top of page







Please contact us at the above email address to book your visiting slot, at least 2 hours before your
preferred time slot. we will send you a confirmation email with information on how to get to the space.

Nearest Tokyo Metro stations: Omotesando and Meiji Jingu-mae

Please note that it may not be possible to allocate your preferred timeslot due to restriction on the number of viewers in the space.

It is possible to book on the day but please contact us at least 2 hours before your preferred time of visit.



Return Journey - Kaz

2023/12/8 (fri) ~ 12/17 (sun)

金/土/日  |  fri, sat & sun
13:00 – 19:00  事前予約制  |  by appointment only

Return Journeyはロンドン在住のKazが生まれ故郷の日本から英国に「戻った」際に、ロンドンのヒースロー空港から都心へ直行する電車からの風景を何回かに渡って撮影した映像を活用した、真の故郷、そして現実と真実とは何かを探究するサイトスペシフィックなシングルチャンネル・ヴィデオ・インスタレーションである。




ロンドンと東京を拠点とする日本人アーティスト/キュレーター。2001年にロンドン、ゴールドスミス・カレッジを卒業。近年の個展にtadpole-labでの diary(2020)、between the lines (2019)、crossroad(2017)、東京のコスモスレーン・ギャラリーでのStill | Move(2016)等がある。また近年のグループ展としてはロンドンのSANDIE MACRAE postROOMでのProjection Room 3(2023)及びpostTRUTH(2022)、フジオプロ旧社屋で開催されたフジオプロ旧社屋をこわすのだ!!展「ねぇ、何しに来たの?」(2022)、White Conduit ProjectsでのPacific Breeze(2018/19)や同じくロンドンのNunnery GalleryでのVision in the Nunnery(2018)がある。2018年にtadpole-labで開催された3人展、ima、そして2015年に渋谷のアツコバルーでのグループ展、絶対の今 にキュレーター/アーティストとして参加。

Return Journey makes use of a single channel video, consisting of footages shot on several occasions from a direct train from London’s Heathrow Airport to the city centre on Kaz’s return to London, where he lives and works, from Japan, his place of birth. This new site specific single video installation explores where we come from and questions what is ‘reality’ and ‘truth’.


Kaz, once again, uses a technique he has been working with in recent years where a video is projected through sheets of glass to create multiple moving images in the exhibition space using a single projector. The ‘actual’ image is projected onto a wall as the beam go through glass, while multiple reflected ‘false’ images from each of the 10 glass sheets co-exist in the space and these, along with the constantly changing scenery seen from a moving train provide a space to contemplate the source of everything, including the self.

Artist profile

Kaz is an artist/curator living and working in London and Tokyo. He graduated from Goldsmiths College (BA Fine Art) in 2001. Recent solo exhibitions include, between the lines (2019) and crossoad (2017) at tadpole-lab and Still | Move (2016) at Kosmos Lane Gallery in Tokyo. Recent group exhibitions include, Pacific Breeze (2018/2019) and Piece of Japan (2017) at White Conduit Projects in London and was selected to exhibit in Visions in the Nunnery (2018) at the Nunnery Gallery, London. He curated and exhibited in ima (2018), a 3 person exhibition at tadpole-lab, and in Absolute Now (2015) at Atsukobarouh in Tokyo.


16:51 - 21:03 箕輪亜希子 | Akiko Minowa


2020/3/6 (fri) ~ 3/15 (sun)

当展示はtadpole-lab art project spaceでの展示をご覧いただいた後、提供された情報を元に屋外での作品鑑賞をしていただくことになります。









1980年 東京都出身。2008年 武蔵野美術大学大学院造形研究科美術専攻彫刻コース修了。映像、写真、拾得物、文章など様々な素材を用い、場所と鑑賞者との関わりの上で立ち上がる表現を模索している。近年の個展にギャラリー21yo-jでのPicking Stones (2018)、krautraumでの距離と囲い (2015)やvoid+でのUnknown VOID Series No.6 貴方を思う。そしていくつかの私について。 (2015)がある。また近年のグループ展としてはkrautraumでの食事を終えたら日付をめくり、カレンダーの裏にはいくつかの線を描こう。 (2018)や旧所沢市立第2給食センターでの引込線2017(2017)。主な上映会としてkrautraumでの親密と対岸(2017)、寄稿集に美術系文芸誌、原稿集 第一号 (2019)(蜘蛛と箒出版)がある。

Let’s find yourself in spaces between various layers.

