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Kishio Suga Bibliography Selected Catalogs

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Kishio Suga Bibliography Selected Catalogs Kishio Suga Bibliography Selected Catalogs 2015 Keisuke Mori,‘Kishio Suga’, Nohara. Jason Farago, ‘Kishio Suga’, Blum & Poe Edition. ‘Kishio Suga -Situated Latency’, HeHe 2013 Kishio Suga, ‘Suga’, Blum & Poe Edition. 2012 Kishio Suga, 'Kishio Suga', Los Angeles: Blum & Poe Edition. Chong Doryun, 'Tokyo 1955–1970: A New Avant-Garde', New York, Museum of Modern Art. Yoshitake Mika 'Requiem for the Sun: The Art of Mono-ha', Blum & Poe Edition, Los Angeles. Rawlings Ashley, 'Kishio Suga', Blum & Poe Edition, Los Angeles. 2009 ‘Kishio Suga works 1970-1978’, Tomio Koyama Gallery, Tokyo, Japan. 64 rue de Turenne, 75003 Paris 2002 18 avenue de Matignon, 75008 Paris [email protected] Thomas R.H.Havens, ‘Radicals and Realists in the Japanese Nonverbal Arts- The - Abdijstraat 20 rue de l’Abbaye Avant-Garde Rejection of Modernism’. Brussel 1050 Bruxelles [email protected] - Grosvenor Hill, Broadbent House W1K 3JH London 2001 [email protected] - Simon Groom, ‘Monoha: Enokura Koji, Koshimizu Susumu, Lee Ufan, Sekine Nobuo, 39 East 78th Street New York, NY 10075 Suga Kishio, Yoshida Katsuro’, Kettle’s Yard Edition. [email protected] - 27 Huqiu Road, 2nd Floor 200002 Shanghai China [email protected] - www.alminerech.com 1999 ‘Suga Kishio: stance’, Yokohama Museum of Art. ‘Selected writings of Suga Kishio: spheres will not be closed’, Yokohama Museum of Art. 1997 'Suga Kishio', Texts by Hitoshi Dehara, Toshiaki Minemura, and Kishio Suga, Tokyo: Yomiuri Shinbunsha, Bijutsu renraku kyogikai. 1991 Koplos Janet, ‘Contemporary Japanese Sculpture’, Abbeville Press, New York. 1990 Toko Gendai Bijutsukan, ’Kishio Suga: 20 October - 18 November 1990’, Touko Museum of Contemporary Art. 1988 'Kishio Suga [1968–1988]', Texts by Kishio Suga and Toshiaki Minemura, Tokyo. 1987 ‘Kishio Suga [Tokyo, 1987]’, Tokyo Gallery. 1986 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris 'Japon des avant gardes: 1910–1970', Centre Georges Pompidou, Paris. [email protected] - Abdijstraat 20 rue de l’Abbaye Brussel 1050 Bruxelles [email protected] 1985 - Grosvenor Hill, Broadbent House W1K 3JH London 'Papier Japon: Jean Clareboudt, Joël Fischer, Issey Miyake, Kishio Suga, Robert [email protected] Wilson' [exposition été 1985, du 10 juillet au 5 septembre, Halle Sud, Genève]. - 39 East 78th Street New York, NY 10075 [email protected] - 27 Huqiu Road, 2nd Floor 200002 Shanghai China [email protected] - www.alminerech.com Selected Press 2016 Nettleton Taro, 'Kishio Suga', ArtReview Asia 4, N° 2, pages 50-55. Wee Darryl, 'Kishio Suga Wins Mainichi Art Award', BlouinArtInfo.com 2015 Howard Jessica Jane, 'Kishio Suga: Situated Latency', ArtAsiaPacific, N°93, page 123. 2013 Li Jennifer S, 'Kishio Suga', ArtAsiaPacific. 2012 Myers, Terry, 'Kishio Suga', Art Review, N°60, pages 152-53. 1997 ‘Journal of Japanese Trade & Industry', Volume 16, Japan Economic Foundation. 64 rue de Turenne, 75003 Paris 18 avenue de Matignon, 75008 Paris [email protected] - Abdijstraat 20 rue de l’Abbaye Brussel 1050 Bruxelles [email protected] - Grosvenor Hill, Broadbent House W1K 3JH London [email protected] - 39 East 78th Street New York, NY 10075 [email protected] - 27 Huqiu Road, 2nd Floor 200002 Shanghai China [email protected] - www.alminerech.com.
