◆Please check the website of each gallery for the latest information on the exhibition.

imura art gallery Kyoto

Gallery's Site

Solo Exhibition Hideki KIMURA
- Celadon・Water Bird -

100×143.5×109 cm
Celadon Ceramic, Wood 2024

8 May Wed. - 25 May Sat.2024

Hideki Kimura, a leading contemporary printmaker and a painter who has been active in Japan and overseas since the 1970s, will present his first solo exhibition in four years at imura art gallery.

Since making a spectacular debut as a print artist, Kimura has produced a stream of works fusing paintings and prints, using mainly the silkscreen method and various surfaces such as paper, glass, and canvas. In the 1980s he created the ‘Water Bird Series’ expressing images of water birds through silkscreen printing. Now, some 40 years later, the artist has returned to this series with a new choice of medium: ceramics.

The exhibition will feature nine new creations, including two three-dimensional mixed media works that surround a celadon water bird with ripple-pattern tiles—‘Celadon・Lake 翠い湖’ and ‘Celadon・ A Water Bird on the Pool’—and silkscreen prints using photographic images of celadon water birds. The ‘Celadon Water Birds and Ripple-pattern Tiles’ pieces, the central elements of this showing, were crafted through complex process in which Kimura created plastic water birds and rippled tiles using a 3D software and printer, manually shaped them, made plaster molds of them, and then made clay castings that he dried, bisque fired, and glaze fired. Be sure to savor these new works that embody Kimura’s affection for the Awata ware ceramics business that used to be run by his family.

―Artist Statement

On the Theme ‘Water Birds’
It started with a casual observation: the way my arms were positioned casually looked like a water bird. I believe it was in the early 1980s when I first noticed this. Subsequently, by having friends pose intentionally to resemble water birds and collecting numerous images, I began to consider the possibilities of creating something interest- ing with these observations.

From 1983 to 1986, I created about 30 pieces using this image of water birds, collectively referred to as the ‘Water Bird Series.’

The double imagery of arms and water birds can be interpreted as an image of ambiguity, but also as an analogy of indecision, vagueness, and indeterminacy.
The core of this work revolves around this elusive quality, poten- tially leading to feelings of incompleteness, unfinishedness, confusion, and frustration, which I found surpris- ingly interesting.

Initially, the creation of the ‘Water Bird Series’ was predicated on the use of photo stencil silkscreen techniques. Through the ‘Pencil’ (*1) and ‘Blinder’ (*2) series attempted in the 1970s, I concluded that images printed using photo stencil silkscreen possess an ambiguous existence. Enlarged to life-size, the ‘pencil’ image exists while fluctuating on the boundary between fiction and reality, neither material nor image, or perhaps both, celebrating its ambiguity. I called this unique presence ‘membranousness’ and have since been directing my creative efforts towards cultivating it.

The foundational concept behind the ‘Water Bird Series’ centers on crafting a dual sense of ambiguity, blending the equivocal nature of water birds with the ‘membranousness’ quality of silk, effectively doubling the ambigui- ty. This approach can be symbolically represented as ‘ambiguity multiplied by ambiguity equals X’. The ques- tion arises: what does X represent? Can this question even be answered? And if it can, might it not give rise to a wholly unprecedented scene or vision? These indistinct expectations became my motivation.

On the other hand, ambiguity equates to vagueness and indeterminacy. Could the square of ambiguity only lead to greater ambiguity and unimaginable confusion? It's a conceivable expectation.

Creating artwork is similar to architecture. There's a foundation, upon which a framework is placed, then walls are added, and finally, the interior and exterior are completed. There is a demand at each stage of the process for robust stability. However, what if ambiguity, or a lack of reliability, was inserted into one part of the creation process? At the very least, there would be a constant fear of collapse and disintegration.

The methodology of ‘ambiguity squared’ might only be fine for the construction of a castle in the sand or, at best, setting up a temporary scaffold. A valid concern, indeed. Yet, I found this prospect intriguing.

If the to-be-completed construction or artwork can only guarantee unexpected results, then a freedom is born within the production process. At the very least, freedom from restrictions on materials and scale can be expect- ed, and the creation site becomes a great experimental field. My intention amidst this chaos was a transversal development of the form of the work. Not stopping at the traditional form of printmaking but also transitioning to painting or canvases as supports and developing into three-dimensional images or installations.

The ‘Water Bird Series’ may be described as a cross-media examination of various aspects of thought in the midst of uncertainty, with ambiguous images and indeterminacy at its core. It started around 1983 but came to a temporary halt around 1986. After about a 40 year hiatus, I changed the medium to celadon ceramics, leading to this solo exhibition.

