Having studied architecture, Hirofumi Isoya regards architecture as “events that arise by placing objects in a given space.” In his artistic practice, he generates works as events that come into being precisely through the viewer’s physical experience and imagination. Aesthetics scholar Keiko Ishida draws attention to Isoya’s stance: rather than reducing art to mere self-expression or unilateral signaling, his work places trust in the viewer's embodiment and imaginative capacity, leaving the experience open to the audience.

In this talk, we will deepen the dialogue around the multilayered themes of “place, time, and memory.” The conversation will center on Isoya's perspective on Nishinari—a site shaped by a distinct history that sustained post-war reconstruction in Japan—alongside the transformation of materials inherent in his works, and the intersection of “the past” and the “here and now” held within photography. Starting from the artistic philosophy of life that art offers—“how to enrich our limited time”—we will explore ways to navigate and transcend contemporary society.

An after-party will be held at “Ichinojyuninoyon” following the discussion. We invite all attendees to join the speakers and fellow participants for an engaging time of continued conversation. Please feel free to join us.

Talk

日時：2026年9月19日（土） 16:00〜17:30

会場：SUCHSIZE

料金：入場無料

※先着15名様は椅子席あり（予約不要）

𝗔𝗳𝘁𝗲𝗿 𝗣𝗮𝗿𝘁𝘆 アフターパーティー

日時：同日18:00〜20:00

会場：イチノジュウニのヨン

料金： ​割り勘制

主催：SUCHSIZE　助成：大阪市

Talk

Date: 19 September, 2026

Time: ​ 4:00–5:30 PM

Admission: Free

*Seating available for the first 15 guests (no reservation required)

𝗔𝗳𝘁𝗲𝗿 𝗣𝗮𝗿𝘁𝘆

Date: 19 September, 2026

Time: ​ 6:00–8:00 PM

Venue :Ichinojyuninoyon

Fee: Split the bill

＊First 15 attendees

Organized by: SUCHSIZE Supported by: City of Osaka

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𝗚𝘂𝗲𝘀𝘁

Hirofumi Isoya | 磯谷博史 (b.1978, Tokyo, Japan)

東京藝術大学建築科を卒業後、同大学大学院先端芸術表現科およびロンドン大学ゴールドスミス・カレッジにて美術を学ぶ。見落とされた事物や、まだ名前を与えられていない出来事を手がかりに、写真、彫刻、インスタレーションを制作する。色や形、像とフレーム、過去と現在といった関係をずらすことで、私たちの知覚や時間感覚を静かに揺さぶり、作品を静止した記録ではなく、鑑賞者と共有される現在の出来事として立ち上げる。その実践は、何が認識され、何がこぼれ落ちているのかを問い直しながら、世界を再発見する視座を提示している 。

近年の主な展覧会に、『回復』（カスヤの森現代美術館、神奈川/2026）、『PRADA Mode Tokyo』（東京都庭園美術館、東京/2023）、『動詞を見つける』（小海町高原美術館、長野/2022）、『Constellations: Photographs in Dialogue』（サンフランシスコ近代美術館、サンフランシスコ/2021）、『L’image et son double』（ポンピドゥー・センター、パリ/2021）、「『さあ、もう行きなさい』鳥は言う『真実も度を越すと人間には耐えられないから』」（SCAI PIRAMIDE、東京/2021）、『シンコペーション：世紀の巨匠たちと現代アート』（ポーラ美術館、神奈川/2019）、『六本木クロッシング2019 : つないでみる』（森美術館、東京/2019）、『アルル国際写真フェスティバル -Le spectre du surréalisme』（Les Forges、アルル/2017）など。主な作品の収蔵先に、ポンピドゥー・センター（パリ）、サンフランシスコ近代美術館（サンフランシスコ）などがある。

Hirofumi Isoya studied architecture at Tokyo University of the Arts and later completed a master’s degree in Intermedia Art at the university’s Graduate School of Fine Arts. He also studied fine art at Goldsmiths, University of London. Isoya’s practice examines the perception of reality, taking the temporality embedded in his works as a point of departure. He conceives of photography and sculpture not as static records of the past, but as present events shared with the viewer, choreographing their arrangement in space. Recent notable exhibitions include ‘Restoring’ at the Museum Haus Kasuya, Kanagawa (2026), ‘Prada Mode Tokyo’ at the Tokyo Metropolitan Teien Art Museum, Tokyo (2023), ‘Find Your Verb’ at the Koumi-machi Kougen Museum of Art, Nagano (2022), ‘Constellations: Photographs in Dialogue’ at SFMOMA, San Francisco (2021), ‘L’image et son double’ at Centre Pompidou, Paris (2021), ‘Go, go, go, said the bird: humankind cannot bear very much reality’ at SCAI PIRAMIDE, Tokyo (2021), ‘Syncopation: Contemporary Encounters with the Modern Masters’ at the Pola Museum of Art, Kanagawa (2019), ‘Roppongi Crossing 2019: Connexions’ at the Mori Art Museum, Tokyo (2019), and ‘Les Rencontres d'Arles – Le spectre du surréalisme’ at Les Forges, Arles (2017). His works are held in the permanent collections of the Centre Pompidou in Paris and the San Francisco Museum of Modern Art, among others.

KEIKO ISHIDA | 石田圭子 (b.1969, Saitama, Japan)

東京芸術大学大学院美術研究科博士課程修了。博士（美術）。神戸大学大学院国際文化学研究科教授。専門は美学・芸術論。主な著書に『移民・難民・アート―越境する想像力―』（共著）（ヘウレーカ、2026年）、『甦るヴァニタス―〈はかなさ〉と向き合う現代美術―』（共著）（岩波書店、2026年）、『ナチズムの芸術と美学を考える―偶像破壊(イコノクラスム)を超えて―』（単著）（三元社、2023年）、『美学から政治へ―モダニズムの詩人とファシズム―』（単著）（慶応義塾大学出版会、2013年）、共訳書にボリス・グロイス『アート・パワー』（現代企画室、2017年）。

KEIKO ISHIDA is a professor at Kobe University (Japan). She specializes in aesthetics and art theory, mainly within the relationship of art and politics. She received her ph.D. from Tokyo University of the Arts in 2008. Her recent publications include Imin, Nanmin, Art: Ekkyō suru Sōzōryoku [Immigrants, Refugees, and Art: Transboundary Imagination] (co-authored) (Heureka, 2026), Yomigaeru Vanitas: Hakanasa to Mukiau Gendai Āto [The Resurgence of Vanitas: Contemporary Art Confronting “Transience”] (co-authored) (Iwanami Shoten, 2026), Nazizumu no Geijyutsu to Bigaku o kangaeru: Ikonokurasumu o koete [Reflections on the Art and Aesthetics of Nazism: Beyond Iconoclasm] (Sangen-sha, 2023), Bigaku kara Seiji e : Modernism no Shijin to Fascism [Politicization of Aesthetics: Modernist Poets and Fascism],” Keio University Press (2013). Co-translated works include Boris Groys’ Art Power (Gendai Kikaku-shitsu, 2017).