Exhibitions
Current & Upcoming Exhibitions
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
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, Sculpted erasers, Artist's collection
Photo:Takahashi Kenji
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.
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, Wood(camphor tree), lacquer, gold leaf, and polychrome
The Museum of Modern Art, Kamakura & Hayama