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Sesshū: The Master Painter Who Brought Chinese Styles to Japan
Sesshū (1420–ca. 1506) was a Japanese Zen monk and ink painting master. He was active around the same time as the Chinese Southern School painter Shen Zhou (1427–1509) and the Italian artist Sandro Botticelli (1445–1510). Amid the many works he produced in a variety of styles, his masterful late painting of Amanohashidate, completed with light brushstrokes like a preparatory sketch, gives a bird's eye view of the picturesque sandbar whose name can be rendered as 'Bridge to Heaven.' Amanohashidatezu (Picture of Amanohashidate), a national treasure. (Courtesy Kyoto National Museum) By contrast, the winter section of his Autumn and Winter Landscapes is a scene impossible in reality, semi-abstract in its overlapping rocks with strong outlines. Shūtō sansuizu (Autumn and Winter Landscapes), a national treasure. Autumn is on the right and winter on the left. (Courtesy Tokyo National Museum) Travel in China Born in what is now Sōja in Okayama Prefecture, Sesshū was raised from a young age at the temple of Hōfukuji and became a monk. After traveling to Kyoto, he studied under another monk and painter called Shūbun at the major temple of Shōkokuji. While his talent was recognized to some extent, his rough, powerful style did not match the delicate tastes of Kyoto intellectuals. Feeling himself at an impasse, in his mid-thirties Sesshū took a position under the daimyō Ōuchi Masahiro, whose territories extended over today's prefectures of Yamaguchi, Hiroshima, and Fukuoka. Masahiro was one of the country's leading daimyō, and his control of the port city Hakata brought him huge profits from trade with China and Korea. Imports included expensive paintings and artworks known as karamono (literally, 'Chinese goods'), which were quite different from the art that Sesshū had seen in Kyoto. As he studied from them, his admiration grew for their authenticity. Masahiro valued Sesshū not only for his painting but also as one of his representatives. When Sesshū was in his forties, Masahiro chose him as an adviser to Keian Genju, a Zen priest who headed the Ōuchi delegation of a trade and diplomacy mission to China. The three arts of poetry, calligraphy, and painting were of central importance to cultured Chinese, and therefore essential to diplomacy and communication, whether as presents, part of entertainment, or to lighten the mood. Another important job for Sesshū meant taking on the equivalent role of a photographer today, depicting the Chinese scenery and people's appearance to convey back to Japan. He must also have selected Chinese paintings to bring home. Sesshū made great progress as an artist over the years he spent in China. When the delegation had an audience with the emperor, there were always first-rate paintings on display, and he could experience many different styles when purchasing artworks. At that time, the Zhe school was in fashion; it was characterized by a rough, energetic style, and allowed for idiosyncratic use of space. This was a good fit for Sesshū's talents, and he picked up techniques from the source like cotton soaking up water. His Landscapes of Four Seasons , completed as a commission while he was in China, has a tight composition that cannot be found in Japanese painting of the era. Sesshū was the only Japanese painter of his time to be recognized in China. Spring (right) and summer (left) from Shiki sansuizu (Landscapes of Four Seasons). (Courtesy Tokyo National Museum) Autumn (right) and winter (left) from Shiki sansuizu (Landscapes of Four Seasons). (Courtesy Tokyo National Museum) At the same time, Sesshū mastered realistic sketching of scenery by studying Chinese artworks. His Picture Scroll of Chinese Scenes , painted on the way back from what is now called Beijing, is a work of high quality that conveys a sense of having faithfully reproduced the landscapes he saw on his travels. Tōdo shōkei zukan (Picture Scroll of Chinese Scenes). (Courtesy Kyoto National Museum) Developing His Style While other artists went to China as part of delegations, they did not so consciously study and absorb the styles of painting they encountered. Some 26 years after returning to Japan, Sesshū was in his seventies when he wrote recollections on a landscape scroll, describing how he had learned artistic techniques from Li Zai in China and Shūbun in Japan. There are no similar long pieces written directly by other Japanese artists of the period. Haboku sansuizu (Broken Ink Landscape), a national treasure. (Courtesy