What Still Transmits: Camille Henrot’s Ikebana and the Problem of Translation
This essay examines Camille Henrot’s exhibition Snake Stepping (2019) at Tokyo Opera City Art Gallery as a[…]
ITO Nanami, KIKUCHI Torasuke Still / Yet
aaploit is pleased to present Still / Yet, a two-person exhibition by ITO Nanami and KIKUCHI Torasuke,[…]
Takahashi Misaki and the Distance of Seeing
A Review by Saito TsutomuOriginally published in Japanese on note.com Takahashi Misaki’s work has consistently focused on[…]
Historical Critique and Contemporary Questions in Ho Tzu Nyen’s Work: Reflections on “Voice of Void”
A Review by Saito TsutomuOriginally published in Japanese on note.com Voice of Void by Ho Tzu Nyen[…]
Kumagae Yuna solo exhibition “225,000 Carat Diamond”
aaploit is pleased to present “225,000 Carat Diamond,” a solo exhibition by Kumagae Yuna, opening January 16[…]
Critical Pastiche: On the Paintings of Asano Miyabi
“Asymmetrical Gazes,” a group exhibition held at aaploit in November 2025, brought together three artists in their[…]
Hanzawa Tomomi Solo Exhibition “Listening to the Garden / 庭を詠む”
aaploit is pleased to present “Listening to the Garden / 庭を詠む,” a solo exhibition by Hanzawa Tomomi,[…]
Asymmetrical Gazes
A group exhibition by Asano Miyabi, Okoshi Madoka, and Kano Maashu aaploit is pleased to present Asymmetrical[…]
When Payment Systems Become Censors: Mapping the Power Structure of Digital Access
In January 2025, Stripe—one of the world’s largest payment processors—terminated services for Manga Planet, an international manga[…]
“I Am Probably Not the Right Voice for These Paintings” by Ishiguro Hikaru
Opening Statement aaploit is pleased to present “I Am Probably Not the Right Voice for These Paintings”[…]