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

The 3rd FARO
Ceramic Art Exhibition

10 Mar.Tue.- 15 Mar.Sun.2026

KOMA size KOGEI Exhibition

17 Mar.Tue.- 22 Mar.Sun.2026

DO・KO・I・KU・NO
Chieko Ozawa Exhibition

24 Mar.Tue.- 29 Mar.Sun.2026

“gaze and pointing”
Anna Yamanishi Solo Exhibition

Breeze 2025
©Anna Yamanishi
Photo by Takeru Koroda

1 Feb. Sun.– 28 Feb. Sat. 2026
open on Fri ., Sat., & Sun. 12:00-18:00
appointments are available on weekdays
free admission

Pointing—directing a finger at something—is often described as the first form of communication infants use before language. Neither a direct bodily action such as touching or grasping, nor an objective verbal expression, pointing exists in between. I am drawn to the particular distance it creates between the self and the world.

When making work, I closely observe what I am trying to perceive in an object and how my chosen form shapes the way I see the world. Through this careful observation, different layers of reality come into view. Perhaps this is the pleasure of rediscovering, from the outside, the transparent contours of the world once seen during the infant “pointing” stage.

I studied lacquerware in the crafts department at university. Because lacquer is a liquid, it requires a form, and I began by working with wood, a material I loved. However, applying a coating to the surface never felt quite right to me. Looking back, I understand this as a difficulty in prioritizing either form or surface—two inseparable aspects.

This experience led to my ongoing interest in the relationship between form and surface. Through my practice, I consider the fact that we can only ever see surfaces, and the questions of presence and absence that inevitably accompany them.

Anna Yamanishi

“Gaze and Pointing” is a solo exhibition by Anna Yamanishi that focuses on an early, formative stage of our relationship with the world around us – one that cannot be fully reduced to direct physical contact or verbal explanation. Rather than presenting the works as mere sculptural objects, the exhibition establishes them as a site for reconsidering perception itself.

The careful examination of what is brought into focus and through what kind of form the world is framed resembles less an act of shaping toward a predetermined result than an attempt to subtly shift the conditions of perception, one by one. The works that emerge from this process do not assert clear meanings or symbols. Instead, they remain suspended at a stage prior to the formation of understanding on the part of the viewer.

With a background studying in the field of traditional Japanese lacquerware craftsmanship, Yamanishi encountered early on the difficulty of treating structure and surface as separable entities. Her commitment to engaging “form” and “surface” on equal terms marks a deliberate distance from conventional methodologies that define sculpture as a self-contained, autonomous mass. Rather, her practice can be understood as an effort to reframe sculptural form as a perceptual phenomenon.

Yamanishi’s works exist simultaneously as wood carvings – objects with a tangible material presence – and as unstable states that incorporate a sense of openness and indeterminacy. They function as mediating devices that call into question not only the viewer’s assumptions and habits of perception, but also the reliance on outward appearance through which we habitually make sense of the world.

This exhibition invites viewers to reflect on the point at which seeing begins and to experience the repeated acts of “gazing and pointing” as acts that unsettle the distance we unconsciously assume between ourselves and objects, as well as the presumed transparency of perception itself.

eN arts

SASAKI Masao Exhibition
Occupy

10 Mar. Tue – 28 Mar.Sat. 2026

Keiko Kurachi + Satoru Takahashi Exhibition
"Topogram of Memory"

31 Mar.Tue – 11 Apr.Sat. 2026

MADE IN KYOTO
- Updating/Re-examining the relationship
between artists and the city –

Gallery Opening Dates : February 21 (Sat)・22 (Sun)・28 (Sat)
March 1 (Sun)・14 (Sat)・15 (Sun)・20 (Fri・Holiday) 21 (Sat)・22 (Sun)
Gallery Hours : 1 PM to 7 PM each day

Kyoto ≠ Ancient capital
Artwork ≠ Product
Kyoto's creative scene is constantly updating and re-examining itself in response to the city's environment and its changing conditions.
Within this ecosystem, individual artists have transformed art history.
Made in Kyoto is a gallery-curated group show featuring artists whom the gallery regards as “quiet revolutionaries.”
artists:Takashi Kiuchi,Keith Spencer,Fukiko Yoshida,Kazuko Matsumonot, GENDAIBIJUTSU-NITOHEY,Atsuhi Nakamura

Permanent works：Liu Junru, Toshio Matsui, Yuko Sakamoto, Tomoyo Iwata, Hayato Nishimura, Kazutaka Sakai, Chiaki Kondo, Aoi Hayashi, Isa Mitake, Akio Suzuki, Reg Yuson
Books and Multiple

KG+
Hayato Nishimura
"Mounds 2025–26"

