隨蜴 諱ｵ螳溷ｭ
Emiko Kasahasa
artist
蠖ｫ蛻ｻ縲√う繝ｳ繧ｹ繧ｿ繝ｬ繝ｼ繧ｷ繝ｧ繝ｳ縲∵丐蜒上√ヱ繝輔か繝ｼ繝槭Φ繧ｹ遲峨∵ｧ倥縺ｪ陦ｨ迴ｾ蠖｢蠑上〒菴懷刀繧貞宛菴懊
縺ｩ繧薙↑陦ｨ迴ｾ繧偵→繧阪≧縺ｨ繧ゅ√◎縺ｮ逶ｮ縺ｯ縲∬ｺｫ菴薙ｄ諤ｧ蟾ｮ縲√◎繧後ｉ繧貞桁縺ｿ霎ｼ繧遉ｾ莨壹ｄ縲√◎縺ｮ繧ｷ繧ｹ繝繝縺ｫ蜷代°縺｣縺ｦ縺繧九ゅ◎縺ｮ蛻譫千噪縺ｪ蟋ｿ蜍｢縺ｨ蜷梧凾縺ｫ縲√≠繧九＞縺ｯ陬剰ｹ縺ｫ縲∝ｸｸ縺ｫ縺昴％縺ｫ縺ｯ縺ゅｋ螳倩ｽ逧縺ｪ鄒弱＠縺輔′蟄伜惠縺吶ｋ縲
1963縲譚ｱ莠ｬ逕溘∪繧鯉ｼ乗律譛ｬ
1988縲螟壽束鄒手｡灘､ｧ蟄ｦ螟ｧ蟄ｦ髯｢鄒手｡鍋皮ｩｶ遘台ｿｮ莠
1990縲繧｢繧ｸ繧｢譁蛹悶き繧ｦ繝ｳ繧ｷ繝ｫ縺ｮ諡帙″縺ｧ繝九Η繝ｼ繝ｨ繝ｼ繧ｯ縺ｫ貊槫惠
1991縲繧ｫ繝ｫ繝繧｣繧ｨ迴ｾ莉｣鄒手｡楢ｲ｡蝗｣繧｢繝ｼ繝繧｣繧ｹ繝医ｻ繧､繝ｳ繝ｻ繝ｬ繧ｸ繝繝ｳ繧ｹ繝ｻ繝励Ο繧ｰ繝ｩ繝
1994縲譁蛹門ｺ∬敢陦灘惠螟也皮ｩｶ蜩｡縺ｨ縺励※繝九Η繝ｼ繝ｨ繝ｼ繧ｯ縺ｫ貊槫惠
1997縲繝昴ｼ繝ｩ鄒手｡捺険闊郁ｲ｡蝗｣蝨ｨ螟也比ｿｮ
2003縲繝九Η繝ｼ繝ｨ繝ｼ繧ｯ鄒手｡楢ｲ｡蝗｣繧医ｊ螂ｨ蟄ｦ驥
2014~縲螟壽束鄒手｡灘､ｧ蟄ｦ謨呎肢
| 2005 | Offering縲繧ｰ繝ｩ繝ｼ繝豌台ｿ怜ｭｦ蜊夂黄鬢ｨ/繧ｪ繝ｼ繧ｹ繝医Μ繧｢繝ｻ繧ｰ繝ｩ繝ｼ繝 |
| 2001 | Pink縲縲繝帙Ρ繧､繝医懊ャ繧ｯ繧ｹ /繝九Η繝ｼ繝ｨ繝ｼ繧ｯ |
| 1997 | Immaculate Fabrication縲縲繝繧､繝√励Ο繧ｸ繧ｧ繧ｯ繝 /繝九Η繝ｼ繝ｨ繝ｼ繧ｯ |
| 1992 | 繧ｳ繝舌Ζ繧ｷ逕ｻ蟒/譚ｱ莠ｬ |
| 1991 | 繧ｮ繝｣繝ｩ繝ｪ繝ｼHALS/譚ｱ莠ｬ |
| 1990 | 繝ｫ繝翫Α逕ｻ蟒翫√さ繝舌Ζ繧ｷ逕ｻ蟒/譚ｱ莠ｬ |
| 1988 | 繧ｮ繝｣繝ｩ繝ｪ繝ｼ螻ｱ蜿｣/譚ｱ莠ｬ |
| 1987 | 繧ｮ繝｣繝ｩ繝ｪ繝ｼ蟆謇句ｺｧ/莠ｬ驛ｽ |
| 1986 | 逕ｻ蟒翫ヱ繝ｬ繝ｫ繧ｴ繝ｳ/譚ｱ莠ｬ |
| 2018 | 縲殺XODUS Part 1-A Colossal World縲擾ｼ医ル繝･繝ｼ繝ｨ繝ｼ繧ｯｼ吋eutsche Bank at Frieze Art Fair 繝舌ｼ繧ｼ繝ｫ縲√せ繧､繧ｹ |
| 2017 | 縲2D繝励Μ繝ｳ繧ｿ繝ｼ繧ｺ繝ｼ闃ｸ陦難ｼ壻ｸ也阜縺ｮ隱崎ｨｼ繧偵ａ縺舌ｋ蝠城｡後↓縺､縺縺ｦ繝ｼ縲乗譛ｨ逵檎ｫ狗ｾ手｡馴､ｨ |
| 2016 | 縲弱が繝ｼ繝繝ｼ繝｡繧､繝会ｼ壹◎繧後◇繧後ｮ螻戊ｦｧ莨壹丈ｺｬ驛ｽ蝗ｽ遶玖ｿ台ｻ｣鄒手｡馴､ｨ 縲三ptionalArt Activity:Letters縲週ake Minagawa (譚ｱ莠ｬｼ |
