Adam Vit, Hideyo Ohtsuki, Maoya Kishi

Adam Vit, Hideyo Ohtsuki, Maoya Kishi April 11 - May 16, 2026 Opening hours: 12:00-19:00(Wed - Sat) Closed on Sun, Mon, Tue and National Holidays This group exhibition brings together three artists whose practices question the boundaries between object, image, material, and systems of value. Working across painting, sculpture, photography, and found materials, Adam Vit, Maoya Kishi, and Hideyo Ohtsuki each engage with forms that emerge from everyday structures and utilitarian processes, subtly disrupting how recognition and meaning are produced. Adam Vit (b.1994, Prague) Lives and works in Collesino, Italy. He graduated from UMPRUM – the Academy of Arts, Architecture and Design in Prague, and the Estonian Academy of Arts. Adam Vít is a multidisciplinary artist working with painting, sculpture, photography, and video. He primarily engages with found materials often brought to him by accident to explore authorship, institutional frameworks, and the conditions under which art circulates and acquires value. His practice moves between object, image, and gesture, assembling fragments that balance the accidental and the deliberate. It reflects on labor, productivity, and commodification, while considering how perception and behavior are shaped by surrounding structures and how little it takes to change their influence. He is also the co-founder and curator of the artist run space Easter in Collesino, Italy. Selected Exhibitions: "FROM A TO X (too much love)" (2026, UNA, Milan); "SMALL PEOPLE" (2024, Cabanon, Paris); "detaoslin" (2024, Centre for Contemporary Art Prague, Prague); "Hole Address" (2023, Galerie 35m2, Prague); "figs" (2022, Polansky Gallery, Prague); and "from Prague, Dresden and Berlin" (2018, Czech Centre, Berlin). Maoya Kishi (b.1986, Osaka, Japan) Lives and works in Osaka, Japan. He graduated from the Department of Sculpture, Faculty of Fine Arts, Kyoto City University of Arts. Maoya Kishi interrogates the threshold between artwork and material. Using commonplace construction materials with minimal intervention, he presents forms that resist classification, creating situations in which viewers hesitate between art and material. For Kishi, art emerges at the moment recognition is interrupted. He is also scheduled to participate in the Basel Social Club in Switzerland this June. Selected Exhibitions: "Unruly" (2025, TATSURO KISHIMOTO, Tokyo); "Osaka Directory 2" (2022, Nakanoshima Museum of Art, Osaka); "The Abundant" (2015, Sakuragaoka Museum, Toyokawa, Aichi); "Real Japanesque" (2012, The National Museum of Art, Osaka); and "Sources of Inspiration" (2011, Ginza Maison Hermès, Tokyo). Hideyo Ohtsuki (b. 1975, Miyagi, Japan) Lives and works in Tokyo. He graduated from Tokyo Zokei University, Department of Fine Arts (Fine Arts I Program). Hideyo Ohtsuki creates paintings that take masking tape as their motif. In painting practice, masking tape is a tool used to prevent paints from bleeding on the canvas or to clearly define borders—material that is meant to be discarded once its function is fulfilled. By meticulously painting the tape itself, he preserves the act of making within the work, blurring the very notion of “completion.” Selected Exhibitions: "Trace & Fix" (2025, TATSURO KISHIMOTO, Tokyo); "The 20th Anniversary LOOP HOLE Expo. 2025" (2025, Fuchu Art Museum Citizen’s Gallery, Tokyo); "retrace: Drawing the Shoreline" (2025, Teisen, Kanagawa); "Still-Work" (2024, LIGHTHOUSE GALLERY, Tokyo); "Sans Filet" (2020, Aoyama|Meguro, Tokyo); "weather reports" (2019, switch point, Tokyo); "Horizons" (2016, Kodama Gallery, Tokyo).