Kyoto City University of Arts Gallery @KCUA

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Solo Exhibition in Celebration of Kyoto Prize Laureate Joan Jonas
Joan Jonas
“Five Rooms For Kyoto: 1972–2019”

Joan Jonas in New York
Photo by Brigitte Lacombe

Photo by Thomas Müller
Installation view, Gavin Brown’s enterprise,
New York, New York, 2017.

14 Dec.Sat.2019 - 2 Feb.Sun.2020

Organized by
 Inamori Foundation
 Kyoto City University of Arts
Curated and produced by
 Kyoto City University of Arts Art Gallery @KCUA

The largest solo exhibition in Japan to date of Joan Jonas, the 2018 Kyoto Prize in Arts and Philosophy laureate, pioneer of a highly original form of artistic expression fusing performance art and new media, and trailblazer who has remained at the forefront of contemporary art for 50 years.

Over the course of her long and groundbreaking artistic career, Joan Jonas has explored a multimedia practice across performance, video, installation, and more. Adapting her themes according to the times, she has continued to create layered and poetic work. Even now at the age of 83, she shows no signs of slowing down in her endeavor to push the boundaries of artistic expression.

This exhibition showcases her breathtaking art through several concepts key to her work, including women, narrative, and environmental issues. Of the five exhibition spaces, the largest is given to what is regarded as her major recent work, “Reanimation.” Developed as both an art installation and live performance, visitors can compare the two versions by seeing the latter at ROHM Theatre Kyoto alongside this exhibition.

In the performance, video, sound, props, and costumes all closely correlate with the artist’s own body. In the installation, multiple elements densely intertwine with one another and seem to consume the whole exhibition room, as if compensating for the absence this time of her body. Jonas interprets the theatre and exhibition spaces each in bold yet different ways, constructing a vision of an entire world through interrelated images and ideas. Don’t miss this rare opportunity in Japan to experience the remarkable artistic achievements of Joan Jonas.

238-1 Oshikojicho Oike Aburanokojidori Nakagyo-ku Kyoto, Japan 604-0052
Tel:+81-75-334-2204 Closed: Monday

imura art gallery Kyoto

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Takashi HINODA solo exhibition
"Hands and Visionamusement"

“Axis Slipping Sounds”
Photo: Kazuo Fukunaga

“Dream Island of Litter”
Photo: Kazuo Fukunaga

7 Dec.Sat.2019 - 25 Jan,Sat,2020
Artist Tark : 7 Dec.Sat.16h-17h
Moderator: Chieko Kitade

Imura art gallery is pleased to announce "Hands and Visionamusement," an exhibition by Takashi Hinoda. Hinoda has worked with clay for about thirty years. During those three decades he has developed a dynamic freehand style, using distinctive colors and shapes, and established signature two-dimensional expressions that cover the whole surface of his ceramic forms. His exploration of the potential of ceramic art pivots around these elements. This exhibition marks the launch of shushikikeigaku, a term that Hinoda has invented as a key concept in the search for a new understanding of visual art, transcending the art/crafts framework. In English, it can be rendered as visionamusement, or as hands-on visionamusement. The materiality of a real physical presence, along with the material coloring that connects to it in a way that goes further than superficial existence, are vital to the artist's practice. In this presentation he takes these characteristics deeper, condensing them into the works that he exhibits. The result is an exciting exhibition in which Hinoda takes up the challenge of a new frontier.

Works by Hinoda will also be exhibited at the Museum of Modern Ceramic Art, Gifu from December 21, 2019 to May 10, 2020 in the "Give Me a Name!" exhibition in the museum's Gallery II. This is an exhibition of works selected from the museum's collection, presenting highlights and new accessions as part of a project to commemorate the beginning of Japan's Reiwa Era.

Hands and Visionamusement *

My work has consistently involved three-dimensional art, created using ceramics. But although ceramics provide the fundamental base, I have always regarded my practice as one of the possible approaches to contemporary visual art. For me, ceramics are the most important characteristic because as a material they have the potential to persist over time as a semi-permanent relic. Another important characteristic comes from the production process, in that I use my hands to work the material, the substance that becomes the eventual work. This process is a form of manual labor, and no concept can fully replace it. My approach involves more than simple nostalgia for manual work; it also has the sensuality and sense of resistance that comes with an empathy between things and human senses, and the interaction that is accompanied by feedback. These are elements that are already being lost from contemporary lives--which are overly slanted toward convenience--but I am convinced that heading in the opposite direction and working with your hands has a more positive meaning.

