hakari contemporaryでは、松田将英による個展「非道|Ateleology」を開催いたします。本展は、松田が15年に及ぶ匿名期と実名での活動のなかで編み上げてきた思想と実践をまとめた書籍『松田流藝術叢書』の刊行を記念し、その内容を展示空間へと拡張する試みです。松田はこれまで、デジタル文化に由来する記号やインターフェース、承認や流通の仕組みを、彫刻、インスタレーション、展示設計へと変換してきました。批評性とユーモアを含むコンセプチュアルな実践を通じて、作者性と匿名性、情報と物質、制度と日常のあいだに生じるずれを、一貫して主題としてきました。

本展のタイトルに掲げられた「非道」は、あらかじめ与えられた目的や正しい経路に従うのではなく、その外側に別の生成や価値の回路を見出そうとする態度を指しています。会場では『松田流藝術叢書』の刊行を軸に、関連作品や限定品も展開しながら、展示と流通、鑑賞と携行の境界がゆるやかに横断される場が立ち上がります。この機会に、ぜひご高覧ください。

——

技術は単なる道具ではなく人間の在り方を変質させる契機であり、藝術家という職能もまた定義の再考を迫られている。経済は揺らぎ、自然環境は不可逆的な変貌を示し、進歩と成長を前提とした近代の理想は効力を失いつつある。正しさは絶えず更新され、昨日の模範は今日の過誤となる。道は示されながら、その行き先は共有されない。

このように到達点を失いながら加速のみが持続する時代において、松田の実践から形成された一つの構えを本書では松田流と呼ぶ。松田流とは正道への回帰を目指すものでも、断絶それ自体を称揚するものでもない。行き先も不明瞭な時代において、松田がしばしば掲げる〈非道〉とは、悪を是認する語ではなく、正しさを唯一とせぬ態度である。到達を前提とせず、完成を保証せず、進歩を義務としない。それは意味を固定せぬための実践であり、制度を疑いながら仮設するための方法ともいえよう。

——『松田流藝術叢書』第一篇〈非道〉より


Hakari Contemporary is pleased to present Ateleology, a solo exhibition by Shōei Matsuda. Marking the publication of Matsuda-ryū: The Art of the Ordinary—a volume that gathers the ideas and practices Matsuda has developed across fifteen years of both anonymous and named activity—this exhibition extends the contents of the book into the space of exhibition itself. Throughout his practice, Matsuda has transformed symbols and interfaces derived from digital culture, as well as systems of validation and circulation, into sculpture, installation, and exhibition design. Through a conceptual practice that incorporates both criticality and humor, he has consistently taken as his subject the slippages between authorship and anonymity, information and material, institution and everyday life.

The exhibition’s title, Ateleology, names an attitude that does not submit to pre-given ends or prescribed paths, but instead seeks out other circuits of generation and value beyond them. Centered on the publication of Matsuda-ryū: The Art of the Ordinary, the exhibition brings together related works and limited items, giving rise to a setting in which the boundaries between exhibition and circulation, viewing and carrying away, are gently traversed. We warmly invite you to experience the exhibition.

——

Technology is not merely a tool; it is a catalyst that alters the very conditions of human existence, and the vocation of the artist, too, is being compelled toward a reconsideration of its definition. Economies tremble, the natural environment undergoes irreversible transformation, and the modern ideals founded on progress and growth are losing their force. Correctness is ceaselessly revised; yesterday’s model becomes today’s error. The Way is indicated, yet its destination is no longer shared.

In an age such as this—one that has lost its point of arrival while acceleration alone persists—this book gives the name Matsuda-ryū to a certain stance formed through Matsuda’s practice. Matsuda-ryū seeks neither a return to the orthodox path nor the celebration of rupture for its own sake. In a time when even the destination remains obscure, what Matsuda often calls hidō is not a term that affirms evil, but an attitude that refuses to treat correctness as singular or absolute. It does not presuppose arrival, guarantee completion, or make progress into an obligation.

It may be understood as a practice for keeping meaning from being fixed, and also as a method for provisionally establishing institutions even while subjecting them to doubt.

—— From Part I, “Ateleology,” in Matsuda-ryū: The Art of the Ordinary


[Opening Reception]

日時：2026年4月18日（土） 18:00 – 20:00
会場：hakari contemporary
予約不要、参加無料※来場者多数の場合は入場制限の可能性有

Date: April 18 [Sat], 2026 6:00pm – 8:00pm
Venue: hakari contemporary
Admission free, no reservation required
*Admission may be restricted depending on the number of visitors.