chelfitsch & Teppei Kaneuji

Eraser Forest

2020.2.7(Fri.) - 2020.2.16(Sun.)



2020.2.7(Fri.) - 2020.2.16(Sun.)
*Monday, February 10 is closed. Opening hours: 10:00-17:00 / Live performance: 11:00-16:00


21st Century Museum of Contemporary Art, Kanazawa
Gallery 7〜12, 14


General ¥2,300 (¥2,000)
Pair(¥3,800 *Advance ticket only)
College students /Groups of 20 or more / 65 and older: ¥2,100 (¥1,800)
Elem/JH/HS ¥1,100 (¥800),
Membership ¥2,100 (¥1,800)
* ( ) indicate advance ticket.
*This exhibition ticket allows to entry to "Where We Now Stand—In Order to Map the Future[2]" (Valid February 7 – February 16, 2020, excluding February 10).

Advance ticket sales:
●21st Century Museum of Contemporary Art, Kanazawa, Museum shop

Day ticket sales:
●21st Century Museum of Contemporary Art, Kanazawa,Ticket Information Counter

For More Information:

21st Century Museum of Contemporary Art, Kanazawa Phone:+81-76-220-2800

Hot on the heels of “Eraser Mountain” for the theater now comes “Eraser Forest” for the museum!
“Eraser Forest” is a piece of theater to be staged in the galleries of the 21st Century Museum of Contemporary Art, Kanazawa. Except that rather than the usual theatrical relationship of performer vs spectator, it will attempt to create an experience in which the environment itself becomes the drama. Playwright Toshiki Okada and contemporary artist Teppei Kaneuji will turn the Museum’s galleries into a laboratory in a fascinating work that addresses the use of bodily expression to rethink relationships between people and objects in the Anthropocene era.

Related Projects

Post-performance Talk “Masatake Shinohara x Toshiki Okada × Teppei Kaneuji”

Date & Time::Friday, February 7, 17:15 - 18:15 (doors open at 17:00)
Venue::Lecture Hall, 21st Century Museum of Contemporary Art, Kanazawa
Admission: Free
Capacity:First come basis maximum 50 seats *Registration is not required.

Post-performance Talk “Akio Miyazawa × Toshiki Okada”

Date & Time:Saturday, February 8, 17:15 - 18:15 (doors open at 17:00)
Venue:Lecture Hall, 21st Century Museum of Contemporary Art, Kanazawa
Capacity:First come basis maximum 70 seats *Registration is not required.

What I am trying to do with “Eraser Forest”

  • Toshiki Okada Statement

    I hope to arrange the exhibition/performance titled “Eraser Forest” in a way that will help people understand even slightly at a sensory level and approach, a perspective that will encourage them to step outside a wholly anthropocentric view of the world.
    Achieving this will mean making “Eraser Forest” a place offering an alternative connectedness to the usual master-servant relationship between people and objects, eg that of object being used by person as a tool / person using object as a tool; a setting showing that transformation of the relationship between objects and people.
    This will include video as a means of smoothing out the differences and boundaries between people and objects, even possibly dissolving them entirely. Which will mean making ample use of the “EIZO-Theater” technique we have been working on since last year.
    I hope to employ the format of theater to produce multiple different performances with diverse variations on the relationship between people and objects, including theater by people (actors) for people (spectators); theater by objects for people (spectators), theater by objects for objects, and theater by objects for somewhere.

  • Teppei Kaneuji Statement

    A new relationship between humans and objects and space and time. The thoughts of people not yet born / who do not exist. Objects occupying systems and spaces formed out of lots of time and the ideas of many people, drawing and destroying random borders totally different from existing borders. Finding the materials for a time machine at the DIY store. Utilizing the systems and spaces and techniques and concepts of theater (or chelfitsch), sculpture (or Kaneuji) or museum to make these and other, in a sense unimaginable things, reality, is what I’ll be attempting to do here.
    If the theater version “Eraser Mountain” was like gazing from afar on a mountain that doesn’t exist or existed in the past, the museum version “Eraser Forest” will be like stepping right in there yourself. If you go down to the woods today you could be in for a big surprise...


  • ©Kikuko Usuyama

    Toshiki Okada

    Born in 1973 in Yokohama and now based in Kumamoto, Toshiki Okada is a theater artist, novelist, and head of the theater company chelfitsch. His work has attracted attention at home and abroad for its attempts to overturn theater conventions. In 2005, his play Five Days in March won the prestigious Kishida Kunio Drama Award. In July that year, he was a finalist for the Toyota Choreography Award. He made his debut as a novelist in 2007 with the collection of short stories The End of the Special Time We Were Allowed, winning the Oe Kenzaburo Prize the following year. He has served as a judge for the Kishida Kunio Drama Award since 2012. In 2013, he published his first book on theatrology. In 2014, a collection of his play texts was published by Kawade Shobo. Since 2016, he has undertaken a commission from the Münchner Kammerspiele, one of the foremost public theaters in Germany, to direct work for its repertoire across four consecutive seasons. He staged Pratthana – A Portrait of Possession, adapted from a novel by Thai author Uthis Haemamool, in Bangkok in August 2018 and then at the Festival d’Automne à Paris in December.

