Starting Saturday, October 3, Goyo Gallery will present the joint exhibition “物極必反”, organized in collaboration with AWASE gallery.

“物極必反” is a Chinese idiom meaning that when things reach an extreme, they inevitably turn into their opposite. When anything exceeds its limits, it transforms into something contrary to what it was. For this exhibition, the phrase is reinterpreted as an invitation to pause and reconsider the act of continually pushing toward what is regarded as a higher value while still adhering to existing systems of value.

Conceived by curator Mizuki Endo, the exhibition is structured around four categories: “Video”, “Painting,” “Events,” and “Printed Matter.” At first glance, these practices may appear unrelated, yet they exist side by side within the same space and gradually intersect. Rather than complementing one another, they coexist while maintaining their respective autonomy, giving rise to a new landscape that emerges as an exhibition.

The exhibition brings together filmmaker Shinya Aoyama, painters Ioannis Aristotelous and Kohei Yamada, Nanaka Nagata, who runs the art zine Izumi, and editorial designer Daishiro Mori, each presenting a distinct practice.

This joint project by Goyo Gallery and AWASE gallery is an attempt to explore new possibilities for exhibitions through the intersection of different backgrounds and values. We invite you to experience in person the new form of exhibition that emerges through the intersection of these diverse practices.

▼Related events

Film Screening: Tokyo Olympics 2017: Toei Kasumigaoka Apartments

13:30–14:50
15:30–16:50
17:30–18:50

Events

October 9, 14:00–16:00
Performance & Talk Event: Declaration of Art Now
Guest: Nanaka Haga

October 11, 14:00–15:30
Talk Event: Contemporary Art and Life Today
Guests: Takahiro Ishikawa, Tomotoshi, Shota Yamauchi

October 24, 14:00–15:30
Talk Event: On Weaving Words Today
Guests: Tetsuo Banno, Yusuke Takaoka, Aoki Mori

▼Comments from the representive

Goyo Gallery Kenjiro Kimura

AWASE gallery Kohei Yamada

AWASE gallery Riku Matsui

▼Artists

Shinya Aoyama
(https://x.com/aoyamema)
Filmmaker, Artist, and Culinary Researcher
Alongside making films, Aoyama works as a cinematographer and editor, collaborating with visual artists and musicians on video works and documentary footage.
Selected directorial work: Tokyo Olympics 2017: Toei Kasumigaoka Apartments (2021)
Selected cinematography: Mixed Reviews (Japanese) (2021, by Christian Marclay); Documentation of “Deconstruction” (2023, by Atsuko Mochida), among others.

Ioannis Aristotelous 
(https://www.instagram.com/aristotelousioannis/)
Ioannis Aristotelous’s work explores light and its traces left behind in space. Recurring themes revolve around death, mourning and archaic tendencies that often deal with unconscious psychological triggers that go beyond time and space. Aristotelous’s practice spans painting and installation, evoking liminal states between presence and absence. Through dim light, charged stillness, and subtle visual distortions, the work often investigates the boundaries between memory, desire and grief, perception and reality, all in search of their relationship to time in a space that is constantly changing. The work often engages with psychoanalysis and emotional response, searching for remnants of the human psyche, giving form to intangible sensations that often deal with the body as a vessel for different material interactions. Methodically using a variety of mediums to emulate different emotional terrains, the work deals with active and inactive properties that challenge the meaning of contemplation as it constantly sways between internal and external scopes. Through Aristotelous’s work, viewers appear to re-enact the work, suspending the normal flow of time and space into a slower observational viewpoint. Light is central, both revealing and concealing, disrupting depth and prompting questions about spatial awareness and dimensionality, often questioning the viewer’s place in space. 

Selected solo exhibitions include a place to grieve, IYEYA (Kyoto, 2024), Paphos Municipal Museum, (Paphos, 2022), Encapsulating Ephemera, The O Gallery (Larnaca, 2021), 20 Layers of Skin, House of Arts and Literature (Limassol, 2015) 

Selected group exhibitions include Birds of Passage, Äi0CYPHER Athens (Santorini, 2026), Art Ohara Äi0(Ohara, 2026), Fluid Persistence, NiMAC (Nicosia 2025), PalimpsestÄi0, Limassol Municipal Art Centre (Limassol 2025), PassageÄi0, Kydoniefs Foundation Äi0(Andros, 2022), Great North Museum (Newcastle, 2022), Hatton Gallery, (Newcastle, 2022) 

Nanaka Nagata
(https://www.instagram.com/nagata_1512/)
Born in 2006. Has been studying in the Department of Art Studies at Tama Art University since 2025.
Focusing primarily on contemporary art, Nagata examines the relationships between art and society, narrative, language, and related subjects, while writing criticism and reviews. She is particularly interested in the structures of “narration” and meaning-making surrounding art, and seeks to critically examine contemporary artistic expression by drawing across philosophy, aesthetics, and social thought. As the founder of the art zine Izumi, she is also involved in editing and publishing art-related publications.

