Studio Takehiro Iikawa - Arrangement, Adjustment, Movement

Arrangement, Adjustment, Movement

At the entrance, a large wall-like structure blocked the way, while others occupied the galleries and corridors. As they wandered through the space, visitors gradually discovered that these structures could be shifted—by touching, leaning on, or playfully pushing against them. Through trial and error, each movement opened up a different scene, transforming the space before their eyes. No instructions were given—the discoveries were left entirely to the audience.

Decorator Crab – Arrangement, Adjustment, Movement《デコレータークラブ—配置・調整・周遊》, 2018
Installation view: “A-Lab Exhibition Vol.16|Decorator Crab – Arrangement, Adjustment, Movement"
A-Lab, Hyogo, Japan
Dimensions variable. Wood, paint, caster, acrylic paint
Photo: © Hyogo Mugyuda, courtesy of the artist

Decorator Crab – Arrangement, Adjustment, Movement《デコレータークラブ—配置・調整・周遊》, 2018
Installation view: “A-Lab Exhibition Vol.16|Decorator Crab – Arrangement, Adjustment, Movement"
A-Lab, Hyogo, Japan
Dimensions variable. Wood, paint, caster
Photo: © Hyogo Mugyuda, courtesy of the artist

At the entrance to the exhibition, a large wall-like structure obstructs the path.

Similar structures are installed throughout the galleries and corridors, filling the space entirely. No explanations or guidance are provided by the staff; instead, viewers must engage with the space and understand its logic through their own actions.

By touching or leaning against these structures, one discovers they are movable. Shifting them reveals new perspectives and spatial configurations. This process of accidental discovery and physical engagement parallels the behavior of the decorator crab, which camouflages itself with surrounding materials and alters its form according to the environment.

The work invites a reconsideration of the relationship between artwork, viewer, and space. It also draws attention to the concept of “volume” as latent information embedded within the environment. Through the actions of “Arrangement” (what is given), “Adjustment” (trial and engagement), and “Movement” (resulting in spatial comprehension), the project aims to reconstruct the aesthetic experience itself.

Decorator Crab – Arrangement, Adjustment, Movement《デコレータークラブ—配置・調整・周遊》, 2018
Installation view: “A-Lab Exhibition Vol.16|Decorator Crab – Arrangement, Adjustment, Movement"
A-Lab, Hyogo, Japan
Dimensions variable. Wood, paint, caster
Photo: © Hyogo Mugyuda, courtesy of the artist

Decorator Crab – Arrangement, Adjustment, Movement (Maquette)《デコレータークラブ—配置・調整・周遊》, 2018
Installation view: “A-Lab Exhibition Vol.16|Decorator Crab – Arrangement, Adjustment, Movement"
A-Lab, Hyogo, Japan
Dimensions variable. Wood, paint, caster
Photo: © Hyogo Mugyuda, courtesy of the artist
This image shows a maquette of the work.

Decorator Crab – Arrangement, Adjustment, Movement《デコレータークラブ—配置・調整・周遊》, 2020
Installation view: “A-Lab Exhibition Vol.16|Decorator Crab – Arrangement, Adjustment, Movement"
A-Lab, Hyogo, Japan
Dimensions variable. Wood, paint, caster
Photo: © Takehiro Iikawa, courtesy of the artist

Arrangement, Adjustment, Movement

I wanted to betray the expectations of the people who will come to my exhibition. An exhibition is promoted, on posters and the museum’s website, using images of the featured artworks. I think, for the audience, an exhibition is like a game of looking for those featured works in the museum. As the artworks are supposed to be thoroughly enjoyable, people spend holidays or their spare time at museums. They make reservations and pay admission fees. This is perhaps because people trust museums and such places. In a sense, it is a place that does not betray expectations.

For example, you receive information that a certain artist’s “yellow painting” is on special display, visit the museum to check out the yellow painting, and spend time standing in front of it, thinking about it. You purchase the exhibition catalog and souvenir items of the yellow painting. On the way home from the museum, you talk about the yellow painting and seeing yellow things reminds you of the painting.

This cycle has become a mechanism revolving around artworks and audiences at museums and other public art spaces nationwide. This is relevant in thinking about viewership in all kinds of entertainment. I wanted to create an exhibition by riding on such an expected mechanism and to make the time of viewing artworks a little more special. I decided not to display paintings, sculptures, photographs, or anything that would look like an artwork in the space where I install Arrangement, Adjustment, Movement.

Decorator Crab – Arrangement, Adjustment, Movement《デコレータークラブ—配置・調整・周遊》, 2022
Installation view: “Range of the Senses: What It Means to “Experience” Today"
The National Museum of Art, Osaka
Dimensions variable. Wood, aluminum truss frame, caster, paint
Photo: © Hyogo Mugyuda, courtesy of the artist

Decorator Crab – Arrangement, Adjustment, Movement《デコレータークラブ—配置・調整・周遊》, 2022
Installation view: “Range of the Senses: What It Means to “Experience” Today"
The National Museum of Art, Osaka
Dimensions variable. Wood, aluminum truss frame, caster, paint
Photo: © Takehiro Iikawa, courtesy of the artist

Decorator Crab – Arrangement, Adjustment, Movement《デコレータークラブ—配置・調整・周遊》, 2018
Installation view: “A-Lab Exhibition Vol.16|Decorator Crab – Arrangement, Adjustment, Movement"
A-Lab, Hyogo, Japan
Dimensions variable. Wood, paint, caster, acrylic paint

Decorator Crab – Arrangement, Adjustment, Movement《デコレータークラブ—配置・調整・周遊》, 2022
Installation view: “Range of the Senses: What It Means to “Experience” Today"
The National Museum of Art, Osaka
Dimensions variable. Wood, aluminum truss frame, caster, paint