Nakahara Chihiro　Exhibition
"The Nights Prayer Circle"

The Nights Prayer Circle
mixed media 2025

13 Dec. Sat. 2025 - 31 Jan. Sat. 2026
*Closed on Sundays, Mondays, National Holidays
*Closed for winter；2025.12.28 - 2026.1.5

Reception Party: 12.13 (Sat.) 15:00 - 18:00

Ritsumeikan University
Photography department

2 Dec. Tue.- 7 dec. Sun.2025

on-out
Tanaka Rina Kobashi Mika　Exhibition

9 Dec. Tue.- 14 Dec. Sun.2025

“Ways of Remembering This World”
Ryosuke Imamura Solo Exhibition

©2025 Takayuki Mitsushima,
Ryosuke Imamura

1 Nov. Sat.– 30 Nov. Sun.2025
open on fri., sat., & sun. 12:00-18:00
appointments are available on weekdays
free admission

In the Grimm Brothers’ fairy tale Hansel and Gretel, the siblings who are led deep into the forest leave behind breadcrumbs as markers to find their way back home. The term “breadcrumb trail” used on websites today to indicate one’s current location originates from this tale. Yet in the story, the crumbs are eaten by birds and vanish without a trace. I find myself drawn to this uncertain and fragile way of leaving behind a path. It is not only because of its ambiguity, but perhaps precisely because of that ambiguity, that it conveys a strong sense of urgency.
Although the kind of urgency I feel is quite different (it is not a matter of life and death), my expression also stems from a desire to remember the events of this world. In this exhibition, alongside works that continue my ongoing theme of attempting to preserve fleeting and uncertain sights, sounds, and tactile sensations, I will also present a video work that documents an experiment from a collaborative project with artist Takayuki Mitsushima, centered on the theme of “exchange of senses,” in which I asked him to drive my car.

Ryosuke Imamura

Imamura often takes small everyday events and memories as the themes of his works. Using familiar materials, such as daily objects, he expresses his ideas through many different media, including video, sculpture, painting, and installation. His works often include fragrant plants like gardenia, fragrant olive, and jasmine. These scents awaken the viewer’s sense of smell, sparking memories, which is one of the special features of his art.
In a past exhibition at eN arts (November 2018), a sweet smell spread throughout the gallery during the exhibition. Some visitors thought the scent was part of the artwork. In fact, it came from holly flowers blooming in a neighbor’s garden. In this way, Imamura’s works make the viewer’s everyday senses sharper, bringing unnoticed sights and smells into focus and giving them new meanings. Sometimes, people even mistook small things from daily life – like a piece of glass found in the garden – for part of the artwork. These kinds of experiences awaken sensory memories that are hard to record and give visitors a new way of perceiving the world.
This exhibition marks Imamura’s return to eN arts after seven years, following his 2018 solo exhibition “At the Place That Is Not There”. It will include a collaborative video project with artist Takayuki Mitsushima, as well as other works that can only be fully experienced in the exhibition space. Visitors will be able to relive sensory memories using all five senses that go beyond what can be captured in simple recollections.

Yoko Kuwahara | eN arts

OKAMOTO Rie Exhibition
Just being there

25 Nov. Tue.– 6 Dec. Sat. 2025

＜venue：APERTO＞

TACHIBANA Hikaru Exhibition

25 Nov. Tue.– 6 Dec. Sat. 2025

SATOW Takehiro Exhibition
pollard

9 Dec. Tue.– 20 Dec. Sat. 2025

GENDAI BIJYUTSU NITOHEY　Exhibition

12 Dec.Sat.– 27 Dec. Sat.2025
7.Jan.Wed. – 12.Jan. Mon.2026

SPECIAL EXHIBITIONS
Kyoto Experiment 2025 [Installation]
Tania El Khoury & Ziad Abu-Rish:
The Search for Power
Artists
　Tania El Khoury & Ziad Abu-Rish

Photo by Elina Giounanli

11 Oct. Sat.– 16 Nov. Sun. 2025
Closed on October 27, November 4, and November 10
※Open daily during Kyoto Experiment 2025 (until October 26)

