Ansei and Toshiko Uchima: Weaving Colors and Memories

Born in the United States as a second-generation Japanese immigrant, Ansei Uchima (1921–2000) moved to Japan in 1940 with the aspiration of becoming a painter. After the war, he became acquainted with Koshiro Onchi (1891–1955) and Shiko Munakata (1903–1975) , immersing himself in the world of creative printmaking. Through various artistic transitions, he developed his own woodblock print technique, "weaving color planes" (shikimen-ori), which led to the creation of his series Forest Byobu. This exhibition also highlights works by his wife, Toshiko Uchima (1918–2000), celebrated for her fantastical assemblages, alongside works by artists such as Isamu Noguchi (1904–1988), offering a window into the creative world of the Uchima couple.
 
Image: Ansei Uchima, Forest Byobu (Autumn-Stone), 1979, Private collection

New Treasures of the Museum Collection II: Sculptures of Recent Acquisition

This is the second exhibition in the "New Treasures of the Museum Collection" series, which introduces newly acquired works. Following "New Treasures of the Museum Collection I" (2024, Kamakura Annex), which showcased paintings acquired by the Museum from fiscal years 2015 to 2019, this exhibition will feature sculptures and three-dimensional artworks acquired between fiscal years 2020 and 2024, focusing on pieces that will be displayed publicly for the first time since their acquisition. The exhibition includes works such as Sumi Wakiro’s EVIDENCE, which was donated after being exhibited in his solo exhibition held at The Museum of Modern Art, Kamakura, and Kurokawa Hirotake's Spartoi No. 20, transferred from Kanagawa Kenmin Hall. All works featured in this exhibition were donated to or transferred into the Museum's collection through generous contributions from the artists and related parties. This exhibition is intended to honor and preserve these "treasures" for future generations.
Image: Esashi Tomoko, Moth Woman, 1999, Museum collection

Naoyo Fukuda: At the Threshold's Edge

Naoyo Fukuda (1967–) is an artist who explores her belief that "the world is made of words" through both language and art. She creates palindromes that read the same forwards and backward while also sculpting with objects tied to words, such as books, letters, pencils, and erasers. These objects are shaved, folded, cut, stitched with thread, and pierced with needle holes, losing their original forms and gradually disintegrating into small particles. This exhibition presents Fukuda's creative world, highlighting the transience of existence and the "in-between" of life and death through an installation that encompasses the entire exhibition space.
 
Image: Naoyo Fukuda, From Things Washed Ashore / A Spoonful of Salvation / Fountain, 2024-2026, Artist's collection. Photo:Takahashi Kenji

Wakae Kanji＋Joseph Beuys

with Photographed Documents of Beuys in Japan＋Europe

During his time in Germany in the 1970s, Wakae Kanji (1944–) was deeply influenced by the work of Joseph Beuys (1921–1986). Engaging with Beuys’ artistic philosophy, he collected and exhibited the artist’s works alongside other contemporary pieces, forging connections between art and society while developing his own creative practice. This exhibition presents a rare visual record of Beuys’ activities photographed by Wakae, including Beuys' participation in documenta 7, studio visits, travels to Japan, and installation views of major Beuys exhibitions in Germany and beyond. Many of these documentary images are being shown for the first time, offering valuable insight into Beuys’ practice and Wakae’s artistic perspective. Alongside these photographs, figurative works by both artists will be displayed, inviting viewers to consider their shared sensibilities and distinct artistic voices.
Image: [Left]Wakae Kanji, Under the Light of Time II (Isle of the Dead), , 1989-2024, Mixed media,Collection of the artist, Collection of the artist, Photo: Koda Mori[Right]J) Joseph Beuys at his Action in documenta 7 , 30 June 1982,Photo: Wakae Kanji

Emi Kinuko from the Museum Collection:

Focusing on the 1962 Venice Biennale

Emi Kinuko (1923–2015) was the first female painter from Japan to exhibit her works at the Venice Biennale (31st edition, 1962). While the Art Informel movement was gaining momentum in Japan from 1956 onward, her style evolved intriguingly from semi-abstraction to geometric abstraction, the latter reflecting the early days of Japan’s period of rapid economic growth. In 1961, however, these geometric forms began to disintegrate, and by 1964, her work had developed into what is known as hot abstraction. This exhibition, commemorating the 10th anniversary of her passing, features key works from the museum’s collection, with a focus on those shown at the Venice Biennale.
 
Image: Emi Kinuko, Composition 5, 1962, Museum collection

Kawaguchi Kimio: Thousands are Sailing

Kawaguchi Kimio (1951–) is an artist who paints what is visible, while simultaneously pursuing landscapes that no one has ever seen. His works are created using a mixed technique of tempera and oil paints, which he studied in Vienna. The nuanced textures in his paintings often evoke a sense of storytelling, and his style is frequently likened to poetry; a "painting to be read." This exhibition offers a comprehensive view of his artistic evolution, presenting early works from the 1970s alongside newly revealed pieces, tracing his creative journey over half a century.
 
