Art in Japan>Contemporary Art 1930-2004>Eyesaw's 2nd Anniversary

Original articles on art, artists, architecture, exhibitions, galleries, museums and cultural institutions around Tokyo, Japan.

Eyesaw's 2nd Anniversary

by John McGee

Video program at Eyesaw (Image courtesy Eyesaw)

Eyesaw is one of the best opportunities for young artists in Tokyo: an affordable, accessible, casual organization aimed at bringing artists together and helping them get exposure. Next week, this nonprofit international visual arts collective celebrates its second anniversary with another barnburner group exhibition (their 11th to date) at Gallerie Le Deco in Shibuya. The Saturday night closing party will be a five-floor bonanza of youthful creative energy. Twenty-two selected artists will be joined by musicians, DJs, a free-form, one-day group show, a roaming dancer and two bars. 

Video-maker Julia Barnes started Eyesaw in 1999 using classified ads to find like-minded artists. The name comes from Barnes’ self-deprecating description of her own work—eyesore—inflected with her New Zealand twang. The first shows, at Nude Lounge and Nolita Cafe, were admittedly amateur free-for-alls where participants shared a few beers and a lot of enthusiasm. But Eyesaw has quickly matured, gaining a board of directors, 50 paid members (60 percent Japanese, 40 percent foreign), a range of events, and hundreds of faithful attendees.

“As long as they’re being serious...then we really want to help [the artists],” says Barnes, 25. The quality of the work and the curatorial eye have both sharpened in recent shows. A rotating selection committee—made up of regular Eyesaw members, board members and art-serious members of the general public—reviews submissions. This time they chose ten Japanese, nine foreigners living in Tokyo and three artists from outside Japan (one is flying in from Korea and another from Australia). Their work includes paintings on rolling balls, a text piece running along the baseboards, and “Candy’s Karaoke,” a video documentary of a reluctant ten-year-old celebrity in the American South. 

This semi-annual group show is only one of the ways Eyesaw helps artists. And, while you don’t have to be a member, the ¥10,000 annual membership fee does confer significant benefits: two weeks of free exhibition space as part of the “Eyesaw solo-series” at bar radio:on:studio in Gaiemmae (with receptions every other Sunday), deeply discounted submission and hanging fees for group shows, discounted admission to events, workshops, free web advertising, and soon, artists’ own pages on the Eyesaw website. Plus there’s “Eyesaw Radio,” a weekly cable radio program (featuring interviews and music of Eyesaw members), exchange shows overseas, and other assorted collaborations. 

Considering typical gallery rental fees alone, ichi-man is downright cheap. Moreover, this exhibition even has a special “pin-up floor” for those who can’t deal with formal applications: Show up on the day of the closing party (Nov 10) between 2 and 5pm, pay ¥1000 and hang your own work (first come-first served, space is limited). 

Eyesaw-participating artists are guaranteed a crowd of visitors. Barnes, seemingly overwhelmed by the popularity of her creation, says she had “no intention to start all of this, [but] just wanted to meet people.” She got her wish: The opening of the last group show drew 700. 

This exhibition was held Nov 2001 at Gallerie Le Deco in Shibuya, Tokyo,
Japan. Unfortunately, Eyesaw and bar:radio:on no longer exist.

©2006 John McGee

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