Kyoto art exhibitions and cultural events

Tamesaburo Yamamoto (1893-1966), the first president of Asahi Breweries Ltd. (now Asahi Group Holdings, Ltd.), was a strong supporter of the Mingei movement from its early stages. The Tamesaburo Yamamoto Collection held by our museum mainly consists of works by Kanjiro Kawai (1890-1966) and Shoji Hamada (1894-1978), who were central figures in the Mingei movement. Kawai and Hamada met at Tokyo Higher Technical School (now Tokyo University of Science) and honed their skills together at the Kyoto Municipal Ceramic Research Institute. In 1926, they co-founded the Mingei movement with thinkers such as Soetsu Yanagi, and maintained a deep friendship throughout their lives. While tracing the lives of these two men whose young souls resonated with each other, we will introduce the charm of the works of both men who continued to pursue their respective paths. [Kawai Kanjiro (1890-1966)] Born in what is now Yasugi City, Shimane Prefecture. He met Hamada Shoji at the Ceramics Department of Tokyo Higher Technical School (now Tokyo University of Science), and together they founded the Mingei (folk craft) movement through their interactions with Yanagi Soetsu and others. He created pottery based in Gojozaka, Kyoto, and produced a diverse range of works throughout his life. [Hamada Shoji (1894-1978)] Born in what is now Kawasaki City, Kanagawa Prefecture. He met Kawai Kanjiro at the Ceramics Department of Tokyo Higher Technical School (now Tokyo University of Science). In 1920, he traveled to England with Bernard Leach, where he created pottery, and after returning to Japan, he promoted the Mingei movement based in Mashiko, Tochigi Prefecture. List of Works

● All 8 Monet works owned by the Asahi Group will be exhibited together for the first time in 10 years* ● "Jewel Box in the Ground" (Underground Pavilion), an exhibition room designed by Tadao Ando specifically for the "Water Lilies" series ● Witness Monet's magnum opus from his later years As the museum celebrates its 30th anniversary, a passageway leading underground from the main building, "Oyamazaki Villa," which is over 100 years old, leads to a circular exhibition room designed by Tadao Ando, ​​created specifically to display Claude Monet's "Water Lilies." In this "Jewel Box in the Ground" (Underground Pavilion), all 8 Monet works, one of the core pieces in the museum's collection, will be exhibited in two phases, six pieces each. Five "Water Lilies" paintings and three others, including "Japanese-style Drum Bridge," will be displayed together for the first time in 10 years. Enjoy an immersive viewing experience surrounded by Monet's magnum opus in a tranquil space that harmonizes beautifully with the garden and surrounding nature. *Some exhibits have been changed, with 6 pieces displayed in each of the first and second periods. List of Works

What did the ancient Chinese find at the end of the endlessly repeating spiral? The bronze artifacts of the Yin and Zhou dynasties, created with advanced casting techniques, are characterized by their fantastical forms and intricate, bizarre patterns. A variety of motifs appear, from real animals such as tigers and owls to mythical beasts such as dragons, phoenixes, and taotie, and the spiral patterns that fill both the inside and outside of these patterns and motifs further enhance the mystical impression. Throughout history and across cultures, the spiral has been represented with strong magical connotations. From its repeating rhythm, ever-changing patterns and designs are born, and the visual effect that seems to radiate overflowing energy is unlike anything else. At the Sen-oku Hakukokan Bronze Gallery, we will bring together masterpieces from the Sumitomo Collection, considered among the world's finest, and introduce the captivating design sensibilities of ancient China in their entirety. Enjoy the treasures of ancient China, which could be called the last unexplored frontier of Oriental art, in a special space designed exclusively to display bronze artifacts.

Hosoo is pleased to announce the exhibition Theaster Gates: Glorious Robe , a joint project with the artist. Theaster Gates has engaged in an expansive artistic practice that encompasses ceramics, sculpture, music, performance, architectural interventions, and urban development. Through these diverse media, Gates seeks to reimagine and propose new futures for seemingly fallow and endangered spaces, archives, collections, histories and rituals. Since its establishment in the Nishijin district of Kyoto in 1688, Hosoo has been dedicated to pioneering advancements in textile production, while firmly anchored in the time-honored practices of traditional dyeing and weaving. Gates and Hosoo have collaborated extensively on a number of creative projects that privilege textiles and garments as artistic practice, beginning with Gates’s 2024 solo exhibition Afro Mingei at the Mori Art Museum. The present exhibition, entitled Glorious Robe , showcases the latest body of work that emerged from these dialogues. The novel forms of clothes in this exhibition, born from the distinct lineages of African and Japanese sartorial cultures, express the “power to move society” that grounds Gates’ practi

Maruyama Ōkyo (1733–1795), best known for his charming paintings of puppies, was a great artist who fostered many disciples and laid the groundwork for what we recognize today as "Nihonga" (Japanese painting). This exhibition will feature works by Maruyama Ōkyo and his direct disciples such as Nagasawa Rosetsu, along with an unprecedented 40 newly discovered works by Ōkyo's grand-disciple, Yano Yachō. This is a must-see exhibition for Edo painting enthusiasts. The exhibition is organized into three periods. During the Edo Period (to 1868), art flourished in Kyoto. While Itō Jakuchū (1716–1800) is well known, many other excellent painters also left their mark. Another innovator, Maruyama Ōkyo (1733–1795) was born nearby in what is now Kameoka City. During his twenties, learning how to incorporate Western perspectives, he mastered megane-e, that is optical pictures, which have a 3D look when seen through a convex lens viewing device. Under Kanō school painter Ishida Yūtei (1721–1786), he studied the fundamentals of the dominant Japanese painting style. Later, Ōkyo settled into a painting method that depended on shasei (sketching from life). The naturalism he introduced shook up a pa