On a personal note, my grandfather was involved in the production of Awata ware ceramics in Kyoto during the Meiji and Taisho periods. His son, my father, worked in the trade of Awata ware and Kiyomizu ware. In essence, I am the son of a pottery family. Although I spent my life mostly disconnected from ceramics after entering art school, I've found myself reflecting more on my father, who I lost at the age of six, and have felt a growing desire to create something befitting the son of a pottery family. One reason for using the words ‘Reunion’ and ‘Bond’ in the title of the series was to imply the meaning of family bonds. Another was my curiosity about whether it's possible to find a connection between my work from 1986 and 2024.

Celadon ceramics are beautiful in their own right, unquestionably so. I warmly invite you to view the exhibition and appreciate your interest in experiencing it.


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


Gallery's Site



Mai Umemoto Exhibition

11 Jun.Tue. - 16 Jun.Sun.2024


Yasuko Hasegawa Exhibition

18 Jun.Tue. - 23 Jun.Sun.2024

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

eN arts

Gallery's Site

showcase #12
“Whereabouts of photographic reality”
curated by minoru shimizu
ARTISTS:Hana Sawada, Hiroshi Tanihira

Hana Sawada

Hiroshi Tanihira

12 Apr.Fri.– 12 May Sun.2024
open on Fri., Sat., & Sun.12:00-18:00
appointments are available on weekdays

From April 12th, eN arts will be presenting “Showcase #12,” a group exhibition specializing in photography and video curated by Professor Minoru Shimizu. As its title suggests, this exhibition provides a true “showcase” for contemporary young photographers and video artists. With the first Showcase having been presented in 2012, this year’s exhibition marks its 12th consecutive year. This year Mr. Shimizu has selected two rising artists to present their works at “Showcase#12” exhibition: Hana Sawada and Hiroshi Tanihira.

This year, as well, eN arts will be participating in KYOTOGRAPHIE2024, the month-long international photography festival in Kyoto, as a KG+ for Collectors this year. Please refer to https://kgplus.kyotographie.jp for details. The theme of KYOTOGRAPHIE2024 is “‘SOURCE’ – The source is the beginning, the beginning, and the origin of all things.”

At showcase #12, we invite you to come and explore the fate of reality in photographic and video works…Is photography the source or reality the source?

eN arts looks forward to your visit.

eN arts

showcase #12 curated by Minoru Shimizu
Whereabouts of photographic reality

The 12th Showcase 2024 features Hiroshi Tanihira (b.1982, first appearance) whose surprisingly detailed and dense graphite drawings have attracted attention, and Hana Sawada (b.1990, second appearance since 2018) who, since her Canon New Century of Photography Award 2017(specially mentioned by Sandra Phillips), has been active in a number of exhibitions.

In Tanihira’s works a shermanictic figure is drawn in finest hard-edge lines with extreme richness of details. Since its emergence photography has visualized the invisible one after another, such as photographs of farthest nature and universe, as scientific or sport photographs capturing the one-thousandth instant, or those of ectoplasms and ghosts. In the end we could say, that the “reality” we know, be it visible or invisible, has come to consist of nothing but ordinary photographs. Reality is photographic! You would not call it “real” unless I draw it in exactly photographic style … this was/is an ironical core of the Superrealism which firstly emerged in the 1970’s and is still found in popular media such as YouTube.

Contrary to this, Tanihira’s pencil pursues something un-photographable, something that must lie beyond the photographic “reality”. Therefore, the essence of his works, the beautiful gray shine expressed in extremely fine, almost engraved lines, cannot be photographed. Please do not fail to look at the originals.

Now, a photograph is always a photograph of “something”, that is, the referent of photography, which has been regarded as something real outside of photography. The objects of Sawada’s works are digital images found in the internet. These are all digitally scanned, so to speak vacuum-packed images. Did/Does such ”thing” really exist, though? Here the artist tries to trace them back to their referents, which have once existed in reality, as she cuts the packed images open, uses digital methods and reconstructs the flattened images to three-dimensional objects.

It is not that Sawada would believe in “something”’ real existence. In her playful manipulations and humorous deployments of images, she rather expresses a kind of reality of recent digital images, which have totally broken with reality that has ever been.

