Keisuke Matsuura: resonance

19 Oct.Sat. - 9 Nov.Sat.2024

Imura art gallery is pleased to announce a solo exhibition by Keisuke Matsuura, his first in Kyoto.

Born in Kyoto in 1970, Matsuura completed a master’ s program at Tama Art University and later graduated from Germany’ s Kunstakademie Düsseldorf. Working from his base in Düsseldorf, he held exhibitions across Europe, while also presenting a number of large outdoor installations. The imura art gallery exhibition will show works from Matsuura’ s signature jiba series, new additions to the resonance series, and his latest series, ku.

Matsuura crafts his works around a concept of exploring the boundaries between matter and its environment, and between the visible and the invisible. He uses lines, squares, circles, other geometric forms, and colors for his elements. These are arranged within a given space such that they maintain their visually recognizable shapes, but also transcend their simple physical existence to resonate with air currents, vibrations, magnetism, gravity, light, and other immaterial energy—and in so doing lead to new visual and physical changes.

Those changes give rise to new dialogue between space and energy, resulting in phenomena that occur within a realm where the accidental intersects with the inevitable and that exceed the artist’ s expectations. For example, the combination of lines in the resonance series begets visual effects, and the jiba series visualizes the invisible magnetic field produced by magnetism. In this way, Matsuura artificially intervenes in natural phenomena in an attempt to capture the new worlds that result from the changes those interventions bring to the space.

The visual senses continuously change like constantly flowing energy. Matsuura speaks of his aspiration “to create visual rhythm from the contrasts and harmonies between matter and energy, and to use that rhythm to produce new order and harmony from the interactions between matter and its environment.” We hope that the works exhibited will give you a feel for such dynamism that comes from the resonance and collision of different energies.

CACA Kyoto Exhibition

4 Dec.Wed.- 8 Dec.Sun.2024

eeny,meeny,miny,moe | blue
Hyogo Mugyuda | Tomas Svab

Tomas Svab

Hyogo Mugyuda

1 Nov.Fri.– 30 Nov.Sat.2024
open on Fri., Sat., and Sun. 12:00-18:00
appointments are available on weekdays

We are pleased to present “eeny, meeny, miny, moe | blue” by two artists, Tomas Svab and Hyogo Mugyuda.

“Colors” play a critical role in the creation of art. Indeed, just a single color, selected out of millions, can determine the fate of an artwork, for better or for worse. In “eeny, meeny, miny, moe | blue,” the two artists exhibit their works … created with an assigned color – blue.

We hope the exhibition challenges Svab and Mugyuda to present what the meaning color blue signifies to them, to handle the color blue in unique ways, and to make compelling use of the color blue. We also hope “eeny, meeny, miny, moe | blue” will be fascinating for all of us.

eN arts

Ultramarine Infinite

A vantage point defines its reality. Like in these photographs, the pendulum wave machine can be seen as a group of independent parts or as a continuous wave. Positioning the line scan camera—either vertically or horizontally—recorded the pendulums’ swings faithfully but quite differently. Both of these viewpoints reveal rhythm and pitch that reflect the essential quality of light, which is energy. Like longer or shorter pendulums, higher and lower frequencies of light change the colour we perceive. With the blue end being the most energetic, fading out to the invisible “chemical light,” it has the power to transform the matter it illuminates. These pendulums mimic the duality of light, but with the oscillations slowed down over a quadrillion times.

In this glacial world, as if waking from a dream, time stretches unhurried from a night-like Prussian blue realm that once divided the two separate worlds of my childhood. Blue pigments cast cerulean shadows, it’s the first impression of freedom I remember, closer to an ultramarine blue that went through me as much as one that could be seen. From cobblestone roots dusted with the colour of yellow ash, I was suddenly gliding on a metallic wave travelling across the earth, pointed towards a sea of turquoise mist and punctuated by invisible boundaries. Frame by frame the dawn revealed a vastness of hope.

Tomas Svab

I have been working on a single subject, “Artificial S”. The “S” encompasses multiple meanings and plurality itself.

The theme is composed of five chapters, and through all the chapters, he expresses how “life and death” dissolve into each other.

In 2010, he started “pile of photographys” on the web (still ongoing).

Hyogo Mugyuda

Nobuo Kobayashi exhibition
The Wrinkles

26 Nov.Tue.– 7 Dec.Sat.2024

Matsumoto Seiji exhibition
SEIJI MATSUMOTO SPECTACLE FANTASY

10 Dec.Tue.– 21 Dec.Sat.2024

Chiaki Kondo
"Illuminate Memories"

1 Dec.Sun. - 12 Dec.Thu.2024

In 2023 and 2024, I have been involved in art projects in Azumino City, Nagano Prefecture. I enter these regions, experience their landscapes and climates, and strive to vividly imprint on my work the history of the land and its people, as well as the memories born from my interactions with them.
I imagine what images the projected scenery there will evoke in the minds of those who see my work, and what memories they will be left with.
- KONDO,Chiaki