The tradition of Raku tea bowls has been transmitted within the Raku family for over 450 years through the principle of isshi sōden , whereby artistic secrets and technical knowledge are inherited by a single successor. The origins of the Raku lineage date to the Azuchi–Momoyama period (late sixteenth century), a formative era marked by significant political and social transformation under figures such as Oda Nobunaga and Toyotomi Hideyoshi. In this age of military conflict and cultural realignment, the tea master Sen Rikyū exerted profound influence on the ruling elite through the practice of tea. The origins of Raku ware are closely associated with his collaboration with the Raku family. At Rikyū's request, the first-generation Raku Chōjirō was commissioned to produce a new type of tea bowl that would embody the ideals of Rikyū's wabi-cha , characterised by simplicity, austerity and spiritual depth. This encounter marks the beginning of the Raku tradition.

Leica Camera Japan is pleased to present Meeting Point and Colour Matter(s) , two photographic exhibitions by Portuguese photographer Teresa Freitas. Working with colour as her central subject, Freitas has developed a distinctive visual language that moves fluidly across the realms of street, documentary, and fine art photography. Her work approaches colour not as mere decoration, but as a fundamental force that constructs space and guides perception, offering a fresh perspective within contemporary photography. In her images, light and colour respond to one another, and distant places become quietly connected. Transcending geographical and cultural boundaries, Freitas’s photographs reveal new contours of the world through visual continuity. This exhibition introduces her ongoing exploration and practice surrounding colour through these two series. This exhibition presents a series that approaches colour not as a decorative layer, but as a fundamental structure that builds space, shapes perception, and organizes photographic meaning. Colour Matter(s) is less concerned with recording events than with observing how the world composes itself visually. It seeks to examine how colour p

Kurashiki Aya explores the relationship between the self, others, and communities through her work. She creates collages by combining religious masterpieces with images found online and photographs she has taken herself. These are then transferred onto canvas, positioning the resulting works as acts of faith and care. In addition to her two-dimensional pieces, she also develops installations and ritualistic performances. For this exhibition, Kurashiki will create new works using pieces from the museum’s collection as motifs. By superimposing her own physical experiences and sensations onto works that have long been discussed within the broader narrative of Kyoto art, she will forge new relationships between personal memory and history. What is captured through her transfers is not merely imagery, but also the accumulation of time and the human gaze. This exhibition will offer a space to reflect on our relationship with others and history through such layers. The Triangle The Triangle (basement level of the Northwest Entrance, free admission) is a space newly created to mark the renewal opening of the Kyoto City KYOCERA Museum of Art. It aims to nurture and support emerging artists,

Breaking the Norms: 1990s British Art Is Here This exhibition explores the dynamic evolution of British art from the late 1980s to the early 2000s. After going through the Thatcher era (1979–1990), a charged and uncertain social climate gave rise to a new generation of artists who challenged traditional norms and embraced bold, experimental practices. Many of the newer generation of artists who came to prominence in the 1990s were referred to in the art and popular media under the title Young British Artists (YBAs). Alongside other artists active at the time, these artists explored themes such as popular culture, personal identity, and shifting social structures. They worked across a diverse range of media, including painting, sculpture, photography, video, and installation. Featuring around 90 works by approximately 50 artists, the exhibition traces the radical creativity and groundbreaking approaches that redefined British art in the 1990s.

This exhibition takes a multifaceted look at the relationship between graphic design and the performing arts. Through the lens of the DNP Graphic Design Archives' collection of theater posters, it introduces how graphic design can condense the one-off nature and simultaneously merging of forms found in temporal arts like theater and dance onto a two-dimensional surface. Take a fresh look at the power of posters, and their ability to not only spread awareness, but to create memories and lead viewers to their next experience.

The Hosomi Art Foundation holds diverse exhibitions around the 1,000-piece Japanese art collection. Featuring works from the Jomon/Yayoi periods to Edo-period painting by various schools, the collection represents almost all periods of Japanese art in the genres of painting, sculpture, decorative art and calligraphy, among which are some first-rate works by Ito Jakuchu.

Hakari Contemporary is pleased to present "Suspended Reincarnation," a solo exhibition by Koshiro Shikine. Shikine has developed expressions that reconstruct events and bodily experiences, questioning the nature of perception, while traversing multiple media such as video, sculpture, and performance. Fragmented events, situations where only the results are isolated, and spaces where seemingly possible but not quite happening intersect quietly shake the perceptions and values ​​we unconsciously take for granted. This exhibition, "Suspended Reincarnation," is based on the exhibition of the same name held at Kanda & Oliveira (Funabashi City, Chiba Prefecture), which focuses on contemporary art, with the cooperation of independent curator Manami Totsuka. It incorporates new elements such as performance and is reconfigured to suit the space of Hakari Contemporary. Through Shikine's practice, this exhibition presents questions surrounding time, body, and perception as states that arise between space and time. We invite you to visit and experience this exhibition.