Tokyo National Museum) As Sesshū writes in these reminiscences, while he adapted to Japan after his return, he also opened up his own artistic world. Like someone ordering a Cézanne-influenced work today, in Japan at that time, painters might be asked to create a work in the style of a particular popular Chinese artist, such as Xia Gui, a court painter active in the thirteenth century. Sesshū produced 12 paintings in the style of six famous Chinese artists, as we know from copies by painters in the Kanō school. It was a way of showing patrons what he could do, although he added his own individual touches, so it is clear from a glance that they are by Sesshū. His Autumn and Winter Landscapes and Broken Ink Landscape were developed based on pieces by Xia Gui and Yu Jian. Copies by Kanō Tsunenobu of paintings by Sesshū. Names of the Chinese artists he was imitating appear in the bottom right of each, from left to right: Xia Gui, Liang Kai, and Yu Jian. (Courtesy Tokyo National Museum) Growing Reputation The era helped Sesshū rise to prominence. When he returned to Japan in 1469, the country was in the midst of the Ōnin War of 1467–77. Japan's daimyō split into two armies, taking Kyoto as their battlefield, and the decade-plus of conflict became a major historic turning point. The daimyō who had previously lived in Kyoto, enjoying the capital's culture, returned to their domains after the war was over, where they had to provide their own culture locally. This led to a number of regional 'little Kyotos' arising. Yamaguchi was a classic example, and as its leading painter, Sesshū received many orders not only from the Ōuchi clan, but also from other samurai and monks, sometimes traveling to create artworks. Notably, Sesshū went on a major trip in 1481 at Masahiro's order, trekking from what is now Gifu Prefecture to the Noto Peninsula. He met with governors and other local leaders to convey Masahiro's wishes and also communicated with monks to gather information. His stories of experiences in China and the ink paintings he created on his travels won admiration and his reputation spread. He also made sketches of the places he visited, and in providing both these and the information he gleaned, he was important as Masahiro's 'eyes and ears.' Sesshū's own style, unbound by his Chinese influences, began to be recognized. A work like Autumn and Winter Landscapes followed Xia Gui, but the brushstrokes and composition were all Sesshū's own. A 16-meter scroll completed in his late sixties was a definitive example of Sesshū's style. This monumental work, presented to Masahiro, is filled with every imaginable landscape motif as it depicts the passing of the four seasons. The scroll's rendering of an idealized world and the eternal cycle of time even inspires a religious feeling transcending the laws of nature. While this is also based on a picture by Xia Gui, the rocks and trees are in the Chinese painter's manner, but the landscape is original with Sesshū. It would later become a kind of 'bible' for landscape paintings, and many artists would copy it. Detail from Sansui chōkan (Long Landscape Scroll), a national treasure. (Courtesy Mohri Museum) Building Originality In his seventies, Sesshū painted Eka danpizu (Picture of Huike Cutting Off His Arm), based on a Buddhist legend. Although it is an ordinary ink painting, Bodhidharma's clothes are rendered in dynamic brushstrokes with an unchanging thickness recalling that of a marker pen. In contemporary terms, the face has a graphic appeal, almost like that of a cartoon character. The picture takes inspiration from Minchō, another artist monk who was active in the fourteenth and fifteenth centuries, with Sesshū incorporating his own 'Zen' in a form of expression that transcends what is considered common sense in ink painting. In his eighties, Sesshū traveled to Amanohashidate in what is now the north of Kyoto Prefecture; this was his last long 'business trip.' His picture of what is traditionally considered to be one of Japan's Three Scenic Views seems to be copied from nature, but there is actually no location from which it appears like this. Sesshū based his sketches on what he saw at ground level, creating a scene from an imaginary viewpoint. In some respects, it is very accurate; a similar landscape can be seen by helicopter today. While it is a common perspective today, among his Japanese contemporaries only Sesshū painted a bird's eye view. This work also faithfully reproduces holy Buddhist and Shintō sites, and recalls Hanghzhou's West Lake in China. In fusing Japanese and