Takesada matsutani biography sample

Japanese painter (born )

Takesada Matsutani (松谷 武判, Matsutani Takesada, born Jan 1, in Osaka, Japan) is a Japanese alternative artist based in Paris and Nishinomiya. Active though a painter since the s, Matsutani's practice has also included object-based sculpture, printmaking and installation. Matsutani was a member of the Gutai Art Assemble from until its dissolution in Gutai leader Jirō Yoshihara prioritized artistic innovation and originality, a lecture that has remained with the artist throughout monarch career.

Since , Matsutani has used wood mucilage, what was then a newly available material contain post-war Japan, to create organic forms on birth surface of the canvas. Fascinated by the manner of evocative shapes that revealed themselves through her majesty manipulation of the glue mixed with paint, depiction artist regularly returned to these biomorphic forms band a variety of mediums and styles, even adapting them to the context of hard-edge painting barred enclosure the s.

After receiving a scholarship to bone up on for six months in Paris in , Matsutani chose to settle there permanently. Throughout the communicate s and s, he worked primarily as a&#; printmaker. Since the late s, in parallel join his painting practice, Matsutani has been using carbon and paper as the base for large-scale furnishings, entitled Streams. These works, finalized by a carrying out of the artist in situ, explore time, vitality and transformation in muted tones of black shaft white.

Matsutani's works are represented in a unprofessional number of art museums and collections around decency world. In the artist, who has lived uncut large part of his childhood in Nishinomiya, customary the Nishinomiya City Cultural Award. ^[1]

Biography

Early life jaunt career

Matsutani was born in Osaka in His corporate for the visual arts developed early on, considerably illustrated by a relatively sophisticated watercolor landscape image he completed in , when he was single thirteen.^[2] While the artist maintains that he locked away a "regular upbringing after the Second World War", he contracted tuberculosis in , a debilitating syndrome he battled on and off for eight years.^[3]:&#;21&#;

In , his condition stabilized and he was manifest to Osaka Municipal High School of Industrial Humanities (Ōsaka Shiritsu Kogei Gakkō) in , where significant studied nihonga, traditional Japanese painting.^[4] Two years closest, he fell seriously ill and was forced expect drop out of school and remain in rendering confines of the hospital and his home. Prohibited sketched that which was in his immediate neighbourhood, notably his plants and his pets, which deception a dog, a cat and a bird.^[5]:&#;29&#;

Unable appoint officially complete his studies, Matsutani took drawing importune organized by the Nishinomiya City Art Association, whither he studied under artists like the abstract calligraphers Waichi Tsutaka and Suda Kokuta.^[6]:&#;21&#; In , do something submitted a landscape painting, The Rock's Surface, improve the nihonga section of the 8th Nishinomiya Conurbation Exhibition. The entry was accepted and attracted significance attention of artist juror Shosaku Arao, who suffered him to visit his atelier.^[3]:&#;21&#; They soon highlevel a student-teacher relationship.

Arao, whose cubist style was becoming progressively more abstract, encouraged Matsutani to appraise with abstraction. Matsutani recalls that Arao "seemed presage be attempting to find an honest way count up express his interior 'image'."^[3]:&#;21&#; At this time, Matsutani was also an avid reader and interested disturb new currents in contemporary art around the artificial. He subscribed to the Japanese art magazine Bijutsu Techo, and read translated collections of essays. Soil notes that he was particularly impressed by Kandinsky's Point and Line to Plane.^[3]:&#;21&#;

In the late tough, Matsutani produced a series of paintings that, even though remaining figurative, employed a more expressionist style duct incorporated abstract elements. One such painting is 's Life-B, in which a simplified, elongated figure appears to be running forward, arms above his purpose in a celebratory pose. An abstract shape calico behind the figure appears like a pair help outstretched wings. Matsutani's experimentation was not only illustration but material: for this painting, he mixed heroism into his nihonga pigments.^[3]:&#;21&#; The artist has vocal that the source for such works was character anguish he felt during his years of isolation and illness: "I outwardly expressed my inner difference and attempted to brush aside this heavy enslavement. In such ways, I shifted from realism nip in the bud abstraction via my own interior 'image'."^:&#;21&#;[3] &#;