Marimekko is a Finnish design house, founded in 1951 and one of the world’s first true lifestyle brands that transcends the boundaries of fashion and design. In Japan, Marimekko has a long history and the company continues to be loved across generations. Using a diary entry by Marimekko's founder, Armi Ratia as a conceptual pathway, the exhibition explores Marimekko’s art of printmaking and creative aesthetic from multiple angles and guides the visitors through the world of Marimekko. It features a diverse collection of dresses from varied decades, artworks, and printed textiles. Download flyer (Japanese only) Download the List of Works

The sight of a rainbow arching across the sky after a shower of rain never fails to inspire surprise and delight. Rainbows have a wondrous way of making us think something magical is about to happen and wanting to share the sight with someone. People of every country in the world, present and past, have encountered rainbows several times in their lives, but in ancient times, the play of light and color was interpreted differently from one culture to another. Like the colors that shine in the thin film of a soap bubble, rainbow-like iridescence is a familiar part of daily life. Since Newton, science has shown how the colors of the spectrum arise from the intricate interplay of light, yet even today, the allure of a rainbow, or any unpainted surface that manifests multicolored brilliance, continues to captivate us. Following the 2018 exhibition “Red and Blue: Exploring the World of Sacred Colors,” this is the second in our series of interactive exhibits enjoyable for all ages. Highlights include our Yōhen Tenmoku Teabowl (Important Cultural Property), famed for its striking iridescent surface, lacquerware inlaid with sparkling mother-of-pearl, and ancient glass that shines with a mys

Cult Figure of a Falcon-headed Deity Egypt 1295 - 1213 B.C. Statue of Goddess Egypt about 270 - 246 B.C.

We are pleased to present an exhibition of hand-blown glass works by Hideki Yokoyama, created in Iizuka, Fukuoka Prefecture. Yokoyama studied under Shinzo Kotani, the founder of Kurashiki Glass, and has continued to deepen his practice by trusting his own sensibilities and responding directly to the material. Rather than relying on thermometers, he works by carefully gauging the day's temperature, the condition of the furnace, and the softness of the molten glass itself. As a result, each piece retains a rich and subtle irregularity that cannot be replicated through uniform production. Soft contours, tiny air bubbles suspended within the glass, and slight variations in thickness all contribute to its character. As the glass catches the light, its appearance shifts and changes, taking on different expressions depending on the time of day and the place in which it is displayed. These are not objects shaped to exact measurements; rather, they possess a natural ease, as though the glass has settled into its form of its own accord. With daily use, their quiet beauty reveals itself more deeply over time. This exhibition will feature a selection of drinking glasses, bowls, and plates, as

Jul 18 - Aug 2, 2026 This exhibition explores the phenomenon in which the artificiality of a fake object—its very quality of being recognizably fake—imbues an image with a unique appeal distinct from that of the real thing, using the phrase “low-polygon utopia”as a point of departure. “Low-polygon” refers to 3D computer graphics models that represent objects with a limited number of polygons (surfaces). Originally developed and widely used due to the limitations of early computer processing power, low-polygon models are now appreciated as an aesthetic in their own right for their simplified and geometric forms. (Hereafter referred to as “low-poly.”) Although “low-poly” is generally a term used in relation to digital data, real-world objects such as artificial plants, wallpapers and display platforms made by combining pixelated print sheets, as well as inexpensive toys, plush figures, and everyday items with a certain low-quality finish, may also be considered “low-poly” in a broader sense. Through their artificial appearance, these objects evoke a new kind of attraction distinct from that of the originals. They can also trigger a nostalgic sensation, creating a feeling akin to a di

The Fukuda Museum of Art in Arashiyama, Kyoto, will be holding a special exhibition themed on prayer from July 18th to September 6th, 2026. Since ancient times, before the advent of writing, people have imbued paintings with heartfelt prayers. Through painting and viewing art, they have prayed for their own happiness, the happiness of those close to them, and the peace and security of their nation. This exhibition sheds light on the diverse forms of prayer embodied in these works. First, we will introduce the world of "Buddhist paintings," depicting the figures and stories of Buddha. Introduced during the Asuka period, Buddhist paintings, like Buddhist statues, were objects of prayer in temples and places of worship. In modern times, after a major crisis caused by the anti-Buddhist movement in the early Meiji era, the re-evaluation of traditional art by figures like Okakura Tenshin and the progress of research into Buddhist sites in India led to a resurgence in the production of Buddhist paintings. Painters incorporated the shading and light techniques of Western painting, pursuing new possibilities for religious art. This chapter begins with Buddhist narrative paintings depicting the life of Shakyamuni by Yokoyama Taikan and Hishida Shunso, and then introduces modern works depicting various forms of Buddha and celestial maidens, such as those by Irie Namiko and Murakami Kagaku, who entrusted their spirituality to Buddhist paintings. Irie Namiko's masterpiece, "The Village at the Critical Point," will also be on special display.

In the late 19th century, the Italian painter Antonio Fontanesi (1818–1912) educated burgeoning artists such as Asai Chu, Koyama Shotaro, and Matsuoka Hisashi as a teacher at the Kobu Bijutsu Gakko (Technical Art School). In terms of European art history, Fontanesi was influenced by the Barbizon artists and J.M.W. Turner before emerging as a painter of unique poetic landscapes. This exhibition, organized in cooperation with the Turin Civic Gallery of Modern and Contemporary Art (GAM) and the Turin Museums Foundation, provides a comprehensive overview of Fontanesi’s entire career while highlighting his originality. In addition, works by Japanese students and later generations of Italian artists shed light on the artist’s influence and legacy. By painting a complete picture of Antonio Fontanesi, the exhibition shows that he was much more than a “foreign expert” employed by the Japanese government.