| 2015 | PARASOPHIA: 莠ｬ驛ｽ蝗ｽ髫帷樟莉｣闃ｸ陦鍋･ｭ2015 |
| 2014 | 讓ｪ豬懊ヨ繝ｪ繧ｨ繝ｳ繝翫ｼ繝ｬ2014縲手庄豌451蠎ｦ縺ｮ鄒手｡難ｼ壼ｿ伜唆縺ｮ豬ｷ縺ｸ縺ｮ闊ｪ豬ｷ縲擾ｼ域ｨｪ豬懶ｼ |
| 2012 | 縲弱ヱ繝ｼ繝輔ぉ繧ｯ繝医上う繝ｳ繧ｿ繝ｼ繝翫す繝ｧ繝翫Ν繝ｻ繧｢繝ｼ繝医が繝悶ず繧ｧ繧ｯ繝繧ｮ繝｣繝ｩ繝ｪ繝ｼｼ医い繝｡繝ｪ繧ｫｼ |
| 2010 | 縲弱槭う繝ｻ繝輔ぉ繧､繝舌Μ繝繝 窶 縺ｨ縺ゅｋ鄒手｡薙ｮ讀懃ｴ｢逶ｮ骭ｲ縲丈ｺｬ驛ｽ蝗ｽ遶玖ｿ台ｻ｣鄒手｡馴､ｨｼ井ｺｬ驛ｽｼ |
| 2009 | 縲弱い繝ｳ繝翫メ繝･繝ｩ繝ｫ 繝ｩ繝舌ｼ縲上い繝ｳ繝繧｣繝ｼ繝ｻ繧ｦ繧ｩ繝ｼ繝帙ｼ繝ｫ鄒手｡馴､ｨｼ医い繝｡繝ｪ繧ｫｼ |
| 2007 | 縲趣ｼ抵ｼ蝉ｸ也ｴ鄒手｡捺爾讀懊乗眠蝗ｽ遶狗ｾ手｡馴､ｨｼ域擲莠ｬｼ 縲弱う繝ｳ繝輔ぅ繝九ユ繧｣縲乗ｰｸ莠慕･･蟄舌ぐ繝｣繝ｩ繝ｪ繝ｼｼ域擲莠ｬｼ 縲弱い繝ｼ繝医す繧ｫ繧ｴ縲上ず繧ｧ繝ｼ繝繧ｹ繧ｳ繝ｼ繧ｳ繝ｩ繝ｳ繝ｻ繧ｮ繝｣繝ｩ繝ｪ繝ｼｼ上す繧ｫ繧ｴ 縲弱Γ繝ｼ繧ｭ繝ｳ繧ｰ縲繧｢繝繝医繝帙ｼ繝縲 繧ｸ繝｣繝代Φ繧ｽ繧ｵ繧､繧ｨ繝繧｣ｼ医ル繝･繝ｼ繝ｨ繝ｼ繧ｯｼ 縲弱す繝･繝溘Ξ繝ｼ繧ｷ繝ｧ繝ｳｼ夲ｼ抵ｼ台ｸ也ｴ縺ｸ縺ｮ繧｢繧ｸ繧｢縺ｮ蜀崎ｪ崎ｭ倥擾ｼ医い繝｡繝ｪ繧ｫｼ 縲後い繝ｼ繝医繝上え繧ｹ縲搾ｼ医い繝｡繝ｪ繧ｫｼ |
| 2006 | 縲取擲莠ｬ繝悶Ο繝繧ｽ繝繧ｺ縲丞次鄒手｡馴､ｨ縲ｼ域擲莠ｬｼ |
| 2005 | 縲弱ラ繧､繝驫陦後さ繝ｬ繧ｯ繧ｷ繝ｧ繝ｳ縺ｮｼ抵ｼ募ｹｴ縲上ラ繧､繝繝ｻ繧ｰ繝繧ｲ繝ｳ繝上う繝鄒手｡馴､ｨｼ医吶Ν繝ｪ繝ｳｼ 縲取律譛ｬ縺ｮ遏･隕壹上け繝ｳ繧ｹ繝医ワ繧ｦ繧ｹ繝ｻ繧ｰ繝ｩ繝ｼ繝ｼ医が繝ｼ繧ｹ繝医Μ繧｢ｼ峨槭Ν繧ｳｼ上ン繝ｼ繧ｴｼ医せ繝壹う繝ｳｼ牙ｲ｡譛ｬ螟ｪ驛守ｾ手｡馴､ｨｼ亥ｷ晏ｴ趣ｼ会ｼ医懌06ｼ 縲弱Ο繝ｼ繧ｶ縲丞嵜遶区擲莠ｬ闃ｸ陦灘､ｧ蟄ｦｼ域擲莠ｬｼ 縲弱い繝ｫ繧ｹ繝弱ｼ繝ｴ繧｡窶披 迴ｾ莉｣鄒手｡薙→蟾･闃ｸ縺ｮ迢ｭ髢薙↓縲乗擲莠ｬ驛ｽ迴ｾ莉｣鄒手｡馴､ｨ |
| 2004 | 縲傘rivate / Public, 繧ｪ繝ｼ繧ｯ繝ｩ繝ｳ繝峨ヨ繝ｪ繧ｨ繝ｳ繝翫ｼ繝ｬ縲擾ｼ上ル繝･繝ｼ繧ｸ繝ｼ繝ｩ繝ｳ繝 縲山eason on Emotion, 繧ｷ繝峨ル繝ｼ繝薙お繝ｳ繝翫ｼ繝ｬ縲擾ｼ医が繝ｼ繧ｹ繝医Λ繝ｪ繧｢ｼ |
