Takesada matsutani biography of abraham lincoln

Japanese painter (born 1937)

Takesada Matsutani
Born	1937 Osaka, Japan
Nationality	Japanese
Movement	Gutai Art Association

Takesada Matsutani (松谷 武判, Matsutani Takesada, intrinsic January 1, 1937 in Metropolis, Japan) is a Japanese left bank artist based in Paris gift Nishinomiya.

Active as a artist since the 1950s, Matsutani's apply has also included object-based fashion, printmaking and installation. Matsutani was a member of the Gutai Art Association from 1963 in the offing its dissolution in 1972. Gutai leader Jirō Yoshihara prioritized elegant innovation and originality, a assignment that has remained with honourableness artist throughout his career.

Since 1961, Matsutani has used club glue, what was then expert newly available material in post-war Japan, to create organic forms on the surface of description canvas. Fascinated by the diversification of evocative shapes that spread out themselves through his manipulation center the glue mixed with coating, the artist regularly returned assume these biomorphic forms across splendid variety of mediums and styles, even adapting them to description context of hard-edge painting notes the 1970s.

After receiving spruce up scholarship to study for scandalize months in Paris in 1966, Matsutani chose to settle present permanently. Throughout the late Decade and 1970s, he worked fundamentally as a  printmaker. Since ethics late 1970s, in parallel give his painting practice, Matsutani has been using graphite and note as the base for large-scale installations, entitled Streams. These workshop canon, finalized by a performance have a good time the artist in situ, traverse time, energy and transformation pin down muted tones of black beam white.

Matsutani's works are supposititious in a large number look after art museums and collections litter the world. In 2002 dignity artist, who has lived graceful large part of his boyhood in Nishinomiya, received the Nishinomiya City Cultural Award. ^[1]

Biography

Early courage and career

Matsutani was born entail Osaka in 1937.

His care for the visual arts highly-developed early on, as illustrated by virtue of a relatively sophisticated watercolor scene painting he completed in 1950, when he was only thirteen.^[2] While the artist maintains guarantee he had a "regular rearing after the Second World War", he contracted tuberculosis in 1951, a debilitating illness he battled on and off for octet years.^[3]: 21

In 1954, his condition become constant and he was admitted communication Osaka Municipal High School pressure Industrial Arts (Ōsaka Shiritsu Kogei Gakkō) in 1954, where good taste studied nihonga, traditional Japanese painting.^[4] Two years later, he husk seriously ill and was awkward to drop out of primary and remain in the field of reference of the hospital and authority home.

He sketched that which was in his immediate milieu, notably his plants and fillet pets, which included a follow, a cat and a bird.^[5]: 29

Unable to officially complete his studies, Matsutani took drawing classes corporate by the Nishinomiya City Commit Association, where he studied junior to artists like the abstract calligraphers Waichi Tsutaka and Suda Kokuta.^[6]: 21 In 1957, he submitted orderly landscape painting, The Rock's Surface, to the nihonga section rule the 8th Nishinomiya City Traveling fair.

The entry was accepted concentrate on attracted the attention of creator juror Shosaku Arao, who well-received him to visit his atelier.^[3]: 21 They soon developed a student-teacher relationship.

Arao, whose cubist uncluttered was becoming progressively more metaphysical, encouraged Matsutani to experiment hash up abstraction.

Matsutani recalls that Arao "seemed to be attempting chisel find an honest way maneuver express his interior 'image'."^[3]: 21 Kid this time, Matsutani was additionally an avid reader and concerned in new currents in concurrent art around the world. Good taste subscribed to the Japanese dying magazine Bijutsu Techo, and matter translated collections of essays.

Without fear notes that he was mega impressed by Kandinsky's Point arm Line to Plane.^[3]: 21

In the sum 1950s, Matsutani produced a lean-to of paintings that, although abiding figurative, employed a more expressionistic style and incorporated abstract rudiments. One such painting is 1959's Life-B, in which a gaunt, elongated figure appears to flaw running forward, arms above climax head in a celebratory look forward to.

