Ota Ward Cultural Arts Information Paper "ART bee HIVE" vol.25 + bee!

Issued April 2026, 1

vol.25 winter issue

The Ota Ward Cultural Arts Information Paper "ART bee HIVE" is a quarterly information paper that contains information on local culture and arts, newly published by the Ota Ward Cultural Promotion Association from the fall of 2019.
"BEE HIVE" means a beehive. Together with the "Honeybee Squad," a group of local reporters recruited through public recruitment, we will gather artistic information and deliver it to you!
In "+ bee!", We will post information that could not be introduced on paper.

Artist: Artist Yuna Ogino + bee!

Artful Place: Tokyo Glass Art Institute + bee!

Shopping Street x Art + bee!

Future attention EVENT + bee!

I want to reach the existence itself that cannot be put into words.
"Artist Ogino Yuna"

Ogino working on a new piece at his studio, STUDIO ZUGA

Yuna Ogino is an artist with an atelier in Zoshiki, Ota Ward. Using flowers and people as her main motifs, she creates unique semi-abstract paintings that reconstruct the surface from representational to abstract. She creates multi-layered paintings by repeatedly painting over an existing work, scraping it off with a painting knife, or wiping it off with a cloth.

Please tell us about your encounter with art.

"I started oil painting when I was 10 years old. My first encounter with contemporary art was when I was in junior high school, around the time the Museum of Contemporary Art Tokyo opened. I saw a flyer for a Jasper Johns* exhibition in a classroom at my junior high school and decided to go and check it out. From a distance, the paintings were filled with symbolic elements like national flags and targets, but when you looked closer, you saw that newspapers and everyday objects had been collaged onto the canvas, and numbers and letters were painted with intricate brushstrokes. Both the works and the exhibition space were large in scale, and I was overwhelmed by the worldview, which was completely different from any painting I had seen up until then.'

I heard you're from Ota Ward. What influence has Ota Ward had on you as an artist?

"When I was in elementary school, we had a sketching event where we drew Senzoku Pond. Since I loved drawing nature from a young age, I was struck by the beauty of the trees, the reflections in the pond water, and the red arched bridge, and I still remember drawing them with watercolors. Also, in my elementary school class there was the daughter of a contemporary artist, and the daughter of a photographer who photographed contemporary art works, so I was able to experience art in the course of my leisure. Back in the 90s, contemporary art was still seen as a world that was difficult to understand and intimidating, but in my case, influenced by these friends, it felt like a part of my daily life, so looking back now, I think it was an extremely valuable experience.'

"p-030425_1" (2025)

I want to capture the energy and vitality of living things.

I'd like to ask you about your themes. You've been painting flowers since your debut.

"Ever since I was a child, I have preferred drawing nature to man-made objects such as buildings and everyday items. I was born and raised in Ota Ward, which is not surrounded by nature, but there are trees planted in residential areas and beautiful flowers blooming in gardens. In the "GARDEN" series I released at the beginning of my career, I used flowers blooming in the gardens of nearby houses and butterflies that I would occasionally see as motifs. I think flowers are a motif that particularly catches my eye in my daily life."

Later, you started painting nudes (bodies). What was the reason for your progression from flowers to the flesh?

"In the "GARDEN" series, I started sketching with an honest feeling of "seeing and drawing," and gradually began to paint "flowers" as a metaphor for myself. Eventually, I began to want to actually paint people as well. Flowers are beautiful, but they are not dressed up. So I decided to paint people nude. I layered paint on both people and flowers, trying to find their true essence."

"p-110325_1" (2025)

Abstraction allows you to explore your inner self.

Are there things you can only paint in semi-abstract expressionism?

"My paintings might best be described as 'semi-abstract-looking paintings.' Even the parts that appear semi-abstract are actually painted from real objects. I think the reason my paintings don't look realistic is because I use large brushes and knives, sometimes capturing the subject, light, and shadow in a large scale, and improvising by replacing movement and temperature with color."'

Why semi-abstract rather than fully abstract?