Pieces you have left behind. The original shape.

The shape that I know, is just a temporary one.

A trace. Feeling of losing sight of both the outside and the inside.

I shall start from this point.


Artist profile

Born in Tokyo, Japan in 1980. Completed Sculpture Course, Graduate School of Art and Design Master’s Program, Musashino Art University (2008 ). Her work investigates mode of expression that arises through interaction between place(s) and the viewer, using wide range of media such as moving image, photographs, found objects and text. Recent solo exhibitions include: Picking Stones (2018) at gallery21yo-j, The Distance and Fence (2015) at krautraum and Think of You. And Some About Me (2015) at void+, all in Tokyo. Recent group exhibitions include: After Finishing the Meal, Turn Over to the Next Day and Draw Some Lines on the Back of the Calendar (2018) at krautraum, Tokyo and The Fourth Independent Exhibition by Artists and Critics - Railroad Siding (2017) at The 2nd Meal Center, Tokorozawa, Saitama, Japan. She contributed a text work to Genkōshū, 2019, published by Kumo to Hōki Publishing. 

diary - Kaz


2020/2/14 (fri) ~ 2/23 (sun)


Diaryは最近Kazが試みている展示スペースにてヴィデオ編集の段階で映像の位置合わせをする、という極めて単純なプロジェクション・マッピングの手法を用いたインスタレーション作品である 。





ロンドンと東京を拠点とする日本人アーティスト/キュレーター。2001年にロンドン、ゴールドスミス・カレッジを卒業。近年の個展にtadpole-labでの between the lines (2019)、crossroad(2017)、東京のコスモスレーン・ギャラリーでのStill | Move(2016)等がある。また近年のグループ展としてはロンドンのWhite Conduit ProjectsでのPacific Breeze(2018/19)、及びPiece of Japan(2017)や同じくロンドンのNunnery GalleryでのVision in the Nunnery(2018)がある。2018年にtadpole-labで開催された3人展、ima、そして2015年に渋谷のアツコバルーでのグループ展、絶対の今 にキュレーター/アーティストとして参加。

Diary is an installation work created using a simple projection mapping technique where moving images are mapped in situ using video editing software, a method which Kaz has been making use of since 2019. 

‘Data’ such as barcodes on products purchased by the artist over the 5-week period, between 1 January and 4 February 2020, is used to create animation video which is projected onto 5 white bars suspended in the exhibition space.

One week’s worth of data is projected on to a single bar, making the work a daily record of an artist’s life as a consumer. Rapidly changing image patterns on a loop, provides an opportunity for the viewers to contemplate our position within a hyper consumerist society which we are inescapably part of. 

By sharing private information with the public through the use of barcodes, used to manage product supplies as well as for marketing, just like publicizing your activities on SNS which has become the norm, the work questions ‘managed privacy’ and our relationship with big data. 

Artist profile

Kaz is an artist/curator living and working in London and Tokyo. He graduated from Goldsmiths College (BA Fine Art) in 2001. Recent solo exhibitions include, between the lines (2019) and crossoad (2017) at tadpole-lab and Still | Move (2016) at Kosmos Lane Gallery in Tokyo. Recent group exhibitions include, Pacific Breeze (2018/2019) and Piece of Japan (2017) at White Conduit Projects in London and was selected to exhibit in Visions in the Nunnery (2018) at the Nunnery Gallery, London. He curated and exhibited in ima (2018), a 3 person exhibition at tadpole-lab, and in Absolute Now (2015) at Atsukobarouh in Tokyo.

