Tōkiō art exhibitions and cultural events

北斎の肉筆画の中で最長とされている「隅田川両岸景色図巻」。全長約7ｍに及ぶ本作に高精細複製画を展示し、その全貌を実物大でご覧いただけるほか、映像での解説もご視聴いただけます。 『北斎漫画』はジャポニスムのきっかけとなった作品としても有名です。 本展では、『北斎漫画』など北斎の絵手本の実物約10冊を展示する「北斎漫画と北斎の絵手本」コーナーのほか、「今月の逸品」として「冨嶽三十六景」をはじめとする北斎の有名な錦絵シリーズの実物の中から毎月1作品を選び、月に1度展示替えを行いながら紹介します。 また、〈『北斎漫画』ほか立ち読みコーナー〉では、『北斎漫画』をはじめとする北斎の絵手本の実物大レプリカ約15冊を展示します。ぜひお手にとってご覧ください！ ・観覧券については、日時指定によるオンライン購入が可能です。ご来館当日に受付に並ばずにご入館いただけますので、下のリンクからぜひご利用ください。※販売数に限りがありますので、あらかじめご了承ください 公式オンラインチケットサイト ・65歳以上の方は年齢を証明できるものをご提示ください。 ・中学生、高校生、大学生（高専、専門学校、専修学校生含む）は生徒手帳または学生証をご提示ください。 ・身体障害者手帳、愛の手帳、療育手帳、精神障害者保健福祉手帳、被爆者健康手帳などをお持ちの方及びその付添の方1名まで、障がい者料金でご覧いただけます。入館の際は、身体障害者手帳などの提示をお願いします。 ・観覧日当日に限り、4階『北斎を学ぶ部屋』、常設展プラスもご観覧いただけます。 ・団体でのご観覧は事前予約が必要です。 団体のみなさまへ をご確認ください。 ・学校団体、校外学習でのご観覧は事前予約が必要です。 学校の先生方へ をご確認ください。 ・観覧券購入後の変更、払戻しはお受けできません。ただし、不可抗力による休館が発生した場合に限り、払い戻しを行います。

21_21 DESIGN SIGHT holds the exhibition "Soup as Life," from March 27, 2026. The exhibition is directed by Natsumi Toyama. She is a designer who matches clothing and shelter as our bodies' external environment, with food as its internal environment. To her, food fills the body from within, so that in their own way, all serve to wrap our bodies. The exhibition uses Soup as the means to consider the origins of food, clothing and shelter. Soup requires only minimal cooking. It is just ingredients stewed in water. Yet a bowl of soup contains layers of meaning – there is the potential of the ingredients, the effects of heat, the local history, the drinker' s bodily sensations, the receptacle, and the eating area with its atmosphere. External and internal worlds come together so that a life environment emerges from a small bowl. Toyama uses this as a metaphor for her principle of the "body being wrapped."

More details available on the original source page.

Yayoi Kusama’s work, with its vivid colors and striking clarity, has often been regarded as “pop.” When tracing back, this characterization reveals intersections between her work and the Pop Art movement that flourished in New York in the 1960s, where she was then based. Yet her practice is rooted in deeply personal impulses—hallucinations and obsessions—through which she layers everyday imagery with inner visions to create a distinctive artistic world. Focusing on Kusama’s distinctive brand of “pop,” this exhibition explores the breadth of her creative output. Collages that fill the picture plane with identical printed materials, such as airmail stickers, reflect a mass-consumption society while also exposing the obsessive impulses that drove her practice. A three-dimensional work featuring a mannequin covered in macaroni likewise unites mass-produced food with Kusama’s deeply personal obsessions. This impulse toward repetition extends to self-portraits and other works featuring the artist herself, proliferating and circulating across diverse media, including prints, photographs, flyers, and exhibition posters.

草間彌生の作品は、その鮮やかで明快な表現から、しばしば「ポップ」と形容されてきました。背景をたどると、彼女が拠点としていた1960年代のニューヨークで花開いたポップ・アートとの接点が浮かび上がります。一方で草間の創作は、幻覚や強迫観念といった特有の個人的な動機に根ざしており、日常のイメージと内なるヴィジョンとを重ね合わせながら、独自の作品世界が築かれました。 本展では、草間ならではの「ポップ」をテーマに、多彩な創作の広がりをご紹介します。郵便用ステッカーなどの同一の印刷物で画面を埋め尽くすコラージュは、大量消費社会の様相を映し出すとともに、草間を制作へと駆り立てる強迫的な衝動を露わにします。マネキンにマカロニをびっしり貼り付けた立体作品もまた、大量生産される画一的な食物と、彼女個人の内面のオブセッションとが深く結びついた表現です。こうした反復の志向は、作家自身の姿をモチーフとした自画像等にも及び、版画や写真、チラシや展覧会ポスターといった媒体を通して増殖し、流通していきます。 帰国後の平面作品や近年の大型絵画・彫刻においても、原色を基調とする色使い、シンプルな輪郭、そしてお馴染みのモチーフの反復が、草間の感性を鮮明に印象づけます。さらに、カラフルな水玉が反射し合う初公開の小型ミラールームや、空間を彩るバルーンを用いたインスタレーションも登場。イメージの変奏的な反復と稀有な色彩感覚が躍動する「クサマズ・ポップ」を、ぜひご体感ください。 入場は日時指定の完全予約・定員制（各回90分）です。毎月1日10:00（日本時間）に翌々月分のチケット販売を開始いたします。チケットは美術館ウェブサイトにてご購入いただけます。 チケットは こちら から。

【建築倉庫でご覧いただける主な内容】 ■ 模型保管・展示スペース ・天王洲アイルキャナルサイド構想 ・ARCHI-DEPOT ONLINEで建築家や設計事務所からお預かりしている建築模型の数々 ■ イベントスペース ・[波板と珊瑚礁]関連 – 出展建築家8組の実作紹介展示 WHAT MUSEUMの企画展「波板と珊瑚礁 ー 建築を遠くに投げる八の実践」に関連して、出展建築家8組の実作を紹介いたします。 ■ 体験スペース ・触れる模型 【建築倉庫について】 建築模型は、建築家や設計者のアイデアや思考・建物が建つまでのプロセスを垣間見ることができる貴重な資料です。また、完成度の高い芸術作品としても評価されています。すでに注目を集めている近代建築の資料はもとより、現在活躍する建築家や設計事務所の模型がもつ文化的価値もますます高まっていくでしょう。

