Artists
Inujima “Art House Project” A-Art House | Beatriz Milhazes: Yellow Flower Dream, 2018 | Photo by Yoshikazu Inoue, Courtesy of Fukutake Foundation
BEATRIZ MILHAZES
Beatriz Milhazes was born in 1960 in Rio de Janeiro, Brazil.
She has had innumerous international solo exhibitions including Pinacoteca do Estado de São Paulo (2008); Fondation Cartier, Paris (2009); Fondation Beyeler, Basel (2011); Fundação Calouste Gulbenkian, Lisbon (2012); Museo de Arte Latinoamericano (Malba), Buenos Aires (2012); Paço Imperial, Rio de Janeiro (2013), Pérez Art Museum, Miami, USA (2014/2015), White Cube Gallery, London (2018), MASP – Museu de Arte de São Paulo (2020 Long Museum (West Bund), Shanghai (2021) and Pace Gallery, NY (2022).
Milhazes is considered as one of the most important Brazilian artists, having participated at Carnegie International, Carnegie Museum of Art, Pittsburgh (1995); Sydney Biennial, Sydney (1998); Venice Biennale (2003); São Paulo Biennial (1998, 2004); and Shangai Biennial, Shangai (2006).
Her work is included in important museums and public collections such as Metropolitan Museum of Art, New York; MoMA – The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Tate Modern, London; SFMoMA – San Francisco Museum of Modern Art, San Francisco; MNBA – Museu Nacional de Belas Artes, Rio de Janeiro; Pinacoteca do Estado de São Paulo, São Paulo; Instituto Itaú Cultural, São Paulo; Fundação Edson Queiroz, Fortaleza; Museum of Contemporary Art, Tokyo Art Museum, Tokyo; 21st Century Museum of Contemporary Art, Kanazawa; Museo Nacional Centro de Arte Reina Sofia, Madrid; Fondation Beyeler, Basel; Centre Georges Pompidou, Paris.
Beatriz Milhazes's practice includes painting, drawing and collage. Characterized by vibrant colours, optical movement and energetic visual cadences, her abstract work fuses a diverse repertoire of images and forms, combining elements from her native Brazilian context with European abstraction.
Milhazes is represented by Pace Gallery, New York; Galeria Fortes D’Aloia e Gabriel, Sao Paulo; Galerie Max Hetzler, Berlin; and White Cube, London.
She lives and works in Rio de Janeiro.
Inujima “Art House Project” S-Art House | Haruka Kojin: contact lens, 2013 | Photo by Takashi Homma, Courtesy of Fukutake Foundation
HARUKA KOJIN
Born in Hiroshima, Japan, in 1983, Haruka Kojin holds an MFA from Tokyo University of the Arts. She produces installation work for galleries and museums in which she extracts objects from every day scenes and reconstructs them in ways that offer the viewer a different perspective of the object or material often as unique visual phenomena within the exhibition space. Kojin formed the contemporary art activity team [mé] in 2012. The collaboration develops works that attempt to introduce an element of uncertainty into the viewer’s sense of reality and use a variety of techniques to present works that focus on the viewer’s physical surroundings, including the exhibition space and the audience. [mé] has been appointed director of the Saitama International Arts Festival 2023.
Haruka Kojin’s major exhibitions include "Just a world," SCAI THE BATHHOUSE, Tokyo (2021), "Obviously, no one can make heads nor tails," Chiba City Museum of Art, Chiba, Japan (2019), "[mé] in Beppu, "Beppu City Hall, Oita, Japan (2016), "Re-arrangements of Situations," ART GALLERY MITSUBISHI ESTATE ARTIUM, Fukuoka, Japan (2014) and "Unreliable Reality – The Where of This World," Shiseido Gallery, Tokyo, Japan (2014).