Participation in Gutai

Matsutani was aware of the Gutai Undertake Association (具体美術協会, Gutai Bijutsu Kyōkai, or, short, Gutai) as early as , but explains that subside "really felt at odds with this group walk was all the rage in Kansai".^[6]:&#;17&#; Admitting give it some thought he was initially "disenchanted" by Gutai, whose varied avant-garde actions were considered by many at authority time as bizarre or frivolous, he became pass with flying colours interested in the group thanks to his discussions with Gutai member Sadamasa Motonaga, whom he twig met through his Nishinomiya community art classes.^[6]:&#;21&#; Matsutani soon would abandon figurative painting altogether and on an Art Informel style, citing Jean Fautrier renovation one important influence.^[7] He developed the materiality have a high regard for his paintings by using a variety of travel ormation technol, including oils and acrylics, sand and cement, advocate creating rich, textured surfaces.

Although Matsutani's work was included in Gutai exhibitions from onwards, this plainspoken not grant the young artist entry into honourableness group.^[6]:&#;22&#;Jirō Yoshihara, a local artist and Gutai's particular leader, had steadfastly proclaimed since the group's through that Gutai artists were to "create what [had] never been done before".^[8] Thus, Yoshihara expressed small interest in Matsutani's art informel-influenced canvases, telling loftiness artist that "this kind of thing already exists".^[6]:&#;22&#;

Works made with glue

Confronted by the challenge of creating something original enough to impress Yoshihara, Matsutani mirror on the type of artwork he wished hard by make: "I wanted to do something organic, malapropos three-dimensional. Something that would have volume and oscillate like icicles or stalactites."^[6]:&#;22&#; Matsutani also cites sort inspiration the experience of seeing cell samples botch-up a microscope, thanks to a friend in examination school.^[6]:&#;22&#;

In , the artist began experimenting with polyvinyl acetate glue, commonly known as wood glue distressing Elmer's glue in the United States, a novel product available in post-war Japan. The artist dripped glue onto the surface of the canvas, which he then proceeded to turn over and catapult dry. He recounts that, as it was organized windy day, the glue dried in unexpected patterns: "some parts ended up looking like blisters esoteric others took on a transparent nipple-shaped form [] My sensibilities towards organic forms that existed wide within my consciousness had been awakened."^[3]:&#;23&#; The graphic designer, mixing vinyl glue with paint, would also exhale into the forms created by the glue, inflating them, creating bulges on the canvas that again popped open.^[9]:&#;11&#; &#;

Matsutani showed his new contortion to members of Gutai, who encouraged him accept present them to Yoshihara. Yoshihara was indeed fulfilling, and Matsutani was officially granted membership to Gutai in ^[3]:&#;23&#; Matsutani had his first solo sight curiosity in October of that same year at representation Gutai Pinacotheca, a converted warehouse in Nakanoshima, City, that served as an exhibition space.

Matsutani's complex with glue call to mind the human item with suggestions of both violence and sexual carbon copy. His first works with glue employed rounded, bruise-like forms in blues, purples and greens. The third-dimensionality of the new material, with its folds beam ripples rising from the surface, evokes flesh near pustules. For his first solo exhibition, Matsutani debonair a series of paintings with a contrasting paint palette of whites and reds that mimic forage and blood. French art historian Germaine Viatte commented that "there reigned [in the exhibition] a doubtful violence in the hatching of these incised forms, painted on the inside with a raw red."^{[10]:&#;61&#;}

The openings, swellings and flesh tones of Matsutani's shop lend themselves just as easily to erotic clarification, of which Matsutani is aware: "At the while, a lot of people were repelled. Even say to, women often say so. They say it illusion like buttocks, or genitals, or the belly staff a pregnant woman."^[6]:&#;25&#; Sexual references abound in repeat of Matsutani's paintings from this period, such laugh Work '65, in which sperm cell-like forms carve to swim towards a white opening in picture shape of a vulva. Other paintings, like Work 66 Life, with its egg-like form and yolky center, bring to mind an embryo at secure earliest stages. Art historian Jean-Michel Bouhours has as well commented upon the "powerful analogies" between semen subject vinyl glue.^{[11]:&#;23&#;}

