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10 April 2010 - 4 July 2010
[Detail]
18 July 2010 - 3 November 2010
“SickeTel—Kyupi Kyupi and Ishibashi” is the first large-scale exhibition in Japan of the works of Kyupi Kyupi and Yoshimasa Ishibashi. Composed primarily of new creations—including recent moving image works by Ishibashi and a large-scale moving image installation created by Kyupi Kyupi for the spaces of this museum—the exhibition immerses visitors in their dazzling world of moving imagery. [Detail]

Kyupi Kyupi, Sicke Monica, 2010 Photo: Yoshimasa Ishibashi

21 November 2010 - 20 February 2011
This first exhibition looks at the spirit of Science. With fear and trepidation, humans approached nature and set forth explicating all they encountered. Sugimoto himself has drawn inspiration from the likes of Faraday, Talbot and Newton to conduct exacting observations and experiments, probes into the very essence of phenomena resulting in images of primal dynamism. Concentrated distillations of scientific curiosity, these works may very well awaken an awe of nature lying dormant deep inside the viewer. [Detail]

Polarized Colors 037, 2010
©Hiroshi Sugimoto / Courtesy of Gallery Koyanagi

2 March 2011 - 15 May 2011
Following the first installment “Science” presented from last November, this second exhibition looks at Sugimoto’s involvement with “Architecture” in photographs and other media, including his intentionally “infinite focus” images of famous buildings, sculptures and installations of his own architectural works. The Museum is especially proud to host his Anti-gravity Structure installation utilizing ancient timbers and images from the Three-storey Pagoda of Taima-dera temple in Nara, and his series In’ei Raisan (In Praise of Shadows) that traces the origins of architecture back to primal memories of fire via photographs of a dying candle flame, displayed here by candlelight.
This exhibition thus offers insights into Sugimoto’s command of structure and space, while at the same time probing the very bases of art in the architectural constructs of our human consciousness. [Detail]

Guggenheim Museum, New York, 1997
Collection of the National Museum of Art, Osaka
© Hiroshi Sugimoto / Courtesy of Gallery Koyanagi

29 May 2011 - 21 August 2011
The third exhibition of "The Origins of Art" entitled “History” includes Sugimoto’s Photogenic Drawings printed from paper negatives created by the inventor of negative-positive photography William Henry Fox Talbot, Stylized Sculpture images of the changing forms of twentieth century fashion in social context and other works of historical inquiry. By examining change via the overwhelming realism of Sugimoto’s photographs, we hope viewers will give thought to the curiously modern relationship between photo images and history—and further to question Just what is history? How does it figure in the advancement of humankind? [Detail]

Permian Land, 1992
© Hiroshi Sugimoto / Cortesy of Gallery Koyanagi

28 August 2011 - 6 November 2011
Our unprecedented year-long exhibition program comes to its final installment. This exhibition comprises new displays of photographic works and new installations, including Sugimoto's "Seascape" evocations of oceanic time immemorial, a Heian period standing Jūichimen Kannon, and a 14th century bust of Christ. Also premiering is his "Sea of Buddha" printed in large scale for the first time depicting a thousand standing figures of the Thousand-Armed Kannon Bodhisattva photographed at Sanjusangendo temple in Kyoto, as well as "Five Elements," a model pagoda symbolizing Buddhist cosmology rendered in optical glass with a Seascape sealed inside.We hope the many provocative images and objects will give viewers a full sense of Sugimoto's art and cause to reflect upon of the profound connections between art and religion. [Detail]

Caribbean Sea, Jamaica, 1980
© Hiroshi Sugimoto / Courtesy of Gallery Koyanagi

7 November, 2011 - 3 February, 2012
Closed for renovation [Detail]
4 February 2012 - 4 March 2012
As a result of a career spanning 70 years, Genichiro Inokuma (1902-1993) left the world a great many artworks. More than 20,000 are in the collection of Marugame Genichiro-Inokuma Museum of Contemporary Art. Over 90 percent of those works are executed on paper.
This exhibition presents Genichiro Inokuma works of all sizes, large and small, executed on art paper, in sketchbooks, and even on memo paper, many of them publicly displayed for the first time. All are “painter’s words” revealing the charm and expressive power of Inokuma’s art. [Detail]

