SOM GALLERY is delighted to announce "no man's land”, a group exhibition curated by Hou Milan on view from February 14 to March 9. The exhibition features works by Cui Jie, Haburi, Naoto Nakamura and Akashi Teramoto.

The concept of "no man's land" originates from the threshold space described by Hannah Arendt in The Human Condition (1958). This refers to an intermediate space that neither belongs to the public realm (polis) and the private realm (oikos), focusing on the spatial distribution between the ancient Greek city (polis) and the household (oikos), where the intersection and new relationships between the two emerge. In recent urban studies and sociology, the importance of such intermediate spaces has also been emphasized. These spaces exist around us in various forms, such as the lobbies of commercial facilities, plazas in residential complexes, and open terraces.

The philosopher Michel Foucault argues that space is not merely a physical setting, but an important medium in the operation of power and the construction of social relationships. In his research, Foucault often views space as a medium for discipline and control, where urban architecture is not only constructed within power relations but also serves as the foundation that shapes human behavior, becoming a site where power operates. For urban citizens like us, "no man's land" functions as a neutral space that belongs to neither the inside nor the outside, and can be seen as a space where new political actions and freedoms become possible. Politics is not merely about governance or control; it is a collective activity through which people shape the world. Therefore, it can be argued that there is a need to highlight the importance of "no man's land" as a space for this activity.

This exhibition focuses on the relationship between bureaucratically structured urban architectural spaces and individuals, introducing four artists who each approach the subject through their own unique methods of creation. Cui Jie, an artist active on the international scene, is presenting her work for the first time in Japan at this exhibition. The urban scenes depicted in her works are deeply connected to her personal experiences, and one can see a wide range of influences, including Chinese propaganda art, Soviet communist aesthetics, and the Japanese Metabolism architecture movement.

Haburi, originally from Inner Mongolia, introspectively explores different cultural backgrounds and historical narratives while learning regional handicrafts, creating works by reinterpreting specific items, he explores the messages embedded in familiar symbols and sharply presents the political significance of identity.

Naoto Nakamura employs a diverse range of media, including installation, photography, video, and literature, combining elements such as materiality, architectural structures, the playful nature of language, and the fusion of imagery and narrative. Through his poetic interpretations of everyday objects and spaces, his approach is characterized by a questioning of preconceived notions that are inherently accumulated from birth.

Akashi Teramoto's paintings consistently embody the worldview of "Patio" (inner courtyard). This creates a space where the boundary between inside and outside is ambiguous, allowing different elements such as still life, figures, and landscapes to coexist equally. In recent years, his work has also focused on how to confront social issues such as disasters and wars on a personal scale, reflecting the artist's sincere approach.

Through the concept of "no man’s land," this exhibition examines how artists intervene in urban architecture as a site of control, incorporating their personal experiences and interpretations. It offers a multifaceted consideration of the political aspects embedded in personal memory and urban development.