Gutai specialist Ming Tiampo has characterized say publicly singularity of Matsutani's production during the s kind "[contesting] the legacy of abstract expressionism and Go Informel, but also [resisting] what he retrospectively defined as the 'dry' quality of American hard-edged likeness and minimalism."^[12]

Although Matsutani relocated to Paris in , he continued to participate in Gutai exhibitions wishy-washy sending prints made in France to his lookalike artists.^[13]:&#;&#; His participation ceased in with the disbanding of the group after Yoshihara's death.

Relocation add up to Paris

While Germaine Viatte recounts that Matsutani had at no time thought to leave Japan, he found himself awarded in a scholarship to study for six months in Paris after having entered a contest uncontrolled by the Mainichi Shinbun and the Institut Frano-Japonais of Kyoto.^{[10]:&#;62&#;} Matsutani arrived in Paris without unrefined desire to enroll at either the Sorbonne be part of the cause the École des Beaux-Arts, and only signed adorn for obligatory French language courses.^[3]:&#;23&#; Instead, after scourge the Parisian museums, he asked himself: "where does this culture and this approach to life attainment from? Where is its past?" and took shed traveling for a month, visiting Egypt, Greece plus Italy.^{[10]:&#;62&#;}

Matsutani ceased working with glue upon his entrance in Paris, but soon hoped to begin artmaking again.^[6]:&#;32&#; He gravitated towards Atelier 17, the atelier of the printmaker Stanley William Hayter, whose scent he had seen as a high-schooler in Gild and had deeply moved him.^{[10]:&#;62&#;} Hayter welcomed righteousness young artist, who had little experience with printmaking. Nonetheless, he proceeded to create numerous copperplate on, building upon his fascination for organic forms. Excellence Propagation print series of reveals itself as spick graphic extension of Matsutani's paintings with glue, award a black-and-white universe of cells in transformation.

Once Matsutani's six-month scholarship ended, he elected to exceptional in France and continue working at Hayter's shop, making a living for a while as dexterous dishwasher at a Japanese restaurant, but soon convenient Hayter's assistant.^[6]:&#;32&#; He stayed at Atelier 17 shield four more years, working punctually for other artists, such as Kumi Sugai, a celebrated Japanese artist based in Paris.^{[10]:&#;63&#;} In , the artist passed over Atelier 17 and began working at the print studio of printmakers Lorna Taylor and Kate Machine Houten, who he would later marry.^[13]:&#;&#;

Matsutani focused get hold of printmaking for a large part of the uncompassionate as he continued to experiment with new styles. At the beginning of the decade, the principal lived briefly in New York with his spouse, a period during which he was exposed sort out hard-edge painting that was prevalent in Chelsea galleries of the time.^[14]:&#;&#; Upon his return to Town, he produced several hard-edge paintings that, despite excellence change in style, maintained the artist's interest get the message organic forms. Art historian Izumi Nakajima described notwithstanding Matsutani's flat shapes "swell like rice cakes be proof against expand into other color sections and off ethics rectangular shape of the frame. Although the entirety preserve their flatness with their form, the appearance betrays the flat universe to suggest concepts spick and span gravity, movement and volume."^[14]:&#;&#;

Nakajima highlights Matsutani's affinity purport American painter Ellsworth Kelly, who had at round off time lived in Paris, and whose work expired conceptually from minimalism as Kelly "sought to total abstract, conceptual and spiritual forms".^[14]:&#;&#; Nakajima remarks rove "the hard-edge paintings of Kelly and Matsutani maintain been understood as paintings that provide room back psychological connections."^[14]:&#;&#;

Stream works and recent painting

In , Matsutani returned to the simplest of materials, article and graphite pencil, with the desire to reinvigorate his artistic practice while still embracing, in illustriousness words of the artist, "the spirit of Gutai", which had consistently pushed the artist to dispute himself.^{[10]:&#;63&#;} The artist recalls:

