Masaaki Yamada (1930–2010) produced a series of ritualistic and meditative paintings he called
Work
completed between 1949 and 1989. Vigo is proud to show an exceptional group of these works at Frieze
Masters. In December, there will be a solo show at the National Gallery of Modern Art in Tokyo from
where the exhibition will travel to the National Gallery of Modern Art in Kyoto.
In his
Work series, Yamada was determined to produce paintings on a continuum, the whole
being a work in progress where one painting followed another, repetitive, ritualistic and meditative.
This practice resulted in an accumulation of works which give the unique impression of having occurred
simultaneously.
The process is akin to that of the British craft potter in terms of a ritualistic daily practice where
balance, modesty and a feeling of rightness prevails. This sustained, introverted approach within a
closed world occupied only by the artist and his paintings, was not reflective of the changes going
on socially and politically around him, and resulted in works produced solely in terms of their own
internal logic.
The stripes in the paintings can be understood as metaphors for space. Kunio Motoe suggested
we look at the stripe paintings as akin to the still lives of Morandi and consider them in terms of
meditations on existence in order to understand them more clearly. Like Morandi’s paintings the same
thing manifests itself, just in various forms and colour relationships.
MASAAKI YAMADA
山田正亮
WORK
Work C. 225 1965 (detail) oil on canvas 45 × 38 cm / 173⁄4 × 15 in
Work C. 225 1965 oil on canvas 45 × 38 cm / 173⁄4 × 15 in
When visiting Japanese museums with the artist Oliver Marsden eight years ago I was introduced
to Yamada’s work by my good friend Noriyoshi Horiuchi. I immediately bought a small grey and white
1965 painting from a modest and gentle dealer whose exhibition we visited. The following day I went to
see the artist at his home, spending hours looking through paintings with him. He seemed calm, kind
and patient.
These very rare stripe paintings include some I saw on my first visit, and have for the most part
come directly from the artist’s collection. Others have been purchased over the years when great
examples became available. We have worked closely with Yohei, Horiuchi’s son, who with his siblings
recently opened Gallery 38 in Tokyo, starting with an exhibition of the wonderful ceramicist Eiji Uematsu.
This exhibition stems from Vigo’s interest in nurturing artists of historical importance who are
relatively undervalued and due reappraisal. Yohei and I look forward to sharing these works with you.
This is the first time Yamada is being shown in the UK.
Toby Clarke October 2016
Work C. 48 1960 oil on canvas 72·8 × 50 cm / 285⁄8 × 193⁄4 in
Work C. 203 1964 oil on canvas 80·3 × 60·1 cm / 315⁄8 × 241⁄8 in
Work C. 445 1969 oil on canvas 80·3 × 60·1 cm / 315⁄8 × 241⁄8 in
Work C. 126 1962–63 oil on canvas 80·3 × 53 cm / 315⁄8 × 207⁄8 in
Work C. 170 1963 oil on canvas 91 × 65 cm / 357⁄8 × 255⁄8 in
Work C. 178 1964 oil on canvas 100 × 73 cm / 393⁄8 × 283⁄4 in
Work C. 196 1964 oil on canvas 100 × 73 cm / 393⁄8 × 283⁄4 in
Work C. 186 1964 oil on canvas 91 × 65 cm / 357⁄8 × 255⁄8 in
Work C. 352 1968 oil on canvas 100 × 73 cm / 393⁄8 × 283⁄4 in
Work C. 282 1966 oil on canvas 65·2 × 80·3 cm / 255⁄8 × 315⁄8 in
Work C.p 162 1963 oil on paper 79 × 54 cm / 311⁄8 × 211⁄4 in
Work C.p 180 1963 oil on paper 90 × 60 cm / 353⁄8 × 235⁄8 in
Work C.p 111 1961 oil on paper 43·5 × 29 cm / 171⁄8 × 113⁄8 in
Work C.p 137 1962 oil on paper 58 × 37 cm / 227⁄8 × 145⁄8 in
Work C.p 104 1961 oil on paper 79·5 × 54 cm / 311⁄4 × 211⁄4 in
Work C.p 40 1960 oil on paper 61 × 50 cm / 241⁄8 × 193⁄4 in
RESPECT
I respect this artist’s work very much and to a
great extent identify with its concerns. I like
its light and wholeness, and the generating of
complex intensity from simple means. The word
spiritual is often used in relation to it. I think
believably self-contained would do as well.