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  • Kishio Suga Situations
    Kishio Suga IT Situations Pirelli HangarBicocca 2 Pirelli HangarBicocca In copertina Kishio Suga, Left-Behind Situation (Shachi Jōkyō), 1972/2012 Kishio Suga Legno, pietra, acciaio, fune metallica. 152,5 x 596,5 x 789,5 cm Veduta dell’installazione, Blum & Poe, Los Angeles, 2012 Courtesy dell’artista e Blum & Poe, Los Angeles/New York/Tokyo Situations Foto: Joshua White 30 settembre 2016 – 29 gennaio 2017 Public Programme La mostra è accompagnata da un calendario di conferenze, a cura di Yuko Hasegawa e Vicente Todolí proiezioni, concerti e visite guidate al fine di approfondire i vari aspetti dell’opera dell’artista. Mediazione Culturale Per saperne di più sulla mostra chiedi ai nostri mediatori culturali nello spazio espositivo. Pirelli HangarBicocca Via Chiese, 2 20126 Milano Orari Da giovedì a domenica 10.00–22.00 Da lunedì a mercoledì chiuso Contatti Tel +39 02 66111573 [email protected] hangarbicocca.org INGRESSO GRATUITO Pirelli HangarBicocca 4 Pirelli HangarBicocca 5 Kishio Suga Figura centrale dell’arte contemporanea giapponese, Kishio Suga realizza ed espone il suo lavoro a partire dalla fine degli anni Sessanta come membro del gruppo artistico Mono-ha (letteralmente “la scuola delle cose”), che si forma e sviluppa a Tokyo tra il 1969 e il 1972. Unico tra gli artisti a proseguire fino a oggi la pratica e le ricerche del gruppo, Suga ne ha approfon- dito i temi e i concetti base in oltre vent’anni di lavoro. Attraverso disposizioni e combinazioni di materiali naturali o industriali, Suga si interroga sulla loro presenza fisica, sulla loro esistenza e sul loro rapporto con l’ambiente, realizzando instal- lazioni site-specific nello spazio e nel tempo.
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  • Curriculum Vitae for Kishio Suga
    KISHIO SUGA Born in Morioka, Japan, 1944 Education BFA, Tama Art University, Tokyo, Japan, 1968 One-Person Exhibitions 2018 Blum & Poe, New York, NY Expanded Self-Space, Tomio Koyama Gallery, Tokyo, Japan Photography and Video, 8/ ART GALLERY/ Tomio Koyama Gallery, Tokyo, Japan Released Existence on Edges, The Club, Tokyo, Japan Mendes Wood DM, São Paulo, Brazil Yu-un, Tokyo, Japan Gallery Saiensu I / II, Morioka, Japan 2017 Blum & Poe, Los Angeles, CA Mendes Wood DM, Brussels, Belgium Tokyo Gallery + BTAP, Beijing, China Divided Orientation of Space, Tomio Koyama Gallery, Tokyo, Japan New Works, Itamuro Onsen Daikokuya, Itamuro, Nasushiobara, Tochigi Prefecture, Japan 2016 Dia: Chelsea, New York, NY Gallery Shilla, Daegu, South Korea Situations, curated by Yuko Hasegawa and Vicente Todolí, Pirelli HangarBicocca, Milan, Italy 2015 Blum & Poe, New York, NY Perimeter (Entai), 1985, Blain|Southern, London, UK Tomio Koyama Gallery, Tokyo, Japan Situated Latency, Museum of Contemporary Art, Tokyo, Japan Intentional Scenic Space, Tomio Koyama Gallery, Tokyo, Japan Kishio Suga: 1980s, Gallery Cocon, Tokyo, Japan Shane Campbell Gallery, Lincoln Park, Chicago, IL New Works, Itamuro Onsen Daikokuya, Itamuro, Nasushiobara, Tochigi Prefecture, Japan 2014 Situated Underlying Existence, Corps de Garde, Colmar, France The “Origin of Situation” as Disclosed by “Things,” Vangi Sculpture Garden Museum, Shizuoka, Japan Itamuro Onsen Daikokuya, Itamuro, Nasushiobara, Tochigi Prefecture, Japan 1970/80s, Gallery Cocon, Tokyo, Japan 2013 Gallery Collection:
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  • Kishio Suga Bibliography Selected Catalogs