Beautiful Noise, 1980
©The MIMOCA Foundation

18 March 2012 - 1 July 2012
An exhibition devoted to Chiharu Shiota, an artist of rapidly growing reputation based in Berlin. Shiota embodies in art the memories we impart to objects and places, our sense of a presence made stronger by absence, and the anxieties and fears we encounter in daily life. The artworks she creates, as a result of discerning such feelings and emotions in her own being, transcend her own thoughts and powerfully affect the viewer.

The exhibition will present works concerned with “walls,” a theme Shiota has embarked on in recent years. The works arise from her experience of living in Germany far from Japan and her thoughts of how nationality, religion and other categories assigned to individuals are helpful aids for knowing others and ourselves and, simultaneously, unsurpassable walls preventing us from really knowing each other. The featured artworks will also include a boat installation prompted by her experience of the Setouchi region where this museum is located and a video work produced on the basis of interviews with children in Berlin. The exhibition will ask: Where did I come from? What is my existence now and where am I going? [Detail]

Dialogue with absence, 2012
installation view at MIMOCA
©Chiharu Shiota
photo by Sunhi Mang

15 July 2012 - 23 September 2012
This is the first solo art museum exhibition in Japan for Takashi Homma, who engages in photography from a neutral position without letting himself be bound by genre or methods of display. The exhibition is now making its third stop, having previously traveled to Kanazawa and Tokyo in 2011. Interweaving photographic prints with works of varying media—books, paintings, video, and photo-based silk screens, as well as an entirely new installation, this time—the exhibition demonstrates how Homma’s photographs commute between expression and documentation. Viewers are made to wonder, “What is a photograph?” in an exhibition that inquires into the essence of “seeing.” [Detail]

1. from the series, Tokyo and My Daughter 2006
©Takashi Homma

15 July 2012 - 23 September 2012
Genichiro Inokuma (1902-93) was something of a collector as an artist. He collected things he felt to be beautiful or cute, whether waste objects discarded in the street or expensive antiques, in a natural way in day-to-day life.
His collection of “things” (butsu butsu) is now in the safekeeping of this museum. From that collection, stylist Miyoko Okao has selected certain items catching her interest, and photographer Takashi Homma has photographed them. This exhibition, then, is the result of their selecting and photographing objects in close collaboration, “muttering” (butsu butsu) together all the while. [Detail]

Installation view of "Butsu Butsu" at MIMOCA
Photo: Manami Takahashi

7 October 2012 - 6 January 2013
Photographer Ishiuchi Miyako has worked with tireless passion, ever since winning the Kimura Ihei Award for new photographers in 1979. In 2005, Ishiuchi represented Japan at the Venice Biennale with “Mother’s,” a series of photographs of her late mother’s belongings. She thereafter embarked on the series “hiroshima,” for which she photographed one-piece dresses and other personal articles of victims of the atomic bomb in Hiroshima. In the process, she had contact with a great many silk garments—an experience that awoke her interest in silk. Then, because Kiryu, Gunma Prefecture, her home city until the age of six, is a famous textile production region, she in 2010 took “silk” as a theme and began photographing meisen silk weave fabric, silkworm cocoons, silk mills, and weaving mills. [Detail]
13 January 2013 - 4 April 2013
During his 70-year career, Genichiro Inokuma (1902-1993) changed painting styles frequently and radically. The realistic portraits of his early period, the geometric abstract paintings of his post-war period, the serial works of faces of his late years: arranged period by period, his paintings display such variety, they might have been painted by several different artists. On the other hand, images that differ entirely show similarities of motif, composition, and color balance. This exhibition looks retrospectively at Genichiro Inukuma with a focus on the “Inokuma touch” that never changed in his art, no matter how incessantly he altered his art in pursuit of new expression. By displaying Inokuma works of differing style side by side to exhibit the features they share in common, the exhibition reveals the fascination of his art from both aspects: change and changelessness. [Detail]