However, how the physical, tangible properties
of painting might be said to be spiritual is a
fascinating subject, which I’m happy to explore
in this essay.
First I should say I’m glad Yamada, very well known
for many decades in Japan, is now getting the
attention he deserves in the UK, courtesy of Vigo.
He wasn’t protected from the sight of modernism
by any means. That’s clear. But although anyone
informed about the history of art might see in all
the phases of his work the influence of western
abstract art, it’s all really his own thing. In his
words, it’s a “self-generating” body of work. He
regarded every painting he painted as part of a
continuous whole.
He was born in Tokyo, in 1930 and had just
turned sixteen when he made his first painting,
in the year of Japan’s defeat in the Second
World War. He saw painting as a joyful activity
contrasting with negation. Stylistically, he settled
into landscape and still life formats, making
pictures up out of his head. He began exhibiting
professionally when he was nineteen. He always
had some kind of audience but it wasn’t until
the late 1970s that he became known throughout
Japan because of museum exposure.
In 1956 he embarked on a series called
Work.
He overlapped a few other experimental formats
during the next forty years, but
Work — which
began with loose, abstracted deconstructions of
his earlier still life formats — eventually became
solely the stripe format, which he continued
exploring into the late 1990s. The stripes
emerged after the
Work series was about three
years underway. By the early 1960s, because of
the stripes, he became somewhat famous in the
then still small international art scene. It’s from
that historic phase that the present marvellously
calm and luminous display is selected.
MASAAKI YAMADA
UNBIND YOUR MIND
MATTHEW COLLINGS
Work C. 126 1962–63 (detail) oil on canvas 80·3 × 53 cm / 315⁄8 × 207⁄8 in
5,000
Yamada produced over 5,000 paintings before his
death in 2010 at the age of 80. The titles are for
convenience of storing and recording, they don’t
tell us if passion is involved in the work or not,
or if the endeavour of a lifetime is mathematical,
scientific or theoretical, or roughly descriptive
of sunsets. There is a letter followed by numbers,
with the letter standing for a particular decade:
for example, the 1950s are B and the 1960s
C. Sometimes the striped format is large, with
the vertical rectangle stretched right out, and
sometimes smaller, the vertical becomes less
dramatic — it’s simply enough of a vertical to
be easily seen as such, so the horizontal stripes
can be seen as opposite. The present show is all
Cs. They are almost entirely from the early Sixties
and are mostly verticals a metre in height or just
under. The exceptions are a horizontal work from
1966 featuring a white-on-white square, and a
1969 stripe painting in blue. Some smaller works
on paper are also included. They are about half
a metre in height and feature stripes applied
in very diluted watercolour: they hover with an
awesome beauty.
PULSE
Typically, the oil paint is physical, it has
substance, there’s a deliberate turbulence to it:
slight but insistent. A pulse animates the painted
surface. It’s part of the shape of the stripes and
also independent of them. This rhythmic pulse
is created by pressure of the brush and we can
tell it’s both deliberate and also unconscious.
It contributes to an overall effect of light.
Yamada’s organisation of contrasting colour-
tones creates the light, certainly. But also this
evenly distributed but not slick or streamlined
pulse deepens the effect.
UNIVERSE
Our minds pulse, our brains pulse, our thoughts
pulse, and our consciousness pulses — as does
the universe.
BRUSHING AND WOBBLING
Preceding the stripe paintings within the
Work
series were paintings of simplified large shapes
on their own in a space; or the whole space
divided by painted lines whose placement
reiterated the outer sides of the overall rectangle,
as if the painting was echoing and reechoing
itself. Then there were broken vertical bars. Every
experiment had a delicate colour tension. And
then finally colour was contained only in stripes.