Chinese painting traditions, it can be seen as a culmination of Sesshū's work in a different sense than his Long Landscape Scroll . After this, he returned to Yamaguchi, which was where he probably was when he died around 1506. Sesshū's genius lies in how he continued to construct new worlds rather than remaining in any particular style. Among his portraits, Picture of Plum Blossoms and Jurōjin , featuring one of the seven gods of fortune, has a strong Chinese atmosphere, while Portrait of Masuda Kanetaka is in the Japanese tradition, but with a greater realism. Yet he was not simply painting at a whim. While following the styles of his predecessors, he developed his own distinctive approach. This is in the East Asian tradition of both learning from the past and bringing forth new ideas, to slowly build toward originality. Sesshū succeeded brilliantly at doing so. Baika jurōzu (Picture of Plum Blossoms and Jurōjin), at left (Courtesy Tokyo National Museum), and Masuda Kanetakazō (Portrait of Masuda Kanetaka) (Courtesy Sesshū Memorial Museum). Sesshū was also highly influential on later Japanese painters, including those active in the sixteenth and seventeenth centuries like the Kyoto artist Hasegawa Tōhaku, who called himself Sesshū V, and Unkoku Tōgan, who started a school of painting in Yamaguchi. The Kanō school, which was backed by the Tokugawa shogunate to become dominant in Japanese art, revered Sesshū as the originator of Chinese-style painting in Japan, with Kanō Tan'yū in particular following him in ink painting. Indeed, no Japanese through history producing an ink painting landscape could possibly be unaware of Sesshū, who is rightly considered a gasei , a 'saint of painting.' (Originally published in Japanese on March 25, 2025. Banner image created based on Sesshū gazō [Portrait of Sesshū] by Tokuriki Zensetsu. Courtesy Tokyo National Museum.)
14-05-2025
- Entertainment
Ukiyo-e Exhibits Bring Edo to Life at Tokyo Museum
The special exhibition Tsutaya Jūzaburō: Creative Visionary of Edo is currently running until June 15 at the Heiseikan building of Tokyo National Museum. The erekiteru , Japan's oldest electrostatic generator, now owned by the Postal Museum, Tokyo, was invented by Hiraga Gennai, a scientist and author who had connections to Tsutaya. (© ) Tsutaya Jūzaburō (1750–97) was a leading publisher in eighteenth-century Japan. Following the huge success of his Yoshiwara saiken , a series of guides providing information on the Yoshiwara pleasure quarters of Edo (now Tokyo), he began running a publishing company, and released many bestselling works featuring ukiyo-e woodblock prints. Illustrations for Shiohi no Tsuto (Ravicz Collection, Chiba City Museum of Art) (top) and Utamakura (owned by Uragami Sokyudō, Tokyo) by Kitagawa Utamaro. (© ) This exhibition showcases around 250 works, including publications by Tsutaya and art by cultural figures with whom he interacted, allowing visitors to relive the footsteps of Tsutaya, dubbed the 'king of Edo media' and to become immersed in the golden era of townspeople's culture. The biggest attractions are Kitagawa Utamaro's paintings of beauties and Tōshūsai Sharaku's actor portraits. Both artists were discovered by Tsutaya. Three Famous Beauties by Kitagawa Utamaro (Hiraki Ukiyo-e Foundation, Tokyo). (© ) Ōtani Oniji III as Edobei and Ichikawa Omezō I as Yakko Ippei by Tōshūsai Sharaku (both belonging to the Tokyo National Museum). (© ) A recreation of the Yoshiwara Main Gate in the entrance area of the museum. (© ) Video imagery and life-size sets give visitors an immersive experience into Edo life. (© ) The popular themed plush in the museum shop. (© ) Unique Collaborations Between Contemporary Artists and Ukiyo-e Masters The Tokyo National Museum is running an additional exhibition in the separate Hyōkeikan building. Titled Ukiyo-e in Play: Artists Re-Working the Traditions of Woodcut Prints , it brings together contemporary artists and creators in collaboration with carvers and printers of The Adachi Foundation for the Preservation of Woodcut Printing, who have inherited the artisanal skills of the ukiyo-e masters of the Edo period (1603–1868). Among the 85 artists participating are Kusama Yayoi, Yokoo Tadanori, Shiota Chiharu, Rokkaku Ayako, Kitano Takeshi, and Kurokawa Kishō. Not to be missed are contemporary ukiyo-e works created by famous manga artists including Mizuki Shigeru, Saitō Takao, Umezu Kazuo, Ishinomori Shōtarō, Chiba Tetsuya, Ikeda Riyoko, Satonaka Machiko, and Anno Moyoco. Kusama Yayoi's bold series of Mount Fuji prints. (© ) Works by multi-creator