CONNECTING
WITH THE
FUTURE
THROUGH
CONTEMPORARY
ART

CONNECTING WITH
THE FUTURE
THROUGH
CONTEMPORARY
ART

The museum, centered around the theme of "Contemporaneity," showcases a selection of contemporary art by a wide range of artists from both Japan and abroad. From the UESHIMA MUSEUM COLLECTION, which includes over 650 works, visitors can enjoy carefully selected pieces based on various themes.

Reservations are required to visit the museum, so please make a reservation in advance here.

Dates |

June 1, 2024 sat ― the end of December 2024

Hours(Pre-contract) |

11:00 AM - 17:00 PM(last entry at 4:00 PM. )

※3rd and 4th floors open only on Saturdays

Admission feestax included |

Adults : ¥1,500

Middle and High School Students : ¥1,000

Elementary School Students and Younger : Free

Closed |

Mondays, Sundays, and Public Holidays

About UESHIMA MUSEUM

Established in Feb 2022 by entrepreneur and investor Kankuro Ueshima. He has begun his full-scale collection activities ever since. Ueshima has always been agile and responsive in the concept of "contemporaneity”, and he quickly embodies the future and proactively contributes to building a better society. Based on the idea that both business and art are universal, UESHIMA MUSEUM COLLECTION primarily focuses on artists with a strong sense of "contemporaneity", or young artists who are engaged in progressive creative activities.

Address |

Shibuya Kyoiku Gakuen Uejima Tower, 1-21-18 Shibuya, Shibuya-ku, Tokyo

Director |

Kankuro Ueshima

Deputy Director |

Tetsuji Fuwa

Advisor |

Yukie Kamiya / Junya Yamamine

About KANKURO UESHIMA

Founder of "UESHIMA MUSEUM COLLECTION", born in Chiba prefecture, Japan in 1979. Graduated from Shibuya Kyoiku Gakuen Makuhari Senior High School in 1998, then enrolled in the Natural Sciences I at the University of Tokyo. While attending the Faculty of Engineering, he started his own business and has since developed a diversified business as an entrepreneur and investor.

Opening Exhibition

This exhibition encompasses all floors of the museum to showcase the diversity of the collection, with the contents of each floor organized from a different perspective. We hope that this will serve as an opportunity for visitors to engage with the eclectic expressions of artists from different countries, regions, and eras, as well as the respective narratives that lie behind their work and practice.
B1F

Abstraction in Painting: The Pioneering Spirit

This floor is themed around the exploration of abstraction and expression in painting. While there is an intermixture of artists from different generations, the presentation serves to highlight the pioneering spirit of artists across the ages. Bernard Frize, in the 1970s, when painting was regarded as becoming an outdated medium, proposed the possibility of it presenting a new world despite its strict constraints of the flat surface and square canvas. Katharina Grosse studied at the Kunstakademie Düsseldorf, recognized as a leading force in avant-garde art, and has repeatedly attempted to undermine the conventions of painting through her practice. Leiko Ikemura left Japan to live in European countries including Spain and Germany, where she has expressed herself through painting and sculpture while traversing the different spiritualities of the East and the West. Also introduced are artists such as Oscar Murillo, born in 1986 and winner of the Turner Prize, as well as Jadé Fadojutimi, Misheck Masamvu, and Lauren Quinn. We welcome visitors to look at how the expressions of different generations resonate across the ages.

1F/2F

Contemporary Expression and the World of Individual Expression

Beyond the symbolic works of Kohei Nawa, works by Hiroshi Sugimoto lead up the stairs from the first floor, which was divided into sections according to each artist including Mika Tajima and Kanjiro Okazaki. On the second floor are a series of rooms within which the respective visions of various international artists unfold. In addition to Ryan Gander, who reinterprets the everyday world from an ironic perspective; Tracey Emin and Louise Bourgeois, who embody the suppleness of women living in contemporary society; Theaster Gates, who addresses issues confronted by minorities and communities, and leading minimalist artist Dan Flavin, the lineup includes Ryoji Ikeda, Olafur Eliasson, Chiharu Shiota, Mika Tajima, Team Lab, and Takashi Murakami. In the central room, the works of two leading figures of contemporary German photography: Andreas Gursky and Thomas Ruff, are displayed in contrast. We welcome visitors to enjoy contemporary expressions that intersect across different media, means of expression, countries and regions.

1F |

1: Kohei Nawa | 名和晃平 PixCell - Deer #40 2015

2: Nicolas Party Almond Pattern Table 2013

3: Mika Tajima You Be My Body For Me (Unit 3) 2020

4: Mika Tajima Art d Ameublement (Rutschey Yogansena) 2022

5: Mika Tajima Negative Entropy (Stripe International Inc., Legal Department, Black and White, Hex) 2021

6: Kenjiro Okazaki | 岡﨑乾二郎 Encontro das águas / Scooping water from a stream 2020

7: Kenjiro Okazaki | 岡﨑乾二郎月花 (Ipomoea alba) / No idea why I was going there / あるいは空中の椰子果
あお空の奥か (le bleu du ciel) / Seen with an ideal, Out the window / きたいの中に溶ける魚 2022

8: Kenjiro Okazaki | 岡﨑乾二郎 wvšnt Im'vš'Im bbty všnt km h kkb m I 2024

9: Kenjiro Okazaki | 岡﨑乾二郎 幕屋をおおう新しき苔と蔓草。いにしえの歌舞場のいしずえ。漁村をかこむ鬱蒼。呉と斉と秦の時代薫るスウプ。魚や龍や馬のオモチャ。まばゆい光は今は消え、ひびきは耳にのこる。魂は石にうもれ、骨は塵なかにまぎれ 2024