"I don't consciously distinguish between realistic, abstract and semi-abstract paintings, but rather the result of painting a motif appears semi-abstract. In portraits, I often paint parts where the gender or race is unclear, as well as man-made objects such as clothing, in a so-called realistic manner. When I'm trying to capture things that cannot be seen with the naked eye, such as movement, emotion or temperature, I paint in an abstract manner (using large strokes and color areas).'

"p-011125_1" (2025)

The screen shows me the time I have lived through.

I'd like to ask you about your technique. Why are you so particular about layering?

"Compared to photography, which is a medium that captures a moment in time, painting requires the accumulation of anywhere from a week to several months of production time to create a single two-dimensional work. If we are to explore the necessity of painting in this day and age, I believe it is necessary to show this accumulation.'

It seems that many different times and thoughts are depicted on one screen.

"The surface and inner layers are woven together to form a single picture. When I start painting, I don't have the finished image in mind. I apply paint each day, focusing on the freshness of my sensibilities. Sometimes areas that I've spent a lot of time painting become invisible later on, or I have to scrape them off with a knife, so it may seem like I'm taking a roundabout approach, but for me, it's an honest way of facing the canvas.'

Nokonoko is a workshop where children from 4 years old to adults and people with disabilities can create in the same place.

We aim to create an unconventional production environment.

Please tell us about "WORKSHOP NOCONOCO."

"Workshop Nokonoko is an art class that began in 2008 in the art room at Ota Cultural Forest. It was started by a group of my sister's classmates, who have disabilities, with the cooperation of the Ota Ward Inclusion Association. Ever since I was a student, I have been fascinated by the paintings of people with disabilities. I had been drawing and receiving art education since I was 10 years old, so I think I felt that their abundant talent was something I didn't have."

Do you have regular activities?

"Currently, I work three Fridays a month at the Support Pia Support Center for People with Disabilities in central Ota Ward. Everyone from ages four to adults, art school applicants, and people with disabilities come together to paint in the same space. Rather than following the same theme, each person works on their own theme, so I hope it will become a space where they can inspire and nurture one another. Two years ago, I started a project called +ART (Prasart) in collaboration with the Ota Ward Cultural Promotion Association. This is a workshop-style project that uses the power of art to make products made by welfare workshops in Ota Ward more attractive and desirable. Workshop Nokonoko utilizes the experience I've gained to make suggestions that allow users to enjoy creating while also bringing out their talents."

From those who want to start painting as a hobby to those aiming to enter art colleges and universities, the small-group drawing and painting course "KAMATA ART SEMINAR"

Rokugo is a town where people are close to each other.

Please tell us about the appeal of Rokugo.

"Rokugo is close to the Tama River, and is surrounded by nature, where you can feel the gentle flow of time. I also think it's a town with a nostalgic atmosphere and a sense of community among the neighbors.I was fortunate enough to set up a studio in Minami-Rokugo last year as part of the "Vacant Houses and Other Properties for Community Contribution" project. I use it primarily for my own creative work on weekdays, but on weekends (12:00-15:00), I host a painting class called "KAMATA ART SEMINAR" taught by art instructor Mayu Takatori. Takatori currently serves as the director of a major art prep school and an art instructor at a comprehensive art high school. She has extensive expertise in entrance exams for Tokyo University of the Arts and has produced many talented individuals who have gone on to thrive in the art world. She is a highly popular instructor, and she also collaborated with manga artist Tsubasa Yamaguchi on her work "Blue Period." The studio is also equipped for art classes, so I would love for everyone in Ota Ward to come and learn authentic drawing and painting.'

*Jasper Johns: Born in 1930. American painter and sculptor. His signature work is "Flags" (1954-55), a collage of layered colors made from newspaper and hardened with beeswax. He subsequently produced paintings with motifs such as "targets" and "numbers." In the 60s, he produced works in which he pasted various objects onto the canvas.
The Jasper Johns Exhibition was a retrospective held at the Museum of Contemporary Art Tokyo from Saturday, June 28th to Sunday, August 17th, 1997.
*+ART (Prasart): An initiative by the Ota City Cultural Promotion Association, a public interest incorporated foundation. This project connects welfare facilities and artists to enhance the appeal of "independently produced products" produced at these facilities.
*ART FACTORY Jonanjima: One of the largest art facilities in Tokyo, renovated from a 3000 square meter warehouse in Jonanjima, Ota Ward. The facility includes an art viewing space and studios (ateliers) where artists can create their works.