Admission
　Free admission
Organized by
　Kyoto Experiment
　Kyoto City University of Arts
Curated by
　Yoko Kawasaki and Yuya Tsukahara,
　Co-Artistic Directors, Kyoto Experiment
　Mizuho Fujita, Chife Curator
　/Program Director, KCUA Art Gallery
Produced by
　Kyoto Experiment
　KCUA Art Gallery

A banquet of love and revenge unfolds, revealing Lebanon’s history of electricity outage

Have you heard about Lebanon’s many decades of electricity crisis and its political implications? The Lebanese state only supplies electricity for a few hours per day and the population resorts to individual and collective solutions. The situation has only worsened with the economic collapse of 2020 and the recent Israeli war on Lebanon.
Tania El Khoury, an artist born during the Lebanese Civil War (1975–90), is married to historian Ziad Abu-Rish, who researched Lebanon’s state institutions and popular politics.
On a night of a power blackout, the two embarked on a project to uncover the roots of this issue. In this work, El Khoury and Abu-Rish—who describe themselves as “another couple who is into solving mysteries”—reveal their findings in the form of an interactive lecture-performance.
The participants are led to a party venue, and provided with various archival and official documents collected from several countries, including some that have been previously concealed. These form the traces of the dark history behind Lebanon’s electricity infrastructure: financial ploys and hegemonic battles among former and aspiring colonial powers. As the audience members themselves examine each document by hand, they also become the inheritors of this “new history.” The venue will be left as an installation after the performances, and open to the public until the end of the festival.

The performance dates and times are as follows:
See the link for details.
Saturday, October 4, 3:00 p.m.
Sunday, October 5, 1:00 p.m.
Sunday, October 5, 6:00 p.m.
Monday, October 6, 2:00 p.m.
Tuesday, October 7, 1:00 p.m.
Wednesday, October 8, 1:00 p.m.
Thursday, October 9, 1:00 p.m.

UNDULATIONISM Ⅻ
Aki KURODA　　Hitoshi KOYANAGI
Tsuyoshi SERA　　Ryota HAMASAKI

8 Nov. Sat- 30 Nov. Sun. 2025
OPEN 12:00 - 18:00
Closed on Mon, Tue, National holidays

〈1F+2F〉
Mika Kitamura Exhibition

2 Dec. Tue.- 7 Dec. Sun.2025

〈1F+2F〉
18seasons
- Eighteen painters who graduated from Kyoto City University of Arts

9 Dec. Tue.- 14 Dec. Sun.2025

〈1F+2F〉
KINO PRINT 2026

16 Dec. Tue.- 21 Dec. Sun.2025

〈1F〉
Tsutomu Maruyama Exhibition

23 Dec. Tue.- 28 Dec. Sun.2025

〈Back Yard〉
Tetsura Yuu Solo Exhibition　The 9,032℉ Garden

24 Jun. Tue.- 21 Dec. Sun.2025

inclusivity　and L

NAKAMURA Taichi

HASEGAWA Yuki

KOMIYA Risa Marina +　SUZUKI Chihiro

MIZUKI Rui

8 Nov.Fri. - 21 Dec.Sun.2025

Taizo Mori
（feat.MUGYUDA Hyogo）

photo:Hyogo Mugyuda

20 Nov.Thu.2025 - 27 Feb.Fri.2026

TAKESHI SHINOHARA
“sounds of nought”

21 Nov.Fri.– 6 Dec.Sat.2025
Noon–6pm（Closed on Sundays, Mondays, and Tuesdays）

IBARAKI Sachiko solo exhibiton
compilation

2 Dec. Tue.– 7 Dec. Sun. 2025

IBARAKI Sachiko (b.1980, lives and works in Kyoto) is a minimalistic painter.
Her humorous sensibilities bring architecture, aquariums, light and many other things into a square image.
She graduated from the Painting course, Kyoto City University of Arts, Japan in 2002.