Yokoo Tadanori. (© ) Shiota Chiharu's spatial art uses countless threads to express being 'connected with the universe.' (© ) Rokkaku Ayako's distinct technique of using her fingertips as the paintbrush lends a gentle yet master's touch to her work. (© ) Paintings by Kitano Takeshi are also on display. (© ) Yamaguchi Akira's paintings depicting famous places blending Edo and Tokyo. (© ) Anno Moyoco's famous courtesan recreated into an ōkubie portrait (center picture). (© ) Popular Umezu Kazuo characters remade into ukiyo-e. (© ) Works by the manga artists Kōno Fumiyo and Ikeda Riyoko are also on display. (© ) Surrounded by LED monitors, become immersed in exploring beauty that transcends time and space. (© ) For details on ticket prices and opening times, visit the Tokyo National Museum official website (external link). (Originally published in Japanese. Reporting, text, and photos by . Banner photo: The Tsutaya Jūzaburō: Creative Visionary of Edo exhibition at Tokyo National Museum. © .)
Yomiuri Shimbun
13-05-2025
- Entertainment
- Yomiuri Shimbun
Kitagawa Utamaro Ukiyo-e Print Rediscovered After 43 Years; Edo Period Artwork to Go on Display at Tokyo Museum
'Young Woman Blowing a Poppin' by Kitagawa Utamaro An early print of an ukiyo-e by Kitagawa Utamaro, titled 'Young Woman Blowing a Poppin,' has been rediscovered after being missing for about 43 years, according to the Tokyo National Museum. The print will be on display from May 20 at the museum's current special exhibition in Ueno Park, Tokyo, 'Tsutaya Juzaburo: Creative Visionary of Edo.' Utamaro's depictions of beautiful women in ukiyo-e woodblock prints, published by Tsutaya Juzaburo, contributed to his rise in popularity starting around 1792. 'Young Woman Blowing a Poppin' was used in both the 'Fujinsogaku Jittei' (10 physiognomic types of women) series and the 'Fujoninso Jippon' (10 classes of women's physiognomy) series that followed. Only one other copy of this work from early in the printing of the Fujinsogaku Jittei series has been confirmed, and it is part of the Honolulu Museum of Art's collection in Hawaii. The recently rediscovered artwork had been auctioned in Paris in the early 1980s and its subsequent whereabouts were unknown for an extended period. In March, the Tokyo National Museum was contacted by a Tokyo-based art dealer who reported possessing the work, the museum said Monday. A museum researcher confirmed its authenticity. Ukiyo-e prints are prone to fading with exposure to light. 'It seems to have been carefully stored, and the vibrant purple of the kimono remains remarkably well-preserved. The crisp outlines of the prints, a feature unique to early works, are also a key feature,' said museum researcher Kana Murase.
The Mainichi
13-05-2025
- Entertainment
- The Mainichi
Kitagawa Utamaro's woman portrait found after 44 years, to be shown at Tokyo Nat'l Museum
TOKYO -- A signature piece by famous Japanese artist Kitagawa Utamaro titled "Young Woman Blowing a Glass Pipe (poppin)" was discovered for the first time in 44 years, the Tokyo National Museum in the capital's Ueno district announced on May 12. Until now, the only known copy of this particular "bijin okubi-e," or portraits of beautiful women, was the one held by the Honolulu Museum of Art in the United States. Young Woman Blowing a Glass Pipe is featured in Utamaro's series "Ten Types in the Physiognomic Study of Women" (Fujin Sogaku Jittei), which was produced by publisher Tsutaya Juzaburo. The rediscovered work is one of Utamaro's earliest ukiyo-e Japanese woodblock prints and is believed to have been created around 1792 to 1793, during the Kansei era (1789-1801). A nearly identical design later appeared in another series believed to have been produced after this one, titled "Ten Classes of Women's Physiognomy" (Fujo Ninso Jippon). Only a handful of works from both series combined are known to exist worldwide. According to Kana Murase, a researcher at the Tokyo National Museum, the art piece had been unaccounted for since being sold at an auction in Paris in 1981. Its whereabouts was confirmed this March after information was provided by a Japanese art dealer. The piece had once been part of the collection of Ernest Le Veel, who opened an art gallery in Paris in the late 19th century. Murase noted, "Its condition is exceptionally good, with vivid colors such as the purple of the kimono, and the sharpness of the outlines is particularly striking." The work will be on special display starting May 20 as part of the special exhibition "Tsutaya Juzaburo: Creative Visionary of Edo."