Daishiro Mori
Born in 1971. Works in the planning, design, and production of printed materials, including art exhibition and film festival catalogues. His practice focuses primarily on editorial design.
His major projects in the field of art include Dan Graham by Dan Graham (2003) and Shuzo Takiguchi and Marcel Duchamp (2011), both for the Chiba City Museum of Art; the exhibition series at Gallery 4 of The National Museum of Modern Art, Tokyo (2005–2015), which he directed and produced with Kenjin Miwa, now Chief Curator of the Department of Art at The National Museum of Modern Art, Tokyo; Waiting for the Video: Video, from the 1960s to Today (2009), Nugu Painting: Japanese Nude 1880–1945 (2011), 14 Evenings (2012), and Re: play 1972/2015 “Video Expression ’72” Exhibition, Reenactment (2015), all for The National Museum of Modern Art, Tokyo.
Other projects include the direction and production of the MOT Collection series at the Museum of Contemporary Art Tokyo (2009–2013), as well as MOT Annual 2011: Nearest Faraway | Measuring the Depth of the World (2011); Grand Openings, Return of the Blogs (2011), Museum of Modern Art, New York; Wolfgang Tillmans: Your Body is Yours (2015), The National Museum of Art, Osaka; Koki Tanaka: Possibilities of Being Together, An Attempt (2016), Art Tower Mito; Lieko Shiga: Blind Date (2017), Marugame Genichiro-Inokuma Museum of Contemporary Art; Hikikomisen 2017 (2017), Hikikomisen 2017 Executive Committee; Kenjiro Okazaki: Revisions of Vision (2019), Toyota Municipal Museum of Art; and Arakawa Nashiyui: Paintings Are Popstars (2024), The National Art Center, Tokyo.
He has also produced and presented “Publication = Printed Matter”: A View of Robert Smithson (co-authored with Sen Uezaki, Idea No. 320, January 2007, Seibundo Shinkosha), among other publications.

Kohei Yamada
(https://www.instagram.com/kumakuma0523/)
When I paint, I begin by pouring a generous amount of oil onto the surface before moving the brush. In doing so, while preserving a sense of noise within the image, the paint bleeds, drips, and mixes, allowing various memories and signs to emerge. Within the square format of the canvas, I move back and forth between things that take shape and things that do not, in the process of turning them into a painting.
Kohei Yamada was born in Osaka in 1997. He graduated from the Oil Painting Major at Musashino Art University in 2020 and completed the Master’s Program in Oil Painting in the Fine Arts and Crafts field at Kyoto University of the Arts in 2022. He is currently based in Tokyo.
Selected solo exhibitions include Supporting Lightness, Sukima (Tokyo, 2025); Borderline, Arario Gallery Seoul (Seoul, 2025); Strikethrough, Taka Ishii Gallery (Tokyo, 2023); As If to Hide It, biscuit gallery (Tokyo, 2022); The Way Lines Enter, MtK Contemporary Art (Kyoto, 2022); Kyoto Okazaki Tsutaya Books Gallery Space (Kyoto, 2022); and road, Daikanyama Hillside Terrace Annex A (Tokyo, 2021).
Selected group exhibitions include Brick, Breath, Horizon, Zian Gallery × Lisson Gallery (Shanghai, 2025); Fluid in Forms, Arario Gallery Shanghai (Shanghai, 2025); Everywhere It Goes, Mai 36 Galerie (Zurich, 2024); Japanese Contemporary Art in My View: The Ryutaro Takahashi Collection, Museum of Contemporary Art Tokyo (Tokyo, 2024); Collection Exhibition: Introducing New Acquisitions, The Museum of Modern Art, Gunma (Gunma, 2024); Abstraction (re)creation: 20 under 40, Le Consortium (Dijon, 2024); and the art fair ARTISTS’ FAIR KYOTO, Annex of The Museum of Kyoto (Kyoto, 2021, 2020).
In 2020, he was selected for the CAF Award.


▼Curator

Mizuki Endo
Born in Sapporo in 1975. He was involved in establishing art spaces including art space tetra (Fukuoka, 2004), Future Prospects Art Space (Manila, 2005), and Yugi-shitsu (Mito, 2007).
In 2005, he received the Lorenzo Bonaldi Art Prize, an international award for emerging curators, in Italy.
He has served as director of artist support programs including ARCUS Project, HAPS, and KACCO. From 2017 to 2020, he served as Artistic Director of the newly established Vincom Center for Contemporary Art in Hanoi.
He is a member of the International Association of Art Critics (AICA).

▼Exhibition Information
【Date】2026/10/3(Sat.) – 10/24(Sat.)
【Open】12:00 – 19:00
※Wednesdays｜13:00 OPEN
Last day｜17:00 CLOSE
【Closed】Sundays, Mondays
【Location】TERRADA ART COMPLEX II 3F, 1-32-8 Higashi-Shinagawa, Shinagawa-ku, Tokyo 140-0002