Active in the mid-19th century, the ukiyo-e artist Utagawa Kuniyoshi (1797-1861) made musha-e (warrior pictures) based on the classic Chinese novel Shui hu zhan (The Water Margin) along with a diverse range of other works such as bijin-ga (pictures of beautiful women) and landscapes. In this exhibition, we introduce the captivating world of Kuniyoshi through some 200 ukiyo-e works and immersive videos.

A Gaze on Glue – Reconsidering and Responding July 25 (Sat) – August 23 (Sun), 2026

Over the course of about 70 years, Akita-born collector Michio Aburaya has been collecting all kinds of objects related to the everyday lives of ordinary people. These objects carry the traces of the lives of nameless people and the accumulated memories of generations. In this exhibition, we focus on Michio Aburaya’s life as a collector, with the participating artists and researchers using the objects in his collection as starting points for new interpretations and interventions, creating a space where folk tools, art, and archives intersect. Can collected objects be considered art? Our exhibition will open this question. ▼ Michio Aburaya Born in Yokote City, Akita Prefecture, in 1934. Graduated from Akita Prefectural Omagari Agricultural High School. Aburaya first began collecting folk tools in 1950. For 13 years beginning in 1979, he ran the “Folk Tools Museum” inside the “Aoyagi House,” a historical samurai residence in Kakunodate Town (now Semboku City, Akita Prefecture), and served as the director of the “Hiraka Town Rural Culture Heritage Museum.” In 1992, he opened the “Akinomiya Museum” (closed in 2010) in the Akinomiya Hot Springs village of Yuzawa City, Akita Prefecture.

In June 2021, I held my first solo exhibition at THE TERMINAL KYOTO, titled "Appreciating Gardens and Sculptures in the Rainy Season," focusing on two gardens. This time, after the Gion Festival's later stages, I will hold my second solo exhibition, titled "Appreciating Gardens and Sculptures in Midsummer." This time, the exhibition will focus on two gardens.

Before devoting himself to urushi , Iwashita worked across several fields: architectural design, bonsai cultivation, the restoration of antique Japanese furniture, and later the study of lacquer and maki-e . He describes his encounter with urushi as the moment that brought these seemingly different experiences together around a single axis. From bowls and furniture to paper cord, maki-e and raden , Iwashita undertakes every stage of the process himself. His relationship with urushi is not simply the pursuit of beauty or technical mastery, but a multidimensional practice that reconnects the richness of urushi culture with contemporary life.

Leica Camera Japan is pleased to present "what matters," a solo exhibition by photographer Kisshomaru Shimamura. The exhibition features a new body of work created during the artist's travels through New York, Portland, and Los Angeles. Rather than setting predetermined destinations or subjects, Shimamura wandered each city on foot, meeting people and allowing himself to be guided by the rhythm of the places he encountered. In Portland, where he once lived, he reunited with old friends and spent much of his time in everyday settings such as cafés, parks, and skate parks. The photographs do not depict extraordinary moments or remarkable events encountered during travel. Instead, they portray conversations with friends, people passing by on city streets, and landscapes that prompted the artist to pause. These are scenes that might appear entirely ordinary, familiar to anyone. Yet within each image lies a quiet trace of the time the artist spent there—moments in which his attention and presence became inseparable from the landscape itself. Even the exhibition title, "what matters," was not conceived before the journey began. It emerged only afterward, as Shimamura reflected on the ph

Jul.21st ,Tue– Aug. 1st Sat, 2026 12:00~18:00(last day ~17:00) online shop

This workshop involves collaboratively creating an illustrated scroll using Japanese painting pigments and ink, as well as the tarashikomi technique. Participants will find their own themes by viewing the tools, hides, and materials used in the production of animal glue, works created by 37 artists using animal glue, and the Kyoto-ba building, which was formerly a dyeing and weaving factory, all of which are exhibited in "A Gaze Towards Animal Glue - Reconsidering and Responding." Through a lecture on how to use Japanese painting materials, participants will mix pigments and white pigment with animal glue and freely express themselves through illustrated scrolls using classical Japanese painting techniques such as line drawing and tarashikomi. ■Date and Time: August 2, 2026 (Sun) 14:00-16:00 ■Target Audience: Elementary school 3rd graders to adults ■Capacity: 13 people (Reservations required - please contact us by email. Registration will close once the capacity is reached.) ■Instructor: Aguri Uchida (Painter, Supervisor of this exhibition) ■Participation Fee: 1000 yen (includes materials)