I see my own work as being in a framework that is distinct from the modern-day art/crafts duality, and from the area of contemporary art that makes substantial use of texts and research, video and similar methods that are based on concepts. Feeling the need for a phrase to describe the sort of work I produce, I recently settled on the term 'visionamusement,' or 'hands-on visionamusement.' This solo exhibition has provided the opportunity to launch the term by incorporating it into the title. Looking back at the history of art and crafts in Japan, the terminology adopted for the frameworks that delineate the arts corresponded to Western concepts such as 'Art' and 'Kunst.' When these terms were applied to Japan's pre-existing aesthetics, areas such as shokogei (miscellaneous crafts) and calligraphy were left suspended, without a natural place in the frameworks. This is a well-known historical fact. Grounded in this situation, Hands-on Visionamusement is my attempt to gaze again at colors and shapes, assessing their value to me without going back to pre-modern circumstances.

Early in the 1970s, when Brazil was under military administration, and even music was censored, Milton Nascimento released an album entitled Milagre dos Peixes (Miracle of the Fishes), which avoided censorship by having virtually no comprehensible lyrics. That story left a deep impression on me. Apart from the political elements, I could see that it was evidence that he had understood the potential power that sounds intrinsically possess. Colors and shapes can surely also have similar effects. They were originally languages in their own right, and at times, they can give viewers a trembling catharsis, enough to greatly surpass verbal language.

When you look at the colors in video, they always seem to be missing something. I think it's because they are based on light. Light acts on the conscious mind, which provides a footing for concepts. In contrast, the colors of ceramics are revelations, incarnated as things. They have weight, shade, and they incorporate substances things like lye. And I believe that within them, they conceal triggers that induce us to reconsider our own physicality.
(* 'visionamusement' is a term coined by the artist)

Takashi Hinoda

31, Kawabata Higashi Marutamachi, Sakyo-ku, Kyoto, 606-8395, Japan
Tel:+81-75-761-7372 Closed: Sunday, Monday, & National holidays

Gallery PARC

Gallery's Site

Tanaka Natsuko

10 Jan.Fri.- 26 Jan.Sun.2020

502 Eboshiyacho, Nakagyo-ku, Kyoto, 604-8165, Japan
Tel:+81-75-231-0706 Closed: Monday

eN arts

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Katsuyuki Shirako Solo Exhibition
" exhibition 9”

1 Feb.Sat.- 1 Mar.Sun,2020
opening reception:1 Feb.Sat.18:00 – 20:00

open on Fri., Sat., & Sun. 12:00 - 18:00
appointments are available on weekdays

Maruyama Park, Gioncho Kitagawa,Higashiyama-ku Kyoto 605-0073 Japan
Tel:+81-75-525-2355 Open:Friday,Saturday,Sunday

Kyoto Art Center

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Group Exhibition
"in the era of Asia's Post-LCC"


Qenji Yoshida x Wantanee Siripattananuntakul
“Intersection/Tourist trap"

Mark Salvatus

Mong-jane Wu
”Plantation #02”

Prapat Jiwarangsan
”Destination Nowhere”

Yu-Hsin Su
”Water Sleep Ⅱ Akaike river under Xizang Road”

11 Jan.Sat.– 16 Feb.Sun.2020

Mark Salvatus(Philippines)、Mong-jane Wu(Taiwan)、 Prapat Jiwarangsan(Thailand)、 Qenji Yoshida(Japan)、Wantanee Siripattananuntakul (Thailand)、 Yukawa-Nakayasu(Japan)、Yu-Hsin Su(Taiwan)

The rise of low-cost carriers (LCCs) brought a new perspective on geopolitics that closely connected cities beyond countries borders’. For instance in Europe in 1993, the “Third Package” was adopted as the last stage of the step-by-step process of air transport liberalization, in order to fully open up airline markets. Since then, the EU’s “sense of community” actually started being cultivated beyond countries in accordance with the policy that "allows its people free movement of borders and guarantees them equal treatment with the citizens of the host country".

Physical/psychological distances between cities have been reduced, and exchanges, intermingling, solidarities, or repulsions in multiple levels became normalized. Such situations could be described as a post-LCC era.

On the other hand, the network proposed by LCCs in Asia, unlike the EU, are subject to firm restrictions upon entry, such as the right to stay for both travelers and immigrants. The social movement dynamics are generated not freely, but formed by the intertwining interests of each country, which makes us imagine post-LCC situations in Asia distinct and diverse when compared with the one in the EU.

