Exhibitions
HAYAMA Current & Upcoming Exhibitions
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
Ueda Yoshihiko: From the Hip
From the outset of his career, Ueda Yoshihiko (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 Featuring approximately 500 works, it includes his most celebrated images, unpublished early pieces, and his latest creations, all developed and printed by the artist himself.
Image: Ueda Yoshihiko, Quinault No.1, 1991 © Ueda Yoshihiko
Wakae Kanji and Joseph Beuys
with Photographed Documents of Beuys in Japan and 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.
Images: (left) Wakae Kanji, Under the Light of Time II (Isle of the Dead), 1989–2024, Collection of the artist; (right) Joseph Beuys at his Action in documenta 7, 30 June 1982. Photo by 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
Uchima Ansei and Toshiko
Born in the United States as a second-generation Japanese immigrant, Uchima Ansei (1921–2000) moved to Japan in 1940 with the aspiration of becoming a painter. After the war, he became acquainted with Onchi Koshiro (1891–1955) and Munakata Shiko (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, Uchima Toshiko (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: Uchima Ansei, Forest Byobu (Screen) B, 1978, Private collection
New Treasures of the Museum Collection II: Sculptures of Recent Acquisition
A selection of sculptures and three-dimensional works recently acquired by the museum include Yoshida Yoshio (1912–1989), Muraoka Saburo (1928–2013), Yamamoto Masamichi (1941–), Yasuda Kan (1945–), Sumi Wakiro (1950–), Shimokawa Masaru (1950–), Kurokawa Hirotake (1950–), Yano Michiko (1960–), and Hossein Golba (1956–) among many others. We invite you to enjoy the presence of various three-dimensional “forms,” ranging from figurative to abstract.
Image: Kurokawa Hirotake, Spartoi No. 20, 1985–86, Museum collection. Photo by Yamamoto Tadasu