Profile

Born in Tokyo in 1982, he began his artistic career after graduating from the Graduate School of Fine Arts at Tokyo University of the Arts in 2007. He has participated in numerous solo and group exhibitions both in Japan and overseas.

website

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Studio Zuga

Yuna Ogino Solo Exhibition "Interweaving Presence"

Period: Now until January 12, 2026 (Monday) Each day: 11:00-20:00 *Closed at 18:00 on the last day
Venue: Kyoto Tsutaya Bookstore, 5th floor exhibition space (inside Kyoto Takashimaya SC, 35 Otabicho, 2-chome, Shijo-dori Teramachi Higashiiru, Shimogyo-ku, Kyoto City, Kyoto Prefecture)

Creating something is creating an alter ego of yourself.
"Tokyo Glass Art Institute"
Kenichiro Omoto, Director of the Tokyo Glass Art Institute and Glass Artist (Cut Glass)

The Tokyo Glass Art Institute is a specialized glass education institution with some of the best facilities in Japan and a team of instructors active on the front lines, where you can learn all the techniques of glass art. Since its founding in 1981, the institute has produced over 1,000 graduates and many talented individuals. In recent years, the institute has also started offering night courses that allow students to study while working, glass art classes for hobbyists, and hands-on workshops where students can easily create original glass works. We spoke with Kenichiro Omoto, a director and glass artist himself.

Mr. Omoto instructing the art of Kiriko

We are looking for someone with extensive knowledge of glass.

Please tell us what prompted you to establish the company.

"I was researching glass at Waseda University with Keiko Matsuo, the current director of the Tokyo Glass Art Institute.YusuiYoshimizuThe school was started in Kawasaki in 1981 by Matsuo and Tsuneo*. Professor Yusui had previously run a glass art class in Shinjuku, which Matsuo attended. The two hit it off and decided to start Japan's first glass art vocational school. Matsuo was an ordinary housewife, and her husband was a doctor. An old hospital had become vacant, so they decided to turn it into a school. At the time, there were hardly any schools that taught glass art.

Please tell us about the characteristics and appeal of your school.

"The best thing about this school is the variety of techniques you can learn. With expert instructors in each field and excellent facilities, you can learn everything from traditional techniques to new technologies. You can acquire a wide range of skills in glass art."

Once you have mastered a variety of techniques, you will likely be able to combine them to create new, unique works.

"This has become mainstream recently. Using only one technique will make you look like artists of the past. Learning a variety of techniques will broaden the scope of your work. It's a great advantage.The same goes for finding employment. In the past, glassblowing factories only wanted people who wanted to work in glassblowing. In recent years, companies have expanded, so they are looking for people with a broad knowledge of glass who know a variety of techniques, like our students. Nearly 100% of those seeking employment are able to find employment.

他人PeopleI had been constantly repairing things that other people had made, so I wanted to make something myself.

I understand that Omoto-san is also a graduate of the Tokyo Glass Art Institute.

"I was originally an office worker in the machinery repair business.他人PeopleI was always repairing things made by other companies, so I wanted to make something myself. So I quit my job (laughs). I was looking at various materials to think of what to use, and that's when I came across glass. I looked into places where I could study glass, and found this school, so I enrolled. In 1997, there was only one other glass vocational school in Toyama, and this was the only one.'

What attracted you to glass?

"It's a very general description, but it was because it was transparent and beautiful (laughs). I didn't look at many works, nor did I research techniques like cut glass* or blown glass*. I just thought glass looked interesting, so I decided to give it a try, that's all (laughs).'

In a fulfilling environment, students aim to acquire the basic skills and knowledge required to become a glass artist.

You will be taught in a short space of time and have plenty of opportunities to put what you have learned into practice.

Please tell us any memories you have from your school days.

"I was given a lot of freedom. I became so engrossed in learning Kiriko that I didn't attend many of my other classes. I only did Kiriko, but I wasn't scolded. Rather, it was more like, 'Do more! Do more!' Of course, I worked hard on making Kiriko. I think the teachers were watching over me, too. They thought, 'Oh well, it's okay for him,' and let me do what I wanted."