April, 2024. Minoru Shimizu

I am awfully drawn to trifling things that are largely overlooked. For example, something small that happens to be included in a photograph. A sound, that sounds like speech, that I didn’t catch. My own shape, reflected in the monitor when I watch a movie. Or what “to understand” has in common with “to assume.” At those moments, I stop and look closely; that is where my work begins.

Images and words are surprisingly vague and slippery. Meaning is formed by the imagination, and accepted, lead there by the knowledge and experience of the person who encountered that trifling thing.

Imagination is like putty, natural, convenient, and easy to use to connect and fill in bumps and holes. Even if, for example, the filling in is rather crude and forced, one does not recognize that.

Arbitrarily connecting images and words, with imagination between them, seems perfectly natural behavior, but briefly stopping that movement or going too far with it makes their connections momentarily clear. When that happens, the distortions and gaps, the slips and deviations, that existed in the images and words are exposed. At the same time, we devote our consciousness to our imagination, to fill in those flaws. (For example, even if imagination immediately catches up and becomes familiar.)

Hana Sawada

The person depicted in the work is myself dressed as a fictional character I call Bush whacker, and the scenery in the background is the mountains and the sea within a few kilometers radius of where I live. To explain what a Bush whacker is, the term was coined to refer to a person who whacks President George W. Bush, who had started the Iraq War the year before, in 2004, when the original video work for this film was created. Although the word Bush whacker may suggest an anti-war message, it is not so much a social theme as it is a one, and was born out of the disquieting atmosphere felt by everyone at the time. The clothes of the Bush whacker are the same as the everyday clothes of the so-called working class, with the hope that it is the people who will change power and society.Allegorical motifs sometimes limit the meaning of a work, but I description them because I needed them to understand the work.

On the other hand, Bush whacker’s masks are also influenced by Japanese culture, especially by visiting deity, such as the use of sakaki in Shinto rituals. And it is interesting to note that there are events similar to in visiting deity various parts of the world. As the international situation continues to worsen, the basis of the production is an exploration of how to remain Japanese in the world and how one can relate to the world oneself.

Hiroshi Tanihira

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


Gallery's Site

SODEOKA Chika Exhibition
Glitter of the Earth,Breath of the Universe

11 Jun.Tue.– 22 Jun.Sat.2024


Rethinking the 1970s:
The Impact of Printmaking and Photography

25 Jun.Tue.– 20 Jul.Sat.2024

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

Atsushi Nakamura Exhibition

"camouflage wood-1"

"camouflage wood-3"

12 Jun. Wed. - 23 Jun.Sun.2024


Nozomi Tojinbara Exhibition
"Wishes and Ashes"

part.1 room(B)
12 Jun. Wed. - 23 Jun.Sun.2024

part.2 room(A)&(B)
26 Jun. Wed. - 7 Jul.Sun.2024

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

Kyoto City University of Arts Gallery @KCUA

Gallery's Site

Kyoto City University of Arts Relocation
Commemorative Program
Floating and Flowing:
For A New Ecosystem around KCUA

20 Apr.Sat.– 9 Jun.Sun.2024

Artists:Suujin Sukusuku Centre (Makiko Yamamoto), Takasegawa Monitoring Club,
Yuka Mori,Moemi Sasaki

57-1 Shimono-cho, Shimogyo-ku, Kyoto 600-8601 JAPAN
Tel:+81-75-585-2010 Closed: Monday


Gallery's Site

"trace panic"

18 May Sat.– 16 Jun.Sun.2024
Reception:18 May Sat. 16:00-19:30
opening hours:12:00 - 18:00
closed on Mon.Tue. and National holidays

MORI YU GALLERY is pleased to announce its opening in May 18,2024 with the solo exhibition
trace panic by Aki Lumi.

Aki LUMI: Born in Tokyo, Lives and works in Paris since 1993.

Artifacts. What have humans have made, acquired, and gained through constructing their world? Centered on such question and revision, Aki Lumi has been producing works using photography, drawing, painting, collage, and computation. For tools he uses pencil, pen, ruler, compass, scissors, gelatin silver process, calculator, and computer.

The snake-bodied gods of creation Fu Hsi and Nüwa hold a ruler and a compass in their hands in their depiction in the ancient stone painting. The main subject of the exhibited work “Fract-graph” is the architecture, over which humans’world models are thickly layered with various tools. Collaged on the white canvas is craft paper, pencil drawings,perspectival drawings of architectural plannings, and a golden waterfall. The straight lines and geometric polygons arethen added for more layers.