Tokyo Weekender
12-05-2025
- Entertainment
- Tokyo Weekender
Upcoming Tokyo Exhibitions and Art Shows: May 2025
Tokyo's art scene is extensive and vibrant, and there's always so much to see. Whether you want to see some traditional Japanese art or a modern exhibit, here's a list of exhibitions happening in Tokyo that are worth checking out. List of Contents: Tokyo Exhibitions in May Tokyo Art Shows in May Related Posts Tokyo Exhibitions in May Yuko Nishikawa: Moshi-Moshi Karuta New York-based artist Yuko Nishikawa fills Calm & Punk Gallery's lofty space with ethereal mobiles inspired by the traditional Japanese poetic card game "Iroha Karuta." Date & Time May 02-25・13:00-19:00・Closed on Mondays, Tuesdays and Sundays Price Free Location Calm & Punk Gallery More Details Yamada Koki's Nahar Exhibition Wildlife photographer Koki Yamada's latest exhibition displays shots of the Bengal Tigers in their natural habitat. Date & Time Apr 26-May 17・10:00-20:00 Price Free Location Daikanyama Hillside Forum More Details Daido Moriyama and Sayre Gomez: "Hellooooo" Exhibition Daido Moriyama's Tokyo street photography meets the sharp grit of Sayre Gomez's photorealistic Los Angeles paintings in this exhibition. Date & Time Apr 12-May 31・11:00-19:00 Price Free Location Taka Ishii Gallery Kyobashi More Info Closed Sunday, Monday, Holidays More Details Ukiyo-e In Play Exhibition Explore the evolution of traditional Japanese woodcut printing at the Contemporary Ukiyo-e Exhibition, featuring 85 artists reimagining the timeless art of ukiyo-e. Date & Time Apr 22-Jun 15・09:30-17:00 Price ¥1000 Location Tokyo National Museum More Details Love Fashion: In Search of Myself Exhibition A fashion exhibition from the archives of the Kyoto Costume, exploring clothing through our dreams and desires. From luxurious historical garments to iconic contemporary pieces from Alexander McQueen to Yohji Yamamoto, the show covers centuries of style to examine the deep connection that clothing has with human nature and the self. Date & Time Apr 16-Jun 22・11:00-19:00・Closed on Mondays Price ¥1600 Location Tokyo Opera City Art Gallery More Details Living Modernity: 1920s–1970s Architecture Exhibition "Living Modernity" explores the home as an innovative space of beauty, and the 20th century ideals that shaped how we live today. Showcasing projects from Japan, Europe, America and Brazil, the exhibition includes an impressive name-call of iconic architects, and shares how Japan responded to modernism with a focus on natural materials. With display objects spanning graphic art, models and immersive experiences, this exhibition is sure to delight fans of interior and architectural design, alongside anyone who has ever taken pleasure in a Zillow scrolling session. Date & Time Mar 19-Jun 30・10:00-18:00・Closed on Tuesdays Price ¥1800 Location The National Art Center, Roppongi More Details Joan Miró Exhibition From March 1 to July 6, the Tokyo Metropolitan Art Museum will host a retrospective dedicated to Joan Miró, one of the 20th century's most celebrated artists. Date & Time Mar 01-Jul 06・09:30-17:30・Fridays open until 8:00 p.m. / Last entry 30 minutes before closing / Closed: Mondays (except April 28 and May 5) and May 7 Price ¥2,300 / ¥1,300 for University Students / ¥1,600 for people over 65 years old Location Tokyo Metropolitan Art Museum More Details Tokyo Art Shows in May Far Fresnel Exhibition UltraSuperNew is excited to present "Far Fresnel," a creative endeavor by five artists united by a shared passion for worldbuilding and digital expression. Date & Time May 10-24・14:00-19:00・Closed on Mondays and Sundays Price Free Location UltraSuperNew Gallery Kura More Details "Japanese