One of the things I gained from this school was meeting new people, what else?

"It's all about the techniques. Because it's a school, they'll teach you anything you ask. The teachers are all independent artists, but they don't hide anything. They'll even tell you things you might think are a secret. If I had joined a company as a craftsman, I think it would have taken a very long time to learn the same amount of techniques that I learned at this school. Here, you can learn in a short amount of time, and there are plenty of opportunities to put what you learn into practice. In the apprenticeship system, the norm is to 'watch and learn,' and they don't actively teach you the theory behind it."

"Blown glass" - shaping by blowing air

The idea was to nurture artists.

Are all of your instructors active as writers?

"When this school was first established, there were no jobs for glass art teachers, so they recruited artisans from various factories. The founder, Keiko Matsuo, had the philosophy of nurturing artists, so many of the students were not just artisans but also active artists."

Did you also present your work soon after becoming a lecturer?

"Once I decided to stay here, I knew I had to aim to become an artist, so I started studying as an artist while I was still a student. I started making works in earnest after graduating. I was lucky enough to be selected for the Japan Traditional Crafts Exhibition, organized by the Japan Kogei Council*, on my first try. I passed right away the first time, but after that I had a lot of success and failures, so it was quite difficult (laughs)."

Omoto's works express bamboo craftsmanship in cut glass. "Blue cut glass bowl" and "Green cut glass plate"

"Oxygen burner" to learn how to use heat-resistant glass

If you put in the time and effort to make something, it will definitely show in the finished product.

What do you consider important when teaching students?

"Creating something is like creating an alter ego of yourself. I tell people to always keep this in mind when they create something. If you put in the time and effort to create something, it will definitely show in the finished product. Anyone can tell right away if you've cut corners.Graduating students are often asked toparableFor exampleI would say that when you graduate, your work will still be in a rough state. From there, you gradually carve it into finer pieces, and finally polish it until it is shiny and shiny, and just like that, you all still have a lot of training to do to hone your skills. I hope you will always remember your desire to learn."

"Cut Flower Kiriko" for cutting the glass surface

My hope is to popularize glass crafts.

In addition to the professional training course, there is also a glass craft course. What kind of people take the course?

"The majority of students are taking lessons as a hobby. Most come about once a week. Most are working adults, but we also have some high school students. In terms of gender, 1% are women. In the past, the proportion of women was even higher. Recently, the number of men has been increasing."

What kind of people participate in the trial classes?

"We have a lot of tourists. There are lots of websites that introduce experience courses at travel destinations, but there aren't many that offer glassblowing courses. And the number is even fewer within Tokyo. I haven't kept statistics, but I'd say about 8% of our visitors are from outside Tokyo. There are also quite a few people from overseas. The remaining 2% ​​or so are people who live nearby and say, 'I've heard of this place for a while and I've always wanted to try it.'"

Finally, please give a message to the residents of the ward.

"My constant hope is to popularize glass art. There are still many people who are unaware of it. Whether it's glassblowing or making a single cup, there are people who say, 'Oh, so that's how it's made!' I want people to know what glass art is all about. The best thing is for people to try it for themselves, but first of all, I want lots of people to come and see it. Please come and visit us while you're out for a walk."

*Yoshimizu Tsuneo: Born in Tokushima Prefecture in 1936. Completed his doctoral studies at Waseda University Graduate School. Specialized in the history of glass art and the history of East-West art negotiations. Has taught at Tama Art University, Waseda University, Iwate University, Japan Women's University, and other institutions. In 1981, opened the Tokyo Glass Art Institute, a training school for glass artists. Major publications include The Path of Glass (1973), Glass of the Edo and Meiji Periods (1979), and Ancient Glass (1980).
* Kiriko: A technique of creating patterns by cutting into the surface of glass, or glass products processed in this way.
*Glassblowing: A glass craft technique in which molten glass is wound around a metal blowpipe and shaped by blowing air into it.
*Japan Kogei Council, a public interest incorporated association: An organization made up of traditional craft artists, technicians, and others, centered around Important Intangible Cultural Property Holders (also known as Living National Treasures). It has approximately 1,200 regular members, including Important Intangible Cultural Property Holders in the crafts field. The Japan Traditional Crafts Exhibition, which the association sponsors together with the Agency for Cultural Affairs, NHK, and the Asahi Shimbun Company, has been held annually since 29.