或る日 | One Day - 池内晶子 | Akiko Ikeuchi


2019/3/8 (fri) ~ 3/17 (sun)






2019.2.12 池内晶子



1998年東京藝術大学博士課程単位取得退学。1998年文化庁在外研修2年(ニューヨーク)。絹糸を結び、切る行為の集積を宙づりにし、人と空間の関わりについて考察している。近年の個展にギャラリー21+yoでの池内晶子展(2014, 2015, 2017)、The Japan Foundation Gallery (シドニー)でのAkiko Ikeuchi Silk Thread Installations(2016)等がある。また近年のグループ展としては水と土の芸術祭 2018 (2018)、新潟、19th DOMANI・明日展(2016)、国立新美術館や新・今日の作家展 2016 創造の場所ーもの派から現代へ(2016)、横浜市民ギャラリー、Reflection:返礼ー榎倉康二へ(2015)、秋山画廊/スペース23℃/ギャラリー21+yo、秘密の湖(2013)、ミュゼ浜口陽三・ヤマサコレクションがある


'Usui Line railway, which passed through Usui Pass, a challenging route, opened in 1893 and along with passengers, various goods were transported on this route, including cocoons and raw silk. 

I have been told that one day, my great-grand father arrived at Kumanotaira which was on the Usui Line.

I seek to connect silk thread and this day from my great-grand father’s life'

Akiko Ikeuchi
12 February 2019



Artist Profile

Completed the doctoral program in painting at Tokyo University of the Arts in 1998. Lived and worked in New York from 1998 to 2000 as a participant of Agency for Cultural Affairs Program of Overseas Study. Her practice explores our relationship with space, mainly working with silk thread, tying them and cutting them, suspending the result of accumulation of such acts. Recent solo exhibitions include Ikeuchi Akiko Exhibition (2014, 2015 and 2017), gallery21yo-j, Tokyo and Akiko Ikeuchi Silk Thread Installations (2016), The Japan Foundation Gallery, Sydney, Australia. Recent group exhibition include Water and Land, Niigata Art Festival 2018 (2018), Sakyukan, Niigata, Japan, 19th Domani: Art of Tomorrow Exhibition (2016), The National Art Center, Tokyo, New ‘Artists Today’ Exhibition 2016 - Spaces of Creation - Mono-ha to the Art of Today (2016), Yokohama Civic Art Gallery, Yokohama, Reflection: In Return to Koji Enokura (2015), Gallery Space 23℃ / gallery21yo-j, Tokyo, The Secret Lake(2013) and Musée Hamguchi Yozo: Yamasa Collection, Tokyo.

between the lines - Kaz


2019/2/15 (fri) ~ 2/24 (sun)

Between the Linesは今回の展示のためにtadple-labのスペースにて制作された体験型ヴィデオ・インスタレーションであり、これまでもKazが試行してきた主観性と時間、特に「今」、そして空間との関係を探究するものである。



このアニメーションを5つの帯状に分割した映像がスペースの中央付近に等間隔で吊るされた5本のチューブ状の「スクリーン」に、また時に後方の壁にプロジェクションされる。一見、通常のプロジェクション・マッピングの様に見えるがチューブは紙でできており、プロジェクションも編集の時点で位置合わせを行うというアナログな手法が用いられており、二進法によって成るデジタル・テクノロジーの批評とも言える。 そして動画が平面と空間を常に移ろっていき、観るものに「実在空間」と見えない空間とは何か?という問題を提起する。 


ロンドンを拠点とする日本人アーティスト/キュレーター。2001年にロンドン、ゴールドスミス・カレッジを卒業。近年の個展にtadpole-labでの crossroad(2017)、東京のコスモスレーン・ギャラリーでのStill | Move(2016)等がある。また近年のグループ展としてはロンドンのWhite Conduit ProjectsでのPacific Breeze(2018/19)、及びPiece of Japan(2017)や同じくロンドンのNunnery GalleryでのVision in the Nunnery(2018)がある。2018年にtadpole-labで開催された3人展、ima、そして2015年に渋谷のアツコバルーでのグループ展、絶対の今にキュレーター/アーティストとして参加。

Between the Lines is an experiential video installation, developed in situ in the space of tadpole-lab for this exhibition. In this work, Kaz continues his exploration of subjectivity and its relation to time, present moment in particular, and space.