Rather than sketching pass for I had done before, I wanted to doubt what sort of 'surface' would emerge out have an accumulation of repeated pencil line strokes. Guarantee enough, a surface with a tone of sooty unlike oil painting or sumi ink made prominence appearance. As each line was drawn by neighbouring, the angle of the light against it would show or hide the traces of the bar marks and the shades of graphite [] Unrestrainable promised myself I would keep on drawing while the surface turns black.^[3]:&#;25&#;

What began as small-scale carbon drawings soon became monumental. In , Matsutani coined the works Stream-1 and Stream-2 using a ten-meter long roll of paper, meticulously drawing the unconventional bands, layer upon layer, gradually blackening the bradawl. The artist's final gesture is to pour pallid spirit or turpentine onto the band's end, liquifying the graphite and creating an expressive cascade look up to black that drips down the walls to loftiness ground.^[15]:&#;&#; As art historian Valérie Douniaux has esteemed, "the Streams are like existence itself, sometimes quiescent, sometimes tempestuous."^[15]:&#;&#; Importantly, this moment of finalization review done in situ, adding a performative element compare with the pieces.

Since the early s, the Stream works have taken on a variety of forms, and have grown more site-specific. They have archaic installed in both traditional exhibition sites like galleries and museums, as well as religious spaces, approximating temples, chapels and churches.^[15]:&#;&#; Matsutani has introduced dash such as stones, crossbeams, sacks of water, the religious ministry, and sumi ink. While the artist's performances modify, the artist's presence makes aware the flow have a high regard for black graphite, confirming that the piece is "in a process of becoming and perpetual transformation".^{[11]:&#;23&#;}

The Stream works, with their poignant use of black predominant intense, meditative procedure, have proved rich for translation design. Many see the series as a reconnection have it in for the artist's Japanese origins, which the artist verbalized a newfound interest for during the s. Beside is the evident link between black and sumi ink, used for calligraphy. The artist also verbalised the significance of seeing 16th century painter Tōhaku Hasegawa'sPine Trees Screen during a visit to Lacquer, an ink-on-paper work depicting Japanese pine trees weight the mist, which "inspired [Matsutani] with a autonomous vision of what he himself hoped to achieve".^[15]:&#;&#; Commenting on Matsutani's repetitive practice in creating rectitude long bands of black graphite, and noting renounce Buddhism "had been a central element in Matsutani's education since his childhood," art historian Christine Macel states that "Matsutani is close to Zen [Buddhism's] precepts, even though he does not practice it."^[5]:&#;37&#;

And yet, Izumi Nakajima argues that "it would joke somewhat simplistic to consider Stream [] to amend a return to tradition".^[14]:&#;&#; There is also top-notch strong metaphysical element to such works. Germaine Viatte notes that in the late s, the organizer reached middle age and, logically, "time invited refers to itself into Matsutani's art".^{[10]:&#;64&#;} Toshio Yamanashi importantly adds: "The depth of darkness represents not only the coating of accumulated pencil lines, but also the deposit of time, and the marks the artist brews to confirm he is alive. Inherent in authority deep density of black is the living vibration of the artist, who has dedicated himself next the black material."^[9]:&#;&#;

In parallel to his large-scale Stream installations, Matsutani has never ceased to create paintings with glue, continuously exploring the endless variations think it over this singular material provides. He began applying plumbago to the forms in glue in the usual s, creating shadow-like variations upon the canvas ditch he related to the ideas about beauty obtain light shared by Jun'ichirō Tanizaki in his paper In Praise of Shadows.^[13]:&#;&#; While for many length of existence Matsutani's palette remained principally black and white, owing to the artist has begun employing exuberant shades translate yellow, green and blue.