Gentian - Twin Lines," Daiya Yamamoto, 61 x 73 cm Daiya Yamamoto Solo Exhibition Daiya Yamamoto is an artist who skilfully merges traditional Western painting techniques with a distinctly Japanese aesthetic sensitivity to capture the essence of contemporary time. On view from May 24 to June 22, this exhibition marks Yamamoto's highly anticipated first solo show at Galerie Taménaga's Tokyo location since his acclaimed 2023 presentation at the gallery's Paris space, which captivated art enthusiasts in Europe. Featuring approximately forty new works, the exhibition spotlights Yamamoto's refined take on trompe-l'œil, a Western technique that creates the illusion of real-life presence. Date & Time May 24-Jun 22・11:00-19:00 Price Free Location Galerie Taménaga More Details Yudai Takeuchi and Bechir Boussandel's Yugen UltraSuperNew Gallery is pleased to announce an exhibition by Béchir Boussandel & Yudai Takeuchi, exploring the essence of the Japanese word 幽玄 (Yugen). The French-Tunisian and Japanese artworks showcases a powerful call to reconnect with the essence of our existence. Date & Time Apr 18-May 03・14:00-19:00・Open from 11 A.M. on Saturdays. Closed on Sundays and Mondays Price Free Location UltraSuperNew Kura More Details A24 Pop-Up Style Department, a select shop with stores in Tokyo and Osaka, will hold a pop-up for the American-based indie film company A24. The pop-up will be held to commemorate the release of A24's new psycho-thriller film "The House of Heretics," which will be released nationwide on April 25. The lineup will include items that have never been sold in Japan before, such as goods that were previously only available to paid A24 members, T-shirts that will be resold for the event, and books related to the film. Date & Time Apr 18-May 08・13:00-20:00・Tokyo | 12-8PM Sat, 12-7PM Sun. Osaka | 1-8PM Mon-Sat, 12-7PM Sun Price Free Location Style Department Tokyo, Style Department Osaka More Details FIRST LAST by Tomokazu Matsuyama Renowned contemporary artist Tomokazu Matsuyama presents his first major solo exhibition in Tokyo, 'FIRST LAST supported by UNIMAT GROUP,' from March 8 to May 11, 2025, at Azabudai Hills Gallery. Known for his bold colors and dynamic compositions, Matsuyama, who has spent over 25 years in New York's art scene, showcases around 40 works, including 15 large-scale pieces premiering in Japan. Date & Time Mar 08-May 11・10:00-18:00・Closes at 19:00 on Fridays, Saturdays and Days Before Public Holidays Price Free Location Azabudai Hills Gallery More Details Irises at Yatsuhashi and Other Masterpieces on Display at the Nezu Museum For only a few weeks each year, the Nezu Museum displays Ogata Korin's 'Irises at Yatsuhashi' screens, a jewel of the museum's collections. Date & Time Apr 12-May 11・10:00-17:00 Price ¥1500 Location The Nezu Museum More Info Closed April 14, 21 and May 7 More Details © LOEWE Loewe Crafted World Exhibition Loewe's large scale exhibition celebrates the brand's rich history, Spanish heritage and the joy of making things by hand. Check out the brand's collaboration with Studio Ghibli, which includes immersive installations and designs featuring film characters. Date & Time Mar 29-May 11・09:00-20:00・Last Entry 19:00 Price Free Location 6-35-6 Jingumae, Shibuya, Tokyo More Info By Reservation only More Details Miffy 70th Anniversary Exhibition Miffy, the rabbit character created by Dutch picture book author and graphic designer Dick Bruna, is celebrating her 70th anniversary. Date & Time Apr 23-May 12・11:00-20:00・The exhibit will close at 19:30 on May 6th and May 11th, and at 17:00 on May 12. Admission is until 30 minutes before closing. Price General tickets: ¥1800 (¥1600 for