Green, House of Ebata

Monday 14 February – Sunday 13 March 2022

House of Ebata, Tokyo

Open from 14h on Monday 14 February| 2月14日(月)14時より開場

Closing Talk on Sunday 13 March on Zoom| 3月13日クロージングトーク(Zoom)

Open by appointments for other days (Max 2 people per slot)| その他の日は予約制(一枠最大2名)

Opening Reception on Monday 14 February| 2月14日オープニング

Closing Talk on Sunday 13 March on Zoom | 3月13日クロージングトーク(Zoom)

Open by appointments for other days (Max 2 people)| 予約制(最大2名)

ジョン・チルバー|John Chilver

江幡京子|Kyoko Ebata

岩竹理恵|Rie Iwataki

サイモン・ウィレムス|Simon Willems 

ダイアナ・ズルニク|Diana Zrnic 

House of Ebata happily presents the group show ‘Green’. The focus of the show is painting and especially the problem of how to start a painting. House of Ebata strictly specifies that all works in the exhibition will be green. The choice of green may be arbitrary. And the starting point of a painting may also be arbitrary.  

“[As in the example of Duchamp’s Pharmacy] painting at its most elemental and elementary was a colour decision. But the implications of any colour decision – given due weight – are emotionally and ontologically intense.” (John Chilver) 

If green is a decision, the exhibition asks what kind of decision it can be: as the determinant of the mood, feel, image, symbol, chemical and associations. Is green a unity or an infinite subdivision? Is the monochrome the ghosted polychrome? Is green sacred or salted? Proper primary or sneezing secondary? Is green there to calm our nerves? Or to get tuned up for an afterimage that will follow that we’ll say is red?  

‘Green’ combines works by experienced painters (John Chilver, Rie Iwatake, Simon Willems and Diana Zrnic) with a novice painter (Kyoko Ebata).





Special Thanks: 岡本大河|Taiga Okamoto, 中島 ふみえ| Fumie Nakashima, John Tran


John Chilver|ジョン・チルバー

Emily Rosamond Teaching the Remedial Class in Political Economy and Algorithm Studies,2017, John Chilver, oil on canvas, 30.5 × 25.4 cm

Starting a painting is no harder and no easier than starting any other kind of artwork: it begins with a sense of something lacking, which provokes a desire for something to be made and seen. This making doesn’t resolve the lack in any real way, but – if things go well – it alters its pressure.

In ‘Pharmacy’, Duchamp tried to reduce painting to a pure decision: just get any vaguely romantic landscape image and add 2 coloured dots. This was a negation of sorts. But it still feels like an affirmation. It’s a decision but interestingly for Duchamp it was still a decision about color.

Colour is transorganic, meaning it is of the mind and simultaneously of the world. It is also radically contingent and radically discontinuous. For example, we see brown as a colour, yet brown is nowhere to be found in the rainbow. In scientific terms, brown is a corrupted orange. But in the visual world we see brown and orange as equals. 

Duchamp’s lesson in ‘Pharmacy’ was perhaps that painting at its most elemental and elementary was a colour decision. But the implications of any colour decision – given due attention – are emotionally and ontologically intense.





John Chilver is an artist and writer. His work orbits around painting, understood as a stage for scenes of agency and dispute, and styles of subjectivity. He invokes image-making as an unstable site of inquiry. Since the late 1990s he has exhibited and published widely. He studied philosophy at the University of Reading and art at Goldsmiths College, London. He lives and works in London.

Recent solo exhibitions have included Xero Kline and Coma, London, 2018; The Near Abroads, Atlas House, Ipswich, 2019; and The Scene of Instruction, Coleman Projects, London, 2021.

アーティスト/作家。レディング大学で哲学を、ゴールドスミスカレッジ(ロンドン)で美術を学んだ後、1990年代後半から、幅広く展示や出版を行い、ロンドンを拠点に活動している。作品は、主体性や争いの場面、主観性のスタイルの舞台として理解されている絵画を中心に展開され、イメージの制作を不安定な探究の場として様々なアプローチを試みている。近年の個展に「Xero Kline and Coma」(ロンドン、2018)、「The Near Abroads」(アトラスハウス、イプスウィッチ、2019)、「The Scene of Instruction」(コールマン・プロジェクト、ロンドン、2021)など。

江幡京子|Kyoko Ebata

Exploiting a friendship from John Chilver, <<Oak and Air>> 2012-2017, oil on panel, 40 × 40 cm, 2022, Kyoko Ebata (work in progress)

The Case of T&S 2020; Good Bye My Father, 2021~, Kyoko Ebata, digital video 11:41 and still pictures





When I was very young, I had made some paintings, and looking back they were selfies and also copying a sight which I see on photographs, so I would say I was taking pictures or performing rather than painting. 