This time, ZENBI—Kagizen Art Museum—will be holding a collection exhibition centered on the book "Kagizen: Behind the Scenes of a Kyoto Confectionery Shop" (authored by Yoshiya Imanishi), published in 2024. When you think of Kagizen Yoshibo (hereinafter referred to as Kagizen), many people will surely think of works such as the "Large Zelkova Wood Display Shelf with Wipe-Lacquer Finish" (1932) and the "Mother-of-Pearl Inlaid Kuzukiri Container" (1932) by wood and lacquer artist Tatsuo Kuroda (1904-1982). The wrapping paper for the confectionery has been designed by painter Etsuro Suzuki (1924-2013), the paper bags by contemporary artist Akira Yamaguchi (1969-), and various artists have also created the decorative paper used depending on the season and purpose. Titled "Behind the Scenes," this exhibition will introduce the collection items that have adorned the confectionery and the shop, along with confectionery molds and other items indispensable to Kagizen's confectionery making. The exhibition also features photographs used in the book showing the process of making the sweets. Please come and see the "behind the scenes" that support Kagizen. [Exhibiting Artists] Kanjiro Kawai, Tatsuaki Kuroda, Etsuro Suzuki, Akira Yamaguchi, and others *The book "Kagizen: Behind the Scenes of a Kyoto Confectionery Shop" (by Yoshiya Imanishi) can also be purchased at the Kagizen Ryobo online shop [https://www.kagizen.co.jp/].

Chrysanthemums, which bloom with dignified elegance even in the cold, are also known as 'the flower of the reclusive hermit'. They have been likened to the image of an 'hermit' (a person who withdraws from worldly affairs), and have long been regarded as a symbol of sages and virtuous gentlemen, representing purity, integrity, and noble character. In ancient China, many poems themed on chrysanthemums were composed by literary figures such as Tao Yuanming, who was particularly devoted to the flower. It is said that chrysanthemums were introduced to Japan during the Heian period, and from around the time of the Kokin Wakashū (Collection of Ancient and Modern Japanese Poetry), they began to appear frequently in waka poetry. Later, during the Edo period, around the Genna and Kan'ei eras, chrysanthemum cultivation became widespread among the general public, and by the mid-Edo period, around the Genroku era, it had become a major craze. A wide variety of chrysanthemums were cultivated, and not only did chrysanthemum-viewing and flower competitions flourish, but the flower also became a highly popular motif in kimono designs and various works of art.

The bronze vessels of the Yin and Zhou dynasties, characterized by their intricate and delicate forms, sometimes bear inscriptions of characters used by the people of that time. These ancient Chinese characters—bronze inscriptions—are the older forms of the Chinese characters we use today, and offer valuable clues to understanding the society and culture of that era. Carefully reading the inscriptions allows one to experience a sense of reality, as if hearing the very breath of the ancient Chinese people. The beauty of the characters themselves is also remarkable, captivating and influencing calligraphers throughout history. This autumn, the Bronze Gallery will hold a special exhibition focusing on these bronze inscriptions, exploring their rich world together with the Sumitomo Collection. This is a must-see for anyone interested in bronze vessels or ancient China, as well as those interested in calligraphy and ancient characters.

In September of the third year of the Kan'ei era (1626), during the early Edo period, Emperor Go-Mizunoo visited Nijo Castle in Kyoto at the invitation of the retired shogun Tokugawa Hidetada and the current shogun Tokugawa Iemitsu. On the first day, September 5th, the city of Kyoto was filled with unprecedented excitement as the imperial family, court nobles, the shogun, and daimyo from all over the country gathered for a grand procession. The Kan'ei Imperial Visit can be said to have heralded the arrival of an era of peace and spurred the stirrings of a new culture. This exhibition looks back on this historical event, focusing on the "Imperial Visit to Nijo Castle Folding Screen" (a Kyoto City designated cultural property) owned by the Sen-oku Hakukokan Museum, which vividly depicts the procession. Furthermore, it examines the Kan'ei culture that developed from before and after this event into the latter half of the 17th century, starting with one woman, Tofukumonin (Tokugawa Kazuko). As the daughter of a shogun and later the empress of the emperor, she was surrounded by a constellation of cultural figures, including Emperor Go-Mizunoo, Sen no Sōtan, Shōkadō Shōjō, Kobori Enshū, and Nonomura Ninsei. Through interactions that transcended social class, they forged their own unique forms of beauty. The exhibition traces her footsteps in beauty and interaction, featuring items associated with Tōfukumonin, who served as a bridge between the public, military, and common people. Nearby are numerous temples and shrines associated with the early Edo period's restoration, including Kōunji Temple, Tōfukumonin's family temple. Spend some time reflecting on the Kan'ei culture in this place that still conveys the spirit of the refined people of that era.

この度 PURPLE では俳優・仲野太賀、写真家・阿部裕介による ​ 写真展「 Once Upon A Time ！」を、 ​9/​10( 木 ) より開催いたします。 阿部裕介 1989年、東京生まれ。写真家。青山学院大学経営学部卒。人と風景のあいだに立ち上がる物語を追いながら、国内外を巡り撮影を続けている。写真集に、高知のよさこい祭りを記録した『ヨサリコイ』、今井浜海岸で家族を撮った『Moments Will Fade』、インドを旅した『Relagaadee』『Shanti Shanti』など。俳優・仲野太賀、映像作家・上出遼平とともに「Midnight Pizza Club」を主宰。

Matsunobe Soshi is an artist who engages with intangible phenomena such as lines, shadows, the unconscious, and the ground (background) through installations, sculptures, drawings and various other media. Using everyday motifs such as wallpaper, rubber bands, and graffiti as materials, he has presented works that focus on the processes by which these materials are made, as well as their functions and relationships. His practice calls into question the act of creation itself, prompting us to reconsider the premises of making, seeing, and being. Alongside introducing Matsunobe’s consistent approach, this exhibition offers viewers an opportunity to newly reflect on their own ways of perceiving and interpreting the world. The Triangle The Triangle (basement level of the Northwest Entrance, free admission) is a space newly created to mark the renewal opening of the Kyoto City KYOCERA Museum of Art. It aims to nurture and support emerging artists, while also providing a space where visitors, including citizens and tourists, can freely engage with contemporary art. As of February 2026, the space has introduced a total of 21 emerging artists associated with Kyoto. In 2026, the following th

