Atsushi Fukui was born in 1966 in Aichi prefecture. In 1989, he completed his B.A. in oil painting at Tokyo University of the Arts. He is currently based in Yamanashi prefecture.
His major solo exhibitions include “air” (2016, yu-un, Tokyo) and “Council of Backpacking” (2015, ROPPONGI HILLS A/D GALLERY, Tokyo). His first show at Tomio Koyama Gallery was the group exhibition “morning glory” curated by Yoshitomo Nara (Tokyo, Japan, 2002). Thereafter, he held 6 solo exhibitions at Tomio Koyama Gallery.
Fukui’s major group exhibitions include “TAKAHASHI COLLECTION Mindfulness!” (2013, Kirishima Open-Air Museum, Kagoshima, Japan [touring Sapporo Art Museum, Hokkaido, Japan]) “ORANGE SKY” (2011, RH Gallery, New York), “Punkt Art 2011 David Sylvian-in cooperation with Atsushi Fukui uncommon deities” (2011, Sorlandets Kunstmuseum, Kristiansand, Norway), “convolvulus: Atsushi Fukui / Hideaki Kawashima” (2009, Michael Ku Gallery, Taipei), “The Masked Portrait” (2008, Marianne Boesky Gallery, New York), “ROPPONGI CROSSING” (2004, Mori Art Museum, Tokyo). His works have been included in the public collections of The Olbricht Collection (Germany), The JAPIGOZZI Collection (US/ Switzerland), The Takahashi Collection (Japan) and The Japan Foundation (Japan).
Yuka Kashihara uses oil paint applied in a thinly diffuse manner similar to that of Japanese nihonga painting, and by applying it in numerous layers she is able to create a unique depth of color. Within the world of her artworks, scenes from both reality and the spaces of the internal imagination are gently interwoven. Against this backdrop, having left Japan and moved to Germany where she continued developing her practice, Kashihara acquired an interest in the ‘distance’ between the internal and the external. This included the physical distance between Japan and Germany; and further, the distance herself as a Japanese person and herself while in Germany. This becomes expressed symbolically as an introspective speculation in the forms of the motifs of caves, holes, mountains and lakes which she repeatedly takes up within her work, and through this process of sublimation it is as though the original energies which lie dormant within the great Earth have become awakened.
Yuka Kashihara was born in 1980 in Hiroshima Prefecture. In 2006 she graduated from the Japanese Painting Department of Musashino Art University. In the same year she moved to Germany, and in 2013 she acquired a Diploma from the Academy of Visual Arts in Leipzig. In 2015, she was named a Meisterschüler (Masters graduate) of the same academy, studying under Professor Annette Schröter. In 2008 she exhibited at the Bauhuas Dessau Foundation in Shakkei (“borrowed scenery”), a solo show curated by research scholar Torsten Blume of the same Foundation, and in 2012 she exhibited in VOCA, Tokyo, where she received both the Honourable Mention Award and the Ohara Museum of Art Award.
