Sept 12 (Fri) – 14 (Sun), 2025 12:00 PM – 8:00 PMSept 11 (Thu): VIP Day (invitation only)Sept 12 (Fri): Opening Party, 8:00 PM – 10:00 PM (0pen to all ticket holders)
TicketsGeneral | ¥1,500 [advance] | ¥2,000 [at the door]Student | ¥1,500 [advance & at the door]3-Day Pass | General ¥3,000 | Student ¥2,000Ticket + Exhibitor Catalogue [¥1,500]General | ¥2,800 [advance] | ¥3,300 [at the door]Student | ¥2,800[advance & at the door]3-Day Pass | General ¥4,300 | Student ¥3,300
Organized by: NEW
Over the course of three days—12, 13, and 14 September—Art Center NEW will host “NEW PLATFORM –Alternative ASIA–”, an event bringing together alternative art spaces and collectives based in Southeast Asia, East Asia, and Japan. These groups will present their activities, artists, and works, offering a unique insight into the region’s vibrant and diverse art scene.
In the contemporary art world, art spaces that operate independently from museums and commercial galleries are often referred to as “alternative spaces”. The participating organisations in this event embody that spirit, presenting experimental and highly original projects that are not driven by commercial value.
In particular, art collectives—communities formed by multiple artists and curators—are thriving across Southeast and East Asia. Through shared knowledge, skills, and collaborative practices, these collectives foster flexible, innovative ideas and approaches to art-making.
During the event, 31 groups and approximately 60 participants will showcase their work. This platform aims to encourage interaction and exchange among the various spaces and collectives, helping to build new networks and deepen mutual understanding. We invite you to experience the “alternative” contemporary art scene of Asia first-hand. We hope you will join us and be inspired by the creativity and originality of these diverse initiatives.
Ruang MES 56
Yogyakarta | INDONESIA | インドネシア
Ace House Collective
Yogyakarta | INDONESIA | インドネシア
Post-Museum
SINGAPORE | シンガポール
Older Women League
SINGAPORE | シンガポール
The Back Room
Kuala Lumpur | マレーシア
SOME SPACE Gallery
Chiang Mai | タイ
Stack
Bangkok | THAILAND | タイ
Rhizomia Art Network
Chiang Mai | THAILAND | タイ
Load na Dito
Manila | PHILIPPINES | フィリピン
Á Space
Hanoi | VIETNAM | ベトナム
Nhà Sàn Collective
Hanoi | VIETNAM | ベトナム
A NEW BURMA
Yangon | MYANMAR | ミャンマー
soundpocket 聲音掏腰包
HONG KONG | 香港
Videotage
HONG KONG | 香港
Highball
HONG KONG | 香港
WURE AREA
HONG KONG | 香港
孑孓社 Jiejue Community
Beijing | CHINA | 中国
刺紙 Prickly Paper
Guangzhou | CHINA | 中国
Zit-Dim Art Space
Tainan | TAIWAN | 台湾
白水 [Springbao]
Taichung | TAIWAN | 台湾
Flagsidekick
Seoul | SOUTH KOREA | 韓国
GALLERY SOAP
Kitakyusyu | JAPAN | 日本
art space tetra
Fukuoka | JAPAN | 日本
山中suplex／Yamanaka Suplex
Shiga | JAPAN | 日本
soda
Kyoto | JAPAN | 日本
6okken
Yamanashi | JAPAN | 日本
GASBON METABOLISM
Yamanashi | JAPAN | 日本
Art Center Ongoing
Tokyo | JAPAN | 日本
Token Art Center
Tokyo | JAPAN | 日本
国立奥多摩美術館
[The National Museum of Art, Okutama] | Tokyo | JAPAN | 日本
Art Center NEW
Yokohama | JAPAN | 日本
Capacity: 40 people (no reservation required; first-come, first-served)
Participation: Free (exhibition admission fee applies)
Speakers | Asa Ito (Aesthetics Researcher) and Representatives of the Exhibiting Groups
Capacity: 40 people (no reservation required; first-come, first-served)
Participation: Free (exhibition admission fee applies)
Asa Ito is Director of the DLab+ at the Institute of Science Tokyo’s Institute of Future Science, specializing in aesthetics. She obtained her PhD in Literature in 2010, having studied aesthetics, fine arts, and culture at the University of Tokyo Graduate School of Humanities and Sociology. As author, Dr. Ito’s major works include Me no mienai hito wa sekai wo do miteiru no ka (How Do People Without Sight See the World?, Kobunsha), Domoru karada (The Stuttering Body, Igaku-Shoin), Kioku suru karada (The Remembering Body, Shunjusha), and Te no Rinri (Ethics of hands, Kodan-sha). Her work was recognized with the 42nd Suntory Prize for Social Sciences and Humanities in 2020 and 19th Japan Society for the Promotion of Science Prize in FY2022. She is also a Visiting Scholar at MIT (2019).