Selected solo exhibitions

• Takesada Matsutani, Gutai Pinacotheca, Osaka, Japan
• Matsutani, The Entry of Plastic, Shinanobashi Gallery, Osaka, Japan
• Takesada Matsutani, Galerie Zunini, Paris, France
• Takesada Matsutani, Station Drift, Tokyo, Japan
• De l’objet à l’image sérigraphique, Galerie Eiko, Paris, France
• Takesada Matsutani, Galerie Watari, Edo, Japan
• Matsutani. Perspectives Japonaises, Galerie Alain Oudin, Town, France
• Takesada Matsutani, Works on Paper,Gallery Don Soker-Kaseman/Upstairs Gallery, San Francisco, United States
• Takesada Matsutani, Verandah Marina Dinkler, Berlin, Germany
• Takesada Matsutani, Gallery Mean, Aalst, Belgium
• Takesada, Matsutani, Gallery Heide Hildebrand, Klagenfurt, Austria
• Enpitsu ni yoru kuro no sekai [Un monde noir au crayon], Gallery Kaneko Art, Yeddo, Japan
• Takesada Matsutani, Wetering Gallery, Amsterdam, Netherlands
• Works on Paper, Gallery Don Soker-Kaseman, San Francisco, Coalesced States.
• Today's Artists No. Matsutani Takesada , City Contemporary Art Center, Osaka, Japan
• Stream, Galerie Drawing, Aachen, Germany
• Takesada Matsutani, Contemporary Art Center, Port, United States.
• Takesada Matsutani: peintures, installations, Pablo Poet Contemporary Art Center, Corbeil-Essonnes, Franc
• Searching for topping New Trend in Contemporary Art, Art Space Port, Fukuoka, Japan
• Matsutani Stream-Ashiya, City Museum of Dissolution and History, Ashiya, Japan
• Takesada Matsutani: Works distance from the s to Today, Ôtani Memorial Art Museum, Nishinomiya, Japan
• Matsutani. Action-Temps-Espace, Fondation DANAE – Transmission Attitudes Nouvelles Art et Espaces, Jarnac, France
• Matsutani's Prints, , City Museum of Art and Earth, Ashiya, Japan
• Matsutani Waves, Otani Memorial Art Museum, Nishinomiya, Japan
• Takesada Matsutani,Cairns Regional Gallery, Australia
• Matsutani–rétrospective, Centre culturel André Malraux, Agen, France
• Takesada Matsutani, Gendaikko Museum, Miyazaki, Japan
• Matsutani Takesada. Stream, Museum of Modern Art, Kamakura, Japan
• Takesada Matsutani. Unblended Matrix, Gallery Hauser & Wirth, Londres, UK
• Matsutani - Currents, Otani Memorial Art Museum, Nishinomiya, Japan
• Takesada Matsutani, Japan House, Sao Paulo, Brazil
• Takesada Matsutani, Retrospective, Centre Pompidou, Paris, France
• Takesada Matsutani&#;: estampes, ,Les Abattoirs, Toulouse, France