VvK41
Beuys Bijyutsu

12 Dec. Fri.– 24 Dec. Wed. 2025

INOUE Akihiko
OISHI Marika
OKAMOTO Mitsuhiro
KAWAGUCHI Ako
KIKUCHI Kazuaki
KITAO Hiroshi
SHIRAWAKA Yoshio + IHARADA Haruka
TAKAGI Suika

〈1F+2F〉
KIMURA Katsuro〈1F〉×　KIMURA Shizue Exhibition〈2F〉

2 Dec. Tue.– 7 Dec. Sun. 2025

〈1F+2F〉
KAWABATA Futoshi Exhibition

9 Dec. Tue.– 14 Dec. Sun. 2025

〈1F〉
MITSUHASHI Taku YOSHIOKA Sachi
YONEDA Mami Exhibition

16 Dec. Tue.– 25 Dec. Thu. 2025

〈2F〉
WANG Pin-Y WANG Yi-Ting Exhibition

16 Dec. Tue.– 25 Dec. Thu. 2025

KAWAGUCHI Yoko Exhibition

1 Nov. Sat.– 23 Nov. Sun.2025

Spiros Baras Solo Exhibition
“Longing For Summer”

Kamo River 2025

Rocks 2025

2 Dec.Tue. – 14 Dec. Sun. 2025
11:00 ～ 18:00 Monday closed

The exhibition will feature works by the Greek artist Spiros Baras, including pencil drawings and several watercolors. The drawings by Spiros Baras reveal a world of soft restraint and luminous stillness. Executed with colored pencils on textured paper, they share a distinctive delicacy, a refusal of heaviness, of shadow, of noise. The artist builds the image through countless fine layers, allowing color to breathe through paper rather than sit on top of it.

His subjects range from island landscapes and architectural views to intimate portraits and gentle scenes of daily life. Each appears distilled to its essential tone, sea, hill, skin, or air, suspended in a timeless calm. The light is diffuse, Mediterranean yet introspective, and the figures seem to inhabit a space between memory and dream.
Despite their simplicity, the drawings contain a precise emotional charge: a faint melancholy, a longing that resonates with the exhibition title “Longing for Summer.” They evoke moments when the world slows down, a cat sleeping, a woman lost in thought, a church glowing on a distant hill, and invite the viewer into that same hush.
Baras’s minimal palette and deliberate flatness echo early modernist sensibilities, yet his atmosphere is unmistakably personal, contemplative, humane, and deeply tender.
Baras’s watercolors could also be seen as a meditation on transience, on how light touches the world for an instant before disappearing.

Within the context of the contemporary art scene, Spiros Baras occupies a distinctive position, one that resists spectacle, digital excess, and conceptual overstatement. His work reclaims drawing as a meditative, sensorial act, standing in deliberate contrast to the acceleration and visual saturation of contemporary image culture.
At first glance, his compositions may appear aligned with minimal realism or post-minimal figuration, yet their ethos is more poetic than stylistic. The absence of shadow, the restraint of color, and the near monastic precision of mark-making recall certain tendencies in post-photographic painting and new sincerity movements, a return to intimacy, tactility, and the everyday.

Baras’s imagery, modest houses, still bodies, animals in relaxed poses, engages with the idea of stillness as resistance. In an art world dominated by irony, noise, and political spectacle, he cultivates a mode of attention that is profoundly humanistic. His light, almost evaporated surfaces create spaces of contemplation where memory and place coexist without hierarchy.

While many contemporary painters exploit materiality to the point of excess, Baras’s practice is defined by subtraction, the decision to let air, silence, and the paper’s own breath participate in the work. In this sense, he can be seen as part of a broader tendency among contemporary European artists to revisit the aesthetics of slowness, aligning his sensibility with figures such as Peter Doig, Giorgio Griffa, or even contemporary Japanese artists who privilege atmosphere and nuance over assertion.
Ultimately, Spiros Baras represents a countercurrent to contemporary visual culture. His drawings are not nostalgic retreats but subtle proposals for how to see again, slowly, softly, and with care.