| 2003 | 縲惨UPER YOU縲上ム繝九お繝ｫ縲繧ｷ繝ｫ繝舌ｼ繧ｹ繧ｿ繧､繝ｳ繝ｻ繧ｮ繝｣繝ｩ繝ｪ繝ｼｼ医ル繝･繝ｼ繝ｨ繝ｼ繧ｯｼ 縲薩ormed to Function縲上ず繝ｧ繝ｳ 繝溘ャ繧ｷ繧ｧ繝ｫ 繧ｳ繝ｼ繝ｩ繝ｼ繝ｻ繧｢繝ｼ繝医そ繝ｳ繧ｿ繝ｼｼ医す繝懊う繧ｬ繝ｳ繝ｻ繧｢繝｡繝ｪ繧ｫｼ |
| 2002 | 縲擦hat @ the MIMOCA縲丈ｸｸ莠蟶ら謙辭雁ｼｦ荳驛守樟莉｣鄒手｡馴､ｨｼ磯ｦ吝ｷ晢ｼ 縲擦ontemporary American Paper Artists縲上さ繝ｭ繝ｳ繝薙い螟ｧ蟄ｦｼ医す繧ｫ繧ｴｼ 縲拶 Cabinet of Curiosities縲上ル繝･繝ｼ繝ｨ繝ｼ繧ｯ蟶らｫ句峙譖ｸ鬢ｨ 縲三ral Fixation縲上ヰ繝ｼ繝牙､ｧ蟄ｦ譁蛹也皮ｩｶ謇鄒手｡馴､ｨｼ医い繝翫Φ繝繝ｼ繝ｫ/繧｢繝｡繝ｪ繧ｫｼ 縲山eflex/Reflejo縲上い繝ｼ繝茨ｼ繧｢繧､繝繧｣繧｢ｼ医Γ繧ｭ繧ｷ繧ｳ繧ｷ繝繧｣ｼ 繧｢繝ｼ繝医ヵ繧ｩ繝ｼ繝ｩ繝繝吶Ν繝ｪ繝ｳ縲√い繝ｼ繝&繧｢繧､繝繧｣繧｢ｼ医吶Ν繝ｪ繝ｳｼ |
| 2001 | 縲弱Γ繧ｬ 繧ｦ繧ｧ繧､繝 窶 隨ｬｼ大屓讓ｪ豬懊ヨ繝ｪ繧ｨ繝ｳ繝翫ｼ繝ｬ縲擾ｼ域ｨｪ豬懶ｼ 縲撒ruancy縲上い繝ｼ繝&繧｢繧､繝繧｣繧｢ｼ医ル繝･繝ｼ繝ｨ繝ｼ繧ｯｼ 縲山ags to Riches縲上け繝ｬ繧ｹ繧ｲ鄒手｡馴､ｨｼ医う繝ｼ繧ｹ繝医Λ繝ｳ繧ｸ繝ｳ繧ｰ繝ｻ繧｢繝｡繝ｪ繧ｫｼ会ｼ井ｻ悶い繝｡繝ｪ繧ｫ蝗ｽ蜀蟾｡蝗槭縲懌03) 縲皿ade in Asia縲上ョ繝･繝ｼ繧ｯ螟ｧ蟄ｦ鄒手｡馴､ｨｼ医ョ繝･繝ｩ繝/繧｢繝｡繝ｪ繧ｫｼ |
| 2000 | 縲守ｬｬｼ灘屓蜈牙ｷ槭ン繧ｨ繝ｳ繝翫ｼ繝ｬ縲擾ｼ亥牙ｷ槭ｻ髻灘嵜ｼ 縲雑ENDAI 窶 譌･譛ｬ縺ｮ迴ｾ莉｣鄒手｡薙上え繧ｸ繝｣繧ｺ繝峨え繧ｹ繧ｭ繝ｼ迴ｾ莉｣鄒手｡薙そ繝ｳ繧ｿ繝ｼｼ医昴ｼ繝ｩ繝ｳ繝峨ｻ繝ｯ繝ｫ繧ｷ繝｣繝ｯｼ |
| 1999 | 縲手ｺｫ菴薙ｮ螟｢縲丈ｺｬ驛ｽ蝗ｽ遶玖ｿ台ｻ｣鄒手｡馴､ｨ縲∵擲莠ｬ驛ｽ迴ｾ莉｣鄒手｡馴､ｨ |
| 1998 | 縲弱ユ繧､繧ｹ繝医→謗｢遨ｶ-1990蟷ｴ莉｣縺ｮ譌･譛ｬ鄒手｡薙丞嵜遶玖ｿ台ｻ｣鄒手｡薙ぐ繝｣繝ｩ繝ｪ繝ｼｼ医ル繝･繝ｼ繝繝ｪ繝ｼ縲√う繝ｳ繝会ｼ 繝槭ル繝ｩ蝗ｽ遶狗ｾ手｡馴､ｨｼ医ヵ繧｣繝ｪ繝斐Φｼ 縲守ｬ蜴滓ｵ螳溷ｭ+Donald Baechler縲上ョ繝･繧ｦ 繝峨ロ繝ｻ繧ｨ繝繧｣繧ｷ繝ｧ繝ｳ繧ｮ繝｣繝ｩ繝ｪ繝ｼｼ医ル繝･繝ｼ繝ｨ繝ｼ繧ｯｼ |
| 1997 | 縲弱ヨ繝昴せ縺ｮ蠕ｩ讓ｩｼ薙上ヲ繝ｫ繧ｵ繧､繝峨ｻ繧ｮ繝｣繝ｩ繝ｪ繝ｼｼ域擲莠ｬｼ 縲取昭繧後ｋ螂ｳ/謠ｺ繧峨＄繧､繝｡繝ｼ繧ｸ縲乗譛ｨ逵檎ｫ狗ｾ手｡馴､ｨ 縲取律譛ｬ縺ｮ迴ｾ莉｣鄒手｡灘ｱ輔丞嵜遶狗樟莉｣鄒手｡馴､ｨｼ医た繧ｦ繝ｫｼ 縲弱い繝ｼ繝 繧ｪ繝ｳ 繝壹ｼ繝代ｼ縲上え繧ｧ繝繝ｼ繧ｹ繝励ｼ繝ｳ繝ｻ繧｢繝ｼ繝医ぐ繝｣繝ｩ繝ｪ繝ｼｼ上げ繝ｪ繝ｼ繝ｳ繧ｹ繝懊Ο縲√い繝｡繝ｪ繧ｫ |