    Kishio Suga Bibliography Selected Catalogs 2015 Keisuke Mori,‘Kishio Suga’, Nohara. Jason Farago, ‘Kishio Suga’, Blum & Poe Edition. ‘Kishio Suga -Situated Latency’, HeHe 2013 Kishio Suga, ‘Suga’, Blum & Poe Edition. 2012 Kishio Suga, 'Kishio Suga', Los Angeles: Blum & Poe Edition. Chong Doryun, 'Tokyo 1955–1970: A New Avant-Garde', New York, Museum of Modern Art. Yoshitake Mika 'Requiem for the Sun: The Art of Mono-ha', Blum & Poe Edition, Los Angeles. Rawlings Ashley, 'Kishio Suga', Blum & Poe Edition, Los Angeles. 2009 ‘Kishio Suga works 1970-1978’, Tomio Koyama Gallery, Tokyo, Japan. 64 rue de Turenne, 75003 Paris 2002 18 avenue de Matignon, 75008 Paris [email protected] Thomas R.H.Havens, ‘Radicals and Realists in the Japanese Nonverbal Arts- The - Abdijstraat 20 rue de l’Abbaye Avant-Garde Rejection of Modernism’. Brussel 1050 Bruxelles [email protected] - Grosvenor Hill, Broadbent House W1K 3JH London 2001 [email protected] - Simon Groom, ‘Monoha: Enokura Koji, Koshimizu Susumu, Lee Ufan, Sekine Nobuo, 39 East 78th Street New York, NY 10075 Suga Kishio, Yoshida Katsuro’, Kettle’s Yard Edition. [email protected] - 27 Huqiu Road, 2nd Floor 200002 Shanghai China [email protected] - www.alminerech.com 1999 ‘Suga Kishio: stance’, Yokohama Museum of Art. ‘Selected writings of Suga Kishio: spheres will not be closed’, Yokohama Museum of Art. 1997 'Suga Kishio', Texts by Hitoshi Dehara, Toshiaki Minemura, and Kishio Suga, Tokyo: Yomiuri Shinbunsha, Bijutsu renraku kyogikai. 1991 Koplos Janet, ‘Contemporary Japanese Sculpture’, Abbeville Press, New York. 1990 Toko Gendai Bijutsukan, ’Kishio Suga: 20 October - 18 November 1990’, Touko Museum of Contemporary Art.
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  • Suga Kishio 1968 Graduated from Tama Art University, Department Of
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  • Ways to Investigate an Unknown Thing: Kishio Suga
    MOUSSE 55 WAYS TO INVESTIGATE AN UNKNOWN THING […] 220 221 K. SUGA S. MUNRO In the spring of 1971, the prolific writer and Provoke magazine pho- WAYS TO INVESTIGATE tographer Takuma Nakahira took part in the Seventh Paris Biennale with his weeklong installation project Circulation, a cacophony of AN UNKNOWN THING: cut and cropped images that also featured Korean artist Lee Ufan and Japanese installation artist Ko¯ji Enokura—both affiliated with KISHIO SUGA AND THE the Japanese movement Mono-ha (School of Things) taking part ENDURING NATURE in the same biennale, looking the worse for wear. Shot during the day, processed at night, and hung ready for the next morning, the OF MONO-HA sheer weight and volume of images began to spill uncontrollably across the venue floor. Days before the installation was due to finish, Nakahira fell out with the biennial organizers. In a fit of desperation BY STUART MUNRO and no doubt protest, he went on to destroy most of the work. Lee later attested that for Nakahira, this moment in Paris was probably a turning point that hinted at bigger things to come.1 Stuart Munro introduces the work While that trial by fire proved to be crucial for Nakahira both of Kishio Suga, a Japanese sculp- personally and professionally, it also proved to be a milestone for Mono-ha: the biennial marked the first major introduction of this tor and installation artist and a group to Europe. The group was never formalized, and those associ- ated with it shied away from such formalities. The first real point of founding member of Mono-ha, contact between artists was the round table discussion titled “Voices who has major exhibitions hap- of Emerging Artists: Mono Opens a New World,” as published in the February 1970 issue of Japanese art periodical Bijutsu Techo.
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