1980 Born in Hiroshima, Japan
2006 B.F.A in Japanese Painting, Musashino Art University, Tokyo
2012 Stayed in Germany under POLA Art Foundation Grants Program
2013 Completed Diploma in Academy of Visual Arts Leipzig, Germany
A part-time lecturer of Musashino Art University, Department of Japanese Painting, Tokyo (-2017)
2015 Completed Meisterschüler in Academy of Visual Arts Leipzig, Germany (under Prof. Annette Schroeter)
Lives and works in Germany
Kim Chong Hak was born in Sinuiju in 1937. Since 1987 he has lived and worked in Sokcho and Seoul, and has recently been based in Busan. He studied painting at Seoul National University, where he graduated in 1962, and printing at Tokyo University of the Arts in 1968 – 1970, and Pratt Institute in New York in 1977. His major solo exhibitions have been held at venues including Muramatsu Gallery (Tokyo, 1970 and 1974), Gallery Hyundai (Seoul, 1998, 2004, 2012, and 2013), Johyun Gallery (Busan, 1999, 2015, and 2016), Galerie Gana (Paris, 2006), and Gana Art Center (Seoul, 2006). A large retrospective exhibition of his work was held at National Museum Of Contemporary Art Korea, Gwacheon in 2011. His major group presentations include Biennale de Paris (Paris, 1964), “Korean Contemporary Art” (National Museum of Modern Art, Tokyo, 1968), Sao Paulo Biennale (1973 and 1975), and “83 Invited Exhibition of Contemporary Art Museum” (National Museum of Modern and Contemporary Art, Korea, 1983). Recent exhibitions include “In Between” (Kumho Museum of Art, Seoul, 2014), and “The Muse, Her-story” (Whanki Museum, Seoul, 2016). His work is included in many public collections such as National Museum of Korea, National Museum of Modern and Contemporary Art, Korea, Leeum, Samsung Museum of Art, Korea, Seoul Museum of Art, and Busan Museum of Art. The Kim Chong Hak Museum is currently undergoing plans to be built in Busan (designed by the architect Kengo Kuma).
Midori Sato was born in 1984 in Aichi Prefecture. She graduated from Oil Painting Course, School of Art, Nagoya University of Arts in 2008, and studied at Ecole nationale des beaux arts de Dijion, France as an exchange student. She received M.F.A from Graduate School of Tokyo Zokei University in 2010. She studied in Paris as a recipient of the POLA Art Foundation award for overseas research in 2017.
A closet packed full of colorful dresses, an array of high-heeled shoes on shelves, vividly colored flowers: Midori Sato shows us things that every woman yearns to see. Yet if we turn our attention to the details of her work, bold brushstrokes and an intentionally uneven paint coating tinge her subject matter with the contours of abstraction. This abstraction demonstrates the force of the power that draws the viewer into the picture plane.
Her major solo exhibitions include “Diaphanous petals” (The Pola Art Museum, Atrium Gallery, Kanagawa, 2019), “Bouquet” (8/ ART GALLERY/ Tomio Koyama Gallery, Tokyo, 2019), “Orange Glow” (Green Art Flowers Gallery, Paris, France, 2018) and “Reflections” (Roppongi Hills A/D Gallery, Tokyo, 2017). She participated in group exhibitions such as “Aichi Triennale 2016 rainbow caravan” (Aichi, 2016) and “Embracing for Painting” (Shiseido Gallery, Tokyo, 2015). In 2013, she received the Ohara Museum of Art Prize at “VOCA 2013″(The Ueno Royal Museum, Tokyo) and the artwork was housed in the Museum.
Kishio Suga was born in Morioka city, Iwate Prefecture in 1944. In 1968 he graduated from the Department of Painting at Tama Art University, and served as a central member of the art movement Mono-ha that took place from the late 1960s to the 1970s. For over 50 years since, Suga has continued to pursue a consistent philosophy and actively develop his artistic practice, paving his own unique path as one of the leading figures of Postwar Japanese art in our times. Even in recent years when the reevaluation of Mono-ha has been gaining much international recognition, he persists in further deepening his contemplation, with his unfaltering passion and enthusiasm for his practice serving to define the presentness of his work.
Since his first solo exhibition in 1968, Suga has presented work on over 400 occasions in numerous exhibitions both within Japan and abroad. Recent years in particular have seen remarkable developments and achievements in his career. In 2016 he held solo exhibitions at Pirelli Foundation’s HangarBiocca in Milan and Dia: Chelsea New York, in addition to a two-person exhibition with Karla Black at The Scottish National Gallery of Modern Art in Edinburgh. He was selected for the 57th Venice Biennale, “VIVA ARTE VIVA” in 2017, receiving high acclaim for Law of Situation in which he recreated of one of his early representative works in the form of an installation floating on water. In that same year Suga participated in the group exhibition “Japanorama: New Vision of JAPAN from 1970,”curated by Yuko Hasegawa that was held at the Centre Pompidou-Metz in France.