The typical characteristics of the stripes paintings
include a vertical rectangle whose only marking
is a brushy, horizontal coloured line that repeats
up and down the entire area. The lines might be
loose, liquid, often dripping, often bowed and
curved, ending left and right at a slight distance
from the sides of the paper or canvas, with the
exact amount of empty space always slightly
different. Plus, colours are organised tonally as
well as by chroma. A rhythmic flicker is always
there and is achieved by careful pacing out of
similar contrasting elements, dark and light.
A further typical characteristic is that colour
isn’t pure but broken, and replete with small
surprising bursts of activity: shadows, blips, drips
and streaks. The reduced format constrains
drama but also makes the whole painterly
event intense. There is a visual kinship between
Yamada’s confident abstraction that leads on
and on, and the smoldering dimmed intensity of
seemingly endless still life paintings by Morandi.
Yamada’s stripes are loosely marked or else they
are basically painted bands. (The latter approach
comes in in the mid 1960s.) With the bands, it is
no longer rhythmic, open brushing that creates
the pulsing effect, but lines wobbling in a semi-
controlled way.
HISTORY OF PAINTING
Yamada was never interested in fashion,
and always avoided it. He had his own
preoccupations. But these do, to some degree,
as they’re manifested in his paintings, tell you
about painting generally and its history. Our
resources for even beginning to understand what
we’re seeing, with Yamada, include a sense of the
history of painting. How do we get it to lead to
his stripes exactly?
METAPHOR AND ANALOGY
Old master paintings always stamp out an image
somehow — it has to be comprehended in a
single glance — and then there are mediations
of every aspect of the image — the more slow-
burning aesthetic matter. Broken lines in Titian;
the shadows and clarities in Jacques-Louis
David; and transitions and colour passages in
Cézanne. Modernist abstraction transposed that
stamped-out quality of pre-modern art into the
realm of purity — pure form, pure gesture, pure
colour and pure space. It’s the realm Yamada
chose to occupy or was led by his instincts to
do so. In the history of modernism these purities
were not really divorced from the world but they
did seem to be. It was natural to link them early
on to spirit forms and thought forms, especially
as these were middle class preoccupations of
the day — the 1910s were the last period of the
bourgeois fascination with Theosophy, a semi-
religious movement that preached spiritual
evolution. The pure shapes in pioneer abstract
art were thought by the audience for art to
be something like enlargements of diagrams
in Theosophy books, but they were only
superficially so. They aren’t flat, of course, like
imagery on a printed page. They are very physical
and embodied, and as tangible, in fact, as the
richly worked surfaces of Impressionist paintings
by Monet and Pissarro that were so much a part
of the lead-up to early abstraction. Abstract
art revealed visual interests artists had, beyond
depiction. This painterly realm of shape and
colour freed from old tasks, could, in fact, lead
back to representation, but not directly, only
via metaphor and analogy. Patterns, structures,
a visual order — an arrangement — they convey
reality but at a remove.
LIGHT
A pattern reduced to simple bars of light and
dark communicates sensation. Patterns are
present and doing the same sensual work, in a
bark painting by an aboriginal artist in Australia
and also in Raphael’s
Transfiguration in the
Vatican. Both tell us about flickering light.
A painting of stripes by Yamada is also a painting
of the operation of light, and how things in the
world are revealed by it.
COSMOS AND LUXURY
A bark painting is inherently cosmic, and it’s
always transcendent. By contrast, a Renaissance
altarpiece fluctuates. Its spiritual meaning
disappears and reappears. It tells the viewer of
the fifteenth or sixteenth century about local
contextual complicated power set-ups, and
about luxury: it depicts luxury objects and is one
itself. It is a portal to the heavenly realm but
also propaganda for earthly powers. Modernists
were fascinated by the purity of the bark
painting, its compressed intensity, delighting
in its stripping away of artifice (as they saw
it). But modernist painting’s means, especially
when it was purely abstract, were the separated
left-over fragments of old representational art.