Yamaga Seika, a pioneer of textile art. This long-awaited retrospective—the first in 40 years—will be held at Kyoto City KYOCERA Museum of Art. Yamaga developed teori-nishiki (handwoven brocade), a distinctive form of textile art in which the artist oversees every stage of production, from design and material selection to the weaving process itself. Through representative works and archival materials, this exhibition traces the career of this little-known Kyoto-born artist, featuring tapestries created for the Gion Festival as well as spatial decorations produced in collaboration with architect Murano Togo, among other works. Born into a family engaged in letterpress printing in Kyoto, Yamaga Seika (1885–1981) began studying Nishijin-ori textile design and nihonga painting in his teens. He later became a student of Kamisaka Sekka, under whom he further expanded the scope of his artistic practice. Yamaga gained recognition after developing teori-nishiki (handwoven brocade), a form of tapestry weaving in which the artist personally undertakes every stage of production—from design and yarn selection to the weaving process itself. In 1927, he was awarded a Special Prize in the newly es

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Georges Rouault (1871-1958), a devout Catholic, created a unique style of art in modernizing France, distancing himself from the contemporary artistic trends. The harsh expressions of acrobats and other people living on the fringes of society, which he initially depicted in dark tones, gradually transformed over time, becoming gentler and more compassionate, and the layers of paint he applied increased in thickness. This evolution in expression and technique can also be seen in his works depicting biblical themes, suggesting that the painter found Christ in the figures of secular people and attempted to depict both together. This exhibition, one of the special exhibitions commemorating the 30th anniversary of the museum's opening, brings together all four of Rouault's works from the Asahi Group Oyamazaki Villa Museum of Art's collection, along with approximately 35 works from the Panasonic Shiodome Museum of Art, a center for Rouault research in Japan, highlighting the prayers the painter expressed in both sacred and secular themes.

Love and desire, the poignant emotions of people yearning for one another—artists depicted these in the form of "shunga" (erotic prints). It is believed that these prints already existed during the Heian period. The *Chigo Zōshi*, being publicly displayed for the first time in this exhibition, is an illustrated scroll from the early 14th century depicting intimate relationships between young boys and monks, accompanied by accompanying text. It is considered a legendary shunga, whose existence was only known through copies and books. Also on display is a scroll copy of the *Koshibagaki Zōshi*, one of the oldest shunga depicting sexual activity in Japan, made by the Edo period artist Tani Bunchō. Furthermore, the exhibition includes hand-painted shunga by Tsukioka Settei and others, as well as Katsushika Hokusai's masterpiece *Nami Chidori* (Waves and Plovers), and works related to "love" by Uemura Shōen and Kaburagi Kiyokata.

Kyoto was founded more than a thousand years ago. Its historic sites, sacred precincts, and charming townscapes have made it a global destination for travelers. In this exhibition, as painted during the early-modern and into the modern period, you can enjoy Kyoto’s enduring attraction. The famous places, traditional events, and distinctive culture that attracted the artist's eye still fascinate both Japanese and overseas visitors. The show features Scenes in and Around Central Kyoto (first show period), Scenes Outside Central Kyoto (middle and late show period), and Hara Zaichū's (1750−1837) Aoi Matsuri Scroll (sections on display in each period). You can both feast your eyes on depictions of iconic Kyoto geiko and maiko, and savor paintings of well-loved Kyoto vegetables. In this city known for its long-established shops, packaging has long brought delight to urban culture. Japanese sweet shops even commissioned top artists to design wrapping. Here you can see examples created by Tomioka Tessai (1836−1924), Ikeda Yōson (1895−1988), and others. Whether you are a first-time visitor or a resident, we hope the art in this exhibition helps you to discover things you didn’t know and to

Kyoto was founded more than a thousand years ago. Its historic sites, sacred precincts, and charming townscapes have made it a global destination for travelers. In this exhibition, as painted during the early-modern and into the modern period, you can enjoy Kyoto’s enduring attraction.

An immersive exhibition exploring Zen through the works of Studio Ghibli. The Zen and Studio Ghibli Exhibition will be held in autumn 2026 at the Higashiyama Cube, New Building of the Kyoto City KYOCERA Museum of Art. Based on the book Zen and Ghibli , which compiles conversations between Studio Ghibli producer Toshio Suzuki and Zen monks, this exhibition offers a unique, experiential way to encounter a Zen-like sense of acceptance through Ghibli’s works. Ghibli films often embody a worldview that does not divide good and evil, leaves space instead of rushing to answers, and embraces the attitude of “accepting without fully understanding.” This resonates deeply with the Zen principles of “not dividing,” “not judging,” and “seeing things as they are.” The Boy and the Heron (2023), the latest film by Hayao Miyazaki, which attracted audiences worldwide, leaves a quiet, lingering impression without offering clear answers. This exhibition is structured around that film, revealing a Zen-inspired way of seeing that shapes Ghibli’s world.