| 1996 | 縲弱い繧ｸ繧｢螟ｪ蟷ｳ豢九ヨ繝ｪ繧ｨ繝ｳ繝翫ｼ繝ｬ縲上け繧､繝ｼ繝ｳ繧ｺ繝ｩ繝ｳ繝峨ｻ繧｢繝ｼ繝医ぐ繝｣繝ｩ繝ｪ繝ｼｼ医が繝ｼ繧ｹ繝医Λ繝ｪ繧｢繝ｻ繝悶Μ繧ｹ繝吶Φｼ 縲晒ow Here縲上Ν繧､繧ｸ繧｢繝奇ｼ医さ繝壹Φ繝上ｼ繧ｲ繝ｳｼ |
| 1995 | 縲惹ｸ榊ｮ峨ｮ譎ゆｻ｣縲上ヱ繝ｯ繝ｼ繝励Λ繝ｳ繝茨ｼ医ヨ繝ｭ繝ｳ繝医ｻ繧ｫ繝翫ムｼ 縲取律譛ｬ縺ｮ迴ｾ莉｣鄒手｡1985-1995縲乗擲莠ｬ驛ｽ迴ｾ莉｣鄒手｡馴､ｨ |
| 1994 | 縲守ｩｺ髢薙ｻ譎る俣繝ｻ險俶ｶ縲丞次鄒手｡馴､ｨｼ域擲莠ｬ縺ｻ縺九√Γ繧ｭ繧ｷ繧ｳ縲√き繝翫ム縲√い繝｡繝ｪ繧ｫ蟾｡蝗橸ｼ ｼ医懌97ｼ |
| 1991 | 縲守ｮｱ縺ｮ荳也阜縲乗ｰｴ謌ｸ闃ｸ陦馴､ｨ迴ｾ莉｣鄒手｡薙ぐ繝｣繝ｩ繝ｪ繝ｼｼ郁肩蝓趣ｼ 縲90蟷ｴ莉｣縺ｮ繧｢繝ｼ繝医す繝ｼ繝ｳｼ阪ロ繧ｪ繝｢繝繝九ぜ繝縺ｮ4蜈邏縲上↑繧薙ｰCITY繝帙ｼ繝ｫｼ亥､ｧ髦ｪｼ 縲弱ワ繧､繝悶Μ繝繝峨ぎ繝ｼ繝繝ｳ縲上ン繧ｮ繝ｻ繧｢繝ｼ繝医ｻ繧ｹ繝壹ｼ繧ｹｼ井ｺｬ驛ｽｼ 縲弱だ繝ｼ繝ｳ繧ｺ繝ｻ繧ｪ繝悶ｻ繝ｩ繝悶乗擲鬮倡樟莉｣鄒手｡馴､ｨ ｼ域擲莠ｬｼ峨す繝峨ル繝ｼ迴ｾ莉｣鄒手｡馴､ｨｼ医が繝ｼ繧ｹ繝医Λ繝ｪ繧｢ｼ 縲弱く繝｣繝薙ロ繝繝医ｻ繧ｪ繝悶ｻ繧ｵ繧､繝ｳ繧ｺ縲 繝繝ｼ繝医ｻ繧ｮ繝｣繝ｩ繝ｪ繝ｼ繝ｻ繝ｪ繝舌励ｼ繝ｫｼ医う繧ｮ繝ｪ繧ｹｼ 繝帙Ρ繧､繝医メ繝｣繝壹Ν繝ｻ繧ｮ繝｣繝ｩ繝ｪ繝ｼｼ医Ο繝ｳ繝峨Φｼ 繝｢繝ｫ繝｢繝ｻ繧ｯ繝ｳ繧ｹ繝医ヵ繧ｧ繝ｩ繧､繝ｳｼ医せ繧ｦ繧ｧ繝ｼ繝繝ｳｼ会ｼ医懌92ｼ |
| 1990 | 縲取律譛ｬ鄒手｡薙ｮ80蟷ｴ莉｣縲上ヵ繝ｩ繝ｳ繧ｯ繝輔Ν繝医ｻ繧ｯ繝ｳ繧ｹ繝医ヵ繧ｧ繝ｩ繧､繝ｳｼ医ラ繧､繝ｼ会ｼ井ｻ悶ラ繧､繝縲√が繝ｼ繧ｹ繝医Μ繧｢蟾｡蝗槭縲懌91ｼ |
| 1989 | 縲守ｬ蜴滓ｵ螳溷ｭ+繝｢繝九き繝ｻ繝悶Λ繝ｳ繝峨槭う繝､繝ｼ繧ｸ繝ｧ繧､繝ｳ繝亥ｱ包ｼ肴ｵｮ驕翫☆繧九ｂ縺ｮ縺輔＠縲上せ繝代う繝ｩ繝ｫ 繝ｯ繧ｳ繝ｼ繝ｫ繧｢繝ｼ繝医そ繝ｳ繧ｿ繝ｼｼ域擲莠ｬｼ 縲手ｨ伜捷縺ｮ譽ｮ繝ｻ迴ｾ蝨ｨ縺ｮ鄒手｡薙終MP繝帙ｼ繝ｫｼ亥､ｧ髦ｪｼ 縲主悄縺ｮ騾蠖｢縲乗譛ｨ逵檎ｫ狗ｾ手｡馴､ｨｼ亥ｮ驛ｽ螳ｮｼ 縲守ｬｬ26蝗樔ｻ頑律縺ｮ菴懷ｮｶ螻輔乗ｨｪ豬懷ｸよｰ代ぐ繝｣繝ｩ繝ｪ繝ｼ |