Gendaibijutsu-nitohey

First half: 18 Dec.Wed. ～ 26 Dec.Thu.2024
Second hal: 8 Jan.Wed. ～ 12 Jan.Sun.2025

artists;
GB2 ia the art unit consisting of Kagotani Shane and Fujiwara Katsuhito.
Although they are a unit, they do not create a single work together, but rather each creates their own work and brings it to the exhibition as a solo duo.
They create works that add a humorous spice to contemporary art.
works:
They call their works "Da Bijutsu(art) ". Da means not high-class or sophisticated, but at the same time, it means that it is familiar and enjoyable for everyone.
Da Bijutsu are artworks that everyone can enjoy without worrying about production costs or perfection. Just as there are high-class Western and Japanese sweets, and at the other end of the spectrum, there are "da gashi(sweets)" that are familiar and can be enjoyed by everyone, Kagotani and Fujiwara continue to create works with the belief that there should be "da gashi" in the art world as well. Relaxed entertainment that can be enjoyed in any genre, be it painting, sculpture, photography, etc.

SPECIAL EXHIBITIONS
Isadora Neves Marques:
Vampires in Space and Other Fictions

4 Nov.Mon.– 22 Dec.Sun.2024

Organized by
Kyoto City University of Arts
With the cooperation of
Galleria Umberto di Marino
With support from
Embaixada de Portugal no Japão
Instituto Camões
Curated by
Mitsuhiro Kishimoto
Kyoto City University of Arts Art Gallery

Isadora Neves Marques (b. 1984, Portugal) has been garnering attention on the international stage for her works that sharply address contemporary issues such as ecology, the definition of the body, the possibilities and limitations of new technologies, and queer rights. By employing a wide range of mediums, including film, poetry, fiction, and installations, she skillfully merges her interest in feminism, sexual diversity, and post-colonial sociocultural issues with a science-fictional approach. Her works respond to ongoing global challenges through deep contemplation, provoking discourse and action toward creating an inclusive society while inspiring new perspectives and imagination for the future.

This exhibition marks the first opportunity to introduce Neves Marques’s work in Japan, featuring a restructured presentation of her video installation Vampires in Space (2022), which drew attention at the 59th Venice Biennale. Alongside the short films The Ovary (2021) and Meat is Not Murder (2021) will also be screened, further enriching the presentation of her artistic universe.

Vampires in Space (2022)
“Space is always night.” Five vampires, each with their own circumstances, embark on a journey aboard a spaceship heading toward an unknown destination. Escaping the societal constraints and expectations of Earth, they set out on a new voyage. Drifting through the vast, answerless loneliness of space, they seek a better way of life in this open-ended narrative.
(Three-channel video installation, 38 min, 22 min, 20 min, loop, stereo and surround sound)

AKI KURODA
/Ｉ/ CHI-KYU / CITY /

"untitled"
acrylic and mixed media on canvas
194×162cm , 2024

8 Nov.Sun.2024 – 2 Feb.Sun.2025
<opening reception> 8 Dec.Sun. 15:30-18:30

AKI KURODA
ORGANIC CITY BREAKING

30 Nov.Sat.2024 – 1 Feb.Sat.2025
【APPOINTMENT ONLY】
OPEN：13:00 - 17:00 / Friday and Saturday

venue：133-17 Shimo Seizoguchi-cho Kamigyo-ku Kyoto

〈1F・2F〉
Masao Hirota Exhibition

3 Dec.Tue.- 8 Dec.Sun.2024

〈1F・2F〉
Yoshinori Ikeda Exhibition

10 Dec.Tue.- 15 Dec.Sun.2024

〈1F・2F〉
KINO PRINT 2025 Exhibition

17 Dec.Tue.- 22 Dec.Sun.2024

〈Back Yard〉
Seiji Matsumoto

4 Jul.Thu.- 22 Dec. Sun.2024

「Body Buddy Baby」

5 Nov.Tue.– 22 Dec.Sun.2024

Organized by Kyoto Art Center
　　　　　　　Yasunori Kawamatsu

Kimura Azu・Tomita Shuichiro・Maekawa Koji
STAGNATE

24 Aug.Sat. – 19 Sep.Sun.2024

Statement

If the elements of our world were represented as individual spheres, how do these circles interconnect when I encounter a new subject? Even if the circles seem unrelated, I wonder where I can build points of connection. I have been seeking the point of contact by observing and contrasting subjects from both a bird's eye and microscopic viewpoint, and at the same time, giving these discoveries shape through art. This collaboration with Biologist, Dr. TOMITA brought upon a new challenge. My subject was insects, but also the understanding and bridging of our differing perspectives to inform my new works. This time, my subjects are insects. Working with biologists, I tried to find a practical and tangible means to respond to our differing perspectives.

Kimura Azu

TAKESHI SHINOHARA
-SUPER CRITICAL POINT-

29 Nov.Fri.– 14 Dec.Sat.2024
closed on Sun. Mon. and Tue.

IBARAKI Sachiko solo exhibiton
cultivate

3 Dec.Tue.– 8 Dec.Sun.2024

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.