I enjoy looking at paintings very much and I would like to look into the world of painting at least once in my life. However, when I wanted to paint, I didn’t know where to start. I drew a red circle on paper, but then I had to decide what to do next. I felt it was too much responsibility. Usually when I make a piece of work, I have an image or a concept in my head, or it just appears in front of me, and I feel a pang. Then it usually becomes a work of art.

So I have decided to start by ‘exploiting’ the sincere friendship of the participant, John Chilver, as I always do in other works. I had once seen a piece of his work on a mobile and thought it was wonderful, without realizing that it was only part of the work. This time, I’m going to try to enter the world of painting by copying the part of that painting.

I tried to draw a bit, but unlike photography, it’s very hard to exploit. The wet-on-wet approach is similar to a way of life. I think it is also similar to housework. In housekeeping, you have your own standard, “this place should be kept like this”, and you always work to maintain it. In painting, you have to work at a certain time and in a certain way in order to match your image of what the painting should look like. If I wait until I’m in the mood, the paint will harden. I can’t wait until I feel motivated. You have to move even if you don’t feel like it. In a way, it’s like a habit to live a healthy life. It’s contradictory to my way of making things, which reacts to external stimuli.

アーティスト。東京出身、ロンドン大学ゴールドスミス校卒業。グローバル社会、大都市での生活、戦争と平和、デザインとタブー、記憶と場所、高齢者社会、東日本大震災、環境問題、家族、愛情などをテーマに生活者の目線から時代を表現する。現在は国立市の庭付古民家をプロジェクトスペースに、制作やキュレーションを行いつつ、国内外で発表している。主な展覧会・賞与に「横浜トリエンナーレ2020」、「Volcana Brainstorm; 江幡京子展」、「The Perfect Day to Fly」(ギャラリー・ハシモト、2018)、「あいちトリエンナーレ2010」、「現代美術展企画コンペ」、「現代美術地中海ビエンナーレ2010)、「カルチャー・オブ・フィアー」、「Halle 14」(2006)、「MEDIARENA:日本の現代美術」(the Govett-Brewster Art Gallery、2004)、「ヤング・ビデオ・アーティスト・イニシアティブス」受賞(森美術館準備室、2002)がある。

Kyoko Ebata is a Tokyo based artist, studied in Geneva and Oxford for schools, and graduated from Goldsmiths’ College. Ebata works on diverse projects in various mediums around her everyday life including global society, life in metropolis, war and peace, design and taboo, memory and place, aging society, the Great East Japan Earthquake, environmental issues, family and love. Currently, Ebata runs a project space at an old Japanese house in Tokyo showing a contemporary international programme. She has exhibited widely and received prizes as an artist. Key exhibitions include: Volcana Brainstorm, Yokohama Triannual 2020; The Perfect Day to Fly, Gallery Hashimoto, 2018,; Aichi Triennale 2010 Curatorial Exhibition Competition, Culture of Fear, Halle 14, 2006; The First Mediterranean Biennial of Contemporary Art, MEDIARENA: contemporary art from Japan, the Govett-Brewster Art Gallery, 2004; Young Video Artist Initiatives, Mori Art Museum, 2002

岩竹理恵|Rie Iwatake

Atopon;No place|場所をもたない,2019, Rie Iwatake, archival pigment print on paper, 75 × 60 cm

作品のタイトル<<Atopon (場所をもたない) >>は、ギリシャ語で動と静のあいだにある奇妙なもの「瞬間」を意味する。




The title of the work, Atopon (having no place), is a Greek word meaning a strange thing (moment) between motion and stillness.

By dividing an image of a landscape into sections and changing the size of the print particles in each section, the effect of combining images with different perspectives is created. The point of view is not a fixed point, but represents a fluid visual experience of time and distance.

There is a parallel relationship between the image space and the art material space on the same screen, with the landscape appearing as you move away and reducing to ink and paper as you approach.

To be able to see/to see/to be able/ see, observing and perceiving complement and interfere with each other. In the interlocking flow of seeing and looking, there is a visual experience that only the subject who is looking can see/see.