| 1988 | 縲守ｬｬ8蝗槭ワ繝ｩ繧｢繝九Η繧｢繝ｫ縲丞次鄒手｡馴､ｨｼ域擲莠ｬｼ 縲守ｬｬ3蝗樒･槫･亥ｷ昴い繝ｼ繝医い繝九Η繧｢繝ｫ縲冗･槫･亥ｷ晉恁豌代帙ｼ繝ｫ繧ｮ繝｣繝ｩ繝ｪ繝ｼｼ域ｨｪ豬懶ｼ 縲守樟蝨ｨ譎ょ宛螻3-繧｢繝ｫ繧ｫ繝繧｣繧｢縺ｸ縺ｮ繧ｹ繝繝繝励上ぐ繝｣繝ｩ繝ｪ繝ｼﾎｱMｼ域擲莠ｬｼ |
| 1987 | 縲撒AMA縲VIVANT窶87縲上す繝ｼ繝峨帙ｼ繝ｫｼ域擲莠ｬｼ |
莠ｬ驛ｽ蝗ｽ遶玖ｿ台ｻ｣鄒手｡馴､ｨ
譚ｱ莠ｬ驛ｽ迴ｾ莉｣鄒手｡馴､ｨ
譚ｱ莠ｬ繝薙ャ繧ｰ繧ｵ繧､繝
譬譛ｨ逵檎ｫ狗ｾ手｡馴､ｨ
蜴溽ｾ手｡馴､ｨ/譚ｱ莠ｬ
繧､繝ｴ繝ｻ繧ｯ繝ｩ繧､繝ｳ雋｡蝗｣/繧｢繝｡繝ｪ繧ｫ
繧ｯ繧､繝ｼ繝ｳ繧ｺ繝ｩ繝ｳ繝峨い繝ｼ繝医ぐ繝｣繝ｩ繝ｪ繝ｼ/繝悶Μ繧ｹ繝吶Φ
繧ｹ繝医ぇ繝輔ぃ繝ｳ繧ｰ雋｡蝗｣/繝ｪ繝偵ユ繝ｳ繧ｹ繧ｿ繧､繝ｳ
繝斐ｼ繧ｿ繝ｼ繝ｻ繝弱ｼ繝医Φ雋｡蝗｣/繝ｭ繧ｹ繝ｻ繧｢繝ｳ繧ｸ繧ｧ繝ｫ繧ｹ
DREAM MASTER 1995
螟ｧ逅遏ｳ 93.4×66.6×33.3cm
謦ｮ蠖ｱｼ咾hristopher Smith
UNTITLED -Slit #1- 1995
螟ｧ逅遏ｳ縲 34.3×48.6×22.8cm
謦ｮ蠖ｱｼ咾hristopher Smith
UNTITLED -Double Urinal- 1993
螟ｧ逅遏ｳ縲蜷24x19x19cm
謦ｮ蠖ｱｼ咾hristopher Smith
STRUCTURE #9 2001
莉倥¢縺ｾ縺､豈帙∫ｴ吶∫ｳ 101.5x82cm
STRUCTURE #9 邏ｰ驛ｨ
MANUS-CURE 1998
蜀咏悄ｼ壽擲莠ｬ驛ｽ迴ｾ莉｣鄒手｡馴､ｨ
謦ｮ蠖ｱｼ哺ari Sakamoto
UNTITLED -Three Types-縲1993
譛ｨ縲∝ｸ縲√せ繧ｿ繧､繝ｭ繝輔か繝ｼ繝縲√せ繝繝ｳ繝ｬ繧ｹ縲√せ繝√ｼ繝ｫ縲√す繝ｪ繧ｳ繝ｳ 71×77.5x165cm
謦ｮ蠖ｱｼ哺areo Suemasa
UNTITLED -Three Types- 邏ｰ驛ｨ
謦ｮ蠖ｱｼ哺areo Suemasa
PINK #7縲1996-7
繝繧ｸ繧ｿ繝ｫ繝励Μ繝ｳ繝医124×152.5cm
PINK #7縲1996-7
蜀咏悄ｼ壽譛ｨ逵檎ｫ狗ｾ手｡馴､ｨ
謦ｮ蠖ｱｼ哺asaaki Hirakata
LA CHARME #1縲2001
莠ｺ蟾･豈幃ｫｪ縲∝粋譚ｿ縲∝ｸ縲．VD荳頑丐縲逶ｴ蠕蜷172.7cm
LA CHARME #1縲2001
繝代ヵ繧ｩ繝ｼ繝槭Φ繧ｹ
LA CHARME #2縲2001
莠ｺ蟾･豈幃ｫｪ縲∝粋譚ｿ縲∝ｸ縲．VD荳頑丐縲逶ｴ蠕117cm
LA CHARME #2縲2001
繝代ヵ繧ｩ繝ｼ繝槭Φ繧ｹｼDVD繧医ｊｼ
Emiko Kasahara
隨蜴溘諱ｵ螳溷ｭ
artist
It is over ten years since Emiko Kasahara moved to New York to work as an artist. In Japan she first came to notice with her sculpture and after that with a variety of media such as video installation and performance work.She looks at the way the body and sexual differences are represented in society. Although she takes a very analytical stance there is always at the same time a sensual beauty to be found in her work.
At Edition Works Kasahara made a multiple work entitled “MANUS- CURE”. This consisted of 1050 colors of nail polish painted onto polyester film. The colors were then cut into small squares, culminating in thirty pages. With their names screen printed below and arranged alphabetically, they were placed in a mirror-like stainless steel box – somewhat like a cosmetic box. When we consider the visual beauty of the work and the 1050 nail polishes one by one, we think of the origin of the production of these manufactured goods in the search for beauty. We reflect not only upon how female beauty is packaged in the present but also historically, how it has continued to be manufactured and marketed.