Suga’s works are also housed in numerous prominent museums throughout the world including the Centre Pompidou, Dia: Chelsea, the Tate Modern, Dallas Museum of Art, M+, The Museum of Modern Art, New York, Guggenheim Abu Dhabi, The Scottish National Gallery of Modern Art, and the Museum of Contemporary Art, Tokyo.
Hiroshi Sugito was born in 1970 in Aichi prefecture, Japan. He graduated from the Department of Japanese Painting, Faculty of Arts, Aichi Prefectural College of Arts in 1992. He is currently Associate Professor of the Department of Painting, Faculty of Fine Arts, Tokyo University of the Arts. He has exhibited extensively both in Japan and internationally since the 1990s. His major solo exhibitions include “FOCUS” (Modern Art Museum of Fort Worth, Texas, USA, 2006), “prime and foundation” (Miyagi Museum of Art, Miyagi, Japan, 2015), “frame and refrain” (Musée Bernard Buffet, Shizuoka, Japan, 2015), ”particles and release” (Toyota Municipal Museum of Art, Aichi, Japan, 2016), and “Hiroshi Sugito module or lacuna” (Tokyo Metropolitan Art Museum, 2017). He has also held eight solo exhibitions at Mark Foxx Gallery in Los Angeles.
His Significant group exhibitions include “Winter Garden：The Exploration of the Micropop Imagination in Contemporary Japanese Art” (curated by Midori Matsui, Hara Museum of Contemporary Art, Tokyo, Japan, 2009; traveled to Japanisches Kulturinstitut, Cologne, Germany, 2009 / The Japan Foundation, Tronto, Tronto, Canada, 2010 / Galeri’a Arnold Belkin, Museo Universitario del Chopo、Mexico City, Mexico, 2011), “Garden of painting – Japanese Art of the 00s” (The National Museum of Art, Osaka, Japan, 2010), and “Logical Emotion – Contemporary Art from Japan” (Museum Haus Konstruktiv, Zurich, Switzerland, 2014; traveled to Museum of Contemporary Art in Krakow MOCAK, Krakow, Poland, 2015 / Kunstmuseum Moritzburg Halle (Saale), Halle, Germany, 2015) among many others.
Richard Tuttle was born in Rahway, New Jersey, USA, in 1941. He currently lives and works in New York City, and New Mexico. In 1963 he completed his BA in philosophy and literature at Trinity College, Hartford, USA. He held his first solo exhibition at Betty Parsons Gallery, New York, in 1965 when he was 24 years old, and an exhibition at the Whitney Museum of American Art in 1975 when he was 34 years old. Such exhibitions attracted significant attention, and had given rise to various topics of public discussion. Tuttle has further participated in international exhibitions such as La Biennale di Venezia (1976, 1997, 2001), Documenta (1972, 1977, 1987), “Skulptur Projekte in Münster” (1987), and the Whitney Biennial (1977, 1987, 2000). Richard Tuttle is thus not only a leading figure in post minimalism, but can also be described as an artist who has constantly stimulated the art scene while transcending conventions of categorization, historical contexts, and genres.
His recent exhibitions include The Art of Richard Tuttle, a large-scale retrospective that was held at the San Francisco Museum of Modern Art and the Whitney Museum of American Art, and then traveled across various venues within the USA from 2005 to 2007. In 2014, Tuttle held a major exhibition I Don’t Know, Or The Weave of Textile Language at the Tate Modern and Whitechapel Gallery, garnering much interest for his monumental winged sculpture with textiles that was installed in the Turbine Hall. Tuttle’s works are housed in the collections of numerous museums throughout the world including the Museum of Modern Art, New York and the Metropolitan Museum among other prestigious museums in the USA, as well as the Tate Modern, Centre Pompidou, and Museum Ludwig. In Japan, his work is a part of the collection of the National Museum of Art, Osaka.