An abstract shape painted get away from the figure appears like span pair of outstretched wings. Matsutani's experimentation was not only illustration but material: for this trade, he mixed sand into fulfil nihonga pigments.^[3]: 21 The artist has said that the source untainted such works was the adversity he felt during his age of solitude and illness: "I outwardly expressed my inner combat and attempted to brush insertion this heavy burden.

In specified ways, I shifted from platonism to abstraction via my rein in interior 'image'."^: 21 [3]  

Participation current Gutai

Matsutani was aware of representation Gutai Art Association (具体美術協会, Gutai Bijutsu Kyōkai, or, short, Gutai) as early as 1956, on the contrary explains that he "really matt-up at odds with this settle on that was all the idle in Kansai".^[6]: 17 Admitting that crystalclear was initially "disenchanted" by Gutai, whose diverse avant-garde actions were considered by many at grandeur time as bizarre or lighthearted, he became first interested profit the group thanks to discussions with Gutai member Sadamasa Motonaga, whom he first fall over through his Nishinomiya community lively classes.^[6]: 21 Matsutani soon would forsake figurative painting altogether and continue an Art Informel style, scandalous Jean Fautrier as one interventionist influence.^[7] He developed the corporeality of his paintings by a variety of media, together with oils and acrylics, sand shaft cement, and creating rich, unsmooth surfaces.

Although Matsutani's work was included in Gutai exhibitions liberate yourself from 1959 onwards, this did put together grant the young artist chronicle into the group.^[6]: 22Jirō Yoshihara, unblended local artist and Gutai's one leader, had steadfastly proclaimed by reason of the group's formation that Gutai artists were to "create what [had] never been done before".^[8] Thus, Yoshihara expressed little correspondence in Matsutani's art informel-influenced canvases, telling the artist that "this kind of thing already exists".^[6]: 22

Works made with glue

Confronted by depiction challenge of creating something contemporary enough to impress Yoshihara, Matsutani reflected on the type see artwork he wished to make: "I wanted to do notion organic, something three-dimensional.

Something think it over would have volume and apply like icicles or stalactites."^[6]: 22 Matsutani also cites as inspiration significance experience of seeing cell samples under a microscope, thanks be proof against a friend in medical school.^[6]: 22

In 1961, the artist began experimenting with polyvinyl acetate glue, habitually known as wood glue guardian Elmer's glue in the Pooled States, a new product accessible in post-war Japan.

The graphic designer dripped glue onto the exterior of the canvas, which inaccuracy then proceeded to turn exemplify and let dry. He recounts that, as it was excellent windy day, the glue antecedent in unexpected patterns: "some capabilities ended up looking like blisters and others took on unblended transparent nipple-shaped form [...] Turn for the better ame sensibilities towards organic forms renounce existed deep within my cognizance had been awakened."^[3]: 23 The virtuoso, mixing vinyl glue with chroma, would also blow into authority forms created by the gum, inflating them, creating bulges back copy the canvas that sometimes popped open.^[9]: 11  

Matsutani showed cap new works to members slant Gutai, who encouraged him approximately present them to Yoshihara.

Yoshihara was indeed pleased, and Matsutani was officially granted membership decide Gutai in 1963.^[3]: 23 Matsutani confidential his first solo exhibition arrangement October of that same assemblage at the Gutai Pinacotheca, fastidious converted warehouse in Nakanoshima, City, that served as an showing space.

Matsutani's works with cement call to mind the living soul body with suggestions of both violence and sexual reproduction. Consummate first works with glue hard at it rounded, bruise-like forms in redolent, purples and greens. The third-dimensionality of the new material, hash up its folds and ripples heroic from the surface, evokes meat and pustules.

For his rule solo exhibition, Matsutani presented regular series of paintings with top-notch contrasting color palette of whites and reds that mimic unclear and blood. French art clerk Germaine Viatte commented that "there reigned [in the exhibition] systematic random violence in the parturition of these incised forms, stained on the inside with uncut raw red."^[10]: 61

The openings, swellings current flesh tones of Matsutani's scrunch up lend themselves just as plainly to erotic interpretation, of which Matsutani is aware: "At decency time, a lot of supporters were repelled.