The artist’s latest series of drawing is also included in this exhibition. At the center of each piece, instead of an architecture, a stone statue, the product of awe, is drawn in trembling red lines to emerge from the depth of the picture plane.
"Skyscrapers and Godzilla share the parent; they were both given birth by the same semiconductor”, so the artist speaks. Humans seeing the world through the limited means and systems—can they trace the world as the infinite intertwinement? This exhibition is expected to provide the visitors an opportunity to throw such question.

The photographic series “The Garden” is comprised of fake photographs produced by combining several hundreds of pictures. Photographs of plants collected from forests and parks from all around the world are densely stuck on top of the architectural photograph, regardless of their scale differences. The central architecture is the interiors of religious architectures. The paradise that Aki Lumi has constructed by alternately using the scissors, glue and computer hereby comes forth as a gelatin silver print photograph.



FLYING CITY 〜from future〜

8 Jun.Sat.– 6 Jul.Sat.2024
Open 1PM - 6PM/ Fri.and Sat.

venue:133-17 Shimoseizoguchi-cho Kamigyo-ku Kyoto

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

Gallery Hillgate

Gallery's Site

Naoko Tanaka Exhibition

11 Jun. Tue.- 16 Jun. Sun.2024


Hideaki Numamoto Exhibition

11 Jun. Tue.- 16 Jun. Sun.2024


NOMIYAMA Gyoji Memorial Exhibition

18 Jun. Tue.- 23 Jun. Sun.2024


The 31th Exhibition of Small Works that Touch the Heart

25 Jun. Tue.- 7 Jul. Sun.2024

Small works in oil, watercolor, Japanese painting, prints, photography, sculpture, and crafts by 150 active artists


〈Back Yard〉
Yasuaki Kuzumoto

9 Jan.Tue.– 23 June.Sun.2024

I make sculpture by original technique. The technique is to act material from both human artificiality and natural phenomenon. Other works are installation used salvaged objects and art event promotion in “Satoyama” area. Through their works, I think about relationship of human and the outside world. In the process of creating artwork, materials acquire unique forms and patterns, textures through the action of natural phenomena. They may suggest to us the existence of a world that is invisible to our human eyes. Through the artworks, I want the viewer to direct their curiosity and imagination to the things that exist around us as a matter of course, and to the body that perceives them. It is also to be aware of our human-oriented perspective.

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

Kyoto Art Center

Gallery's Site

<North and South Gallery>


Tomoko Hayashi
"and the world is mud."

30 Mar.Sat.– 9 Jun.Sun.2024

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

Gallery PARC

Gallery's Site

Tsutsumi Kanae
That comes from the earth, that sleeps under there.

25 May Sat. – 16 Jun.Sun.2024

287 Saikachi-cho, Kamigyo-ku, Kyoto,602-8284 Japan


Gallery's Site

Nobuyasu Yoshida Exhibition
Bottle Glass Sculpture

29 Jun.Sat.– 13 Jul.Sat.2024
closed on Sun. Mon. and Tue.

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


Gallery's Site

IYANAGA Yuriko solo exhibition

15 Jun.Sat.– 23 Jun.Sun.2024

IYANAGA Yuriko is drawing with a low-resolution drawing software since she was a child.
She use LED monitors on a circuit board which show her drawing process and making corrage consists of cheap materials.
She was born in Kanagawa prefecture in 1991 and lives and works in Kyoto.


KOSHIMA Tomomi solo exhibition

29 Jun.Sat.– 7 Jul.Sun.2024

KOSHIMA Tomomi (b.1999, Kagawa pre., lives and works in Kyoto) is purely and enigmatic painter with a childlike spirit.
She graduated from the contemporary art course at Kyoto SAGA Junior college Of Arts.

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

Gallery Keifu

Gallery's Site

WATANABE Nobuaki Exhibition

13 Jun.Thu.– 23 Jun.Sun.2024


TAKAGI Tomoko Exhibition

13 Jun.Thu.– 23 Jun.Sun.2024


OKUNO Kumiko Exhibition

25 Jun.Tue.– 30 Jun. Sun.2024


SAWAMURA Haruna Exhibition

25 Jun.Tue.– 30 Jun. Sun.2024

21-3 Sanno-cho Shogoin Sakyo-ku, Kyoto, 606-8392 Japan
Tel: +81-75-771-1011  Closed: Monday

2kw gallery

Gallery's Site

NAKAYASHIKI Tomonari Exhibition

1 Jun.Sat.– 23 Jun.Sun.2024

3-29-1,Otowadai Otsu-city,Shiga, Japan TEL:090-5241-8096  Closed:Monday,Tuesday,Wednesday

Gallery G-77

Gallery's Site

Anna Hayat and Slava Pirsky

”Doll" 2023
Polaroid photography
print on paper, 84 x 105 cm

13 Apr.Sat.- 28 Apr.Sun.2024
(Closed on Monday) 11:00-18:00

“Gallery G-77 presents an exhibition titled “Existence” by Israeli photographers Anna Hayat and Slava Pirsky as part of the program KG+ (Kyotographie 2024).