Profile of Kenichiro Omoto

Born in Hyogo Prefecture in 1967. Graduated from the Tokyo Glass Art Institute Graduate School in 2000. Representative director of the Tokyo Glass Art Institute and glass artist. He creates unique works by incorporating new techniques into traditional Edo Kiriko techniques. Full member of the Japan Kogei Council, a public interest incorporated association.

Tokyo Glass Art Institute

• Address: 1-26-13 Higashirokugo, Ota-ku, Tokyo
• Access: 5 minutes walk from Zoshiki Station on the Keikyu Main Line
• Phone / 03-6715-8670

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Tokyo Glass Art Institute Graduation Exhibition 2026

Date: February 25, 2026 (Wednesday) - March 1, 2026 (Sunday) Each day: 10:00-18:00
*Opens at 13:30 on the first day, closes at 15:30 on the last day
Venue: Meguro Museum of Art, Citizens Gallery (2-4-36 Meguro, Meguro-ku, Tokyo)

Shopping street x art + bee!

We will share new goth art made in Daejeon with the world.
"Naked Shop in Crisis (Minami Rokugo)"

Directly opposite Ota Minami Rokugoichi Post Office is Kikihada Shoten, which opened in 2018. It is a shop that represents Japan's goth* and one-of-a-kind art costumes. We spoke with the owner and designer, Kiki Goto.

Kiki, the owner and designer

It all started when there was a goth club event and I made my own costumes to wear to the club.

Please tell us how you first encountered goth and clothing.

"Ever since I was little, I've always loved the villains in Super Sentai TV dramas. When I was in elementary school, I saw the movies Batman* and Edward Scissorhands* and thought, 'Ah, this is it!' I was drawn to the dark side."

What inspired you to start producing?

"In Harajuku"CA4LAKashiraI worked at a hat shop called "Hat Shop." I was an art student at Haneda High School, and I was doing oil paintings. They told me that if I could paint, I should try making art, so I painted on top hats and other items to make one-of-a-kind hats.At that time, there were goth club events, and I started going to them. There weren't many places in Japan that sold goth-style clothing, so I started making my own outfits to wear to clubs."

This shop is also the costume room of the Opera House, where you can find clothes that will let you become many different people.

Please tell us what inspired you to start Kikihada Shoten.

"I set up a booth at a goth event and started receiving all kinds of orders. I wanted to make more and more, and I was running out of time, so I said I wanted to quit the shop. Then the president said, 'You should start your own shop.' So he introduced me to the Dojunkai Apartments (now Omotesando Hills), and I started my shop. I brought with me a household sewing machine and a dining room chair from my parent's house (laughs). That was in 2001, when I was 21."

Please tell us about the origin of the store name.

"Originally, my sister and I did sales at events. We were embarrassed to be working as sisters, so we told people around us that we were "Kikilala." Then everyone started calling us "Kikilala Shoten," and when I was typing on my phone to announce that "Kikilala Shoten is opening," the kanji characters we use now just happened to pop up. I thought, 'Ah, kanji are good!' and that's how we got the name (laughs)."

Please tell us about the concept of the store.

"There is an island called Kikinaraha Island, and it is a national trait of the people to not wear the same clothes as other people. Kikinaraha Shoten has inherited this philosophy. This shop is also the costume room of the Opera House. It is a place where you can find clothes that will make you the leading role of your dreams."

Not only hats, but also corsets, shoes, accessories, and even interior decor can be coordinated in line with the world of Kikihada Shoten.

"I just make what I want to make. I want to research a lot of things, so I wonder how something was made, and as an extension of that, I want to make all kinds of things, and I end up making all kinds of things."

Hats and bags lined up in the underground space after getting off the elevator

A one-of-a-kind dress or corset is wearable art.

I started this as a culmination of my efforts to create what I want to create.

Why did you decide to reopen in Rokugo?