Japan, for instance, has started to ease the restrictions on travelers and workers coming from other Asian countries in recent years. The so-called “Inbound Travel Promotion Project (Visit Japan Project)” is part of the government’s measures to resolve the serious shortage of domestic labor. It has triggered more flows and movements of people, things and information, creating new dimensions of social phenomena that are becoming more visible and apparent. It would question, challenge and possibly alter traditional values and social conventions.

The exhibition, which invites a total of seven artists from four Asian countries, examines the “current dynamics brought about by the movement of people, things and information beyond borders”, through the artists’ perspectives on the themes such as tourism, immigration and communication.

The exhibition entails various processes and forms of collaboration, and cooperation, which embody current movement dynamics in Asia. By bringing together a series of excises and a collection of art works, the exhibition aims to trigger imaginations and reflections about a prospective time we call post-LCC.

Yamabushiyama-cho 546-2, Nakagyo-ku, Kyoto 604-8156 Japan


Gallery's Site


26 Dec. Thu. 2019 − 26 Jan. Sun. 2020

Tel:+81-75-950-5230 Closed: Monday, Tuesday & National holidays


Gallery's Site

<gallery A>


Yuko Sakamoto

5 Feb.Wed.– 16 Feb.Sun.2020

<gallery B>


Group Exhibiiton

Yuki Sakuta

Naho Yokoya

Tomoyuki Ueno

Kazuyo Otomo

Mariko Iguchi

5 Feb.Wed.– 23 Feb.Sun.2020

147-1, Sujiya-cho, Shimogyo-ku, Kyoto, 600-8061, Japan
Tel:+81-75-341-0222 Open:11:00-19:00 Closed: Monday, Tuesday


Gallery's Site



" ALBUM Remix"

28 Jan.Tue.- 2 Feb.Sun. 2019



group exhibition

10 Feb.Mon.- 16 Feb.Sun. 2019


Fuse Mizuki solo exhibition

18 Feb.Tue.- 23 Feb.Sun. 2019

1928 bldg,Sanjo Gokomachi,Nakagyo-ku Kyoto 604-8082 Japan
Tel:+81-75-256-6155 Closed: Monday


Gallery's Site

The Great Wall

21 Jan.Tue. – 8 Feb.Sat.2020

galerie 16 begins its career since 1962 based on facing with contemporary art expressing to distinguish the era. In this exhibition, we set the art works that relates to our gallery (from 1950’s till today) with innovative point of view. In this space there are no distinguish with years, or any categories. Moreover, there are no thoughts exist, as well as, social background.
We present not only the art work but also the photography and the document will exhibits. This space will be facing with art itself, not to seeing the work through the artist’s name.
Seeing through own eyes, and facing own emotion. We will present the place for delight of seeing art and touch your inquiring mind.

3F Togawa Bldg Sekisen-in-cho Sanjo Shirakawabashi-Agaru. Higashiyama-ku kyoto Japan 605-0021
Tel:+81-75-751-9288 Closed: Monday


Gallery's Site

OKUBO Misaki solo exhibition
“sigh to sign”

28 Tue.Jan. - 2 Sun.Feb.2020

155-7 Ebisu-cho, HIgashiyama-ku Kyoto Japan 605-0033  Tel:090-9697-3786  Closed: Monday


Gallery's Site

“pluse between me and others”


7 Dec.Sat.- 22 Dec.Sun.2019

Kotobuki Bldg. 5F, Kawaramachi, Shijo-sagaru, Shimogyo-ku, Kyoto. 600-8018 JAPAN
Tel:+81-75-341-1501 Closed:Thursday


Gallery's Site

Tori hiko Solo Exhibition
“the Temple of Rage”

14.Dec.Sat.– 28 Dec.Sat.2019

633 Shimogoryo-cho, Teramachi Tounan-kado,Marutamachi-dori Nakagyo-ku, Kyoto Japan 604-0995
Tel:+81-75-585-4160 Closed: Monday

gallery morning kyoto

Gallery's Site


28 Jan.Tue. - 2 Feb.Sun.2020

Within the mist where reality and illusion mingle, there is a thin veil separating you and me.
In this cold moist air, we sometimes pass each other. Although it is only a dim light that I see penetrating the veil, I can still sense your presence.

207 Nakanomachi Higashiyama-ku,Kyoto,605-0034,Japan Tel:+81-75-771-1213 Closed:Monday

Gallery Hillgate

Gallery's Site

Emiko Furuno solo exhibition

28 Jan.Tue.– 2 Feb.Sun.2020


〈1 F〉
MIchiyo Matsumura solo exhibition

28 Jan.Tue.– 2 Feb.Sun.2020

535 Sanjo Termachitori. Nakagyo-ku kyoto Japan 604-8081 Tel:+81-75-231-3702 Closed: Monday