Abstract painting was thought to be absolute
painting, communicating truth via painting
itself, leading to the spirit via the operations
of absolute form. But there was a paradox to it,
which was that spirit and the absolute, the higher
and purer reality seeable only by those who are
spiritually evolved, painter-philosophers, should
be so richly sensual.
SENSATION
“There's something strange in the fact that the
point of departure towards absolute painting
lies in sensations,” writes Motoe Kuneo,
researcher in chief at Tokyo’s National Museum
of Art, in a thoughtful essay about Yamada’s
relationship to early modernism. With Yamada,
the sensation is different with every work but
also the same. It is aroused by similar means.
There is a robust but delicate surface and a
simple set of colours. Each of the colours
is muted but also confidently physical and
frank. There is a unifying format you can take
in all at once but in whose slight irregularities
and differences you soon find yourself getting
beautifully lost. The format as a whole recalls
light coming through leaves or shutters, light
revealing an object, light distributed unevenly.
WHAT DID HE SEE?
How are his spiritual meanings his own? Yamada
once asked himself what it was he saw when
he began painting at sixteen. He contrasted
real life desolation in 1945 with “the proper
order of things” that painting a picture involves.
In the ensuing years he made pictures from
memory and only rarely experimented with
live things: people or flowers, say. What did
it mean to sketch glasses, bottles, dishes and
cylindrical fruits such as peaches and lemons,
and compose spaces and objects in hatched
shading and a spidery line — or in diluted paint,
drawing with a loaded brush — what were his
choices based on? He wrote out his answer: an
overwhelming reality, his senses had been full of
it. “There was no landscape before me, nothing
but still life. The situation was so real I could
not grasp it conceptually.” The reality he spoke
of was the condition of starvation, dialectically
opposed by the typical counter-association
that a still life painting tends to have, that of
eating. By painting still life pictures in 1945 he
was painting life continuing and not ending.
A LINE GOING BACKWARDS
AND COMING FORWARDS
In a text written in 2005, entitled ‘Between one
painting and another,’ Yamada reflected on the
shadowy existence that lay before him: “The
territory of the imagination will continue as
something indefinite.” Once again, he thought
about the original moment of painting sixty years
earlier. “The perceptive responses that move
across these two points in time flow ceaselessly
from moment to moment, going back to the past
in stages while making contact with the present
at each stage and revealing the conditions of
that time.”
THERE IS NO TIME
In the same text he said he got some old works
out of storage and lined them against the bright
walls of the studio. He got lost in their details. He
described his sensation. “A sense of sinking to the
bottom of some sort of bitter memory, and the
operation of time seemed to stop temporarily.”
He saw all previous experience “condensing,”
and it was as if he was digging down in his
feelings to an even deeper level: “led from my
present position to a double vision that revealed
the background of the painting.” He couldn’t
resist reliving “post war conditions, which were
always accompanied by a sense of emptiness.”
HEGEL
The early modernist abstract painters were
impressed by the philosophy of Hegel, they
imagined him contemplating the phenomenology
of consciousness: pure spirit knowing itself
through sense experience.
ONE RHYTHMIC THING
Yamada’s stripes connect to everything in
existence but they come only from him. As if
they could be his whole being embodied in
a painterly rhythm. Rhythm: as a painter you
appreciate it and see things in terms of it.
Plus you have it and you make things according
to it. In their quietness and tension it is as if
these stripe paintings invite us to think of time
transcended or, as we have seen, standing
still. He painted in a certain way to begin with,
in 1945, and then everything he did after felt
like a clear development. In his memory, after
so many decades in the studio, everything really
was of a piece. Lines, forms, colours and formats,
all connect. One work leads to another, and
each paint stroke has a natural consequence:
an answering stroke obeying an intuitive rhythm.
DISCORPORATE
By the early 1960s, the dominating period
of this display, several years had past since
Yamada’s stripes first entirely replaced
depicted or semi-abstracted still life subjects.