The Tale of Genji , written during the Heian period (794–1185) by Lady Murasaki Shikibu (dates unknown), is Japan’s most esteemed literary classic and is widely regarded as the world’s first novel. Set against the rarefied world of the imperial court, the story recounts the romantic entanglements of the “shining prince” Genji with an array of distinctive women, while providing vivid glimpses into daily life and the human psyche. Murasaki’s tale has enchanted successive generations over the past millennium, giving birth to a broad range of cultural and artistic forms. This exhibition of unprecedented scale presents a diverse array of approximately 250 artworks (planned total, including those shown at other venues). These encompass masterful paintings and works of decorative art inspired by scenes from the Tale and its motifs, later manuscript editions and commentaries produced by successive generations, and works tracing the novel’s influence on the performing arts. Among the highlights are the Blue-Cover edition ( Aobyōshi bon ), a manuscript edited by Fujiwara no Teika (1162–1241), and the elusive “Phantom Genji Scrolls” (also known as the Moriyasu edition), a lavish set of illust

What kind of jewellery truly suits you? This shouldn't be dictated by the opinions of others or by your age, nor does it have to come from an expensive brand; rather, it should be something that expresses how you feel right now, empowering you to live with strength and fulfilment. This exhibition showcases the work of artists who are exploring this very aspiration. It was 1964, in an era when jewellery was not yet mainstream in Japan, that Hiramatsu Yasuki (1926–2012), Hishida Yasuhiko (1927–1981) and others established the Japan Jewellery Designers Association (JJDA). The ‘International Jewellery Arts Exhibition’ (held at the Seibu Department Store in Shibuya from 1970 to 1986), organised primarily by the JJDA, introduced Western trends to Japan and helped to disseminate the concept of design as a value distinct from that of materials alone. In the late 1970s, Japan was introduced to jewellery which engaged conceptually with the distinctive characteristics of the medium and echoed contemporary art. Known as ‘contemporary jewellery’, this work offered expressions that subverted the traditional roles of wealth and symbolic status, as well as the relationship between the wearer and t

We are accepting submissions for works to be featured at the zine exhibition and sale "koen zine fair," scheduled to be held in November. We welcome submissions of any genre or size, including photographs, illustrations, and essays. We look forward to your submissions. Dates: 10/30 (Fri) - 11/22 (Sun), 2026 (tentative) *Closed on Mondays, Tuesdays, and Wednesdays Venue: koen 2F gallery 15-2 Ichijoji Tsukamoto-cho, Sakyo-ku, Kyoto City, Kyoto Prefecture 606-8176 [Submission Period] 1st Submission Period: 7/1 (Wed) - 20 (Mon), 2026 2nd Submission Period: 9/15 (Tue) - 30 (Wed), 2026 [How to Apply] Please submit the application form and send one copy of your work within either submission period. For details, please check the application guidelines listed on the application form.

To commemorate the 100th anniversary of the death of Sumitomo Kichizaemon Tomozumi (pen name: Shunsui, 1864–1926), the 15th head of the Sumitomo family who laid the foundation for the Sen-oku Hakukokan Museum's collection, we will introduce works associated with him. We will trace his interactions with artists who lived during the same era through the Japanese paintings, Western paintings, and crafts in our collection. Furthermore, we will re-examine his aesthetic sense through the works that interested him, and take this opportunity to reconsider the history of the collection's formation, including the background of its collection and the historical context of its time.

Art Collaboration Kyoto (ACK) is an art fair held in Kyoto with collaboration at its core. One of the leading art fairs in Japan specializing in contemporary art, and a total of 72 galleries from Japan and around the world will gather in ICC Kyoto.

November 25th (Wed) - November 30th (Mon), 2026, 11:00 AM - 7:00 PM (until 3:00 PM on the last day) Photographer Hidekazu Nagai Solo Exhibition Fragments of memories etched by the Earth, encountered during his travels around the world. Bringing their brilliance and presence to you.

This winter in Kyoto. Now is the time for Hakuin. Studio Ghibli presents the exhibition "Hakuin's Zen," which will be held at the Higashiyama Cube in the new building. This exhibition is the second part of the "Zen and Ghibli" Kyoto exhibition, which allows visitors to experience Zen through Studio Ghibli works, and is an art exhibition that displays the works of Hakuin Ekaku, a Zen monk of the Rinzai school, along with video content. Hakuin, who lived during the Edo period, was a renowned monk who dedicated himself to spreading Zen teachings to the people through numerous calligraphic works and paintings, and is known as the "restorer of Rinzai Zen." What if Hakuin were alive today...? Would he not only create calligraphic works but also animation to spread the teachings of Zen? This exhibition was conceived from such an idea. This exhibition will display Hakuin's finest works and express the grand and profound messages contained in his works for the modern age through video. Please look forward to this new project from Studio Ghibli that goes beyond animation.

This exhibition showcases a collection of precious original drawings by Moto Hagio, one of Japan's leading manga artists, with a European theme. Held at our museum, which houses the Oyamazaki Villa (main building), a Western-style building characterized by its English Tudor Gothic architecture, the exhibition offers a chance to explore the captivating world of Hagio's artwork.

The 119th Nitten in Kyoto, showing of the national tour of Japan’s largest public exhibition, will feature about 500 artworks related to Kyoto and Shiga across the 5 traditional Nitten categories （nihonga, Western painting, sculpture, crafts, and calligraphy）.