Ballerina―Message to the 21st Century, 1988
collection The Kagawa Museum
©The MIMOCA Foundation

13 April 2013 - 30 June 2013
Our third Mimoca’s Eye exhibition of young talent introduces London-based artist Francis Upritchard. Born 1976 in New Zealand, after art school she emigrated to the UK in 1998 and began creating installations with brightly coloured human figures sculpted in modelling clay. Chosen to represent New Zealand at the 2009 Venice Biennale, this internationally acclaimed artist evokes an eerie sense of déja vu as she freely mixes references across time and cultures, often including intentionally misconstrued elements to humorous effect, encouraging us to question how history has been fabricated and culture represented.
In this, her first solo show in Japan, Upritchard asks us re-examine our preconceptions and understandings of other cultures from new perspectives, while revealing a world with countless hidden interpretations. [Detail]

Liar, 2012
courtesy of the artist and Kate MacGarry, London

13 April 2013 - 23 June 2013
In summer 2011, a mural by Genichiro Inokuma (1902-1993) was found at a building demolition site near the Kamogawa River in Kyoto. The building was a hotel of long-standing, Hotel Fujita Kyoto, which had ceased operations in January of the same year. The mural, Fluid City (1969), had been installed in the hotel’s lounge.
Hotel Fujita Kyoto opened in 1970 on the occasion of the Expo’70. The building’s architect, Junzo Yoshimura, asked Inokuma to design a mural. When the hotel was remodeled in 1982, however, a new wall was installed before the mural, which became hidden from sight. After announcement was made of the building’s impending demolition, the hotel’s owners received an anonymous phone call informing them of the mural’s existence. The mural was then safely removed from the demolition site and gifted, thereafter, to Marugame City and restored at this museum.
This exhibition will publically display the mural for the first time since its restoration. A mural of large scale, some 3m high by 15m wide, it consists of chrome-plated steel panels punched with 3,000 to 4,000 holes. The panels have a colored acrylic plate backing. When illuminated from behind, the work displays a colorful geometric pattern of lines. Both in terms of materials and techniques, the mural is an artwork of extreme rarity in Inokuma’s oeuvre. [Detail]

Fluid City, 1969

13 July 2013 - 4 November 2013
"Shinro Ohtake: NEWNEW" is a solo exhibition of his new works since 2010. [Detail]
16 Nov 2013 - 16 Feb 2014
closed: 25-31 Dec 2013
[Detail]

Pot and the Portrait of a Sitting Woman, 1950
©The MIMOCA Foundation

16 Nov 2013 - 16 Feb 2014
closed: 25-31 Dec 2013
After graduating in 1921 from Kagawa Prefectural Marugame Middle School (present Marugame Senior High School), Genichiro Inokuma (1902-1993) entered Tokyo Fine Arts School (present Tokyo University of the Arts). In 1926, while still in art school, he was selected for inclusion in the Imperial Art Academy’s 7th Art Exhibition. Thereafter, as Inokuma increasingly gave play to his genius as a painter, he was specially selected for the Imperial Art Academy’s 10th (1929) and 14th (1933) exhibitions as well.
In 1933, he painted Mt. Myogi for Marugame Middle School’s 40th anniversary. Inokuma continued to donate works to the school in the years that followed. He also twice gave lectures as part of the school’s anniversary celebrations and otherwise maintained a close relationship with his alma mater.
The events and encounters of his youth in Marugame became a starting point for Genichiro Inokuma the painter. This exhibition, which marks Marugame Senior High School’s 120th anniversary, recalls Inokuma’s relationship with Marugame and, especially, his alma mater and introduces related artworks. [Detail]

Myōgisan, 1933
©The MIMOCA Foundation

1 March - 1 June 2014
What is 'play' for human beings? Not only to receive ready made forms of entertainment but try using your own actions or ideas to change the banal into the fertile. Unwinding mentally and physically with contemporary art may be one way to achieve this, and at the same time making your heart flutter.