Work C. 203, (1964), in the display, has stripes
of dirty blue, muted pale tangerine, greenish
and whitish misty overlays.
Work C. 170, (1963)
has greenish tan stripes opposing vibrant ruby
red ones, with dirty blue intervals overlaid
with narrow bands of fleshy white. The palette
relates to landscape, urban and rural, and all
kinds of objects, animate and still, as if the
paintings are about life even though they don’t
picture it. “Life” is out there but it has to be
perceived to be so; it is atoms and solid things
but also sensations, a nervous system and a
set of ruling ideas. The stripes conveying life,
whether they have a ragged or wobbly contour,
are nervous, active, pulsing and vulnerable.
They communicate simultaneously worldly
sensuality and discorporate being.
Work C. 170 1963 (detail) oil on canvas 91 × 65 cm / 357⁄8 × 255⁄8 in
1929
Born in Tokyo
1949–53 Participates in
Yomiuri Independent show, Tokyo Metropolitan Museum of Art
1950–56 Participates in
Jiyu Bijutsu-ka Kyokai Association show, Tokyo Metropolitan Museum of Art
1958
One man show: Kyobunkan Gallery, Tokyo
1962
One man show: Yoseido Gallery, Tokyo
1963
One man show: Yoseido Gallery
Participates in
4th École de Tokyo exhibition, Jewish Center Hall, Los Angeles
1964
Established a studio in Kamikitazawa, Tokyo
One man show: Nantenshi Gallery, Tokyo
1965
One man show: Tsubaki Kindai Gallery, Tokyo
The Meaning of Lyricism, Gallery Cristal, Tokyo
1966
One man show: Muramatsu Gallery, Tokyo
1967
Contemporaries, Gallery Cristal
1968
One man show:
The Case of White, Gallery Cristal
1969
The 9th Contemporary Art Exhibition of Japan—Frontier of Contemporary Art,
Tokyo Metropolitan Museum of Art
1970
Moved to a new studio in Yoyogiuehara, Tokyo
Group show, Aoyama Gallery, Tokyo
1971
’71 Show, Tokyo Gallery
Contemporary Artists, Kurai, Tokyo
1972
Modern Japanese Graphic Art, ICA, London; The National Museum of Art, Stockholm
1973
’73 Show: Hisashi Indo, U-Fan Lee, Masaaki Yamada, Shirota Gallery, Tokyo
Travelled to Germany and stayed in London; returned to Japan in the same year
1974
Contemporary Art Exhibition of Japan—Tradition and Today, Städtische Kunsthalle Düsseldorf
Plan and Drawing, Gin Gallery, Tokyo
1975
Group show, Gendai Geijutsu Kenkyuhitsu, Tokyo
1977
Contemporary Art ’77, Gendai Geijutsu Kenkyuhitsu
MASAAKI YAMADA
1978
One man show:
Masaaki Yamada 1957–1978, Koh Gallery, Tokyo
Contemporary Art ’78, Gendai Geijutsu Kenkyuhitsu
1979
The Non-Figurative World, Satani Gallery, Tokyo
One man show:
Painting of the Late 1960s, Satani Gallery
Contemporary Art ’79, Gendai Geijutsu Kenkyuhitsu
1980
The Non-Figurative World, Satani Gallery, Tokyo
One man show:
New Works in Oil Pastel, Satani Gallery
Artists Today, Yokohama Citizen Gallery, Yokohama
Variations on Planar Painting, Fukuoka Art Museum, Fukuoka
1981
One man show:
Paintings of the Early 1960s, Satani Gallery; Est-Ouest Galerie d’Art, Tokyo
The 1960s—A Decade of Change in Contemporary Japanese Art, National Museum of Modern Art, Kyoto
1982
Moved to Kokubunji, Tokyo
One man show:
Paintings of the early 1960s, Kasahara Gallery, Osaka
