawing at the same time. By extension, it may be possible to overcome the binary opposition between fiction and non-fiction, memory and fabrication.


The future is perhaps distant, but surprisingly near. There was a rumor going around that there were actual pieces of “ART” left somewhere that people had long since forgotten how to make with their own hands or see in person. One day, several curious apparatuses discover some “ART” wrapped in blue sheets in a back part of a warehouse. But even looking at the “ART,” they could not understand the “ART”. What value could these things possibly have? At least, it seemed impossible to explain with the languages or the logics of the people of this time period. Therefore, they began to try to understand the “ART” by imitating human behaviors related to the “ART” in the past, such as drawing, installing, and seeing them.

[TERRADA ART AWARD 2023 Overview] 

Qualifying Activity: Contemporary Art (including all forms of media such as two-dimensional works like paintings; photography; three-dimensional works (objects); textiles; videos; digital media art; physical expression such as performances, etc.; and sound art or music, etc.)
Prize: 3 million yen awarded to each of five finalists
* Includes fees paid to display the works of finalists at the Finalist Exhibition, as well as fees for creating and displaying new works
Supplementary Prize: Ruinart Blanc de Blancs, PIGMENT TOKYO products worth 100,000 yen, and free use of Warehouse TERRADA’s art storage services for 2 years
Held by: Warehouse TERRADA
Sponsor: Japan Airlines, MHD Moët Hennessy Diageo K.K.
Operation Support: Fujiwara Haneda LLC

Support: Arts Council Tokyo, Tokyo Metropolitan Foundation for History and Culture Operation



Final Jury: Takahiro Kaneshima (Associate professor of Kanazawa College of Art), Yukie Kamiya (Art Critic, Independent Curator), Yuki Terase (Art Intelligence Global Founding Partner), Daito Manabe (Founder of Rhizomatiks, artist, interaction designer, programmer, and DJ), and Meruro Washida (Director of Towada Art Center, Associate professor of Tokyo University of the Arts)
Primary Selection Jury: Ryo Ikeshiro (Artist, musician, researcher, Assistant Professor, School of Creative Media, City University of Hong Kong), Shinji Ohmaki (Artist), Eriko Kimura (Deputy Director and Chief Curator, Hirosaki Museum of Contemporary Art), Ryutaro Takahashi (Psychiatrist, Art Collector), Yuu Takehisa (Curator, Artistic Director of Contemporary Art Center, Art Tower Mito), and Reiko Tsubaki (Curator, the Mori Art Museum)

(in Japanese alphabetical order)

[Award Inquiry]


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