2024年、東京藝術大学大学美術館 取手収蔵棟が竣工しました。通常、収蔵庫は作品の保存に特化した施設ですが、 取手収蔵棟では収蔵品の保管と公開の機能を兼ね備えた「魅せる収蔵庫」を新たに設置しました。2025年より取手館・取手収蔵棟を巡るバックヤードツアーを開催しています。新たな収蔵庫のオープンを契機として、藝大コレクションの魅力とともに、作品を後世へ守り伝える取り組みを広く発信しながら、地域に開かれた美術館を目指します。 「魅せる収蔵庫」へは、藝大美術館の教員・スタッフが皆様をご案内いたします。ガイドツアーは、1994年に六角鬼丈（1941～2019）が設計した取手館エントランスからはじまります。「ウォールミュージアム」として構想された取手館には、竣工時の教員らによる作品が内外の壁や床、さらには扉の把手に至る各所に組み込まれています。取手館(六角鬼丈設計）から橋渡しされた取手収蔵棟（ヨコミゾマコト設計）の建築空間も体感していただきつつ、藝大約140年の歴史と美がつまった「魅せる収蔵庫」での特別な鑑賞体験をお楽しみください。

展覧会「波板と珊瑚礁 ー 建築を遠くに投げる八の実践」の関連展示として、建築倉庫内の企画スペースでは、出展建築家8組の実作を紹介しています。 出展建築家8組の実作紹介展示をご覧になる場合は、「建築倉庫」の入館券が必要です。 展覧会「波板と珊瑚礁 ー 建築を遠くに投げる八の実践」の単体チケットではご鑑賞いただけませんので、ご注意ください。

List of Works (PDF) Pamphlet (PDF) Exhibition Flyer (PDF) The Museum of Contemporary Art Tokyo is home to around 6,100 predominantly postwar artworks. The MOT Collection exhibitions are designed to showcase these works, and exhibits are refreshed several times a year in order to present as much of the collection as possible, from different angles. “ Art for Starters” features a range of works—including a number of new acquisitions—chosen for their connection to “firsts and beginnings” as these play out in an art context, and explores art in terms of where to begin engaging with it, via inquiries that include starting with the familiar, what it is to see a work of art for the first time, and where artworks arise from. For both first-time visitors, and those who have already viewed multiple MOT collection exhibitions, “Art for Starters” offers an opportunity to “start art,” or perhaps, to start it anew. Adults – 500 yen / University & College Students – 400 yen / High School Students, Over 65 – 250 yen / Junior High School Students & Younger – free * Tickets for the " mission∞infinity | space + quantum + art ,"" Eric Carle: Art, Books, and the Caterpillar , " and " (UN)KNOWN HIROKO

Timoteus Anggawan Kusno (born in Yogyakarta, Indonesia in 1989; currently based in Amsterdam) is an artist who explores questions surrounding the history of colonialism and its memory through practices that spans video, photography, and installation. His work represents a critical examination of the power structures and arbitrary manipulations inherent in official historical narratives, even as it deliberately blurs the boundaries between fiction and documentary to reexamine the fragility of "historical truth." MAM Collection 022 showcases Kusno's diverse practice through two new works, including a recent video piece, in addition to Dismantling Nostalgia (2024), a work combining archival prints, oil and acrylic paints, rope, and metallic devices that is in the collection of the Mori Art Museum. It depicts nostalgic mountain and field landscapes where people and nature coexist in harmony, revealing how paintings known as Mooi Indie that romanticized the idea of the colonies have served to conceal the violence and inequality brought about by colonial rule. In the photographic series Void of Time (2024) and the latest video work Sola Fata (2025), both of which also address the theme o

Those who have left their homeland, swept along by the forces of history or choices that they made in the name of survival to settle in foreign lands, along with their descendants, are called "diaspora." Today, as the number of immigrants and refugees increases worldwide amid a growing wave of nationalism and backlash against multiculturalism, the existence of these people has taken on a significance imbued with an unprecedented sense of urgency. Even among Asian countries, a large number of diasporas has emerged in neighboring South Korea, against the backdrop of its turbulent history that includes colonial rule, the Korean War, authoritarian regimes and democratization, rapid economic development, and globalization. The existence of the "Korean diaspora," however, has up until now been often discussed within fixed frameworks defined by the nation state and ethnicity, with the result that its diversity and fluidity have not been fully acknowledged. Through a showcase of works and other related materials by three artists who have migrated from South Korea to foreign lands, or have South Korean roots, this exhibition traces the trajectory of the Korean diaspora from the 20th through

Ron Mueck (born 1958 in Australia, based in the UK) is a contemporary artist who has pushed the boundaries of figurative sculpture through his innovative use of materials, techniques, and methods of expression. These sophisticated works are created through close observations of humanity combined with philosophical reflection and are imbued with a sense of life. They capture the inner emotions and experiences of human beings, including loneliness, vulnerability, anxiety and resilience. The artist gained attention through his participation in Sensation: Young British Artists from the Saatchi Collection at the Royal Academy of Arts, London (1997), and has since held solo exhibitions around the world. This exhibition marks the artist's second solo show in Japan, following the retrospective held at the 21st Century Museum of Contemporary Art, Kanazawa in 2008. Ron Mueck's sculptures challenge our perception of reality through the careful manipulation of scale and their ability to conjure a convincing sense of the specific whilst simultaneously retaining an ambiguity which leaves them open to individual reflection. They possess a mysterious yet intensely powerful presence which interroga

The 23rd edition of the MAM Screen presents the Japan premiere of two video works by artist Josh Kline - Capture and Sequestration: Gasoline (2023) and Capture and Sequestration: Cigarettes (2023) - from his larger project about the climate crisis. Together, the works examine everyday acts of combustion, such as burning gasoline and smoking a cigarette, as points of access to the historical systems of extraction, empire, and industrialization that underpin the climate crisis. The title refers to carbon capture and sequestration , an experimental strategy proposed as a technological solution to the climate crisis: extracting carbon from the atmosphere and burying it underground. Kline asks what it might mean to apply this logic to other toxic atmospheres - social, political, historical - that cannot be so easily contained. Kline's full suite of Capture and Sequestration videos centers on foundational commodities such as oil, tobacco, sugar, and cotton, whose production and circulation powered the rise of the United States as a military, economic, and cultural empire. Through these materials, the lineage of human-made climate change can be traced back through industrialization to the

With a career spanning more than sixty years since the mid-1960s, Daniel Buren (born in 1938 in Boulogne-Billancourt near Paris. He lives and works in situ) is today regarded as one of the most important artists of our time. From the founding association of Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni in 1967, which made waves within the traditional art establishment of the time, to the “affichages sauvages” carried out in the streets in the mid-60s, his practice has consistently demonstrated its radically critical and philosophical disposition. Buren’s visual tool 8.7-cm vertical stripes, white and colored has been continuously employed to this day and remain central to his practice. He uses it around the world in works in situ that explore the structural, historical, and symbolic conditions of the locations — galleries, museums, architecture, landscapes — where they are created. Notable example includes Les Deux Plateaux (1985–1986), widely known as “Buren’s columns”, and more recently, The Observatory of Light (2016), realized in collaboration with the Fondation Louis Vuitton’s building designed by Frank Gehry. Closely connected to Japan - where he has made

Hiroshi Sugimoto (1948-) is a multidisciplinary contemporary artist. Active in the field of architecture—most notably with the Enoura Observatory in Odawara—he has also staged classical Japanese performing arts in Europe, the United States and Japan. Calligraphy, ceramics, waka poetry, cooking—his range is extensive. However, the point of origin for all Sugimoto’s art is gelatin silver photography. Based on rigorous conceptual thinking and originality of expression, Sugimoto’s photographic works stand at the very pinnacle of gelatin silver technique. But now, as film makes way for digital, the gelatin silver process itself is endangered and at real risk of “extinction.” This exhibition will feature approximately 60 gelatin silver photographs from Sugimoto’s early days in the late 1970s all the way up to the present day. It is the large-scale solo exhibition of Sugimoto’s photographs to be held in Japan since his 2005 exhibition at the Mori Art Museum, Tokyo.