"My shop in Omotesando was featured in a magazine and many people came. After that, I opened five stores in Tokyo and Osaka, called Dangerous nude, a select shop for imported clothing. However, I became so busy that I no longer had time to be creative. In order to make the things I wanted to make, I closed all the select shops and started this shop to focus on making my own things."

What kind of customers do you have?

"Our customers are goth fashion fans, band members, and people who go to live shows. We also have performers in the theater industry, jugglers, pole dancers, and fortune tellers. We also make clothes for vocational school entrance ceremonies. Our sales are mainly through mail order and custom orders. We have to discuss costumes and other things in advance, so they come here."

A coffin that can be used as both a bed and a table.

Made in Ota "Gothic Lip"

Let's pretend we're already dead and make a coffin, make a coffin and be reborn = regenerate.

Your project is based on the theme of "Ota Ward Factory x Gothic Design." Please explain more about this.

"This is a collaboration with factories and craftsmen in Ota Ward. I wanted to create items that people could use even as adults without giving up on fashion, so I first made bags. Then, before the coronavirus outbreak, I made the 'Gothic Lip'. Items with a sophisticated Gothic design that people will want to carry even as adults cannot be completed without the skill of a craftsman and the reliable techniques of a factory. I would like to increase the number of items we create in collaboration with local factories. If I do something, I am thinking that it should be in Ota Ward. Everything is made in Ota. I would like to continue taking on new challenges."

You make Western-style coffins for vampires to sleep in.

"Someone had an order for stage decorations and asked if I could make a coffin. This was over 10 years ago. I inquired with coffin and Buddhist altar equipment companies, but they refused, saying, 'It would be inappropriate. It is a solemn object, so if we do anything strange we will be ostracized by the industry, so we cannot make them.' So I gave up on the idea for a while, and I kept vaguely thinking that maybe I could do it someday. Then the COVID-1 pandemic hit. There were no live shows or events, so I had no work at all. I thought, I'm already dead, so I'll make a coffin, I'll make a coffin and be reborn -- I'll revive myself, so I scraped together all the money I had and asked an interior furniture company in Ota Ward to make one. Once we started making it, because they are craftsmen, they gave me lots of suggestions like, 'It would be better to do it this way', which was fun. I had them make one for me first.I casually posted on social media that I was thinking of making something like this, and received a lot of responses like, "I want one too!" So I started taking orders through crowdfunding."

You also make coffins for dolls.

"I received many inquiries from people who saw the human version asking, 'Do you have one for dolls?' So I started making them. This is a new kind of goth art made in Ota. I hope to spread it to all parts of Ota Ward."

Do you have any specific plans?

"In 2024, we held a collection show in the United States. In 2025, we will participate in the Italian doll event "Il Palazzo delle Bambole - The Palace of Dolls." Doll artists from all over the world will exhibit their works. The event will be held in the dance hall of an aristocratic castle in Brescia, a city near Milan. We will be introducing new Goth art works made in Ota to the world."

Carryable doll coffin

Welded iron doll coffin

The coffin was a lucky item.

If you have any upcoming events, please let us know.

"At the distribution center in Ota Ward,I Dollアイドール"There used to be a doll event called 'Doll Coffin', but it's now being held at Tokyo Big Sight in Odaiba. We'll be exhibiting doll coffins as merchandise, but for the event we'll bring in a human coffin and let people experience being inside a coffin. You can get in the coffin with the doll and take a commemorative photo."

Please tell us about your future prospects.

"I've done a lot up until now, so I feel like this place is a culmination of that. I want people to know about the unique world of Kikirahaha Shoten. As part of that, I want to spread the word about our collaborative activities with factories in Ota Ward. When you connect with various factories, a new chemical reaction occurs and new items are born. At first, you might be turned down because of the image or appearance, but if you communicate your vision clearly, they will ignite their artisan spirit and, with lots of advice, complete a piece. The same goes for fashion and policies, which are often not understood, but I would be happy if by working with factories to create interesting items, I can break down prejudices and barriers and make people think, 'Wow, something so interesting is possible!?'"

Finally, please tell us about the appeal of Rokugo.