VvK39
OKAMOTO Mitsuhiro Curation
Ni・Kan・Cho-Bijyutsu

Ri Jong-ok
2023

13 Dec.Fri.– 22 Dec.Sun.2024

INOUE Yukari
OKAMOTO Mitsuhiro
HIGO Ryosuke
Ri Jong-ok

〈1F・2F〉
YAMAMOTO Toshio Exhibition

3 Dec.Tue.– 8 Dec.Sun.2024

〈1F〉
Christmas selection 2024
TANIGAWA Maki
MITSUHASHI Taku
WAKABAYASHI Shizuka

10 Dec.Tue.– 22 Dec.Sun.2024

〈2F〉
Group Exhibition
WANG Meishan
GAO Anqi
XIE Yuejing

10 Dec.Tue.– 15 Dec.Sun.2024

〈2F〉
IWAMA Kazuma Exhibition

17 Dec.Tue.– 22 Dec.Sun.2024

TANAKA Shingo Exhibition

30 Nov.Sat.– 22 Dec.Sun.2024

Naho Ito
About Hopes in Non-Special Time

27 Nov.Wed.– 15 Dec.Sun.2024

Naho Ito learned Japanese traditional aesthetics and traditional painting materials, such as handmade paper, mineral pigments, sumi-ink, gold and silver foils and glue.The color materials are called in Japanese Iwa-enogu or Rock painting. Basically Rock painting consists of clay, various minerals, shells of oysters and clams and many other elements that have been used since ancient times. Ito mixes each ingredient with glue with her own fingers. They should be treated very delicately and then pasted to the handmade paper. Moreover, they should be arranged according to seasons. So, one may say that “nature” is only one element of the technique, which Ito enjoys.
In Ito's paintings the abstract manner is combined with traditional mineral pigment painting technique on paper. Mineral pigments have countless colours, hence each painter can make their own color palette. As hundreds years ago she rubs and dissolves each ingredient with her fingers, then blends them with glue and applies on paper. It allows her to achieve necessary tint, find a balance between colour and texture. This practice is an important part of the artist's work.
The artist does not use lines, her works consist entirely of color spots of varying intensity, which are permeated with light and flawless in tinting. They seem to shine through, appear on the surface, gather into color objects, multi-layered traces as reflections and shadows of the reality perceived by the artist. Each color spot applied to the surface of the picture is designed to reflect her thought, emotion or moment.

The belief that "from anywhere, it is possible to reach that place" is central to this concept.
In the vast darkness of the sky, countless stars float, each tied to countless stories. Yet, the emptiness — the void surrounding the stars — is far greater than the stars themselves. This boundless expanse can overwhelm us, but within this, we might come to understand a kind of hope that exists beyond meaning — a hope that simply is.
Paintings, in this context, hold a unique power. They do not treat the past as something irretrievably gone, nor do they limit it to a verbal recollection. Instead, what seems to be a bygone past is embodied in the present as something that has never been lost and is projected toward the future.
Even in times of confusion or stagnation, we are reminded that we have lost nothing. In fact, scattered all around us are countless tiny seeds of renewal, waiting to sprout.
The artworks in this exhibition aim to embody this hope inherent in every moment. If we can perceive even a small seed or light within these works, it affirms that they are truly present here and now, tangible and real.
When someone feels unable to endure the stagnation of time and its inexorable passing, they may eventually realize: Time is not something outside of me. Time is, in fact, myself.​

MIKADO2
「Do You Know Me?」

Kazuma Koike
Head and Three Crocodiles
2024
Photo:Yuji Imamura
Image provided:Sokyo

Shuhei Yamada
Composition©
2024
Image provided:Artist

Keisuke Jinba
Untitled(hello?)
2024
Image provided:Artist

5 Dec.Thu.2024 – 19 Feb.Wed.2025

This exhibition is a sequel to the 'MIKADO2: Fugue for Crocodiles' exhibition currently on view at The Triangle, Kyocera Museum of Art, Kyoto (ongoing until December 22, 2024).

MIKADO2 is an artist collective consisting of Shuhei Yamada, Kazuma Koike, and Keisuke Jimba. Active since 2021, MIKADO2’s idiosyncratic practice creates "absences" and "misalignments" in artistic formats, accompanied by actions and attitudes that initially resemble meaningless play.

In the 'Fugue for Crocodile' exhibition, MIKADO2 attempted to visualize an unknown “mythical crocodile” by using various approaches such as painting, sculpture, video, and installation as a “collaborative effort made under a supervisory system”. However, as the “crocodile” changes its form one after another under different approaches, as a result, the image of the crocodile eventually slips away and becomes ungraspable.

'Do You Know Me?' will focus on presenting new works that serve as reinterpretations of the memories from the "journey around crocodiles" by each member of MIKADO2. We hope you will enjoy finding the connections between the 'Fugue for Crocodile' exhibition and this exhibition.

HASHIGUCHIRINTARO Exhibition
-dawn of sign-

6 Dec.Fri.– 25 Dec.Wed.2024

Kanako Taniguchi Exhibition

9 Dec.Mon.2024 – 10 Jan.Fri.2025