【Participating Artists】
Misaki Kawai (Born 1978 in Osaka / New York)
Ryota Kuwakubo (Born 1971 in Tochigi / Gifu, Tokyo)
Tsuyoshi Ozawa (Born 1965 in Tokyo / Saitama)
Tetsuya Umeda (Born 1980 in Kumamoto / Osaka) [Detail]
14 June 2014 - 23 September 2014
This is an exhibition based on Nakako Hayashi’s book Expanding Fashion (Space Shower Networks) published in 2011, examines fashion from the aspect of creation. Regarding fashion as an instrument for developing aesthetics in everyday life, and for communicating our own ways of life and thinking to others, the exhibition will present the works of artists from in and out of Japan that employ diverse methods ranging from independent publishing to photography, painting, video, performance and workshops to create things related to fashion in novel ways.
The exhibition will be an opportunity to rethink about fashion not as a subject of trends and consumption, but as the locus of self-expression that is closest to our daily lives. [Detail]

COSMIC WONDER《COSMIC WONDER RESTAURANT》2013
photo:Takashi Homma

4 Oct 2014 - 18 Jan 2015
closed: 25-31 Dec 2014
[Detail]

Sun and Primitive Bird, 1988
©The MIMOCA Foundation

1 February 2015 - 31 May 2015
Open everyday
This exhibition will display some 100 photographic works and 3 video pieces with a focus on Risaku Suzuki’s new and previously unseen works. His works taken by a large-sized camera using 8×10 inches film invites viewers to enjoy the pure act of seeing. By confronting the photograph before us without preconceptions, conscious of all it depicts, we will re-experience the world “seen” by Suzuki and know the fresh delight of seeing. [Detail]

Risaku Suzuki, Étude 10,F-5, 2010
©Risaku Suzuki / Courtesy of Gallery Koyanagi

13 June 2015 - 23 September 2015
Martino Gamper (born 1971 in Italy, resides in London), known for his crossovers between fine art and design, came to major acclaim with 100 Chairs in 100 Days (2007), for which he culled disused chairs from London alleyways and friends' homes and reassembled them one per day into poetic, often humorous forms. Drawing upon the history of furniture yet altogether unique and original improvisations, he has toured 99 chairs around the globe, always creating another 100th chair in each new location. So for this exhibition, he will create a yet-unveiled 100th chair from a find here in Marugame. Working within self-imposed parametres — found materials, structures, designs and a single day — Gamper's 100 chairs showcase his wit and experiments in transforming limitations into elements of possibility. Transcending mere design and function, Gamper's unprecedented methodology lets us glimpse the stories hidden within things. [Detail]

Installation View: Triennale Design Museum, Milano, 2009
Photo: Åbäke/ Martino Gamper

13 June 2015 - 27 September 2015
Open everyday
Cats were a motif Genichiro Inokuma (1902-93) felt a particular fondness for. Both he and his wife liked cats, and at one time, they kept a dozen cats in their house. Living with cats around him every day, Inokuma naturally came to view them with an artist’s eye. This exhibition will look at Inokuma’s cat pictures from varying perspectives, such as style, technique, and how he combines cats with other motifs. [Detail]

Genichiro Inokuma, Title Unknown, around 1987
©The MIMOCA Foundation

3 October 2015 - 6 December 2015
Open everyday
Genichiro Inokuma (1902-93) enjoyed drawing pictures since childhood and painted prolifically with great energy until just before his death at the age of 90. His works, many of which surprise the viewer, are brimming with a cheerfulness that makes us smile, an aspect perhaps reflecting his strong curiosity and his ability to thoroughly enjoy himself, no matter what he did. This exhibition features works ranging from childhood sketches to large-scale paintings of his later years around a core of artworks chosen by Inokuma himself for the opening exhibition of this museum in 1991. In our galleries, we place warmly affectionate impressions and anecdotes related to Inokuma and his work, received from numerous people. With these as our “exhibition guide,” we present the entire scope of Inokuma’s paintings and pictures. Let us all—whether Inokuma newcomers or longtime enthusiasts—join in sharing our perceptions (impressions) of works of captivating charm and discovering little known aspects of Genichiro Inokuma the man. Together, we can come to know his works and like them even more. [Detail]