本展は オンライン で日時指定チケットが購入できます。 ＞日時指定チケットの購入は こちら （外部サイト） 出光真子（1940–）は、日本における実験映画およびビデオアートの先駆的な作家です。1960年代にアメリカ滞在を経て制作を始め、女性の生き方や家族、メディアと社会の関係を主題に、フィルムや当時のビデオを用いた作品を発表しました。とりわけ1970年代以降のビデオ作品では、テレビ・メロドラマの語法を取り入れながら、母と子、夫婦関係、女性の社会的役割といったテーマを独自の視点から描き出しています。近年は、ジェンダーや身体をめぐる国際的な議論の高まりのなかで、その実践があらためて注目されています。本展は、出光の創作活動の全貌を振り返る大規模な回顧展です。当館で収蔵する全作品を、展覧会と上映により網羅的に紹介します。 本展覧会はすべて映像作品による展示です。音声の文字起こし資料をご用意しています。ご希望の方は２階受付へお声がけください（筆談可）。 出光真子 Idemitsu Mako 1940年、出光興産創業者・出光佐三の四女に生まれる。お茶の水女子大学附属小・中・高から早稲田大学第一文学部に進む。卒業後ニューヨークへ留学。抽象画家サム・フランシスと結婚。二児の母。妻であり母であることを超える創造表現への想いやみがたく、映像作家の道を歩む。自身の経験からフェミニズムをベースに、家庭における親と子、表現者として女性が生きる際の社会的摩擦などを問いつづける。著書に『ホワット・ア・うーまんめいど─ある映像作家の自伝』（岩波書店、2003年）、『ホワイトエレファント』（風雲舎、2011年）など。 ※本展タイトルにある「おんなのさくひん（What a woman made）」は、映像作家・出光真子の評価を決定付けた、初のビデオ作品（1973年）のタイトルを用いています。 《清子の場合》《加恵、女の子でしょ！》上映タイムテーブル 6/18(木)～7/31(金)、9/1(火)～9/21(月・祝)のタイムテーブルは こちら（PDF：448KB） 8/1(土)～8/30(日)のタイムテーブルは こちら(PDF：448KB) 出光真子 《Woman’s House》 1972年 東京都写真美術館蔵 ©Mako Idemitsu 出光真子 《おんなのさくひん》1973年 東京都写真美術館蔵 ©Mako Idemitsu 出光真子 《At Santa Monica 3》1975年 東京都写真美術館蔵 ©Mako Idemitsu 出光真子 《主婦の一日》1977年 東京都写真美術館蔵 ©Mako Idemitsu 出光真子 《清子の場合》1989年 東京都写真美術館蔵 ©Mako Idemitsu 出光真子 《加恵、女の子でしょ！》1996年 東京都写真美術館蔵 ©Mako Idemi

Ettore SOTTSASS, Vase no. 10, 2006 (design / produce), Produce: Gallery Mourmans; Gino Cenedese e Figlio; Van Tetterode Glass Studio, Artizon Museum, Ishibashi Foundation © Erede Ettore Sottsass Ettore SOTTSASS, Vase no. 16, 2006 (design / produce), Produce: Gallery Mourmans; Gino Cenedese e Figlio; Van Tetterode Glass Studio, Artizon Museum, Ishibashi Foundation © Erede Ettore Sottsass

ANZAI Shigeo, Takiguchi Shuzo, Jiyugaoka Gallery, Tokyo, January 1978, 1978/early 1980s, Artizon Museum, Ishibashi Foundation © Estate of Shigeo Anzaï TAKIGUCHI Shuzo, OKAZAKI Kazuo, Oculist Witnesses after Marcel Duchamp, 1977, Artizon Museum, Ishibashi Foundation ©︎ Kazuo Okazaki

東京都写真美術館が所蔵する約39,000点のコレクションには、時代も表現もさまざまな作品が含まれています。これらのなかから厳選した作品について、写真の表現や技法をさまざまな角度から、じっくりあじわい鑑賞する3つのプログラ

「TOPコレクション」展は、東京都写真美術館が収蔵する約39,000点の写真・映像作品をさまざまな切り口で紹介する展覧会です。令和8（2026）年度第二期のテーマは「食」。私たちの身体は日々の食事からできており、「食」と「生きること」は切っても切り離せない関係にあります。「食」を手がかりとして作品に目を向けることで、そこには食事にまつわる記憶や人とのつながり、現在私たちが置かれている環境や高齢化、孤食等の社会問題への問いが浮かびあがり、さまざまな気づきが生まれます。 本展は４章構成とし、島尾伸三、原美樹子、野口里佳、潮田登久子、川内倫子、奈良原一高、山田實、宮本隆司、竹谷出、宮崎学、土田ヒロミ、楢橋朝子、岩井優、折元立身の14名の作家の作品を紹介します。みなさまと一緒に「食べること」や「共に生きること」について考えるきっかけとなれば幸いです。 島尾伸三《おやつ／求められていなかったのに、その気で、》〈生活 1980–85〉より 1980–1985年 ゼラチン・シルバー・プリント 東京都写真美術館蔵 本展の構成 第１室「あのとき、あの食卓で」 日常において、ふと思い出す「食」の風景とはどのようなものでしょうか。一様ではないものの、家族とともに食卓を囲んだ記憶が思い浮かぶことも多いのかもしれません。「食」は記憶としても積み重なりながら、やがて私たちの血肉となって現在の身体をかたちづくっています。 第１室では、家族や自分自身の食卓の記憶をテーマに、島尾伸三、原美樹子、野口里佳、潮田登久子、川内倫子５名の作家の作品を紹介します。 川内倫子〈Cui Cui〉より 2005年 シングルチャンネル・ヴィデオ（223点のスライド） 作家蔵 潮田登久子《東京都目黒区》〈冷蔵庫〉より 1986年 ゼラチン・シルバー・プリント 東京都写真美術館蔵 第２室「食と地域のあいだに」 街には、レストランやファストフード店など、食事をするための場所が数多く点在しています。東京都写真美術館があるこの恵比寿の地も、かつてヱビスビールの工場が置かれていた場所であり、飲食と深い関りをもつ土地です。もちろん、食と土地との結びつきは、都市の飲食店にとどまるものではありません。魚をとるために海に船を出したり、豊作豊漁を祈り神社への作物を奉納したりと、人々の暮らしのなかで、食はそれぞれの土地と密接に結びついています。都市で生活する私たちにとって、そうした土地と食との結びつきは、いつのまにか、見えにくくなってきているのかもしれません。 第２室では、奈良原一高、山田實、宮本隆司、竹谷出の作品をとおして、土地と食とのつながりをあらためて見つめ直します。 ＊竹谷出（1967–）が日本各地を旅して撮りためた〈にほんのかけら〉シリーズを、当館収蔵後初めて展示紹介します。 山田實《手をつないで 糸満漁港》 1960年