Inujima “Art House Project” F-Art House | Kohei Nawa: Biota (Fauna/Flora), 2013 | Photo by Takashi Homma, Courtesy of Fukutake Foundation
KOHEI NAWA
Sculptor / Director of Sandwich Inc. / Professor at Kyoto University of the Arts
Born in 1975 and based in Kyoto, Japan, Kohei Nawa received a PhD in Fine Art / Sculpture from Kyoto City University of Arts in 2003 and established Sandwich in 2009. Focusing on the surface “skin” of sculpture as an interface connecting to the senses, Nawa began his PixCell series in 2002 based on the concept of the cell, symbolizing the information age. Adopting a flexible interpretation of the meaning of sculpture, he produces perceptual experiences that reveal the physical properties of materials to the viewer while also addressing themes related to life, the cosmos, artistic sensibility and technology.
Examples include Direction, a series of paintings produced using gravity, Force, an installation in which silicone oil pours down through space, Biomatrix, an installation of bubbles emerging in on a liquid surface in a grid pattern, and Foam, in which bubbles form enormous cloud-like volumes in space.
Recently, Nawa has also worked on architectural projects, including the art pavilion Kohtei. VESSEL, a performance work produced in conjunction with Belgo-French choreographer and dancer Damian Jalet, has been presented around the world since its premiere in 2015. In 2018, his sculpture Throne was exhibited under the Pyramid at the Musée du Louvre in Paris, France. As a monumental work to be installed near La Seine Musicale at the lower end of the Ile Seguin in Boulogne-Billancourt, Ether (Equality) will be permanently installed and officially unveiled in early summer 2023.
Recent major shows include “Generative Interface,” Towada Art Center, Aomori, Japan (2022), “TORNSCAPE” SCAI THE BATHHOUSE, Tokyo (2021), “Foam,” 21st Century Museum of Contemporary Art, Kanazawa, Japan (2019), “The Life of Animals in Japanese Art,” The National Gallery of Art, Washington, D.C., USA (2019), “PixCell,” Musée de la Chasse et de la Nature, France (2018) and “Throne,” Musée du Louvre, Paris (2018).
Inujima Art House Project I-Art House | Yusuke Komuta: Reverse, 2014-21 | Courtesy of Fukutake Foundation
YUSUKE KOMUTA
Born in 1983 in Osaka, Japan, Yusuke Komuta holds an MFA from the Tokyo University of the Arts, Department of Intermedia Art. Sourcing his pictorial compositions from origami paper craft, Yusuke Komuta’s canvases express the process of exploring the relationship between color and shape. Often emotionally evocative, his painted and shaped-metal sculptural abstractions consist of symmetrically deployed geometric patterns, with their compositions alluding to a kaleidoscopic prism of colors emanating from a polyhedron. Major shows include “New Celestial Body” at SCAI THE BATHHOUSE, Tokyo (2021), “space | aspec” at ISETAN SALONE, Tokyo, Japan (2021), “space | aspec” at PARCEL, Tokyo, Japan (2019), “Lines of Flight” at Gallery EXIT, ...
Hong Kong (2016), “ART SETOUCHI 2016” Naoshima, Japan (2016), “Breaking through to the actual via the imagination – Long Museum collection show concept by Yuko Hasegawa” at Long Museum West Bund, Shanghai, China (2015), Inujima “Art House Project” I-Art House, Okayama, Japan (2014), “COLOR UNFOLDS” at SCAI THE BATHHOUSE, Tokyo (2013).
Cloud Island I, Project for the Venice Architecture Biennale, 2010 | Fiona Tan, Courtesy of Fukutake Foundation
FIONA TAN
Fiona Tan is a contemporary visual artist born in Indonesia in 1966 and raised in Australia. She is best known for her multimedia installations that explore themes of identity, memory, and cultural diversity. Tan's work is widely admired for its ability to create emotional and intellectual connections with viewers, and for its sensitive exploration of complex and often difficult topics.
Tan began her artistic career as a photographer, but soon expanded her practice to include film, video, and installation art. Her early works often featured portraits of people from different cultural backgrounds, ...
highlighting the complexities of multicultural identity. Tan’s work has been exhibited in galleries and museums around the world, including the Tate Modern in London, the Museum of Contemporary Art in Tokyo, and the Venice Biennale.