Capacity: 40 people (no reservation required; first-come, first-served)
Participation: Free (exhibition admission fee applies)
Capacity: 40 people (no reservation required; first-come, first-served)
Participation: Free (exhibition admission fee applies)
Open to the public throughout the exhibition period.
SOME SPACE Gallery | Chiang Mai | THAILAND
Rhizomia Art Network | Chiang Mai | THAILAND
The Back Room | Kuala Lumpur | MALAYSIA
Guest Artist | Lim Sokchanlina | CAMBODIA
A different artist will present a performance each day during the exhibition period.
9.11（Thu）Shin Hanagata
9.12（Fri）Minao Iguchi
9.13（Sat）Satoshi Hashimoto
9.14（Sun）Yoichiro Yoshikawa
“Becoming Chairs” 15:00-15:30、16:00-17:00、17:30-18:30、19:00-20:00
Durational Performance
Born in Tokyo in 1995. Active in performance, media art, and contemporary art. In a capitalist society accelerated by technology—where the reality of being “self” and of being “human” is unsettled—he focuses on technologies that connect the body with the world, such as communication systems, wearable devices, and prostheses. Through this, he explores the “torsion of humanity” in the modern era. Major exhibitions include Techno-grafting Zone – CHIMERIA (WHITEHOUSE, Tokyo, 2025), MOT Annual 2023 (Tokyo Metropolitan Museum of Contemporary Art, Tokyo, 2023), and Taipei Arts Festival (Taipei Performing Arts Center, Taipei, 2023).
12:00-20:00 ※Breaks will be taken as appropriate.
Born in Tokyo in 1998. Visual artist and performer. She attempts to capture the “contours” of the body that arise when it comes into contact with social norms. Working across media including performance, video, and sculpture, she often incorporates the “phase” she perceives through these encounters. Her interests range widely, including clothing, dieting, dance, education, family, rituals, cooking, and conspiracy theories.
Program: “Several Seconds, Several Days” 12:00–20:00
Exhibitions and performances such as ‘Or right or left,’ ‘Thawing the Knife,’ ‘Instructions from the Sun,’ ‘Sand Grain ($6.272 trillion),’ ‘Fwd: Weeds,’ and ‘Puddle’ will take place intermittently.
Analyst, anarchist, artist, arab, act, abstract. Lives in the night.
Selected Exhibitions: “Can’t Go, Please Come” (ARCUS, Ibaraki, 2010); “Arbitrary Decisions and Prejudices: I Divide the Audience” (The National Art Center, Tokyo, 2012); “False name” (14 EVENINGS, The National Museum of Modern Art, Tokyo, 2012); “Loose Lips Save Ships” (The Museum of Contemporary Art, Tokyo); “Everything and Others” (LISTE, Basel, 2016); “The World’s Three Major Round Things: the Sun, the Moon, the Eye” (AOYAMA MEGURO, Tokyo, 2017); “Night － Time = Darkness” (Hans & Fritz Contemporary, Barcelona, 2018); “Festival of Minimal Actions” (Kunsthalle Wien, Reumannplatz, Wien, 2020); “The beautiful, the ambiguous, and itself” (Kudan House, Tokyo, 2024). Also carries out collective activities at An Art User Conference and elsewhere.
“Moving about aimlessly 2025” 12:00-20:00
Visitor-Participatory Actions Using Sculpture
Although I did not personally experience the Meiji Restoration or Japan’s defeat in the Pacific War, both events deeply intrigue me. I was born in Kagoshima, Kyushu, ten years after the war ended, and grew up in a fishing village in Yokohama from elementary school onward. Throughout my life, I have continued to work in what is called the field of art, driven primarily by curiosity about myself. Where did I come from, and where am I heading? Having moved frequently, I came to think of myself as a Creole—someone born in a colony rather than the mother country—and the search for the causes behind my own existence has become the artistic expression known as “art.” While I cannot easily comprehend the full scope of those two historical events—the Restoration and the defeat—I cannot help but feel their profound influence on me.