1963縲Born inTokyo, Japan
1988縲MFA from Tama Art University Tokyo, Japan
1990縲Grant from Asian Cultural Council, U.S.A
1991縲Artist in residence at Cartier Foundation pour l’art contemporain, France
1994縲Grant from Agency for Cultural Affairs in Japan
1997縲Grant from Pola Art Foundation, Japan
2003縲Grant from New York Foundation for the Art, U.S.A.
2014~縲A professor at Tama Art University
1986縲Gallery Parergon, Tokyo, Japan
1987縲Galleri Iteza, Kyoto, Japan
1988縲Gallery Yamaguchi, Tokyo, Japan
1990縲Gallery Lunami, Tokyo,Japan, Gallery Kobayashi, Tokyo, Japan
1991縲Gallery Hals, Tokyo, Japan
1992縲Gallery Kobayashi, Tokyo, Japan
1997縲”Immaculate Fablication”, Deitch Projects, New York, U.S.A.
2001縲”Pink”, White Box, New York, U.S.A.
2005縲”Offering”, Volkskundemuseum graz, Austria
| 1987 | “TAMA VIVANT ’87”, The Seed Hall, Tokyo, Japan |
| 1988 | The 8th Hara Annual, Hara Museum of Contemporary Art, Tokyo, Japan The 3rd Kanagawa Art Annual, Kanagawa Prefecture Gallery, Yokohama, Japan “Step toward Arcadia”, Gallery ﾎｱM, Tokyo, Japan |
| 1989 | “Emiko Kasahara + Monika Brandmeir -Floating Scale-“, Spiral/Wacoal Art Center, Tokyo, Japan “Women Artists’ of the Day”, IMP Hall, Osaka, Japan “Japanese Clay Work Today”, Tochigi Prefecture Museum of Fine Art, Tochigi, Japan “The 26th Artists Today Exhibition”, Yokohama Citizens Gallery, Yokohama, Japan |
| 1990 | “Japanese Kunst der Achtziger Jahre”, Frankfurter Kunstverein, Germany. Traveling exhibition in Germany and Austria (-91) “The World of Boxes”, Contemporary Art Gallery, Art Tower Mito, Ibaragi, Japan “Art Scene of the 1990s”, Namba CITY City Hall, Osaka, Japan |
| 1991 | A Hybrid Garden, Bigi Art Space, Kyoto, Japan “Zones of Love”, Tokyo Museum of Contemporary Art, Tokyo, Japan etc. Exhibition also traveled to the Museum of Contemporary Art Sydney, Australia, and New Zealand “Cabinet of Signs”, Tate Gallery Liverpool, England. Also White Chapel Gallery, London, England |
| 1994 | “Space, Time, Memory: Photography and Beyond in Japan”, Hara Museum of Contemporary Art, Tokyo, Japan. Exhibition also traveled to Rufino Tamayo Museum, Mexico, Vancouver Art Gallery, Canada, Los Angeles County Museum of Art, Corcoran Gallery of Art and Denver Art Musum, The Contemporary Art Museum, Honolulu, U.S.A. (-97) |
| 1995 | “The Age of Anxiety”, Power Plant, Toronto, Canada “Tokyo Big Sight Art Work Project”, Tokyo International Exhibition Center, Tokyo, Japan “Art in Japan Today 1985-1995” Museum of Contemporary Art in Tokyo, Tokyo, Japan |
| 1996 | “Asia-Pacific Contemporary Art Triennial”, Queensland Art Gallery, Brisbane, Australia “Nowhere -Incandescent-“, Louisiana, Copenhagen, Denmark |
| 1997 | “Art on Paper”, Weatherspoon Art Gallery, The University of North Carolina at Greensboro, NC, U.S.A. “Resurrection of Topos 3”, Asakura Gallery & Hillside Forum, Tokyo, Japan “Floating Image of Women in Art History”, Tochigi Prefecture Museum of Fine Arts, Tochigi, Japan “Japanese Art Exhibition”, National Art Museum of Contemporary Art, Seoul, Korea |
| 1998 | “Narrative Art from Collection, part I: Anthology – Books, Death, Mode, Gender”, Tochigi Prefecture Museum of Fine Art, Tochigi, Japan “Tastes and Pursuits: Japanese Art in the 1990s”, National Gallery of Modern Art, New Delhi, India, Metropolitan Museum of Manila, Republic of The Philippines “Emiko Kasahara + Donald Baechler”, Edition Gallery at Dieu Donn |
| 1999 | “Visions of The Body: Fashion or Invisible Corset”, The National Museum of Modern Art, Kyoto, Japan, Also traveled to the Museum of Contemporary Art, Tokyo, Japan |
| 2000 | “The 3rd Kwangju Biennale”, Kwangju, Korea “Gendai Japanese Contemporary Art -Between Body and Space-” Center for Contemporary Art Ujadowski Castle, Warsaw, Poland |