The installation makes use of a video animation of white and black shape, alternating and going over each other in continuous cycle, suggesting transitory yet potentially cyclical nature of time as well as the principle of ying and yang.


This animation, which is split into 5 thin strips, is projected onto 5 tubes suspended equidistant to each other near the center of the space, and at times onto the background wall. The work appears to make use of standard projection mapping technology, but in fact uses analogue method, positioning the projection onto tubes made of paper during the editing stage, offering a critique on digital technology based on binary system.


As the moving image shifts between the flat surface of the wall and the tubes within the space, the work questions the actual physical space and the space, which cannot be seen.


Artist profile

Kaz is an artist/curator living and working in London. He graduated from Goldsmiths College (BA Fine Art) in 2001. Recent solo exhibitions include, crossoad (2017) at tadpole-lab and Still | Move (2016) at Kosmos Lane Gallery in Tokyo. Recent group exhibitions include, Pacific Breeze (2018/2019) and Piece of Japan (2017) at White Conduit Projects in London and was selected to exhibit in Visions in the Nunnery (2018) at the Nunnery Gallery, London. He curated and exhibited in ima (2018), a 3 person exhibition at tadpole-lab, and in Absolute Now (2015) at Atsukobarouh in Tokyo.

ima - 赤塚りえ子 / Kaz / 脇田亘 


2018/3/2 (fri) ~ 3/11 (sun)


赤塚りえ子のhere and nowは、「(T)here」シリーズの新作であり、35年間にわたりコレクションされた日本国内外の土産品などの数々のオブジェを、改造した1950年代のアメリカ製のディスプレー・キャビネットに陳列した作品だ。これらのオブジェは過去に購入したものやプレゼントされたもの、また他にも中古品、もしくは長い間店頭で売れ残り時が経過した新品を購入したものなどである。それらの幾つかに手を加え、また幾つかには手を加えず、そして、幾つかは古いパーツを使って作家自身が新たに制作したものであり、異なる時代からのものがここで「同時空間」にディスプレイされ、「記憶」、そして、「時間」というものの捉え方を問う。


KazのFuture is Now, Future is Pastは片面が白い「スクリーン」になっている板ガラスを利用して作られた二曲一双(にきょくいっそう)の屏風に、線香から流れる様に立つ煙の映像をプロジェクションするヴィデオ・インスタレーションである。ガラスを通して「スクリーン」に映る動画とガラス面に反射して対面する扇(せん)に映る映像がお互い、反対方向に流れると共に重複することによってさらなる次元の時空間をほのめかす。また科学的に立証されている時間の矢(時間の一方向性)という概念をも考察する。



原体験からみえてくる心象風景に深く分け入り、時間が存在する空間と時間という拘束のない空間との接点を考察する。「(T)here」シリーズを数年前から始め、カラフルなライトを使い、ジオラマの要素を持つ立体作品を制作している。ロンドン、ゴールドスミス・カレッジ卒業後、国内外で活動しており、近年ではロンドンのDanielle ArnaudにてA bird in the head展(2017)、東京のBank Galleryにて「ビチュツ展」(2015)及びアツコバルーでの「絶対の今」(2015)に参加。