A Panorama of Contemporary Art in Japanese Painting, Museum of Modern Art, Toyama
One man show:
Masaaki Yamada 1950–1980, Satani Gallery
1983
Art Now—Frontiers of Contemporary Art, Isetan Museum of Art, Tokyo
One man show:
Masaaki Yamada 1983, Satani Gallery; Inoue Gallery, Tokyo
A Century of Western Painting, an exhibition sponsored by Art Exchange Association of Japan,
Matsuzakaya Department, Tokyo
1984
Expression in Watercolor, Kamakura Gallery, Tokyo
Japanese Contemporary Paintings 1960–1980, Museum of Modern Art, Gunma
Exchange of Contemporary Art, Tokyo-Paris, Galerie Deniese René, Paris
1970s Show, Kamakura Gallery
One man show:
Recent Watercolor Works, Satani Gallery
1985
Exchange of Contemporary Art, Tokyo-Paris, Yurakucho Asahi Gallery, Tokyo
Spring Show, Satani Gallery
One man show:
Massaki Yamada—Late 1950s Paintings, Gallery Yonetsu, Tokyo
Japanese Contemporary Paintings, Museum of Modern Art, New Delhi
Abstract Painting in Japan, Inoue Gallery
Masaaki Yamada 1976, Gallery Yonetsu
Masaaki Yamada: Watercolors and Pastels, Kabutoya Gallery, Tokyo
The Mid-60s: A Monochrome Age, Satani Gallery
1986
One man show:
Late 1950s Paintings, Part II, Gallery Yonetsu
One man show:
Masaaki Yamada 1960–63, Inoue Gallery
One man show:
Massaki Yamada 1985–86, Satani Gallery
The Message, Sogo Museum, Yokohama
Black and White in Art Today, Museum of Modern Art, Saitama
Contemporary Asian Art Show, The National Museum of Modern Art, Seoul
One man show:
Cross and Stripe 1964–67, Gallery Yonetsu
1987
Exhibition from Ahara, Seibu and Takanawa Museums’ Collections, Museum of Modern Art, Toyama
18th Exhibition of Japanese Contemporary Art—Aspects of Contemporary of Painting,
Tokyo Metropolitan Museum of Art; Kyoto Municipal Museum of Art;
Kitayushi Municipal Museum of Art; Miyagi Museum of Art
1987
The 19th São Paulo Biennial, São Paulo
Painting 1977–1987, The National Museum of Art, Osaka
One man show:
Works on Paper 1960–87, Satani Gallery
1988
One man show:
Exhibition of Contemporary Art, Berlin–Tokyo,
Galerie Yonetsu; Gallery Yamaguchi, Osaka
Movements in Contemporary Japanese Art: Painting Part 2, Toyama Museum of Modern Art
1989
One man show:
Paintings of early 1970s, Satani Gallery
Exhibition of Drawing Now, National Museum of Art, Osaka
From Figurative to Abstract: Transformations and Comparisons, Laka Yamanaka Art Museum, Yamanashi
Showa Art, National Museum of Modern Art, Tokyo
1990
Masaaki Yamada and Tadaaki Kuwuyama, Gallery Yamaguchi, Warehouse Gallery
A Phase in 1960s Art, Gallery Veda, Tokyo
One man show:
Masaaki Yamada 1959, Inoue Gallery
Drawing ’90, Kyo-ni Gallery, Tokyo
One man show:
New Oil Paintings 1989–1990, Satani Gallery
One man show: New Pastel Painting, Gallery Saint-Guillaume, Tokyo
One man show:
Cross and Grid 1957–1990, Gallery Yonetsu
Masaaki Yamada and Tadaaki Kuwuyama, Gallery Yamaguchi
Minimal Art, National Museum of Art, Osaka
Published
Works: Yamada Masaaki, Bijyutsu Shuppan-sha Ltd., Tokyo
1991
Moved to Kunitachi, Tokyo
One man show:
Late 1970s Works, Satani Gallery
1992
One man show: Kagawa Gallery, Osaka
One man show:
Masaaki Yamada Works 1951–91, Satani Gallery (NICAF)