"Everyone is very friendly. I designed the entire interior of this shop, and many people came up to me while I was working and asked me what I was doing. Since I opened the shop, they've probably seen me on TV or in magazines, and they've told me things like, 'Keep up the great work,' or 'I didn't know there was something so interesting in Ota Ward.' When I went to Haneda High School, I often walked around this area and saw all the different factories. I never thought I'd get to work with people from such factories.There is a market called G-round* that is held in front of Zoshiki Station. I participated in the first event. We held an open-air coffin experience. We placed a coffin in front of Zoshiki Station and asked people to come in. Everyone was very happy and amused. Some elderly ladies told us that if you get into a coffin while you're still alive, it will extend your lifespan, and many people participated. The coffin was a lucky item (laughs)."

The interview was conducted in September 2025.

*Goth: Gothic. A subculture including music, fashion, art, and lifestyle influenced by Gothic novels such as B. Stoker's "Dracula" and H. Holpote's "The Castle of Otranto."
* "Batman": Directed by Tim Burton in 1989. A hero film that highlights the director's unique style of "love for the supernatural."
* Edward Scissorhands: 1990, directed by Tim Burton. The story of an artificial human with scissors hands. Starring Johnny Depp.
*Goth Rock: A style of rock that emerged in the late 1970s characterized by a dark, aesthetic worldview and decadent aesthetic. It deals with themes such as gothic horror, romanticism, and nihilism. Artists include Joy Division and Siouxsie and the Banshees.
*Positive Punk: A movement that spread in the UK in the early 1980s. It featured eerie makeup that exaggerated the grotesque aspects of Gothic, expressing a unique, dark and radical worldview. Bands such as Sex Gang Children and Cult.
*80s New Wave: A movement that reconstructed rock after the dismantling of rock by punk. Many groups used equipment such as digital synthesizers, which were becoming popular at the time. Examples include Ultravox and Eurizimix.
*G-round: A new volunteer-run market organized by the Suimon-dori Shopping District Promotion Association, with the theme of drawing circles and connections in the community. It will start on December 5, 2020, and will be held every other month from July 2023.

Crisis Naked Store

The entrance makes you feel like you've wandered into a mysterious world

• Address: 1-17-1-101 Minami Rokugo, Ota-ku, Tokyo
• Access: 15 minutes walk from Zoshiki Station on the Keikyu Line
  From JR Keihin Tohoku Line "Kamata Station" take the Keikyu Bus bound for "Haneda Airport" and get off at "Nanatsuji Bus Stop" and walk for 4 minutes
• Business hours: Noon to 19:00 PM (reservations required)
• Closed: Tuesday
• Phone / 03-4362-5510

website

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I Doll VOL.76

Date: November 21, 2026 (Sat) 11:30-16:30
Venue: Tokyo Big Sight West Exhibition Hall (3-11-1 Ariake, Koto-ku, Tokyo)
Access: 7 minutes on foot from Kokusai-Tenjijo Station on the Rinkai Line, 3 minutes on foot from Tokyo Big Sight Station on the Yurikamome Line

Upcoming events to look out for +bee!

Future attention EVENT CALENDAR March-April 2026

We'll introduce you to some winter art events and spots featured in this issue. Why not take a trip a little further afield to explore some art in your own neighborhood?

Please check each contact for the latest information.

Magome Art Gallery opens

The Magome Art Gallery will open on February 1st! This facility houses and exhibits paintings and other works owned by Ota City. Be sure to check out the works of local artists, including the permanent exhibition corner of calligrapher Kumagai Tsuneko.

Planned completion

morimori🌲Smile Festa

A large-scale event will be held using the entire Smile Omori as its stage! It will be a fun event with wonderful performances, dance performances, art exhibitions, and hands-on experiences.

The landscape of poet Ishigaki Rin: Shinagawa where Rin walked and Ota where Rin lived

Rin Ishigaki (1920-2004) is one of Japan's leading poets, along with Shuntaro Tanikawa and Noriko Ibaraki. This is a photo exhibition capturing the scenery she would have seen and the places she would have stood in.

Contact Us

Public Relations and Public Hearing Section, Culture and Arts Promotion Division, Ota Ward Cultural Promotion Association