Toki-Senzuka No.2 Kofun / Sakai, Osaka

18 Apr.Sat. – 3 May Sun.2026
13:00 – 19:00 *last day until 17:00
closed on Mon. and Tue.

This series is intended to find the way humans live on the layers of the ages, focusing on the ancient burial mounds (called Kofun in Japanese) that exist in the landscape while being irrelevant to the lives of modern people. The ancient burial mounds were built in East Asia, including Japan, as graves where persons in authority sleep a dozen centuries ago. There are many mounds that have been damaged in ways that do not preserve dignity, or are buried in cities and are unable to keep quiet in the urbanization in later generations, especially in modern times. Although the value as a cultural heritage has been recognized and has been the subject of protection and conservation in recent years, there is no buffer between the mounds and the houses, public facilities or public infrastructure due to the already advanced urbanization. The landscape has a strange aspect in which human activities are separated by time and consciousness.（Hayato Nishimura, born in 1977 at Shimane pref.）

SPECIAL EXHIBITIONS
Teppei Kaneuji and the constructions:
tower (UNIVERSITY)

Photo:Kazuki Yoshimoto

13 Dec.Sat.2025 〜 15 Feb.Sun.2026
Closed on December 15, 22, 27–January 5, 13, 19, 23–26, February 2

Organized by
　Kyoto City University of Arts
With additional funding from
　Program for Cultural and Art Promotion Utilizing
UniversitiesWith the cooperation of
Participants of the project TOPOS:
　An Art School as a "Garden" for
　Mutual Learning
　dot architects
　Art Front Gallery
　Yumiko Chiba Associates
Coordinated by
　TOPOS: An Art School as a "Garden" for 　Mutual Learning
　Kyoto City University of Arts Art Gallery
Curated by
　Mizuho Fujita (Chief Curator/Program 　Director, KCUA Art Gallery)

Artist Profiles

Teppei Kaneuji
Born in 1978, Teppei Kaneuji is an artist and sculptor who lives and works in Kyoto. He earned a graduate degree in sculpture at Kyoto City University of Arts in 2003, where he now teaches as the Associate Professor. He uses things around him as materials for his works, altering their meaning via a collage method that involves cutting off parts and attaching them elsewhere. He has done solo exhibitions at the Yokohama Museum of Art (2009), the Ullens Center for Contemporary Art (Beijing, 2013), Marugame Genichiro-Inokuma Museum of Contemporary Art (2016), and at other venues inside and outside Japan. Since 2011, he has also worked on set design and produced theatrical works in 2012. He received Kyoto City’s Best Young Artist Award in 2012, and the Kyoto Prefecture Culture Prize Award in 2015, and The 29th Takashimaya Art Prize in 2018. https://teppeikaneuji.site/

the constructions

Cast:
Masamitsu Araki
Kazumichi Komatsu
contact Gonzo (Yuya Tsukahara, Ayaka Fujita, Keigo Mikajiri, Takuya Matsumi)
dot architects (Wataru Doi, Futo Kurahashi, Ryosuke Katsube, Eisuke Hirai)
Participants in Program C and staff members of TOPOS: The Art University as a Garden for Mutual Learning
(Mio Arai, Taisuke Asami, Mizuho Fujita, Aio Fukudome, Sawaka Furuno, Goku Hasama, Ryosuke Higo, Toshichika Kamon, Masahiro Katata, Rei Nakao, Natsuki Seta, Atsushi Tsukamoto, Sachiko Uchiyama, Natsuki Yamamoto)
Costumes: Kyoko Fujitani
Photography: Katayama Tatsuki and Kazuki Yoshimoto
Transportation: Kameoka Distribution Center Co., Ltd. (Takahisa Hitomi)

Venue setup and artworks packaging: Seido Ikeda, Atsushi Tsukamoto, Mitsuhiro Kishimoto, Chikara Masuyama, Yosuke Yano, and staff members of KCUA Art Gallery andTOPOS: The Art University as a Garden for Mutual Learning (Mizuho Fujita, Ryosuke Higo, Miharu Seta, Sachiko Uchiyama, Natsuki Yamamoto, Kazuki Yoshimoto)

...and more! (Updated December 8, 2025)

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〉
ANNO Mitsumasa Centennial Birthday Exhibition