| 2001 | Yokohama Triennale, Yokohama, Japan “Trauancy”, Art & Idea, New York, U.S.A. “Rags to Riches”, Kresge Art Museum. Exhibition also traveled to Maryland Institute College of Art, Marianna Kistler Beach Museum of Art, Hecksher Museum of Art, Milwaukee Art Museum, Fort Wayne Museum of Art, U.S.A. (-03) “Made in Asia”, Duke University Museum of Art, Durham, U.S.A. “Sighting:Three Japanese Artists”,White Box, New York, U.S.A. |
| 2002 | “Chat @ the MIMOCA”, Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa, Japan “Contemporary American Paper Artists”, Columbia College Chicago, U.S.A. “A Cabinet of Curiosities”, The New York Public Library, New York, U.S.A. “Oral Fixation”, Center for Cultural Studies Museum at Bard College, Annandale-on-Hudson, U.S.A. “Reflex / Reflejo”, Art & Idea, Mexico City, Mexico |
| 2003 | “SUPER YOU”, Daniel Silverstein Gallery, New York, U.S.A. Emiko Kasahara at ART & IDEA room, SCOPE, New York, U.S.A. “Formed to Function”, John Micheal Kohler Arts Center, Sheboygan, U.S.A. |
| 2004 | “On Reason and Emotion”, Auckland Triennale, Auckland, New Zealand, Sydney Biennale |
| 2005 | “CHIKAKU”, Kunsthaus Graz, Austria Deutsche Guggenheim, Berlin |
| 2006 | “CHIKAKU”, The Taro Okamoto Museum of Art, Kawasaki, Japan “Tokyo Blossoms”, Hara Museum of Art, Tokyo, Japan |
| 2007 | “Art House”, Miami, FL, U.S.A. “Simulation: Refiguring “Asia” for the 21st Century”, Asian Contemporary Art Fair, NYC, U.S.A. “Making at Home”, Japan Society, New York, U.S.A. James Corcoran Gallery at Art Chicago, Illinois, U.S.A. “Infinity”, Shoko Nagai Gallery, Tokyo, Japan |
| 2009 | “Unnatural Rubber”, The Andy Warhol Museum, Pittsburg, PA, USA |
| 2010 | “My Favorites-Index of a Certain Collection”, Museum of Modern Art, Kyoto, Japan |
| 2012 | “Perfect”, International Art Objects Galleries, LA, CA, U.S.A. |
| 2014 | “Yokohama Triennale 2014, ART Fahrenheit 451: Sailing into the sea of oblivion”, Yokohama, Japan |
| 2015 | “PARASOPHIA: Kyoto International Festival of Contemporary Culture 2015窶, Kyoto, Japan |
Cantor Center for Visual Art at Stanford University, U.S.A.
Deutsh Bank Tokyo, Japan
Fogg Art Museum at Harvard University,Cambridge, U.S.A.
Hara Museum of Contemporary Art, Tokyo, Japan
Ise Foundation,Tokyo, Japan
Museum of Contemporary Art Tokyo, Tokyo, Japan
New york Public Library, New York, U.S.A.
Norton Family Foundation, Los Angeles, U.S.A.
Queensland Art Gallery, Brisbane, Australia
Spiral/Wacoal Art Center,Tokyo, Japan
Stiftung fur Gegenwartskunst, Balzers, Lichtenstein
The National Museum of Modern Art, Kyoto, Japan
Tochigi Prefecture Museum of Fine Art, Tochigi, Japan
Tokyo Big Sight, Tokyo, Japan
U.C. Berkley Art Museum, Berkley, U.S.A.
Yves Klein Foundation, Arizona, U.S.A.
DREAM MASTER 1995
marble 93.4×66.6×33.3cm
photoｼ咾hristopher Smith
UNTITLED -Slit #1- 1995
marble, water, bleach縲 34.3×48.6×22.8cm
photoｼ咾hristopher Smith
UNTITLED -Double Urinal- 1993
marble, water, bleach
24x19x19cm for each
photoｼ咾hristopher Smith
STRUCTURE #9 2001
false eyelashes, paper, glue
101.5x82cm
Detail of “STRUCTURE #9”
MANUS-CURE 1998
Installation view at the
Museum of Contemporary Art Tokyo
photo: Mari Sakamoto
UNTITLED -Three Types-縲1993
wood, cloth, styrofoam, stainless steel, silicon
71×77.5x165cm
photoｼ哺areo Suemasa
Detail of “UNTITLED -Three Types-”
photoｼ哺areo Suemasa
PINK #7縲1996-7
digital print縲124×152.5cm
PINK #7縲1996-7
Installation view at theTochigi Prefecture Museum of Fine Art
photoｼ哺asaaki Hirakata
LA CHARME #1縲2001
synthetic hair, plywood, cloth and DVD on monitor
172.7cm diameterﾃ7 pieces
LA CHARME #1縲2001
Performance view
LA CHARME #2縲2001
synthetic hair, plywood, cloth
DVD on monitor
117cm diameter
LA CHARME #2縲2001
Performance view from DVD on the installation.
Duration 25 min.