「TOPコレクション 明日の食卓」展コラボメニューが登場しました！ぜひ、1Fカフェフロムトップにてお楽しみください。すいかのケーキしょうが香るすいかの寒天ゼリー、ミルクヨーグルト寒天ゼリー、米粉のスポンジを重ねたレイヤー

Tony Ausler (1957-) is an artist known for his enigmatic, immersive installations that combine video, sculpture, sound, light, and language. He is highly regarded as a pioneer who opened up the art of projection mapping, a style of expression that projects images onto three-dimensional objects, a technique now widely seen. This exhibition offers a comprehensive overview of his major works, including the early piece *Private* (1993-1997), which featured contemporary artist Jim Shaw, and *Specular* (2021). It also presents previously unreleased works that have been in development for over a quarter of a century, as well as a brand-new, site-specific work created specifically for this exhibition. The exhibition features full-color reproductions of all works, approximately half of which are being shown in Japan for the first time, including new pieces. In addition to newly taken photographs from the venue and archival materials, the book includes a compelling essay by Ausler himself, analyses by the exhibition's curators, and an essay by Minoru Hatanaka (curator and critic), a leading expert in media art. As a catalog of works by a master artist for whom no comprehensive materials have been published in Japanese until now, this is an essential book for art fans.

◼️ Obituary It is with great sadness that we bid farewell to Shigeo Toya, who passed away on April 15, 2026 at the age of 78. We express our deepest gratitude for the kindness and support he recived during his lifetime and respectfully inform you of his passing.

Memories of West Africa: The Collection of Anthropologist Junzo Kawada and Ceramic Artist Machiko OgawaAnthropologist Junzo Kawada (1934–2024) surveyed culture from the three vantage points of Europe, West Africa, and Japan in what he called “cultural triangulation.” While studying societies with still-vibrant traditions of oral transmission, he found that everyday tools provided invaluable insights into the worldview of their makers.Ceramic artist Machiko Ogawa (1946–) lived in the West African savanna in the country of Burkina Faso for three and a half years in the 1970s, working as a research assistant with Kawada, her husband. After returning to Japan, she began to create her own unique vessels, earning critical acclaim both at home and abroad.During their work in the field, Kawada and Ogawa collected a stunning variety of African craftworks and brought them back to Japan. However, these items have not been displayed in public since the exhibition of a limited selection some four decades ago. Meanwhile, additions to the collection since the 1970s have brought the total number of items to well over 600. This exhibition introduces some 350 of those works, selected in the course o

Both a graphic designer and a letterpress printer, Dafi Kühne keeps approximately 40 tons of printing presses, movable type, and other equipment in his workshop in the foothills of the Swiss Alps. This is where he creates his posters through a complex, labor-intensive process that involves using both his hands and his body to operate the equipment. Kühne uses metal type, wood type, hand-made linocuts, and other traditional materials and techniques. He even casts metal type and constructs original printing blocks by integrating and developing new ideas. He also pays close attention to the process of fixing the image on paper. Dafi Kühne is not merely a graphic designer, but an artisan who designs the entire printing process, transforming the initial design into finished printed matter.

Shu Yonezawa Solo exhibition “Voiceless Voice” session：2026.7.17fri - 9.5sat 13:00 - 19:00 *closed on Sun, Mon, Tue and public holidays. *Summer holidays：2026.8.12wed - 2026.8.15sat venue：SNOW Contemporary / 404 Hayano Bldg. 2-13-12 Nishiazabu, Minato-ku, Tokyo opening reception : 2026.7.17fri 17:00 - 19:00 Shu Yonezawa is a highly anticipated emerging artist whose interdisciplinary practice spans contemporary art and animation. In recent years, Yonezawa has participated in numerous group exhibitions and art festivals, actively presenting works across video, painting, and installation. Her practice centers on the concept of anima (“soul”), the etymological root of the word animation, exploring the corporeality of characters in digital animation alongside the embodied emotions and inner lives of living beings in the physical world. In 2022, Yonezawa presented no name (Tokyo Arts and Space Hongo [OPEN SITE 7]) and Obake no B’: The Movie (NTT InterCommunication Center [ICC]). That same year, she also participated in “Planet Zamza,” an exhibition held at an abandoned factory. In 2023, she presented several solo exhibitions, including “Happy Birth” (PARCO MUSEUM TOKYO), while expanding

The Tokyo Metropolitan Art Museum was founded as Japan’s first public art museum with a core role as a venue for artists to display their works. In this role, it has grown in close correlation with the development of Japanese modern and contemporary art over the past 100 years. During those years, the artists—working alone in privacy, in locations far from the museum—focused on their work and created for themselves, first of all, without expectation of approval. By looking back at the Museum’s 100 years alongside the same 100 years of the artists, the exhibition will offer an opportunity to fundamentally rethink the meaning of art and consider how art museums should be hereafter.

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Founded in London, England in 1753, the British Museum is one of the world's great museums. Its collection of Japanese art is said to be one of the most comprehensive outside of Japan in quality as well as quantity. People’s enduring fascination with the culture of Japan, a foreign land far beyond the seas, has been the force driving the collection’s expansion since the late 19th century, when Japonisme became a craze. Connections built by collectors and curators that reached across borders and decades have been passed down to this day. This exhibition will showcase selected masterpieces from the British Museum’s some 40,000-piece Japanese collection with a focus on Edo-period paintings on folding screens ( byobu ), hanging scrolls ( kakejiku ), and handscrolls ( emaki ), as well as prints by eight renowned ukiyo-e artists including Utamaro, Sharaku, Hokusai, and Hiroshige. By also shedding light on recent research findings and the collection’s history, the exhibition will trace the British Museum’s role at the forefront of the collection, research, and conservation of Japanese art. It will, in this way, present opportunities to look back on the history of international cultural ex

The exhibition “Welcome to Art Communication Programs” has been held since 2023 with the aim of widely promoting the activities of the Tokyo Metropolitan Art Museum's Art Communication programs. This year, its fourth, a year marking the Museum’s 100th Anniversary, the exhibition will focus on the Art Communication programs’ fundamental purpose—“Spending Time Together, Experiencing Art, Sharing Our Thoughts”—seeking to unlock its richness and meaning. For this exhibition, Yasuhiro Moriuchi, a filmmaker who shoots video recordings of the Art Communication programs, will re-edit past archival videos and undertake a video installation. Moriuchi’s installation will portray people of all ages and backgrounds meeting at the art museum, spending time and viewing artworks together, and fostering new discoveries and relationships. At the exhibition venue, art communicators (“Tobira”) will be on hand to welcome visitors. Additionally displayed will be the graduation art projects and related works of two of the students selected from the “2025 Tokyo University of the Arts Graduation Works Exhibition” for interviews by Tobira posted on the Tobira Project “Tokyo University of the Arts Student In

Everyone, from small children to adults, is take part in this workshop without any resevations. Participants can enjoy making an original Pin-On badge using materials such as stickers, pens, paper and tape with various colors and patterns. Your own color might be found through the craft activities! Why not make a one-of-a-kind badge as a memento of your visit to the National Art Center, Tokyo this summer? 100 yen per Pin-On badge *Cash payment only *Limited to one badge per person *Please note that the NACT staff may be taking photographs during the program. These images may be used on the NACT website or social media account, or for social media advertising. In some cases, a member of the press may also be taking photographs to cover the event.