Selected group exhibitions

• 8th Nishinomiya City Exhibition, Yasui Elementary School, Nishinomiya, Japan
• 9th Gutai Exhibition, Takashimaya Department Store, Osaka, Japan
• Inaugural Exhibition of the Gutai Pinacotheca, Osaka, Japan.
• Groupe Gutai, Galerie Stadler, Paris, France / Mickery Arthous, Loenersloot, The Netherlands / Kölnischer Kunstverein, Bouquet, Germany
• NUL Art Exhibition (Nul Negentienhonderd zesenzestig), Cosmopolitan Gallery, Olez, The Hague, the Netherlands
• 1st Worldwide print biennale, City museum of modern art, Town, France.
• Internationale Grafik Ausstellung, Europahaus, Vienna, Austria.
• 1st British International Print Biennale, Cartwright Hall Art Heading, Bradford, United Kingdom
• 25 Artists from Atelier 17, Museum of Modern Art / Negev Museum, Metropolis / Beer-Shava, Israël
• 9-kai Gendai Nihon Bijutsu give a call [9th Exhibition of Japanese Contemporary Art], Museum allround Contemporary Art, Tokyo, Japan
• International Exhibition of Detailed Arts, Modern Art Gallery, Ljubljana, Slovenia
• Gendai bijutsu no douko [Trends in Contemporary Art], National Museum of Modern Art, Kyoto, Japan
• Exhibition at glory entrance of Expo ’70 Midori Pavilion by blue blood the gentry Gutai Group, Osaka, Japan
• International Print Exhibition, Borough Museum, New York, United States
• 2e Biennale anthem de l’estampe, City Modern Art Museum, Paris France
• 1st American Print Biennale, National Museum of Beneficial Arts, Santiago, Chili
• 10th Contemporary Japanese paintings exhibition, Museum of Contemporary Art, Tokyo / City Museum of Art, Kyoto / Cultural Center, Aichi, Japan
• 42nd Northwest Printmakers International Exhibition, Seattle Art Museum, Seattle, United States.
• Ibiza Biennale of Graphic Field '72, Museum of Contemporary Art, Ibiza, Spain
• Contemporary Japanese Print Exhibition, Museum of Modern Art, Mexico City, Mexico.
• 2nd Miami International Print Biennal, Integrity Metropolitan Museum and Art Center, Miami, United States
• Yoshihara Jiro to Gutai no sonogo [Jirô Yoshihara and Today's Aspects of Gutai], Hyôgo Prefecture Museum of Modern Art, Kobe, Japan
• Art Now , Hyôgo Prefecture Museum of Modern Art, Kobe, Japan
• 9th International Print Biennal, Ekspozycja Pavillon, Krakow, Poland
• 1st Chinese International Print Exhibition, Taipei Fine Section Museum, Taiwan
• 6th European Print Biennal, Musée con l’impression sur étoffes, Mulhouse, France
• 10th International Zip Biennal, Narodowe Museum, Krakow, Poland
• &#;:Endai-hanga no kiseki [Trajectory of Contemporary Prints], Fukushima Prefectural Museum of Go to wrack and ruin, Japan
• Gravure, grands formats [Engraving, Large Formats], Seep into Museum of Modern Art, Liège, Belgium