Image: Kawaguchi Kimio, Journey on the Desk, 2025, Private collection

Yoshihiko Ueda: From the Hip

From the outset of his career, Yoshihiko Ueda (1957–) has distinguished himself across a broad spectrum of photography, from celebrity portraits and advertising to nature and urban landscapes. His ability to capture fleeting moments with both technical mastery and a refined sensibility has earned him national and international acclaim. Constantly evolving with each era, his work embodies a timeless pursuit of beauty. This exhibition—the first solo presentation of his work at a public art museum in 20 years—offers a comprehensive retrospective of his 40-year career. Featuring approximately 500 works, it includes his most celebrated images, unpublished early pieces, and his latest creations, all developed and printed by the artist himself.

Can I Touch This, Too? : An Exhibition of Touchable Sculptures from the Museum Collection II

The second installment of the Can I Touch This, Too? exhibition, originally held in 2022, invites visitors to engage with the sculptures from the museum's collection in a hands-on way. This unique experience allows guests to explore the various shapes and textures of the artworks, encouraging a deeper appreciation that goes beyond traditional viewing. (To ensure the protection of the sculptures, gloves provided by the museum must be worn.)

 
Image: Horiuti Masakazu, Sliding Hemispheres, 1973, Museum collection. Photo by Sato Shin'ichi

Mokumo Sensei and Illustrations: Aoki Library and Modern Japanese Paintings from the Museum Collection

This exhibition presents the "Aoki Shigeru Bunko (Aoki Library)" collection, comprising approximately 10,000 books once owned by Aoki Shigeru (1932–2021), a distinguished researcher of Meiji-period art and a passionate bibliophile affectionately known as "Mokumo Sensei (Prof. Mokumo)." Following the 2024 exhibition, this year’s display will feature books, magazines, and original illustrations related to sashi-e (illustrations) and manga (comics) from the Meiji period to the early Showa period. Alongside these works, masterpieces of modern Western-style painting by Asai Chu (1856–1907), Kuroda Seiki (1866–1924), Fujishima Takeji (1867–1943), Nakazawa Hiromitsu (1874–1964), and Kishida Ryusei (1891–1929) will also be featured.

 
Image: Nakamura Fusetsu, Hokusai Uses a Rooster's Footprints to Draw a Picture of Tatsutagawa River, c. 1908, Museum collection (Aoki Shigeru Library)

Rediscovered Japanese-style Paintings in the Collection

and "Ukiyo-e Artists Related to Tsutaya Juzaburo" by Kataoka Tamako

From the museum’s collection of Japanese paintings, this exhibition highlights works that have not been displayed in over 20 years, as well as pieces being presented to the public for the first time. Visitors will have the rare opportunity to view works such as Flowers, an early Edo-period folding screen by Kano Tansetsu (1655–1714), and A Sketch for "Dragon in Clouds", the ceiling painting at Kenchoji Temple in Kamakura by Koizumi Junsaku (1924–2012). Also featured are folding screens from Kataoka Tamako's (1905–2008) Tsurugamae series and works depicting ukiyo-e artists associated with Tsutaya Juzaburo (1750–1797).
 
Image: Koizumi Junsaku, A Sketch for Dragon in Clouds, 1997, Museum collection

Nakanishi NatsuyukiーThe Condition of Radiance

From the Museum Collection

Nakanishi Natsuyuki (1935–2016), one of the most prominent painters of postwar Japan, explored the dynamic relationship between painting, space, and the body. In 2025, we mark thirty years since his first installation from the Touching Down on Land and Touching Down on Water series, a defining work from his later years, originally exhibited in the former Kamakura Museum. This exhibition features the newly acquired Perforated Screen, the second large-scale piece from the same series, alongside Two Apples, presented together for the first time. These works collectively examine the evolution of Nakanishi’s painting process, his places of creation, and his perspective on artistic practice.
 
Image: Nakanishi Natsuyuki, Perforated Screen, installation view of 1997. Photo by Goto Mitsuru © Natsuyuki Nakanishi

Iwatake Rie + Kataoka Junya, and the Museum Collection

An Illustrated Guide for Gravity and Materials

Through exhibiting selected works from the museum’s collection of Japanese art, such as Tawaraya Sotatsu’s (n.d.–ca. 1640) Puppy, and Mandala of Both Realms, alongside works by the collaborative unit Iwatake Rie + Kataoka Junya (both 1982–), this project will cast a new light on the museum’s extensive catalog. Kinetic works inspired by daily life and natural phenomena, as well as paintings and prints incorporating the scenes captured by telescopes and microscopes, will be installed to provide a unique method to explore the sculptural characteristics found in Japanese art, such as visual association and multiple viewpoints.
 
Images: (left) Iwatake Rie, Bodyscape, 2024, Collection of the artist; (right) Tawaraya Sotatsu, Puppy, Edo period, Museum collection