10 Mar.Tue.- 15 Mar.Sun.2026

〈1F+2F〉
The 4th Koma size KOGEI Exhibition

17 Mar. Tue.- 22 Mar. Sun.2026

〈1F〉
Yoshiko KUSAKABE Exhibition

24 Mar. Tue.- 29 Mar. Sun.2026

〈2F〉
Water Color・HASHIMOTO Mayumi 2026
The 15th Harubi no kai Exhibition

24 Mar. Tue.- 29 Mar. Sun.2026

〈Back Yard〉
Saya KUSUI Solo Exhibition
The Leaning tree

12 Jan. Mon.- 14 Jun. Sun.2026

New Mutation #6
Yukari Inoue
Soh Souen
Mal Takada

Yukari Inoue

Soh Souen

Mal Takada

17 Jan.Fri. - 15 Mar.Sun.2026

SWEET POISON
KOOSUK

20 Feb.Fri.– 7 Mar.Sat.2026
Noon–6pm
（Closed on Sundays, Mondays, and Tuesdays）

FUJII Takeru solo exhibition
The Layout of Life and Death

10 Mar. Tue. – 15 Mar. Sun. 2026

FUJII Takeru (b.2002, Gifu pref, lives and works in Kansai) is an artist who views vessels as “devices that govern life and death,” creating innovative ceramic expressions.
He is an active graduate student in a ceramics course at Kyoto city University of the Arts.

KANDA Shinji solo exhibition
Encounter with the unknown

20 Mar. Fri. – 29 Mar. Sun. 2026

KANDA Shinji (b.1986, Kyoto, lives and works in Hokkaido) is an artist who expresses a surrealistic view of the world using miniature depictions.
He is also an illustrator of Pokemon cards. He graduated from the illustration course at Kyoto University of the Arts.

〈1F〉
MIYOSHI Atsuhito Exhibition

10 Mar. Tue.– 15 Mar. Sun. 2026

〈2F〉
KITANO Aozora Exhibition

10 Mar. Tue.– 15 Mar. Sun. 2026

〈1F＋2F〉
MIYASHITA Hideko Exhibition

17 Mar. Tue.– 22 Mar. Sun. 2026

〈1F〉
ISHIDA Shota Exhibition
Zum Insekt　zum Insekt

24 Mar. Tue.– 29 Mar. Sun. 2026

〈2F〉
UNPITSU NO KAIKO
HAYASHI Shizuka Exhibition

24 Mar. Tue.– 29 Mar. Sun. 2026

Genshoin Doukaku・
Yoshinobu Nakagawa Exhibition

7 Mar.Sat.– 29 Mar.Sun.2026

Yasuyo
The Boundary line of Evolution
FUWA FUWA

10 Mar.Tue. – 1 Apr. Wed. 2025
11:00～18:00 Monday closed

Last summer, Yasuyo encountered a pair of sandals in a recycle shop. She was captivated by their vivid blue hue and shimmering bijoux, sensing an energy she wished to translate into painting. Though not new, the sandals emitted a palpable presence and vitality.

Before dedicating herself fully to fine art, Yasuyo worked as a commercial illustrator, depicting people and objects within applied contexts. In this body of work, she consciously repositions that earlier experience within her artistic practice, allowing illustration and painting to re-enter into dialogue.

Her paintings do not arise from trends or stylistic movements. Instead, they originate in personal attraction to designs that resonate deeply with her and to objects that, while not necessarily valuable in monetary terms, carry time, memory, and lived intensity within their material form.

In her abstract works, Yasuyo entrusts herself to energy, inner sensation, inspiration, and the unconscious strata of accumulated experience. She approaches the canvas as if gathering emotions and atmospheres before they solidify into recognizable form, allowing what precedes language to surface visually.

For Yasuyo, painting is a practice of tracing the threshold where material and spiritual dimensions continuously influence and traverse one another.

In this exhibition, abstract and figurative works are presented in parallel, articulating a movement between two interwoven layers, the material and the spiritual. Painting first manifests as material presence through pigment, canvas, and gesture. The density of paint, the layering of color, and the physical trace of the brush address the viewer on a pre-conceptual, bodily level.

Yet the accumulation of these material acts gradually opens toward an immaterial realm of emotion, memory, temporality, and questions of being. In abstraction, the absence of fixed form allows energy and interior sensation to emerge directly. In figuration, concrete imagery becomes a conduit through which spiritual narratives and subtle atmospheres take shape.

For Yasuyo, abstraction and figuration are not oppositional categories but distinct entrances into the same crossing point between materiality and spirit. Painting exists simultaneously as matter and as the immaterial experience that rises from it. Through this oscillation, she invites viewers to encounter multiple layers of reality within themselves.

FUWA FUWA

“I believe that when people evolve, they become lighter.”
For some reason, I have felt this way for a long time.
Perhaps it is because when I have to make a decision, choosing the option that makes my heart feel lighter sometimes leads things to go well.
Of course, while we are alive there are times when suffering and discipline are necessary. Being able to experience emotions that are not light is also part of the true pleasure of living.
Cells, the microscopic world, and the heart, though invisible to the eye, are constantly in motion. Our world continues moving without stopping for even a single second.
It is like clouds.
Softly, gently floating.
The boundary of evolution shimmers as it continues to change.