For a period of summer holidays, the National Art Center, Tokyo(NACT) is excited to present Picasso meets Paul Smith Family Week ! During this special week, every visitor will have a chance to experience things that are limited solely to the NACT such as viewing the exhibition while chatting with family and friends, and taking part in programs. *No pre-registration necessary. Please come directly to the venue on the day. *Please note that when a program is completely full, you may have to wait to participate. *Preschool and elementary school children must be accompanied by a parent or guardian. No pre-registration necessary. Please come directly to the venue on the day. *Please note that when a program is completely full, you may have to wait to participate. *Preschool and elementary school children must be accompanied by a parent or guardian.

British designer Paul Smith, celebrated for his traditional tailoring and playful use of color, has conceived the art direction of this exhibition, drawing inspiration from works by Pablo Picasso (1881-1973) in the collection of the Musée National Picasso–Paris. The space, designed with a free-spirited approach, is filled with the vivid colors and playful energy characteristic of Smith's clothing and accessories. The exhibition presents works from throughout Picasso's career in a loosely chronological arrangement. A veritable icon of the process of artistic metamorphosis, Bull's Head is undoubtedly the most famous transformation of a found object in Picasso's oeuvre. The artist is said to have discovered the bicycle saddle and handlebar—from which the artwork was made—in a dump, on his way to the funeral of his sculptor friend Julio González, who died in 1942.

2026年8月1日(土)～30日(日)は、夏の美術館を楽しむさまざまなイベントをご用意して、皆様のご来館をお待ちしております。① 先着2,100名様限定！「TOPのめじるしリング」がもらえるカプセルトイ登場！当日2展覧会

Sorry, this entry is only available in Japanese . For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language. あらゆる価値（観）は、ある日突然降って湧くものではなく、何らかの集合体の作用や、歴史の流れに乗ったり逆らったりすることで生まれてきます。そうした動きの連続性のなかで、固有の力強さがモノや事象に宿るということもあるのですが、逆説的ながら想像もしなかったようなことが日々様々な場所で起こる今の世界のなかで、あえてそうした連続性（それは モダンな感覚 といってもいいのかもしれませんが）に注目をしたグループ展を京橋スペースにて開催します。 森夕香 は、和紙と顔料という長い歴史を持つ日本画の素材を用いて作品を制作しています。例えば、写真がデジタル化していくなかでアナログな制作環境が縮小していくこととは異なり、制作者の数の減少によって良質な日本画の素材は少しずつ入手環境が狭まっていると聞きます。また、日本画にはその歴史の長さや取り扱われてきたテーマの反復性などの特徴ゆえ、ある種の固定概念が与えられることも多いでしょう。しかし、森夕香は植物という「伝統的」なモチーフを扱いながら、人間と自然のあわいを流動的で混合的な世界として描き出します。植物が生きる環境への精緻な観察や自身の身体感覚、日本画の描画には見られないブラシのストロークのような動きや木枠の側面までにも視点を誘導するような手法―そこには静かな抵抗があり、価値の更新があるように感じます。 新里明士 の試みは、陶芸の歴史のアヴァンギャルドでありながら、同時にそれを文字通り打ち砕くという自己内省的な過程の連続を通して発展してきました。新里の代名詞とも言える「光器」は洗練された技術と数十時間に及ぶ反復作業を経て生まれる現代磁器の最高峰の一つとして高い評価を得ています。しかし近年では、完成した作品を自らの手で打ち砕き、「光器」に潜在していた要素を明るみに出すことで次の制作へと展開していく行為を繰り返しています。歪みや切れ込みが生み出すより複雑な陰影、色を纏うことで物質感を増す造形―「光器」の完成から続く探求が閉じられることはありません。また時には、作家が親しみ慣れた土や造形方法を離れて、全く異なる様相の作品を制作することも鑑賞者に新鮮な驚きをもたらします。その作品の大きさを越え出て、光を操作し空間へと波及していくセラミックの姿をどうぞご覧ください。 小左誠一郎 絵画が言葉を精錬し、そして言葉が絵画を押し拡げるーそんな印象を覚えるのは、小左誠一

Sorry, this entry is only available in Japanese . For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language. 六本木のスペースでは、 スカルプチャーに宿る精神性をテーマにした展覧会 を開催します。 出展作品を簡単にご紹介します。この限りでは決してありませんので、是非会場にてご覧いただき、出展作家のことを知っていただきながら、様々なことを考え、感じていただければ幸いです。 ミヤギフトシ の「Banner (from Klagender Gesang)」は、ベートーヴェンのピアノ・ソナタ三十一番最終楽章「嘆きの歌」に着想を得た作品。ランプシェードには、ベートーヴェンが譜面に残した ”疲れ果てて嘆きながら“ ”徐々に生を取り戻して“ という指示がアーティストの手によって刺繍されています。クィアアーティストとして、歴史や国籍、セクシュアリティなどの障壁（アーティストは作品において自身の出身地である沖縄の米軍基地に張り巡らされたフェンスをそのメタファーに用いることもしばしばあります）を越えた交流を希求する作品を様々な手法（映像、写真、オブジェ、小説など）を通じて制作するミヤギフトシ。本作は、決して声高ではないながらも大切な価値を訴える声が少しずつ枝葉を伸ばしてゆく、その先行きを照らす灯火のようでもあります。 毛利悠子 の代表作の一つである「Decomposition」は、果物にささった電極が果物内の抵抗値を測り、その値を音や光へと変換するという構造の作品です。枝から切り取られ眼の前に置かれた果物は、一見するともはや命は宿さず朽ちていくだけのもののように見えますが、実は内部ではまだ生きた細胞が互いに干渉し合いながら、人の感覚では捉えられない現象を生み出しています。本インスタレーションを通じては、果物の生命のその成れの果てまでを、明滅する光、そして、音の響きを通じて感じることができるのです。このように毛利悠子はその作品を通じて、世界に確かに潜在する複雑性の断片を視覚や聴覚、ときに触覚を通じて伝えてくれるようなインスタレーション作品を制作してきました。朽ちること、失われることがなお、何かを生み出す装置としてある「Decomposition」―光と音の日々の移ろいを是非ゆっくり鑑賞いただければと思います。 トレヴァー・ヤン は、アクアリウム、観葉植物、苔といった人間によって管理、維持される生態系をモチーフにしながら、そこに存在する繊細な依存関係や共生の在り方を可視化するような作品を作ってきました。作

