Art exhibitions are inseparable from opening parties that actually exist as social places for people in the art field. Many visitors often come to these openings just to drink and mingle without seriously looking at the work. Parky Party is an anti-socialization bar that contrasts with such ironic customs around the art world. The main concept in this project is to prevent visitors from communicating with each other.

Love Bench Project
Public Art Project
Irish Museum of Modern Art, November 2006
Each bench size (inside): W1000mm x D600mm x H1500mm
Mixed Media (Wood, acrylic plate)

Following my time both living in Berlin and taking residence at Irish Museum of Modern Art my impression of western society is that its population is more comfortable with expressing its sexual identity to the public than Japanese society. My idea was, if I install special benches, which are suitable for heterosexual, gay and lesbian couples in the public spaces of Museum, I was curious as to how people would use these benches. This project is an experimental public project, which will develop depending on people's reactions.

IKEMOKU
Interactive Installation
Shibuya Station,Tokyo, March 2002
Mixed Media ( Synthetic fake cigarette butts, Stainless nails, Stainless steel, Vacuum coated ABS plastic sphere with mirror plating )

IKEMOKU was the project that took place twice in front of the Statue of Moyai at Shibuya Station in Tokyo, a popular meeting place. While waiting, many people smoke. However, there was no ashtray around there for some reason.   Masuyama had an idea to create a new styled ashtray with lots of spines to put cigarette butts so that he could provide smokers a modest pleasure for a moment when they had to kill time.
The work was titled Ike-moku Project , which was named after "Ike-bana" (Japanese traditional flower arrangement) and "Shike-moku" (a cigarette butt in Japanese ). Ike-moku Project is a project to try to harmonize a concept of Ike-bana - creating art by putting flowers into the needles of a base - with a concept of ashtray.
In order to encourage people to put a cigarette butt on the object , Masuyama stuck ten of dummy cigarettes on it.   As a result of that, people understand such a strange, unknown and unidentified object as an ashtray and started to put butts into a spine as he expected.   It was a multiplier effect that the more cigarettes were put on it, the more the object looked like an ashtray.   Naturally enough, smokers started gathering around the Ike-moku.
Eventually, almost all smokers there put a cigarette butt on Ike-moku without wondering why they were doing so.   In about five hours, Ike-moku Project was finished with 55 cigarette butts when the work was removed due to rain.
(Installed in March, 2002)

Shinjuku Kabukicho Project
Interactive Installation
Shinjuku Kabukicho Park, Tokyo, April 2004
W750mm x D660mm x H1310mm
Mixed Media ( Electric sign board, Video Camera, LCD monitor, etc. )

Shinjuku Kabuki-cho is a mecca of sex industry in Tokyo.
I situated the work for two days at a small park, the Shinjuku Kabuki-cho Park, which is in the middle of porn shops and those serving the sex business.
It is a work mocking a typical electric sign box of those shops, having some likely catchy flashy phrases like "No limit for watching embarrassing poses!", "Be easy!, It's free!" to draw attention of passers by. When they look through a peeping-hole of the sign box timidly expecting "something", eventually they find the very "embarrassing peeping moment" of themselves.

500 yen (The project's title varies depending on the country in which the project takes place.)
Interactive Installation
SCAI THE BATHHOUSE, Tokyo, October 2000 (500 Yen) / Kunsthalle 8, Vienna, September 2001(20ATS)
Para/Site Art Space, Hong Kong, April 2005 (HK$10) /CAI, Hamburg, June 2006 (2 Euro) / Galerie 16, Kyoto, May 2002 (500 Yen)
Mixed Media (Local coin, strobe light, speakers, etc)

Imagine if you bent to pick up a coin on a street, suddenly a strong light flashed on you with the sound of a shutter release. You would be surprised and embarrassed at being photographed, even though perhaps a photograph was not actually being taken. This project tries to reveal the hidden sneakiness and stinginess of human beings. Despite of its simple trick, 500 Yen leaves the people who experienced it with an intense impression. Some critics criticized this, claiming that it resembles a plot of TV program. Some people hate this project even though some others love it. However, this project is very popular in people outside of the art world including children because it deals with money- a subject that everyone is interested in.

Legal Parking
Performance
Gallery Gen & street parking, Tokyo, January 2000

The invitation card which imitates a parking violation ticket says "legal" parking instead of "ilegal". The gallery space turned to as if a secretive base for the guarding organization that protects parked cars on the street from police force. The members, after well coordinated practice training, go out to the streets to complete their mission. The mission is also necessary to keep the artwork (a video display showing policemen writing parking tickets and a figure looking at such video display are installed on top of a pick-up truck) on the street in front of the gallery. The pick-up truck is moved before the legally permitted 60-minute expires for the street parking, and is back to the same parking space after going around the corner a few times. This process is repeated again and again. The invitation card; the LED-bulletin-board counting the seconds to the next exercise; the uniforms and certificates of the members; the video display showing their activities are well calculated details of the exhibit that made this thrilling joke look serious (could even be a real business). It also dynamically linked the gallery, a fantastic space, and the reality in a familiar city. By the time the exhibit ends, the exhibit was already well known in the neighborhood (and by local police), and made certain success in reaching ordinary pedestrian who are not into art. It is a waste if his exhibit simply ends as a sarcastic and funny social joke. It will be expected to Masuyama, with his vitality, to explore further what sort of value (i.e. art) can be generated after reaching people.
(On BT/Bijutsu Techo, vol.52 no.785, April 2000, p. 174)