神奈川県在住。金沢美術工芸大学工芸科卒業、筑波大学大学院芸術専攻を修了後、ペルーやパリ、横浜、台湾など様々な場所を移動しながら作品を制作・発表してきた。片岡純也とのユニットでの発表が多く、キネティック作品と平面作品を組み合わせた空間構成が特徴的で、素材や図案の出会いに物語を生み個々の作品の題材がゆるやかに響きあう手法を使う。近年の展覧会に「MOTアニュアル2020 透明な力たち」(東京都現代美術館、2019)、「二つの心臓の大きな川」(アーツ千代田 3331、2017)、「BankART U35 Junya Kataoka+Rie Iwatake」(BankART Studio NYK、2017)、「PyeongChang Biennale 2017」(韓国、2017)など。

Rie Iwatake lives and works in Kanagawa, Since graduating from M.A. Art and Design Science, University of Tsukuba, Ibaraki in 2006 and B.A. Textiles, Department of Craft, Kanazawa College of Art, Ishikawa, she has traveled to make works in many locations including Peru, Paris, Yokohama and Taiwan. She often works as a unit with Junya Kataoka, combining kinetic and two-dimensional works in a spatial composition that creates a narrative in the encounter of materials and designs, and in which the subject matter of each work is gently echoed.Recent exhibitions include “MOT Annual 2020 Invisible Powers” Museum of Contemporary Art Tokyo, Tokyo in 2020; Big Two- Hearted River, 3331 Arts Chiyoda, 1F 3331 Gallery, Tokyo in 2019; “BankART U35, Junya Kataoka+Rie Iwatake” BankART Studio NYK, Yokohama, “PyeongChang Biennale 2017” Gangneung, South Korea in 2017.

サイモン・ウィレムス|Simon Willems 

‘Untitled (Dance/Work) 1, 25 x 40cm, Oil on Linen 2021
‘Untitled (Dance/Work) 2, 25 x 40cm, Oil on Linen 2021

Green (Expand Monochrome)

Cast your eye to the left and the colour hovers between snooker table felt and AstroTurf, a brief entry of artifice that shouldn’t really work. Rebelling in the lower region of the painting, the riverbank in Morning Mist at Anderlys is a curious proposition: pitching green against green. It’s not just the colour, willing itself towards neon that appeals, when the cartoon graphics so characteristic of Felix Vallotton elsewhere (anticipating Hopper and Katz), accentuate this tension. Move to the right and the surface fogs – like Whistler’s Nocturnes – Green Earth and White stilling the river through a yellowing glaze. Except there’s a bluing in the mix, a mineral effect, and it’s hard to discern whether Oxide of Chromium or Pthalo are to blame. Either way, lime holds sway (Cinnabar Green, to be precise), marshalling the trees in the mid-distance.


<<Morning Mist at Anderlys>>の下の方にある川岸は、緑と緑をぶつけ合うような不思議な試みをしている。このネオンに向かって進んでいく色彩だけが魅力なのではなく、フェリックス・ヴァロットンの特徴である(ホッパーやカッツを先取りした)漫画のようなグラフィックが、この緊張感を際立たせているのである。


Nocturne in Blue And Silver, 1875-80, James Abbott McNeill Whistler

Morning Mist at Anderlys, 1917, Felix Vallotton 

Afterthought: Picasso’s Blue Period strikes a chord not so much because blue is the signature, as to how this is achieved. Whether you’re looking at The Old Guitarist, Two Women at a Bar, or The Blue Room, what is primary is not the idea of monochrome as a point of singularity, so much as a space of difference, fuelled by the possibility that blue is a range as much as a given pigment. All hues are up for grabs, that is the point: monochrome doesn’t have to mean Gerhard Richter or Mark Tansey. Navigate the surface of any one piece and you’ll find Cerulean, Prussian and Cobalt, not to mention complementary earths, in all manner of applications.


The Old Guitarist, 1903/1904.Pablo Piccaso

Two women sitting at a bar, 1902, Pablo Picasso

The Blue Room, 1901, Pablo Picasso 

Simon Willems is a London-based artist. He is currently a British Academy Postdoctoral Fellow at the University of Reading (UK), where he completed a practice-based PhD in Fine Art in 2019, having graduated from the Painting School at the Royal College of Art in 2000. He has shown widely in both solo and group exhibitions throughout Europe and North America, including solo exhibitions at Torrance Art Museum (Los Angeles), FRAC Auvergne (Clermont-Ferrand), Elephant West (London), Galerie Polaris (Paris) and Wallspace (New York) His work has featured and been reviewed in Flash Art, Art Review and Elephant Magazine amongst other publications, and was included in the survey painting publication, A Brush with the Real:Figurative Painting Today (Laurence King Publishing). Willems has written and published articles in the Journal of Contemporary Painting, the Journal of Organizational Aesthetics and the painting journal Turps Banana.