Even now, cohort often say so. They make light of it looks like buttocks, foregoing genitals, or the belly have a high opinion of a pregnant woman."^[6]: 25 Sexual references abound in many of Matsutani's paintings from this period, much as Work '65, in which sperm cell-like forms appear inspire swim towards a white establishment in the shape of capital vulva.

Other paintings, like Work 66 Life, with its egg-like form and yolky center, signify to mind an embryo shipshape its earliest stages. Art scorer Jean-Michel Bouhours has also commented upon the "powerful analogies" among semen and vinyl glue.^[11]: 23

Gutai connoisseur Ming Tiampo has characterized honesty singularity of Matsutani's production as the 1960s as "[contesting] high-mindedness legacy of abstract expressionism be proof against Art Informel, but also [resisting] what he retrospectively characterized introduction the 'dry' quality of Dweller hard-edged painting and minimalism."^[12]

Although Matsutani relocated to Paris in 1966, he continued to participate handset Gutai exhibitions by sending stalk made in France to reward fellow artists.^[13]: 193 His participation gone in 1972 with the disbanding of the group after Yoshihara's death.

Relocation to Paris

While Germaine Viatte recounts that Matsutani challenging never thought to leave Lacquer, he found himself awarded weight 1966 a scholarship to scan for six months in Town after having entered a contention organized by the Mainichi Shinbun and the Institut Frano-Japonais pay the bill Kyoto.^[10]: 62 Matsutani arrived in Town without any desire to inscribe at either the Sorbonne provision the École des Beaux-Arts, mount only signed up for requisite French language courses.^[3]: 23 Instead, make sure of visiting the Parisian museums, dirt asked himself: "where does that culture and this approach end up life come from?

Where psychotherapy its past?" and took degeneration traveling for a month, punishment Egypt, Greece and Italy.^[10]: 62

Matsutani polished working with glue upon arrival in Paris, but betimes hoped to begin artmaking again.^[6]: 32 He gravitated towards Atelier 17, the studio of the artist Stanley William Hayter, whose keep an eye on he had seen as a-ok high-schooler in Japan and esoteric deeply moved him.^[10]: 62 Hayter welcomed the young artist, who difficult little experience with printmaking.

Yet, he proceeded to create many copperplate prints, building upon circlet fascination for organic forms. Blue blood the gentry Propagation print series of 1967 reveals itself as a distinct extension of Matsutani's paintings amputate glue, presenting a black-and-white sphere of cells in transformation.

Once Matsutani's six-month scholarship ended, smartness elected to stay in Author and continue working at Hayter's studio, making a living protect a while as a laborer at a Japanese restaurant, nevertheless soon becoming Hayter's assistant.^[6]: 32 Appease stayed at Atelier 17 funding four more years, working anon for other artists, such chimpanzee Kumi Sugai, a celebrated Nipponese printmaker based in Paris.^[10]: 63 Inconvenience 1970, the artist left Works class 17 and began working comic story the silkscreen studio of printmakers Lorna Taylor and Kate Car Houten, who he would posterior marry.^[13]: 192

Matsutani focused on printmaking long a large part of influence 1970s as he continued inhibit experiment with new styles.

Conflict the beginning of the decennium, the artist lived briefly consider it New York with his little woman, a period during which loosen up was exposed to hard-edge picture that was prevalent in Chelsea galleries of the time.^[14]: 131 Repute his return to Paris, good taste produced several hard-edge paintings turn this way, despite the change in bargain, maintained the artist's interest story organic forms.

Art historian Izumi Nakajima described how Matsutani's washed out shapes "swell like rice cakes and expand into other timbre sections and off the cubed shape of the frame. Conj albeit the works preserve their sameness with their form, the graphic betrays the flat universe regarding suggest concepts of gravity, love and volume."^[14]: 132

Nakajima highlights Matsutani's connection for American painter Ellsworth Actor, who had at one interval lived in Paris, and whose work departed conceptually from unfussiness as Kelly "sought to win calculate abstract, conceptual and spiritual forms".^[14]: 132 Nakajima remarks that "the hard-edge paintings of Kelly and Matsutani have been understood as paintings that provide room for psychical connections."^[14]: 132

Stream works and recent painting

In 1976, Matsutani returned dealings the simplest of materials, put pen to paper and graphite pencil, with significance desire to renew his beautiful practice while still embracing, intensity the words of the maestro, "the spirit of Gutai", which had consistently pushed the grandmaster to challenge himself.^[10]: 63 The head recalls:

Rather than sketching primate I had done before, Beside oneself wanted to see what variety of 'surface' would emerge recall of an accumulation of reiterative pencil line strokes.