Fujino Yumiko is an artist who expands nihonga (Japanese-style painting) into three-dimensional space while remaining rooted in its traditional materials and techniques. By allowing her works to stand free from the wall, she brings attention to the “gaps” between the artwork and its surroundings, engaging viewer’s movement, the ambient light of the exhibition space, and subtle senses of presence. Her practice often begins with research into abandoned houses in various regions, places that still bear traces of everyday life. Drawing on these sites, Fujino incorporates into her paintings elements that evoke the passage of time, creating landscapes where layered temporalities and human memories intersect. This exhibition invites viewers to reconsider nihonga not as a self-contained, flat medium, but as an open field that connects with time and space, suggesting new possibilities for nihonga in contemporary art. The Triangle The Triangle (basement level of the Northwest Entrance, free admission) is a space newly created to mark the renewal opening of the Kyoto City KYOCERA Museum of Art. It aims to nurture and support emerging artists, while also providing a space where visitors, inclu

This exhibition explores the creative depths of Raphaël Zarka (1977-), a Paris-based artist who investigates geometric forms, and Horiuti Masakazu (1911-2001), a pioneer of abstract sculpture in Japan, focusing on the shared theme of “The Thinking Sculptor” to unravel the intellectual pursuits of both artists, which transcend national and temporal boundaries. The display will feature not only completed works but also precious archive materials such as sketches, notebooks, and maquettes, giving visible form to the creative process and revealing how geometric forms are derived from logical thought. In addition, special attention is given to the prolific literary careers of both artists, presenting a “duet of thinking” between the pursuit of form and the process of constructing ideas through words. A key highlight is Zarka’s new body of work, developed through research into Horiuti’s sculptures, which signals a new phase of modernity. This new series represents the culmination of a spiritual dialogue between two artists and an ambitious effort to open new horizons for modernity in contemporary sculpture. Rich in intellectual stimulation, this exhibition reexamines the essence of sculp

Our whole life is one big sculpture. Based in London, Gilbert & George have spent more than half a century pursuing their ideal of "Art for All." This exhibition traces the evolution of their artistic practice, from documentation of their iconic Living Sculpture, The Singing Sculpture (1969)—in which the artists, covered in multi-colour metallic powder, stood atop a table singing and moving to a popular music-hall song—to their later large-scale picture groups, addressing themes such as religion, sexuality and urban life. Rare photographs and archival footage documenting the artists' visits to Japan during the 1970s are also on view. Marking both their first major exhibition in Japan in 30 years and the 60th anniversary of their meeting in 1967, this landmark exhibition offers a rare opportunity to experience the extraordinary range of Gilbert & George's singular, sincere and uncompromising vision of art.

Hyakunin Isshu is an anthology of 100 poems by 100 poets. It was collected here in Saga Arashiyama 800 years ago by Fujiwara no Teika, who carefully selected each of the short waka poems. A permanent exhibition at Saga Arashiyama Museum of Art and Culture conveys the charm, and tells the history, of Hyakunin Isshu. *The museum is closed during the exhibition changeover period for special exhibitions and is not open for permanent exhibitions only. Please be aware of this in advance.

HaaTは、絵を描く際の根源的な動作である「一筆描き」から着想し、テキスタイルの表現を探求しました。線を引くこと、面に触れること。その視点を、描かれる対象としての「壁」、さらにその根底にある「土」へと広げ、自然の土壌を思わせる柄や質感へと展開しました。本展では、そのなかから「WALL WHITE HEM」をご紹介します。 「WALL WHITE HEM」は、壁を刷毛で擦るような描写の柄を表現したシリーズです。綿にシルクを織り交ぜた軽やかなシフォン素材に、京都の染色工場でプリントを施しました。 3種類の版を重ねることで生まれた濃淡のグラデーションのプリント地に、部分的に配された白無地を重ね、裏や裾から白をのぞかせることで、かすれや濃淡、衣服に美しい余白と奥行きのある表情を添えています。

An arts and culture facility in the former Meirin Elementary School near Shijo-Karasuma, with exhibitions, performances, workshops, studios, a cafe and library open to visitors.

A kogei gallery and salon near the Philosopher's Path, presenting Japanese hand-crafted wares and works for a contemporary lifestyle in a historic building once connected to painter Chokunyu Tanomura.

A Kyoto gallery and shop focused on handmade tableware, tea and works by artists, potters, woodworkers and lacquer artists, with retail prices set by the makers.

Founded by painter Insho Domoto in 1966, the museum presents works shaped by his belief in breaking with tradition to create new art; he also designed the building inside and out.

A converted wood warehouse in quiet Iwakura that combines a handmade Japanese footwear atelier with a gallery introducing selected objects, clothing, craft and cultural events.

A gallery shop near Ginkakuji and the Philosopher's Path, presenting ceramics, kintsugi and contemporary craft in an old house setting, with opening days announced on Instagram.

ARTCOURT Gallery's appointment-only Kyoto viewing room, opened in 2018 in a Kitashirakawa residence designed around nature, art and time spent in a living space.

Although set in the heart of the lively Gion area, the museum offers you a quiet haven once you step inside. Its fifth floor features a Sun Garden and a tea arbor designed to allow visitors to view the exhibits in natural light. The museum holds special exhibitions of modern and contemporary paintings, crafts, photos, calligraphic works, and more, centering on the collections of works by Japanese-style painter Kagaku Murakami, oil painter Kaoru Yamaguchi, and multi-genre artist Rosanjin Kitaoji.