Take Ninagawaは8月1日より、河原温の《I Got Up》（1968–79）シリーズをご紹介する展覧会を、同時開催のマン・レイ展に併せ開催いたします。 河原温が12年間にわたり毎日、友人や家族、コレクター、同僚らに送ったポストカードによって構成される《I Got Up》(1968–79)は、カード一枚一枚に本人がベッドから起き上がった時刻がスタンプで印字されています。量産品であるポストカードという形式、スタンプを押す反復的な行為、そして規格化された郵便制度を通じて、河原は日常生活における最も個人的で親密な事柄を、現代社会を統制するより広範なシステムの中に組み込むと同時に、時間の経過そのものに物質性を与えました。

本展では、今春まで開催されていたメトロポリタン美術館での回顧展において、マンレイの広範な実践の中心として位置付けられたレイヨグラフをご紹介します。加えてマン・レイ自身が、複数のメディアへと拡張するメタファーとして捉えていたチェスをモチーフとした作品群から、可動する彫刻兼絵画として作家本人によってもプレイされた《Giant Chess Set》(1961)などをご覧いただけます。 トリスタン・ツァラがレイヨグラフをwhen objects dreamと評したように、絵画、彫刻、オブジェからレイヨグラフまで、多岐にわたる作品の中から夢のように浮かび上がる、新たなマン・レイ像を提示します。

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波板と珊瑚礁 ー 建築を遠くに投げる八の実践 【開催期間： 2026年4月21日(火)〜2026年9月13日(日)】

受賞作品発表および、受賞作品展の詳細は下記よりご覧いただけます。 ※特設サイトへリンクします。

開催中・開催予定の展覧会 - 寺田倉庫が運営するコレクターズミュージアム。新しい視点で現代アートに触れてみませんか。倉庫に保管された貴重なアートを公開！

SCAI THE BATHHOUSE is pleased to present “Lee Ufan: Work on Paper / Sculpture,” a solo exhibition by Lee Ufan, on view from Tuesday, August 4 to Saturday, October 10. Lee Ufan (b. 1936) played a pivotal role through both theory and practice in Mono-ha, a major art movement in postwar Japan that emerged in the late 1960s. This exhibition brings together drawings and sculptures by the artist from the 1970s to recent years, highlighting his sustained engagement with materiality across two- and three-dimensional media. Lee's first solo show with SCAI THE BATHHOUSE in four years, the exhibition coincides with his solo presentations in three cities overseas: San Marco Art Centre in Venice, Dia Beacon in New York, and Palais des Papes, Avignon. Charcoal and watercolor works on paper from the late 1970s to the early 1980s echo his representative works from that period, namely From Line and From Point , which convey the passage of time through traces of repeated gestures. Meanwhile, turbulent brushstrokes seen in these works foreshadow the dynamic development of the subsequent From Winds and With Winds series. In works from the late 1980s, restrained brushwork brought increasing prominence

当館創立者･山﨑種二(1893-1983)は、土牛の画業の初期から50年以上にわ...

An exploratory project that finds new value in the Paper Log, a compressed roll of pleated paper — the byproduct of ISSEY MIYAKE's original garment pleating* technology. Conceived by Satoshi Kondo of MIYAKE DESIGN STUDIO, this project was developed by the ISSEY MIYAKE project team in collaboration with the Spanish architecture office Ensamble Studio. Inspired by the Paper Log's circular marbling resembling growth rings of a tree, both parties handled the material with process-driven approaches. The work series Shell by Ensamble Studio features "objects of memory" sculpted from sheets peeled from the Paper Log. In contrast, the work series Core by the ISSEY MIYAKE team consists of furniture prototypes that explore the Log's materiality by means such as soaking it in wax and painting it with glue.

The first 500 people who purchase tickets for "Stylish Bon Odori vol. 9" and are either Hills App members or newly download and register for the app will receive a ¥1,000 Hills App coupon usable at Toranomon Hills! *Valid from the day of the event until August 31st, 2026 (Monday) at participating stores in Toranomon Hills. *This coupon cannot be used to purchase tickets for Stylish Bon Odori. It also cannot be combined with other offers. Please check the coupon details for participating stores and usage instructions. ■Advance Tickets (General Admission): 4,500 yen (Youth | Elementary school students to under 20 years old): 3,000 yen [Sales Period] Wednesday, July 22, 2026 12:00 - Friday, August 21, 2026 23:59 [Sales Site] Online (Peatix) ■Same-Day Tickets (General Admission): 5,000 yen (Youth | Elementary school students to under 20 years old): 3,000 yen [Sales Period] Saturday, August 22, 2026 17:45 - 22:00 [Sales Location] Venue (Special reception for the Oshare Bon Odori event on the 8th floor of TOKYO NODE) ​​(Notes for attending Oshare Bon Odori vol.9) *This event is open to elementary school students and older. Preschool children are not permitted to enter for safety reasons. Elementary school students must be accompanied by a guardian with a ticket. *In accordance with the Tokyo Metropolitan Ordinance on the Sound Development of Youth, those under 18 years old can enjoy the event until 22:00. *Advance tickets purchased online must be exchanged for wristbands at the special reception desk for the stylish Bon Odori festival on the 8th floor of TOKYO NODE on the day of the event. Presenting your wristband will allow you to enter, temporarily exit, and re-enter the venue. *Entry to the building and event venue may be restricted during peak hours. Please understand this in advance. *Due to the high-rise location and outdoor venue, the event will be cancelled in case of rain or strong winds. For the safety of our customers and performers, if the event is cancelled before or during the event, a full refund of the ticket price will be provided only if the wristband exchange has not yet been completed. *Alcohol will not be served to those with "Youth Tickets". ■VIP Area [Restaurant (indoor) plan] 54,000 yen per person [Terrace plan] 29,000 yen per person *For details on each VIP area plan, please check the KEI Collection PARIS reservation site (TableCheck). https://www.tablecheck.com/shops/keicollectionparis/reserve

Discover contemporary art at Perrotin Gallery

The 13th-century essay " Hōjōki " is known in English as "The Ten-Foot Square Hut" (the Japanese title literally means "A Record of My Ten-Foot Square Hut"). In it, Kamo no Chomei ponders the ephemeral nature of life in this impermanent world. The humble hut in which he wrote no longer exists, but his words are timeless. Chomei's words have given rise to many practices again and again in similar circumstances. Both as literature and as philosophy, " Hōjōki " inquires into the very essence of human habitation. This is why " Hōjōki " can also be taken as a treatise on the essence of architecture. This exhibition will center on the small dwelling that provides the title of the text and which Chomei calls Hōjō-an - Ten-Foot Square Hut. His small hermitage is a starting point to reconsider contemporary life and the built environment. Exhibition director and architect Yoshiharu Tsukamoto is joined by architects, designers, artists and companies, each of whom develops their own interpretation of Chomei's hut. All proposals share Chomei's minimal 9m 2 -square footprint, but use the participant's own selection of tools and materials to build a structure that challenges dormant human existe