Daisuke Iguchi
Time and Three Cornered World

Sokyo

Shuhentō Ginsai Ki
2025
Ceramic clay, metal oxide
clay ash, hulled ash, silver
H40.0 × W30.5 × D29.5 cm
Photo by Yuji Imamura
Courtesy of Sokyo Gallery

Sokyo Annex

Shuhentō Ginsai Ki
2025
Ceramic clay, metal oxide
clay ash, hulled ash, silver
H27.4× W41.5 × D28.7 cm
Photo by Yuji Imamura
Courtesy of Sokyo Gallery

30 Oct. Thu.- 11 Dec. Thu. 2025

Venue1:Sokyo Gallery
381-2 Motomachi, Higashiyama-ku, Kyoto, Japan
Opening Hours: 11AM - 6PM Closed on Sundays, Mondays and public holidays
Venue2:Sokyo Annex
3F SSS Building, 375 Ichinofunairi-cho, Nakagyo-ku, Kyoto, Japan
Opening Hours: 1PM - 6:30PM, Closed on Sundays, Mondays

Since childhood, I've been drawn to things and landscapes that evoke the erosion and accumulation of time—rusty iron, moss-covered rocks, excavated pottery. I believe these feelings form the basis of the work I would like to create. I strive to express depth and richness in the forms I build, allowing them to convey these very processes. I hope my work becomes something that needs no explanation to the viewer.
― Daisuke Iguchi

Sokyo Gallery and Sokyo Annex (Kyoto) are pleased to present Daisuke Iguchi's solo exhibition, “Time and Three Cornered World.” This exhibition, his second in four years since his last 2021 solo show, will feature 31 new works, including six tea bowls. At Sokyo Annex, five pieces from the “Shuhentō Ginsaitsubo (Rust-Changing Silver-Glazed Ceramics)” series, each with its own distinct expression, will be displayed on uneven trapezoidal pedestals. This installation constructs a new temporal axis and presence within the white box space.

Iguchi has been captivated by the traces left by the passage of time, transforming these images into ceramic forms. His self-coined term “Rust pottery (Shutō)” features a unique texture born from firing with rice husk ash and subsequent polishing, embodying a depth and presence as if weathered by time. Soft curves formed by coil-building, taut contours, and delicate lines applied to the surface lend the works a serene depth.

The exhibition title “Time and Three Cornered World” originates from Japanese novelist Sōseki Natsume's "Kusamakura" (1906). In this work, the protagonist, a painter, departs from the tedious daily life of the city and travels along mountain paths, seeking a state of “non-human emotion”—a pure world of beauty transcending mundane feelings and utilitarian interests. Confronting fundamental questions such as “What is beauty?” and “How should the relationship between humans and nature be constructed?”, the protagonist deepens his contemplation on the differences between Western and Eastern art. This reflects Soseki’s profound aesthetics and views on art, resonating in many ways with Iguchi’s creative philosophy.

Furthermore, scenes poetically depicting mountain paths and hot spring inns function as symbolic spaces manifesting Japanese natural beauty. These descriptions deeply resonate with the pastoral landscapes, flora, and fauna, and old tools found in nature that Iguchi accumulated from his childhood. Moreover, Sōseki's word “A novel need not have a plot. It suffices if a ‘beautiful feeling’ remains,” aligns with Iguchi's creative philosophy: “It would be good if my work required no explanation to the viewer.” By carving the traces of time into the material of clay and pursuing forms that connect the inner and outer, Iguchi's work quietly questions the relationship between nature and humanity, beauty and time. We sincerely hope you will take the opportunity to view this exhibition, which represents a new challenge for Sokyo.

FUKUMOTO KENICHIRO Exhibition

18 Nov.Tue. – 8 Dec. Mon. 2025

YAMAWAKI KOSUKE Exhibition
「Vacant Land」

21 Nov. Fri. – 15 Dec. Mon. 2025

SANADA SHOTARO Exhibition
「FLAT」

22 Nov. Sat. – 9 Dec. Tue. 2025

Maki Kobayashi Exhibition
Stroll around Kyoto

31 Oct. Fri. – 30 Dec. Tue. 2025