Through large-format black-and-white Polaroid photographs taken both inside and outside the studio, they explore themes of trauma, self-sacrifice, and the fragility of life in an Israeli society deeply affected by ongoing war and terrorism. Their work moves away from strict documentary representation and constructs figurative images that resonate with current events. Unified by a consistent style and theme, the exhibition includes the main series ``My Personal Jesus,'' which combines Renaissance aesthetics with contemporary photography. In the wake of the October 7th terrorist attacks, artists have created new works that reflect a direct approach, evoking empathy and reflection. Experimenting with materials and techniques, they create photographs that look like historical artifacts, conveying the passage of time and adding an intriguing layer to the viewer's experience.

73-3 Nakano-machi Nakagyo-ku Kyoto,Japan 604-0086 Tel:090-9419-2326
Closed: Monday & Tuesday

Sokyo Gallery

Gallery's Site



Hideyuki Hayashi
A Retrospective Exhibition

Hideyuki Hayashi
A hill stretching its back
H90 x W50 x D26 cm
H35.4 x W19.6 x D10.2 in.

17 May Fri. – 15 Jun.Sat.2024

Hayashi Hideyuki, who passed away on 29 March 2024 at the age of 87, was active in the Japanese ceramic art world for many years and was much loved by many people. His work is highly regarded for its unique style and technique, and for its fusion of traditional Japanese pottery culture with the contemporary art scene. This retrospective exhibition will feature representative works from the past and Hayashi's most recent works spanning five decades. More than 90 works will be on display, ranging from object works to tea bowls and vessels.

〈Sokyo Annex〉


Kazuma Koike
Paintings and Sculptures

Kazuma Koike
H34 × W20 × D15 cm

16 May Thu. – 27 Jun.Thu.2024

Kazuma Koike is a painter and sculptor currently based in Osaka. He is best known for his black ceramic sculptures made with motifs of idols from various regions, but prior to 2018, he mainly presented paintings and drawings. This solo exhibition, entitled Paintings and Sculptures, will feature eight black ceramic sculptures and seven new paintings.

381-2 Motomachi, Higashiyama-ku, Kyoto, Japan 605-0089
Tel:+81-75-746-4456 10:00 am - 6:00 pm Closed Sunday, Monday


Gallery's Site

<5F Exhibition Space>


Yujiro Ueno solo exhibition
「Transformed Legacy」

「The Nine Sons of the Dragon」
each part of a series H1455×W727mm

18 May Sat.– 10 Jun.Mon.2024

<6F Gallery>


Kokeshisky solo exhibition
「Time and Deposition」


7 Jun.Fri.– 25 Jun.Tue.2024

Kyoto Takashimaya S.C.[T8] 2-35,Shijodoriteramacihigashiiruotabi-cho,Shimogyo-ku,Kyoto-shi
Tel:+81-75-606-4525  Open:10:00~20:00 Closed:irregularly

Museum Info

Kyoto City KYOCERA Museum of Art
Higashiyama Cube

Kyoto City Museum
of Art 90th
3 Feb. Sat. -
1 Sept. Sun. 2024

Kyoto City KYOCERA Museum of Art
The Triangle

Shima Haruka: Basting and Fieldwork
5 Mar. Tue. -
23 Jun. Sun. 2024

Shima Haruka
《移ろいの庭 scene #1》

Kyoto City KYOCERA Museum of Art
Main Building
(North Wing)1F
Main Building
(South Wing)1F

The Cubist
- An Exhibition
from the
Collection of the
Centre Pompidou,
20 Mar. Wed. –
7 Jul. Sun. 2024

The National Museum of Modern Art, Kyoto

The Work of
Shiro Kuramata:
A Microcosmos
of Memory
11 Jun. Tue. -
18 Aug. Sun. 2024


and the
Challengers of
25 May Sat.-
7 Jul. Sun. 2024

《Morning Peonies》

The Museum of KYOTO

Guardians Shrine
Western Kyoto
27 Apr. Sat. -
23 Jun. Sun. 2024