Genichiro Inokuma, Flying with Joy, 1993
©The MIMOCA Foundation

20 December 2015 - 27 Mach 2016
(closed from 25 to 31 December)
The world in which we live is fraught with problems—problems we are apt to simply turn our backs on. If we want to keep living happily and comfortably, hereafter, it is important that we take a stance of looking sincerely at the world and trying to find some small way to make a change. The artworks by four artists in this exhibition in each case emerged from the artist’s efforts to examine his world and ponder its problems as if they were his own. The works suggest to us possible approaches to problems and, moreover, throw light on the direction that society is taking. The works, thus, present us with an occasion to stop and look at the state of the world around us, and begin to move—even if very slowly—toward meaningful change in the world. [Detail]

Ryudai Takano, 15.04.17.#e37, 2015
Courtesy of Yumiko Chiba Associates, Zeit-Foto Salon ©Ryudai Takano

6 April 2016 - 30 June 2016
In January 1979, Genichiro Inokuma (1902-93) looked back on his life in the Nihon Keizai Shimbun’s popular column, “My Resume” (Watashi no Rirekisho). In a light-hearted vein, he wrote of how he was raised in pastoral surroundings in Kagawa, Shikoku—a child with a love of drawing pictures, then went out into the wide world and forged a career as a painter through hard work while befriending people of all backgrounds. Drawing from Inokuma’s recollections, this two-part exhibition will survey his life and work through artworks and materials related to episodes in his artistic career. Part I of the exhibition will trace his development from childhood and middle school to his art college years and studies in Paris in his late thirties. [Detail]

Genichiro Inokuma at his studio

17 July 2016 - 6 November 2016
Teppei Kaneuji (born 1978, resident Kyoto Prefecture) takes materials from his surroundings and collages them together in altered contexts, cutting away and connecting parts, to create works of art. This exhibition, his first major solo show in Japan in seven years, will comprise mainly new work, including a large space-specific installation, exploring extended collage though connections with the “other” as a means of production and a new way of sculpture. [Detail]
19 November 2016 - 12 February 2017
closed: 25-31 Dec 2016
[Detail]

Wall in New York around the latter half of 1950s or the 1960s
photo: Genichiro Inokuma
©The MIMOCA Foundation

25 February 2017 - 28 May 2017
[Detail]

Yukio Nakagawa, FLOWER IS THE MYSTIC MOUNTAIN, 1989(2001)ⒸYukio Nakagawa

10 June 2017 - 3 September 2017
[Detail]
16 September 2017 - 30 November 2017
Genichiro Inokuma (1902-93) experienced war for a period when he has around forty. After the Pacific War started in December 1941, he was assigned as an army artist responsible for creating war record paintings. In this role, he was dispatched to the Philippines in '42 and Burma (present Myanmar) in '43. Materials from that time confirm the existence of three war record paintings created by Inokuma as an army artist. Two of them were lost, so only the other work still exists. That work was painted in Burma at the site of Thai-Burma Railway construction. Although almost no other paintings of war scenes remain, Inokuma did keep, in his own collection, oil paintings he made of local people and scenery in lands he visited as an army artist and sketches he made during evacuation. Many of these are mild, realistic pictures showing daily life, and from them, we can sense the heavy restrictions placed on art expression, at the time, as well as Inokuma’s circumstances as an artist who, even then, had to be painting or drawing something.
This exhibition traces his movements at the time and asks how he, as an artist, looked at war and how war influenced his work. Presented, along with Inokuma’s surviving war record painting and other works of that time, are his photos, journals, books, correspondence and other materials, and war record paintings other artists, including Tsuguharu Foujita and Kei Sato, with whom he enjoyed close friendships. [Detail]