ロンドンを拠点に活動するアーティスト。2000年にロイヤル・カレッジ・オブ・アートのペインティングスクールを卒業し、現在はレディング大学(イギリス)のブリティッシュ・アカデミー博士研究員として、2019年にファインアートにおける実践ベースの博士課程を修了。トーランス美術館(ロサンゼルス)、FRAC Auvergne(クレルモンフェラン)、Elephant West(ロンドン)、Galerie Polaris(パリ)、Wallspace(ニューヨーク)での個展をはじめ、ヨーロッパと北米の各地で発表している。作品は『Flash Art』『Art Review』『Elephant Magazine』などの出版物で紹介され、絵画の研究書『A Brush with the Real: Figurative Painting Today』 (Laurence King Publishing) で紹介された。また、『Journal of Contemporary Painting』、『Journal of Organizational Aesthetics』、絵画専門誌『Turps Banana』に執筆している。

Diana Zrnic|ダイアナ・ズルニク 

Time Does That, 2022, Diana Zrnic, 80 X 70 cm, Oil on canvas

Is painting an overly chewed bubble gum that lost its flavour? It became almost radical to push  the pigment over the flat surface in the last few decades, criticized as old-fashioned,  commodifying, or irrelevant. The fact that painting is in its most usual form flat like the screens  in our pockets and on our tables makes one wonder whether the oldest art form, questioned to  the point of crucifixion unlike any other, is in fact the most relevant in relation to the context  of vast digital networks. Often contrasted rather than compared for the obvious physical/digital  differences, paintings and screens are, all in all, both portals offering the clashing of realities in the strong illusory conjunction between real and projected spaces.

Simultaneously shrinking and stretching space of the mind and the surroundings, painting and  the Internet pose a question of where we see things being real. In constant search for bits of  that real, even in the unreal, we are looking for something that resonates or vaguely resembles  our sense of existence, genuineness, relevance, and importance. 

While offering spaces we cannot touch or step into, paintings and screens are still excellent  hosts. Although physically fragile, they have the strength to put up with any content we lay on them. Resilient to stories, figures, crazy ideas, good or bad antithesis, they testify to there being  no actual or absolute truths by offering a variety of possibilities. 

With painting, the key notion is that of the frame and what fits inside. Constraints are essential  to the very existence of painting as it depends on the limits of the object it inhabits and the  architecture it becomes a part of. Contemporary painting means pushing against some  constraints while working along with others. While a rejection of the weight of painting in the  80s was an inspection of what painting is and what taking pleasure in the paint is, today, it is  not so much about rejection as it is about arriving and departing in different directions.  

Although always present, stripped of its prominence by consciously holding onto its own  materiality, painting is coming back, and the world is flat once again!





Diana Zrnic, born in 1995 in Zagreb, is an emerging artist living and working in the UK. She  completed her postgraduate degree MFA Fine Art at Goldsmiths, University of London, in  2021 after graduating from the Academy of Fine Art in Zagreb in 2018. Zrnic attended three  residency programs; in Barcelona, Berlin, and Lapua, which resulted in group and solo  exhibitions. Most recent shows include Grads Now at Saatchi gallery in London and the 6th Biennial of Painting at HDLU in Zagreb. Mainly working with paintings and sculptures, her  latest work explores notions of hybridity, simultaneity, and displacements of our lives and  world. Imagery seen in her work deploys experiences of disparate forces, the reality of being  implicated in an excessive number of processes at various scales and how, in a material sense,  the body is the co-processor of digital information.

1995年ザグレブ(クロアチア)生まれ。2018年ザグレブの美術アカデミーを卒業後、2021年ロンドン大学ゴールドスミス校の大学院MFAファインアート課程修了。イギリスを拠点に、主に絵画と彫刻を制作している。最新作では私たちの生活や世界の混成性、同時性、変位といった概念を探求している。作品に見られるイメージは、異質な力の経験、様々なスケールで過剰な数のプロセスに関与している現実、そして物質的な意味で、身体がデジタル情報の共同処理者であることを表現している。近年の展覧会に「Grads Now」(サーチ・ギャラリー、ロンドン)、「第6回Biennial of Painting」(HDLU、ザグレブ)など。

Contact info(a) for direction to House of Ebata and appointments.

House of Ebataへのアクセス、予約についてはinfo(a)kyokoebata.comにお問合せ下さい


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