advanced tickets), high school students: ¥1300 (¥1100 advanced), elementary and junior high school students: ¥800 (¥600 advanced) Location Matsuya Ginza More Details Screenshot No Unchi, No Life: The Poo Exhibition Tokyo has many weird and wonderful events going on, but an entire exhibition dedicated to poo is one of the best. Date & Time Mar 18-May 18・10:00-17:00 Price ¥2,200 Location Gallery AaMo More Details Hokusai: Another Story in Tokyo Immersive Exhibit Hokusai's masterpiece ukiyo-e come to life in a way never experienced before. This immersive experience presents the beauty of Hokusai's art with modern technology for an interactive exhibit. Date & Time Feb 01-Jun 01・11:00-20:00・Last admission at 19:10 Price ¥4200 Location Tokyu Plaza Shibuya More Details Sophie Taeuber-Arp and Jean Arp Exhibition Celebrating the visionary duo Sophie Taeuber-Arp and Jean Arp, this exhibition explores their radical art and design fusion in the Dadaist movement. Together their work redefined 20th century modernism — offering a vibrant dialogue between form, freedom, and creative synergy. Date & Time Mar 01-Jun 01・10:00-18:00・Open until 20:00 on Fridays. Closed Mondays. Price ¥2000 Location Artizon Museum More Info (¥1800 if purchased online) More Details Machine Love: Video Game, AI and Contemporary Art "Machine Love: Video Game, AI and Contemporary Art" at the Mori Art Museum spotlights contemporary artists that utilize game engines, generative AI and virtual reality technologies as tools for their visualization. Date & Time Feb 13-Jun 08・10:00-22:00・10:00-17:00 on Tuesdays, Admission until 30 minutes before closing Price ¥2000 for adults, ¥1700 for seniors, ¥1400 for university/high school students, free for children Location Shows on Location details blocks inserted into post content with short code [location_details] More Details Hilma af Klint: The Beyond Go and see the new exhibition of pineoreeing abstract artist Hilma af Klint (1862-1994) coming to the National Museum of Modern Art in March. Date & Time Mar 04-Jun 15・10:00-17:00・Closed on Mondays/Fridays and Saturdays open until 8 pm Price ¥2300 Location National Museum of Modern Art More Info ¥1,200 for University Students/¥700 for Highschool Students More Details Godzilla the Art 70th Anniversary Exhibition Godzilla is celebrating its 70th anniversary. Godzilla the Art Exhibition at Mori Arts Center Gallery showcases 29 artists and their interpretation of the giant monster. Date & Time Apr 26-Jun 29・10:00-19:00・Until 20:00 on Fridays and Saturdays, last admission 30 minutes before closing Price General and university students: ¥2500, high school students: ¥1600, elementary school and under: ¥600 Location Mori Arts Center Gallery More Info Weekday tickets are discounted More Details Kenjiro Okazaki Exhibition at Museum of Contemporary Art Tokyo Kenjiro Okazaki's first major Tokyo retrospective highlights groundbreaking works, exploring the transformative power of form across media. Date & Time Apr 29-Jul 21・10:00-18:00 Price Location Museum of Contemporary Art Tokyo 1F/3F More Details Exhibition: World Fair in Japan 1970-2005 Architecture fans will delight in this deep dive into Japan's Expo designs, from Osaka in the '70's to Aichi 2005's eco-conscious pavilions. Date & Time Mar 08-Aug 31・10:00-16:30 Price Free Location National Archives of Modern Architecture More Info Closed on Mondays, except public holidays (closed the following day instead) More Details Related Posts Jigoku Dayu: The Hell Courtesan Who Brought the Underworld to Japanese Art Discover Japan's Hidden Art Spaces: 5 Immersive Installations From Dragon Meat to Flying Cars: Expo 2025 Osaka's Most Incredible Innovations