Genichiro Inokuma, Heroic Landscape (Corregidor), 1942
©The MIMOCA Foundation

San 17 December 2017 - Sun 25 March 2018
closed: 25-31 December 2017
[Detail]

Nobuyoshi Araki, Flower Cemetary, 2017 ©Nobuyoshi Araki
courtesy of the artist and Yoshiko Isshiki Office, Tokyo

Sat 14 April - Sun 1 July 2018
Open Everyday
Born in Nagano Prefecture, Shigeo Arai (1920-) displayed an aptitude for drawing in childhood. After studying Yuzen (fabric dyeing) and Nihonga (Japanese-style painting) in Ueda, Nagano, Arai studied under Genichiro Inokuma. He thereafter relentlessly pursued new creative expression without regard for boundaries between Nihonga and Yoga (Western-style painting) or possessing a fixed style.
In every period of endeavor, Arai has explored his influences from Inokuma, such as skillfully manipulated bright colors, surprising combinations of media and motifs, and fresh perceptions of things encountered in daily life. As he has done so, the individual spirit he established has come to life.
This exhibition is an important opportunity to fully display Shigeo Arai's career of over 70 years in his "second home," Marugame. [Detail]
14 July 2018 - 30 September 2018
Among the diverse works created by Genichiro Inokuma (1902-1993) during a 70-year career, his abstract “Landscape” paintings produced mainly in the early 1970s and his simply depicted, late-period “Faces” are well known. His “Landscape” paintings—works that define his unique style of abstract expression—emerged from the “city” theme paintings he created during some 20 years living and working in New York in the USA, where he moved in 1955 and freed himself from figurative painting. “Faces,” on the other hand—which he began to paint after the death of his beloved wife, Fumiko, at the age of 85—are works by which he reached a territory beyond distinctions of figurative and abstract, at the end of his career.
This exhibition features works of “Landscape” and “Face” motif painted at intervals by Genichiro Inokuma since his twenties. Inokuma steadily eliminated everything unnecessary from his works, seeking to achieve what he always valued most—a painting that had “beauty as a picture.” We invite you to travel with the artist on his aesthetic journey, through two of his most important motifs.
* Inokuma Genichiro no Sekai Ten (“Genichiro Inokuma’s World” exhibition; MITSUKOSHI, 1990)

[Detail]

Genichiro Inokuma, Faces 80, 1989 ©The MIMOCA Foundation

We are pleased to welcome you, but we would like all visitors to understand hygiene and distancing rules to keep safety and comfortable viewing.
Thank you for your understanding and cooperation.

Sat. 18 April 2020 - Sun. 28 June 2020
Tue. 2 June 2020 - Tue. 22 September 2020
MIMOCA has newly reopened after renovation work to ensure the museum a long building life. On this occasion, we are returning to our beginnings to reaffirm Genichiro Inokuma's views on the role of art and his methods of giving beauty to daily life with his artworks. We reproduce the kitchen/living room of Inokuma's late-period Denenchofu house and demonstrate the use of his artworks in orchestrating a lifestyle. We also feature examples of Inokuma-design furniture and wrapping paper, and take a present-day look at his foremost works of public art. [Detail]

Genichiro Inokuma, Freedom, 1951, ©Takashi Homma

The Window: A Journey of Art and Architecture throuogh Windows
11 July 2020 - 27 September 2020
13 October 2020 - 11 January 2021
Closed: Mondays (except 23 November, 11 January 2021), Tue. 24 November, 25 - 31 December 2020

Sun. 21 Nov 2010 — Sun. 20 Feb 2011

* Closed from December 25 to 31 and occasionally on other days during the changing of exhibitions.

Square and Circle, 1963 ©The MIMOCA Foundation