時空と主観性との親密な関係を、ヴィデオという時間軸を持ったメディアや、写真空間を作品の一部として扱うインスタレーションなどを通じて探究するロンドンを拠点とする日本人アーティスト/キュレーター。ロンドン、ゴールドスミス・カレッジを卒業。近年ではtadpole-labにて個展「crossroad」(2017)、上原のコスモスレーン・ギャラリーにて 個展「Still | Move」(2016) 。ロンドンのWhite Conduit Projectsでの「日本のかけら」展(2017)に参加。2015年9月に渋谷のアツコバルーでグループ展、「絶対の今」にキュレーター/アーティストとして参加する。 



Ima* is an exhibition of new works by three artists, each exploring the present moment while responding to one of the characteristics of tadpole-lab which is situated within an ordinary house.

Rieko Akatsuka’s here and now is the latest in her ‘(T)here’ series and consists of numerous souvenirs from Japan and other countries. These objects, which were collected over 35 year period by the artist, are presented in a1950s display cabinet from the USA, and include items bought, both as new and as second hand goods, or given as presents. Some of the souvenirs on display were found in shops gathering dust as they remained unsold for a long period of time. Akatsuka altered some of the objects as well as creating others by combining various different bits and pieces. The rest are left unaltered. Resulting display of the objects from different era, all presented in the same time-space, questions memory and how we perceive time. 


Future is Now, Future is Past by Kaz is a video projection installation which uses a pair of two-panel screens made from sheet glass, taking the form of a traditional Japanese screen. A video of smoke from burning incense is projected onto the glass panels which are painted white on one side, enabling the moving image to be visible on the white surface. The projected image is also reflected off the glass, like a mirror, resulting in the reflections being overlaid onto the regular moving image on the white surfaces. The projected image and the reflected image move in opposite directions, suggesting time space continuum of different dimension. The also examines the concept of entropy and explores the possibility of an alternative to a single direction of time.


Starting point for 2040 by Wataru Wakita was for the artist to imagine himself in his living room in the year 2040. He spent several months passively observing his living room which provides a stage for ordinary everyday acts, making video or audio recordings of things that moved or things he could hear as and when he felt inclined to do so. He then selected his source material, and processed and edited the videos and audio while asking ‘what it means to pursue the present moment’. As the title suggests, the work explores the essence of the present moment by positioning the living room in the future. 

*Japanese word which can mean either the present moment or a living room

Cross Road - Kaz


2018/2/24 (fri)~ 3/5 (sun)





この二つの作品は、複数の異なる条理/平滑空間を同じスペースでみせる事により、異なる二種類の空間の関係、そしてこの一見対立しているかの様にみえる二つの空間が「事実上、互いに混合することによってしか存在しない」というドゥルーズとガタリの結論を探究している 。
*「千のプラトー」、 G.ドゥルーズ/F.ガタリ


Exhibited site specific video installations works, crossroad and crossing, are two new works using the same method, making use of the truly white cube space of tadpole-lab.

A single video, shot on location, at the famous pedestrian crossing in Shibuya, Tokyo, is projected onto and through 5 sheets of glass, creating multiple moving images on one wall as the beam of the projecor is reflected off each glass. On the opposite wall, a single ‘regular’ moving image can be seen.

Video used in crossroad is of the entire crossing from a distance and can be said to be a striated space (optical/distant vision/concrete line) as described by Delueze & Guattari in ‘A Thousand Plateaus’, where there is perspective and is bound by space-time continuum. Video used in crossing was shot while walking through the pedestrian crossing. It is a smooth space (haptic/close vision/abstract line) where the viewpoint changes continuously, lacking sense of direction.

Projected image which goes through the glasses has the characteristics of a striated space while the reflected multiple images resemble that of a kaleidoscope and is a smooth space.

By presenting both the striated and the smooth space within the same space through the two works, the exhibition examines the relationship between the smooth and the striated, and in particular, explore the notion that ‘we must remind ourselves that the two spaces in fact exist only in mixture’*.
*G. Deleuze & F. Guattari, ‘A Thousand Plateaus”

bottom of page