10: Hiroshi Sugimoto | 杉本博司 Colors of Shadow C1017” 2006

2F |

1: Ryan Gander By physical or cognitive means (Broken Window Theory 13 May) 2019 2020

2: Ryan Gander On slow Obliteration, or How are you still hungry 2019

3: Olafur Eliasson Eye see you 2006

4: Ryoji Ikeda | 池田亮司 data.scan [n 1b-9b] 2011 / 2022

5: Gerhard Richter 4. 3. 89 1989

6: Gerhard Richter 21. Feb. 01 2001

7: Andreas Gursky Bangkok IX 2011

8: Gerhard Richter untitled (3.11.89) 1989

9: Thomas Ruff Substrat 7 III 2002

10: Thomas Ruff neg◊bal_01” 2014

11: teamLab Matter is Void Fire 2022

12: Kohei Nawa | 名和晃平 PixCell-Sharpe s grysbok 2023

13: Chiharu Shiota | 塩田千春 State of Being (Skull) 2015

14: Chiharu Shiota | 塩田千春 State of Being (Two Chairs) 2012

15: Chiharu Shiota | 塩田千春 Quarantine in Shanghai | 上海での隔離 2021

16: Chiharu Shiota | 塩田千春 Quarantine in Shanghai | 上海での隔離 2021

17: Chiharu Shiota | 塩田千春 Quarantine in Shanghai | 上海での隔離 2018

18: Chiharu Shiota | 塩田千春 Cell 2021

19: Takashi Murakami | 村上 隆 untitled 2016

20: Takashi Murakami x Virgil Abloh| 村上 隆 x Virgil Abloh Bernini DOB: Carmine Pink and Black 2018

21: Takashi Murakami x Virgil Abloh| 村上 隆 x Virgil Abloh Our Spot 1 2018

22: Louise Bourgeois x Tracey Emin Just Hanging (no.11 of 16, from the series, Do Not Abandon Me) 2009 2010

23: Tracey Emin It s what I d like to be 1999

24: Louise Bourgeois untitled 1968

25: Dan Flavin untitled(for Ad Reinhardt)1b 1990

26: Mika Tajima Anima 47 2023

27: Theaster Gates Slaves, Ex Slaves 2021

28: Theaster Gates Walking on Afroturf 2012

29: Theaster Gates Night Stand for Soul Sister 2013

30: Hiroshi Sugimoto | 杉本博司 Prospect Park Theater 1977

3F

The Gaze of Female Painters

Even when living in close proximity or in the same era, the scenery that each person sees and the mental images they depict from it differ accordingly. This floor introduces paintings by Japanese female artists of similar generations. The Showa and Heisei eras could be regarded as having been a period of instability, confusion, and fluctuation as Japanese society found itself in a certain state of maturity. Each artist captured these times through different perspectives. Miyuki Tsugami overlays the events and experiences of the places she visits; Kei Imazu intersects her daily life as an artist with contemporary society surrounded by digital environments; Aki Kondo reminds us of the energy that flows within people and the respective nature of their happiness and Makiko Kudo evokes original landscapes that manifest as a result of the overlapping of everyday memories. While the distance between the work and the individual varies greatly from artist to artist, the works emerge through a mixture of the artist s daily life, surrounding environment, and the original landscapes of their childhood. What is observed beyond the brushstrokes in the paintings is the very image of the artist themselves who have continued in the pursuit of their practice.

4F

Things that Change, Things that Disappear

This room focuses on change, fluctuation, and the beauty of things that disappear amidst the layers of time. It begins with Hiraki Sawa s work home/home (Absence), in which an array of airplanes flying around evokes a longing gaze that contemplates the expanse of the world beyond the contours of this small room, and the very ephemerality of that dream. Aiko Miyanaga s works made of naphthalene change form through chemical reaction, gradually volatilizing from figurative motifs and transforming into crystals. On the other hand, Ritsue Mishima s glass works appear to capture and immobilize the amorphous forms of glass that becomes fluid at high temperatures, thereby perpetuating the time of the glass itself by using its role as a preservation device. In Tatsuo Miyajima s works featuring LED counters, which repeatedly flicker and change count one after another, only to black out when reaching 0 (zero), evokes the notion of an end and beginning as well as the reincarnation of the soul. Here, visitors are able to catch a glimpse of a world of expression born from the relationship between light, shapes, and their materials.

5F

Paintings by Yoko Matsumoto

This floor displays large-scale works by Yoko Matsumoto, who explored acrylic paintings during the era of Japanese abstract expressionism, centered on oil painting. Influenced by abstract expressionism and painting techniques such as ink wash painting, which she encountered in New York in the 1960s, Matsumoto has continued to focus on the manner by which color guides form, rather than adhering to it. The paintings, created with intense energy and her free physicality, carefully layer the elements of light, shade, and colors to give rise to a multitiered space upon the flat surface which bears both a sense of opaqueness and transparency. Avoiding prior calculations and preliminary sketches, she unleashes her freedom and intuition to create various contours and tones from the movements guided by the experiences accumulated in her body. In recent years, Matsumoto s work has been gaining worldwide acclaim, following an exhibition in London. This seems to reflect the current trend for Japanese female artists to be increasingly recognized widely throughout the world.

You can make a reservation in advance for your visit here.

reservation

Photography: Kenya Chiba (all photos)