The Museum of Contemporary Art Tokyo is pleased to present a major solo exhibition of TADA Minami (1924–2014), a leading abstract artist whose work spans sculpture, design, and architecture in postwar Japan. Tada, who produced approximately 200 sculptural pieces and 500 works integrated into architectural spaces over the course of her career, extended her practice far beyond the confines of the museum, leaving her creations in a wide range of urban spaces—including parks, railway stations, city halls, hotels, and theaters—where they have formed an integral part of people’s everyday life over many years. Her body of work, varying widely in both material and scale, includes stainless-steel sculptures that appear to shapely rise skyward, glass and acrylic works that harmonize with surrounding landscapes, and “Illuminated Walls" that contain richly colored light. Tada was among the pioneering artists who actively incorporated into their artistic expression industrial materials and fabrication technologies—widely adopted during the period of rapid economic growth in Japan. Her works feature smooth, inorganic surfaces that conceal traces of manual labor, while integrating organic elemen

T he Museum of Contemporary Art Tokyo is pleased to present “Synchronic Constellation: Cross-Boundary Perspectives in Art,” an exhibition that reconsiders the cultural and artistic modernity of Taiwan and Japan. The show draws inspiration from a film on the Le Moulin Poetry Society, a collective of modernist writers founded in Taiwan in the 1930s. Featuring approximately 200 modern Taiwanese artworks, 500 related archival materials, and 100 contemporaneous Japanese pieces, the exhibition maps a constellation of intercultural exchange, inviting viewers to rethink modernity through from today’s vantage point. The film Le Moulin (2015, released in Japan in 2017) traces the efforts of a group of poets who introduced Surrealism to Taiwan during the Japanese colonial period and composed their own verses in Japanese, weaving together a diverse body of work from across multiple regions, generations, and genres. The film offers no fixed narrative, leaving room for each viewer to form their own interpretation. Its director, Huang Ya-li, serves as guest curator for the present exhibition. The six chapters of the show translate Le Moulin ’s reflections, along with its editing techniques, into

This exhibition explores the essence of the Renaissance art that flourished in Europe during the 15th and 16th centuries, and sheds light on some distinctive aspects of the rich complexity of the art movements of the time through more than 50 works carefully selected from the immense collection of the Musée du Louvre. The people of Renaissance Europe began to reevaluate the cultures and societies of Greco-Roman Antiquity, which emphasized the value and agency of human beings. This exhibition features Leonardo da Vinci's Portrait of a Woman , also known as La Belle Ferronnière , a masterpiece of portraiture from the Renaissance, when a renewed interest in human individuality came to the forefront. This is the first time the work has ever been exhibited in Japan. Throughout his life, Leonardo continually challenged himself to not only portray the physical characteristics of his models but also to capture the complicated emotions that lie just beneath the surface. This exhibition revolves around four themes inspired by Leonardo da Vinci, a true icon of the Renaissance: travel, technical innovation and refinement, interest in antiquity, and the development of portraiture.

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In Sweden, a land of long harsh winters, colorful textiles play an important decorative role, bringing joy to home interiors regardless of the season. The simplicity and warmth of their modern designs sparked a textile production boom in the mid-20th century and continue to be cherished by people throughout the country. Featured here are over 200 Swedish textile works and related materials, selected from several precious collections of vintage textiles.

Works from the diverse collection of the Museum of Contemporary Art Tokyo (MOT) are presented in various combinations under themes to convey the appeal of the collection from new perspectives. *Details including admission and opening hours will be announced on the website.

写真・映像の可能性に挑戦する創造的精神を支援し、将来性のある作家を発掘する「日本の新進作家」展の23回目。実際に存在した記憶や素材をもとに、AIやデジタル技術を用いて作品を制作する現代作家たち。記憶、素材、技術などが持つコンテクストを、彼らが制作において再構築するプロセスを探ります。真偽にまどわされることが多い日常での情報との向き合い方を改めて考える機会となることでしょう。 出品作家：市田小百合、苅部太郎、野村在、橋本麦、藤倉麻子

本展は、「愛について アジアン・コンテンポラリー」展（2018年）に続くシリーズ第2回目の展覧会であり、三影堂厦門撮影芸術中心のディレクターを務める滕青云（テン・チンユン）氏との共同企画です。三影堂は国際的に活躍する写真家・榮榮＆映里（ロンロン＆インリ）によって2007年に北京で設立され、写真の複合施設として重要な役割を果たしてきました。異なる視点や背景をもつ作品が同じ空間に並ぶことで、複数の視点、文化、時間、そして個人の経験が交差し、そこから生まれる関係性や響き合いを探ります。 出品作家 村越としや ワン・トゥオ スイ・タカ ルオ・ヤン ジャン・ポンイー fumiko imano

The Toranomon Advertising Festival, Japan's largest advertising and creative festival, connects business, design, technology, and entertainment. Creators from across generations and organizations gather to present a diverse range of content, including talk sessions, exhibitions, screenings, and networking events. This highly acclaimed event, which attracted over 17,000 attendees at its inaugural 2025 event, is expanding this year to nine days, making it even bigger and better! It's a must-see nine days for new discoveries and dialogues. Detailed schedules for each content will be announced on the special website (please check via the SPECIAL SITE button).

Takehisa Yumeji (1884–1934) was a multifaceted artist active from the late 1900s through the mid-1930s, working as a painter, poet, journalist, designer, and illustrator. Known for his depictions of women dubbed the “Yumeji style” and his retro-modern designs, he is recognized as a figure who epitomizes the “Taisho Roman,” a trend of thought or cultural events that conveys the atmosphere of the Taisho period (1912–1926). His deeply lyrical works, which captured the sentimentality of youth and nostalgia, the atmosphere of the Edo period (1600–1868) and exoticism, and a longing for urban sophistication, resonated with the public through magazines, postcards, and exhibitions, sweeping the nation. Furthermore, through his pioneering work—which included designing everyday household goods that enriched daily life, producing books and magazines for children, writing the lyrics for the popular song Yoimachi-gusa (evening primrose), and documenting the Great Kanto Earthquake—the artist had a profound influence lasting through subsequent generations. Active across a wide range of genres, Yumeji can be described as a pioneering creator who bridged art and media.

Ishibashi Foundation Artizon Museum official website. Bridgestone Museum of Art (opened in 1952) changed its name and opened as a new museum in January 2020. In addition to traditional Japanese modern Western paintings, Impressionism, and 20th century art, we broaden our horizons to include old and contemporary art, providing a wide variety of art enjoyment.

Ishibashi Foundation Artizon Museum official website. Bridgestone Museum of Art (opened in 1952) changed its name and opened as a new museum in January 2020. In addition to traditional Japanese modern Western paintings, Impressionism, and 20th century art, we broaden our horizons to include old and contemporary art, providing a wide variety of art enjoyment.