  • chelfitsch

    The theater company chelfitsch was founded in 1997 by Toshiki Okada, who writes and directs all of its productions. Acclaimed for its approach whereby it explores the relationship between a highly particular vernacular and physical movement, it has attracted much attention in both Japan and abroad as a group at the forefront of contemporary theater. Its slovenly, “noisy” physicality, which seems at times to exaggerate ordinary gestures and not to do so at others, has been likened to dance. The company made its debut overseas in 2007 when it presented Five Days in March at the Kunstenfestivaldesarts, widely regarded as one of the most important festivals in the European performing arts scene, in Brussels, Belgium. It has since staged its work in a total of 70 cities in Asia, Europe, and North America. In 2011, Hot Pepper, Air Conditioner, and the Farewell Speech received the critics’ award from the Association québécoise des critiques de théâtre in Montreal, Canada.
    In more recent years, the company has collaborated on international co-productions with major festivals and theaters around the world, including Current Location (2012), Ground and Floor (2013), Super Premium Soft Double Vanilla Rich (2014), Time’s Journey Through a Room (2016), and Five Days in March – Re-creation (2017). It is constantly updating its methodologies and exploring new means expression beyond conventional dramaturgy. In 2018, it created “Beach, Eyelids, and Curtains: chelfitsch’s EIZO-Theater” at the Contemporary Art Museum, Kumamoto, simultaneously exhibiting and staging a theatrical space through video imagery.

  • Kaneuji Teppei

    Born in 1978 in Kyoto, where he remains based, Teppei Kaneuji studied at the Royal College of Art, London, as an exchange student in 2001 while attending Kyoto City University of Arts. He then completed an MA in sculpture at Kyoto City University of Arts, where he currently works as an associate professor. Employing a collage-like approach in his practice, Kaneuji makes his work out of the everyday objects he collects. Across a wide range of media such as sculpture, painting, video, and photography, he searches for sculptural “systems” that manifest the relationship between images and materiality. In addition to exhibitions in Japan and overseas including the solo shows “Teppei Kaneuji’s Mercator Membrane” (Marugame Genichiro-Inokuma Museum of Contemporary Art, 2016), “Cubed Liquid, Metallic Memory” (Kyoto Art Center, 2015), “Towering Something” (Ullens Center for Contemporary Art, 2013), and “Teppei Kaneuji Exhibition: Melting City / Empty Forest” (Yokohama Museum of Art, 2009), Kaneuji’s output also encompasses stage set and book cover designs. Alongside the stage designs for We Can’t Understand Each Other Like Household Appliances (Owlspot Theater, 2011) and Wakatta-san’s Cookie (2015–2016) for the KAAT Kids Program 2015, his previous theater work includes tower (THEATER) (2017), in which he adapted his own video piece into a stage performance.

Performer profile

  • ©Kishin SHINOYAMA

    Izumi Aoyagi

  • Mari Ando

  • Yuri Itabashi

  • Takuya Harada

  • Makoto Yazawa

  • Leon Kou Yonekawa

Cast/Staff credits

  • Playwright/Director:Toshiki Okada
    Scenography:Teppei Kaneuji
    Cast:Izumi Aoyagi, Mari Ando, Yuri Itabashi, Takuya Harada, Makoto Yazawa, Leon Kou Yonekawa
    Video Director:Shimpei Yamada
    Lighting Director:Masayoshi Takada (RYU)
    Sound Planner:Raku Nakahara (LUFTZUG)
    Costume:Kyoko Fujitani (FAIFAI)
    Stage Manager:Daijiro Kawakami
    Assistant Director:Nagara Wada
    Producer:Tamiko Ouki (precog)
    Associate Producer:Miyuki Tanaka
    Production Assistant:Nanami Endo(precog)
    Publicity Design:Lemonlife
    Publicity Photography:Yuki Moriya
    Graphic:Teppei Kaneuji
    Planning and Production Management by precog co., LTD.
    Director:Akane Nakamura
    Senior Producer:Kumi Hiraoka
    Chief Administrator:Yuka Morita
    Tour Manager:Megumi Mizuno
    International Sales Manager:Takafumi Sakiyama
    Education Coordinator:Yuika Kurita




Organized by:

21st Century Museum of Contemporary Art, Kanazawa [Kanazawa Art Promotion and Development Foundation]

Supported by:
The Agency for Cultural Affairs, Government of Japan in the fiscal 2019


Co-produced by:
〈Eraser Mountain〉KYOTO EXPERIMENT、Wiener Festwochen、Festival d’Automne à Paris、Künstlerhaus Mousonturm Frankfurt
〈Eraser Forest〉21st Century Museum of Contemporary Art, Kanazawa

Planning and Production Management:
precog co., LTD.

In co-operation with
CONNELING STUDY / YAMABUKI FACTORY, Steep Slope Studio, Kyoto City University of Arts Kyoto Art Center Artists-in-Studios program

This project consists of two versions, "Eraser Mountain" (premiere: October
2019 / Kyoto Experiment) and "Eraser Forest" (premiere: February 2020 /
21st Century Museum of Contemporary Art, Kanazawa).