In the 2000s, Tan's work shifted towards more ambitious installations that combined video, sound, and photography. Her acclaimed work "Disorient" (2009) was a multi-screen video installation conceived specially for the presentation in the Dutch Pavilion at the Venice Biennale and points to the strategic geopolitical position held by Venice in the distant past, raising critical questions about contemporary globalism and its origins.
Tan's installations often create immersive environments that invite the viewer to reflect on their own experiences of memory and identity. Her work “Ascent” (2016) is a film composed of almost 4,000 still images depicting one of Japan’s most recognizable landmarks, Mount Fuji. The photographs used in the film were brought together from the collection of the Izu Photo Museum, which collaborated on the film, and images uploaded by the public through a website launched for the project.
In addition to her artistic practice, Tan is also a respected educator and writer. She has taught at a number of institutions, including the Rijksakademie in Amsterdam and the University of California, Berkeley. Her essays on art and culture have been published in a range of academic and popular publications.
The Master and the Slave: Inujima Monogatari, 2013 | Jun Nguyen-Hatsushiba, Courtesy of Benesse Holdings, Inc.
JUN NGUYEN-HATSUSHIBA
Jun Nguyen-Hatsushiba was born in 1968, Tokyo to a Vietnamese father and Japanese mother. Growing up and being educated in Japan and the USA, he earned his BFA from the School of Art Institute of Chicago in 1992 and then his MFA at the Maryland Institute, College of Art in 1994. He now works and lives in Houston, TX.
His work "Memorial Project" started in 2001, addressed issues such as ‘boat people’ and social minorities, this project established him on the international contemporary art scene. Nguyen-Hatsushiba has exhibited in numerous international triennials and biennials including Venice, Istanbul, Sao Paulo, Sydney, Shanghai, Yokohama, and Guangzhou.
His works are in numerous museum and institutional collections including, Asia Society (USA), Berkeley Art Museum and Pacific Film Archive (USA), MUSAC, Centre Georges Pompidou (France), Guggenheim Museum (USA), MIT List Visual Center (USA), Mori Art Museum (Japan), Rubell Collection (USA), Whitney Museum of American Art (USA).
Inujima “Art House Project” C-Art House | Photo by Takashi Homma, Courtesy of Fukutake Foundation
TAKASHI HOMMA
Takashi Homma is a prominent Japanese photographer known for his distinct approach to capturing the essence of modern Japanese life. Born in Tokyo in 1962, Homma studied at the Tokyo College of Photography before embarking on a career in the field. Homma's work is characterized by a unique blend of documentary-style photography and artistic expression. He is particularly interested in exploring the ways in which human behavior and societal norms are reflected in the built environment. His subjects range from architecture and landscapes to street scenes and portraits.
Homma's work has been exhibited in galleries and museums around the world, including the Tate Modern in London, the Museum of Modern Art in New York, and the National Museum of Art in Osaka. He has also published several books, including "Tokyo and My Daughter," a personal exploration of fatherhood and the city that has shaped his life. He has also authored, "Fun Photography: A Photography Classroom for Good Children" and recent collections of his work include "Symphony mushrooms from the forest" (Case Publishing) and "Looking Through Le Corbusier Windows" (Walther König, CCA, Window Research Institute).
One of Homma's most celebrated series is "New Waves 2000-2013" which features photographs of the North Shore of Oahu, Hawaii spanning 13 years. Revisiting the same landscape repeatedly, Homma captures photographs of the coastline continuously un-changed by climate or seasonal time, reflecting on the interaction between pictorial and mental space. Homma's work has earned him numerous accolades over the years, including the 24th Kimura Ihei Photography Award in 1999 for his photo book "Tokyo Suburbia" (Korinsha Publishing Co., Ltd.) and the Photographic Society of Japan Award. He continues to be an influential figure in the world of photography, both in Japan and internationally.
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