The Mori Contemporary Art Foundation (MoriCAF) and the Mori Art Museum will hold an exhibition showcasing the work of Katayama Mari, winner of the Mori Art Award's inaugural Grand Prize, from Saturday, October 31, 2026, to Sunday, March 28, 2027. The biennial Mori Art Award was established in May 2025 by the MoriCAF. The Japan-based Nomination Committee first creates a shortlist of mid-career Japanese artists, or artists with strong connections to Japan, based on exceptional exhibitions and works from the previous two years. The International Jury selects four finalists after reviewing the shortlisted artists' submission materials and determines the Grand Prize winner following an in-person screening process. The Grand Prize recipient is awarded ¥10 million and the opportunity to hold a solo exhibition jointly organized by the MoriCAF and the Mori Art Museum. The other three finalists receive prize money of ¥1 million each. The International Jury highly praised Katayama Mari's work for the compelling ways it expands the boundaries of her own body. She achieves this through analogue photography and handicraft practices such as embroidery and needlework. She is expected to ac

A Major Retrospective of a Visionary Practice at the Intersection of Art, Technology, and Transcendental Experience The Mori Art Museum, Tokyo, announces Mariko Mori: All That Shines , Japan's first major retrospective since Mariko Mori: Pure Land (2002) at the Museum of Contemporary Art Tokyo. Organized by the Mori Art Museum in collaboration with The Solomon R. Guggenheim Foundation, the show features some forty works spanning more than three decades and surveys Mori's artistic and conceptual innovations across all her signature media: performance-based and computer-imaging photography and video; drawing; sculpture and large-scale interactive installations. All That Shines offers new frameworks for Mori's practice, positioning it within the fields of technological futurism, popular visual culture, and philosophies of consciousness. At a moment when the global contemporary art world is turning with renewed attention to the diversity of cultures and civilizations, artistic practices deeply intertwined with indigenous traditions and ceremonial life are once again coming to the fore. Simultaneously, the rapid evolution of technology is profoundly reshaping the very nature of creative

In the 19th century, various artists began taking a keen interest in expressing the “here and now” of daily life. This shift came at a time when the middle class was expanding with the growth of industry, and technological innovations were dramatically reshaping society. The new lifestyles and scenes that emerged were recorded by artists through novel forms of expression, giving rise to works that presented subjects finding small joys in the everyday as they resiliently navigated life in an era of tumultuous change. This exhibition will present around 110 works from the veritable “temple of Impressionism,” the Musée d'Orsay, representing diverse media such as painting, sculpture, decorative arts, and photography, all tied together by the theme of “What a Wonderful World.” These snapshots of the joys of life—captured through the eyes of artists such as Jean-François Millet, Pierre-Auguste Renoir, Claude Monet, Vincent van Gogh—promise to inspire us to make new discoveries and acquire fresh perspectives in the midst of our own era of rapid social change.

In 1926, the Tokyo Metropolitan Art Museum opened in Ueno under the name the “Tokyo Prefectural Art Museum.” Its founding was made possible by SATO Keitaro, a coal industrialist from Kitakyushu, who provided a million-yen donation as funds for the museum’s construction. On opening, the Museum devoted itself primarily to serving artist groups as a venue to showcase their works. While operating in this capacity, it had occasion to stage now-legendary avant-garde exhibitions and, in time, became a major venue for exhibitions featuring masterpieces of Western painting. The Museum also broke ground with initiatives to help citizens become familiar with art and understand it more deeply, and today, it is steadily expanding opportunities for their participation. The Tokyo Metropolitan Art Museum is like a plaza continually abuzz with art creators and art viewers. A hundred years have seen us undergo transformation with the construction of a New Museum Building, on the site of our Original Museum Building, from which to unfurl activities furthering our mission to become “a place for creativity and coaction.” In commemorating the Tokyo Metropolitan Art Museum’s 100th Anniversary, this exhib

Thematic Exhibitions FREE This exhibition is held in celebration of the 100th anniversary of the Tokyo Metropolitan Art Museum. Grounded in the museum’s guiding mission — “to provide a place for creation and coexistence where individuals reflect on themselves and deepen their connections with the world”—it takes “dialogue with the world” as its central theme. To “read” is an active process: a movement toward the unknown and a deepening of perception. Through the works of five artists from differing periods and creative contexts, the exhibition explores diverse ways of entering into dialogue with the world—by “Reading through Light,” “Reading through Time,” “Reading through Words,” “Reading through Nature,” and “Imagining with the Whole Body.” The sculptures, photographs, texts, and paintings presented here invite a variety of modes of engagement. In such moments, one may encounter something that quietly sustains one’s own existence. The key to opening the door to new worlds lies within each individual who approaches the works with openness and quiet attentiveness. It would be our greatest pleasure if this exhibition offers an opportunity to experience this for oneself.

KOMAI Tetsuro (1920–1976) was one of Japan’s most significant print artists. Commemorating the 50th anniversary of his death, this retrospective follows the trajectory of Komai’s entire career, not only through prints but also rare oil paintings from his student days as well as book illustrations. Prints that Komai collected from Japan and abroad, a look at the artists who influenced him, and photos of his studio are among the supplementary materials that provide an overview of the man and his life.

The Sunpride Foundation engages in collecting and holding exhibitions under the mission of contributing to coexistence and equality for all people, including sexual minorities (LGBTQ+). This international exhibition, co-organized with the Foundation, explores contemporary questions surrounding gender and sexuality through works from the Foundation’ s collection, loans from artists, and newly commissioned pieces. *Details including admission and closed dates will be announced on the website.

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The “MOT ANNUAL” is a group exhibition based in Tokyo, where diverse cultures and expressions intersect, aiming to shed light on aspects of the contemporary art scene that prompt questions and discussions. For its 21st edition, the exhibition presents a variety of endeavors by emerging artists spanning contemporary art, performing arts, and experimental music, connecting past and present through the body to open new horizons within our sensations and experiences. The exhibition places particular focus on performances resonating with the memories of individuals and society. *Details including admission and closed dates will be announced on the website.

More details available on the original source page.

Raoul Dufy (1877-1953)—a leading 20th-century French painter known for his daring use of “color and light.” Dufy left behind a large number of works depicting buoyant, joyful scenes of the sea, boats, music, wheatfields, and rural landscapes in vibrant colors. Extending his practice beyond the canvas into textile design, and costumes design, ceramics, tapestries, and even furniture, he became widely recognized as a versatile artist. This exhibition commemorating the 150th anniversary of Dufy's birth will comprehensively showcase his art, primarily through numerous pieces held in the collection of the Musée d'Art Moderne de Paris. A must see is the 1/10 scale original painting (6m wide) of his colossal fresco, La Fée Electricité (“The Electricity Fairy”) commissioned for the 1937 International Exposition in Paris. In spring 2027, vibrant, joyful colors will brighten Ueno district in Tokyo.