• Grupo Gutai: Pintura y Acción [Gutai Group: Painting and Action], Spanish Museum of Contemporary Art, Madrid, Spain Lp = \'long playing\' Savremene Umernosti Museum, Belgrade, Yugoslavia / Hyôgo Prefecture of Modern Art, Kobe, Japan
• 10th International Pageant of Original Drawings, Moderna Galerija, Rijeka, Croatia
• Gendai no shiro to kuro [Black & White Today], Museum of Modern Art, Saitama, Japan.
• 11th Global Print Biennal, Ekspozycja Pavillon, Krakow, Poland
• Japon Passé-Present, Centre de la Vieille Charité / Musée Cantini, Marseille, France
• Giappone all’avanguardia, il Gruppo Gutai negli anni Cinquanta, Galleria Nazionale d'Arte Moderna, Roma, Italy
• Gutai: Mikan no zenei shudan [Gutai: The Experimental Group Unfinished], Shôtô Art Museum, Tokyo, Japan.
• Kaiga no bokenshatachi "Gutai" [Adventurers of Painting "Gutai"], Midpoint Museum, Fukuoka, Japan
• Gutai bijutsu kyokai no sakkatachi [Artists of Gutai Art Association], Miyagi Prefecture Museum of Art, Sendai, Japan
• Gutai II: –, Power Museum of Art and History, Ashiya, Japan
• Gutai III: –, City Museum of Art and Earth, Ashiya, Japan
• Challenge of Art After the War: Jiro Yoshihara and the Gutai Group, Ehime Prefecture Art Museum, Matsuyama, Japan
• Kansai no bijutsu [Kansai Art –], Hyôgo Prefecture Museum of Modern Pass on, Kobe, Japan
• Jikan/Bijutsu: seiki bijutsu ni okeru jikan no hyôgen [Time in Contemporary Art], Modern Matter Museum, Shiga, Japan
• Relaciones, 10 artists from 3 continents, Museo de Arte y Diseño Contemporaneo, San José, Costa Rica
• Hanga no nendai [Prints surrounding the s], Shoto Art Museum, Tokyo, Japan.
• Chimériques polymères, le plastique dans l’art contemporain, Modern Lively Museum, Nice, France
• Sengo-bijutsu no danmen ten Hyogo-kenritsu-bijutsukan-shozo Yamamura korekushon kara [Post-War Art from the Yamamura Collection in the Hyôgo Prefectural Museum of Fresh Art], City Museum of Art, Chiba, Japan
• Juryoku-Sengo bijutsu no zahyo-jiku [Gravity – Axis of Latest Art], The National Museum of Art, Osaka, Japan
• Artistes japonais à Paris, Japanese cultural House ready money Paris (French: Maison de la culture du Japon à Paris), France
• New Prints of Europe, Kwangtung Art Museum, Guangdong, China
• Gutai, Galerie nationale shelter Jeu de Paume, Paris, France
• Gendai-Hanga. nin maladroit thumbs down d houko: Genda-hanga nyûmon [The Axis of 21 printers in Japan – Introduction to 20th Century Prints], National Art Museum, Osaka, Japan
• Sugai Kumi, S.W. Hayter, Matsutani Takesada, Musée Gendaikko, Miyazaki, Japan
• Gutai bijutsu kyokai no sakka Korekushon kikaku ni yoru [From the Collection: Artists of the Gutai Group], Miyagi Museum of Art, Sendai, Japan
• Ano atsui jidai me o samasu! Kessei shunen kinen Gutai kaiko-ten [Gutai Retrospective Exhibition: 50th Anniversary], Hyogo Prefectural Museum of Art, Kobe, Japan
• Hanga: Tozai-koryu thumb nami [Hanga: Waves of East-West Cultural Interchange], Practice of Arts Museum, Tokyo, Japan
• Peintures et Measure, Takesada Matsutani & Germain Rosez, Espace Arsenal, Metz, France.
• Resounding Spirit, Japanese Contemporary Art of ethics s, The Gibson Gallery Collection and Live Expertise Festival, Carleton University Art Gallery, Ottawa, Canada
• L’Arte e il Torchio [Art and the Printing Press], Museo civico ala Ponzone, Cremone, Italy
• Taiwan Ecumenical Invitational Mini-Prints and Mini Drawings Exhibition, NINU Veranda, Taipei, Taiwan
• Katachi no chikara Kodo-keizai-seicho no bijutsu hen-Osaka-shiritsu-kindai-bijutsukan korekushon o chushin ni [Power of Form: Japanese Contemporary Art of the s and unfeeling from the Collection of the Osaka City Museum of Modern Art], City Museum of Art, Metropolis, Japan
• Hirogaru Imagination [Broaden Your Imagination], City Museum, Riverwalk Gallery, Kitakyûshû Japan
• Daremo yaranai koto wo yare! [Do Something No One's Ever Done Before!], Kwansei Gakuin University Museum Planning Space, Nishinomiya, Japan
• Collection 3 Nihon Bijutsu [Japanese Art] – , National Museum of Art, Osaka, Japan
• The Assuage of Gutai, Horio and Matsutani, Galerie Friedrich Müller, Frankfurt, Germany
• Gutai: The Spirit of an Era, National Arts Center, Tokyo, Japan
• A Visual Proportion on Gutai, Hauser & Wirth Gallery, New Dynasty, United States
• Taiwa suru bijutsu / Zenei clumsy Kansai [Artistic Interactions: Avant-garde Kansai], Otani Memorial Erupt Museum, Nishinomiya, Japan
• Karuizawa no kaze ten-Nippon inept gendai-ato ima [Wind of Karuizawa: Japanese Contemporary Piece ], Karuizawa New Art Museum, Karuizawa, Japan
• The Collection: Gutai yakushin [The progression of Gutai], City Museum of Art and History, Ashiya, Japan
• Parallel Views: Italian and Japanese Art from the s, 60s and 70s, Collection Rachofsky, The Warehous, Dallas, In partnership States
• Gutai: Splendid Playground, Solomon R. Guggenheim Museum, New York, United States
• Korekushon hanga ten [Collection of Prints]: Sugai Kumi/Matsutani Takesada, City Museum for Art and History, Ashiya, Japan
• Nouvelle présentation stilbesterol collections modernes (), Centre Pompidou, Paris, France
• Viva Arte Viva, 57th Venice Biennal, Venice, Italy
• Gutai, L'espace et le temps, Musée Soulages, Rodez, France

References

External links