One man show:
Masaaki Yamada 1950s–1970s, Gallery Yamaguchi
One man show:
Masaaki Yamada 1951–1992, Kasahara Gallery
1993
One man show:
Masaaki Yamada Recent Works, Satani Gallery
1994
One man show:
Masaaki Yamada Still Life 1948–1955, Satani Gallery
One man show:
Masaaki Yamada Monochrome Works 1965–67,
Benesse House, Naoshima Contemporary Art Museum, Kagawa
1995
One man show:
Masaaki Yamada Recent Watercolors, Satani Gallery
Painting—Singular Object, National Museum of Modern Art, Tokyo
1996
One man show:
Masaaki Yamada Works 1995, Satani Gallery
One man show:
Watercolor, Muse A Muse, Tokyo
1997
One man show:
Masaaki Yamada Works 1995, Gallery Art Point, Tokyo
One man show:
Masaaki Yamada Stripe Paintings from the 1960s, Satani Gallery
One man show: Kasahara Gallery (TIaF ’97)
2000
One man show:
Color Watercolor 1997–2000, Kasahara Gallery
2001
One man show:
Color Oil Painting 1997–2000, Kasahara Gallery
One man show:
Grid Paintings from the 1970s, M.Art, Tokyo
2003
One man show:
Masaaki Yamada 1966–67 For White, M.Art
2005
One man show:
The Paintings of Masaaki Yamada from Still Life to Work to Color,
Fuchu Art Museum, Tokyo
PUBLIC COLLECTIONS
The National Museum of Modern Art, Tokyo
The Museum of Modern Art, Toyama
Miyagi Museum of Modern Art, Sendai
Museum of Modern Art, Shiga
Museum of Modern Art, Saitama
Kitakyushu Municipal Museum of Art
Ohara Museum of Art, Kurashiki
Takamatsu City Museum of Art
The National Museum of Art, Osaka
Nerima Art Museum of Art
Fukuyama Museum of Art
Sezon Museum of Modern Art
Wakayama Prefectural Modern Art Museum
Ashiya City museum of Art and History
Aichi Prefectural Museum of Art
The Museum of Contemporary Art Tokyo
Hiroshima City Museum of Contemporary
Chiba City Museum of Art
Osaka City Museum of Modern Art
Niigata City Art Museum
Yokohama Museum of Art
Utsunomiya Museum of Art
Tokyo International Forum
Adachi City Office
Fukushima Prefectural Museum of Art
The Museum of Art, Ehime
Hyogo Prefectural Museum of Art
Ministry of Foreign Affairs of Japan
Nagoya City Art Museum
Tokyo Opera City Art Gallery
Published on the occasion of the exhibition
Masaaki Yamada:
Work
at Frieze Masters, London
5 – 9 October 2016
05.10.2016 - 08.11.2016 Kadar Brock
gifts ungiven Vigo 21 Dering Street
06.10.2016 - 09.10.2016 Masaaki Yamada
Work Frieze Masters Stand G20
06.10.2016 - 08.01.2017 Henry Krokatsis
Kabin Frieze Sculpture Park
06.10.2016 - 09.10.2016 Zak Ové
Mask of Blackness Courtyard, Somerset House (1:54)
06.10.2016 - 09.10.2016 Ibrahim El-Salahi
The Arab Spring Notebook
Presented by Modern Forms 1:54 African Art Fair Room G19A
06.10.2016 - 09.10.2016 Ibrahim El-Salahi / Zak Ové 1:54 African Art Fair Room G10
until 16.10.2016
Marcus Harvey
Inselaffe Jerwood gallery Hastings
until 19.03.2017
The Boyle Family*
Flesh York Art Gallery
until 26.02.2017
The Boyle Family*
You Say You Want a Revolution?
Records and Rebels 1966–1970 V&A Museum
*
group shows
Catalogue design Tim Barnes herechickychicky.com
Vigo 21 Dering Street London W1S 1AL
+44 (0) 207 493 3492 vigogallery.com #vigogallery
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