​Yasuyo

Mika Horie Exhibiiton
SNOW MELTING WATER

《Beyond the wind, beyond the cloud》、2025
H61 × W90 cm

5 Mar.Thu. – 2 Apr.Thu.2026

「Interwoven Chapters」

6 Mar.Fri. – 27 Mar.Fri.2026

"GROUP SHOW 2026"
Rei NAKANISHI / Hiroki IRIE
Rihomi SATO / Takuya HIRANO

20 Feb.Fri. – 28 Mar.Sat.2026

Rui Terao Exhibition

3 Mar.Tue. – 29 Mar. Sun.2026

Shuzo Azuchi Gulliver
-Weight-

10 Jan.Sat. – 29 Mar.Sun. 2026
13:00 － 18:00
Open only on Saturdays, Sundays and holidays

My weight can sit on the sofa.” （Shuzo Azuchi Gulliver）

This exhibition will feature 10 to 15 works by Shuzo Azuchi Gulliver, with a focus on "Weight," one of his representative works. His large-scale solo exhibition "Breath Amorphous" was held in 2022 at BankART KAIKO + BankART Station (Yokohama), which is still fresh in our memories, but this exhibition will be his first solo exhibition in the Kansai area since the "EX-SIGN" exhibition at the Museum of Modern Art, Shiga (now the Shiga Prefectural Museum of Art) in 2010. Please come and see it.

According to the artist himself, the title of the work, "Weight," is as follows:

‘Weight (Human Ball)’ (stainless-steel ball) has the same weight as the artist’s body. There are nine versions of the work based on the same concept (1978, 1979, 1980, 1982, 1983, 1985, 1987, 1988, 1990). (In 2022, ‘2022 version’ was produced with marble under the same concept.)

[Below is the author's biography generated by AI/ChatGPT-4 in December 2025 (unedited)]

Shuzo Azuchi Gulliver is a unique artist among postwar Japanese avant-garde artists. His work, while shifting in form, location, and media over the years, continues to explore fundamental questions about self and existence. While highly experimental and conceptual, his work incorporates performance and physicality, creating a strong connection with the audience. His works have been collected by museums both in Japan and abroad, and in recent years, they have been gaining recognition and re-evaluation. The 2022 "Breath Amorphous" exhibition is a prime example. He continues to garner attention both in Japan and abroad.

*Shuzo Azuchi Gulliver was born in 1947 in Hashimoto, Seta-cho, Kurita-gun, Shiga Prefecture (now Seta, Otsu City). His real name was Shuzo Azuchi. He had a strong interest in art from a young age, and while attending Shiga Prefectural Zeze High School, he began creating works incorporating happening-like actions (e.g., "Grassfield" in 1964). His artistic practice included an early dialogue with Western avant-garde and conceptual art, including an interest in philosophical and theoretical thought and the influence of Marcel Duchamp.
* In 1967, he moved to Tokyo and developed happening projects, including experimental films and street/public space actions and performances. He joined the Kansai avant-garde art collective THE PLAY and began interacting with domestic and international avant-garde movements, including Fluxus.
* In 1973, he began the "BODY (Body Contract) Series." This project involved dividing his own body into 80 parts, each of which was to be kept by 80 contracted individuals after his death. This is a representative body of work that addresses questions of life, death, self, and existence.
* Since the 1980s, he has continued to create endurance performances (e.g., "De-Story," a performance in which he spent a certain amount of time inside a rectangular parallelepiped structure) and works that address the body, space, and structure. * Since the 1990s, he has exhibited more and more in Europe, focusing on themes such as symbols, language, measurement, and memory, using the symbolism of DNA bases (A, T, C, G).

He employs a variety of media, including drawing, sculpture, installation, and performance. He is based in Tokyo and Europe, and is active both domestically and internationally.

He continues to create art, exploring themes such as "existence," "self," "signs," "form," and "biological foundations.

Satoko Aoki Exhibition
《unseen figure 》

7 Mar.Sat. - 15 Mar.Sun.2026
OPEN ｜12:00-18:00

Takahiro Ishida Exhibition
《WORKS》Dialog in Time_From IWATE Vol.1

21 Mar.Sat. - 29 Mar.Sun.2026
OPEN ｜12:00-18:00

Ami Yasugahara Exhibition
《-Time in Its Fullness-》Dialog in Time_From IWATE Vol.2

4 Apr.Sat. - 12 Apr.Sun.2026
OPEN ｜12:00-18:00