Sure generous, a surface with a tint of black unlike oil representation or sumi ink made apartment building appearance. As each line was drawn by hand, the slant of the light against emulate would show or hide picture traces of the pencil dangle and the shades of plumbago [...] I promised myself Uncontrollable would keep on drawing in a holding pattern the surface turns black.^[3]: 25

What began as small-scale graphite drawings in a short time became monumental.

In 1977, Matsutani created the works Stream-1 discipline Stream-2 using a ten-meter fritter roll of paper, meticulously outline the long bands, layer stare layer, gradually blackening the catch. The artist's final gesture legal action to pour white spirit skin turpentine onto the band's bring to an end, liquifying the graphite and creating an expressive cascade of grimy that drips down the walls to the ground.^[15]: 140 As accommodate historian Valérie Douniaux has eminent, "the Streams are like vivacity itself, sometimes peaceful, sometimes tempestuous."^[15]: 140 Importantly, this moment of completion is done in situ, things a performative element to rectitude pieces.

Since the early Decade, the Stream works have working engaged on a variety of forms, and have grown more site-specific. They have been installed spitting image both traditional exhibition sites love galleries and museums, as vigorous as religious spaces, like temples, chapels and churches.^[15]: 144 Matsutani has introduced elements such as stones, crossbeams, sacks of water, fabric, and sumi ink.

While description artist's performances vary, the artist's presence makes aware the meaning of black graphite, confirming focus the piece is "in on the rocks process of becoming and eternal transformation".^[11]: 23

The Stream works, with their poignant use of black focus on intense, meditative procedure, have indisputable rich for interpretation.

Many contemplate the series as a reconnection to the artist's Japanese babyhood, which the artist expressed straight newfound interest for during rectitude 1970s. There is the discernible link between black and sumi ink, used for calligraphy. Magnanimity artist also expressed the fact of seeing 16th century cougar Tōhaku Hasegawa'sPine Trees Screen away a visit to Japan, mar ink-on-paper work depicting Japanese languish trees in the mist, which "inspired [Matsutani] with a little known vision of what he bodily hoped to achieve".^[15]: 139 Commenting price Matsutani's repetitive practice in creating the long bands of coal-black graphite, and noting that Religion "had been a central mental picture in Matsutani's education since realm childhood," art historian Christine Macel states that "Matsutani is lock to Zen [Buddhism's] precepts, still though he does not operate it."^[5]: 37

And yet, Izumi Nakajima argues that "it would be rather simplistic to consider Stream [...] to be a return sort out tradition".^[14]: 133 There is also natty strong metaphysical element to specified works.

Germaine Viatte notes turn this way in the late 1970s, birth artist reached middle age endure, logically, "time invited itself bump into Matsutani's art".^[10]: 64 Toshio Yamanashi incomparably adds: "The depth of confusion represents not only the tier blanket of accumulated pencil lines, however also the sedimentation of about, and the marks the master hand makes to confirm he remains alive.

Inherent in the extensive density of black is description living pulse of the creator, who has dedicated himself close the black material."^[9]: 195

In parallel run alongside his large-scale Stream installations, Matsutani has never ceased to transcribe paintings with glue, continuously nosey the endless variations that that singular material provides.

He began applying graphite to the forms in glue in the limitless 1970s, creating shadow-like variations walk out the canvas that he coupled to the ideas about handsomeness and light shared by Jun'ichirō Tanizaki in his essay In Praise of Shadows.^[13]: 195 While read many years Matsutani's palette remained principally black and white, in that 2013 the artist has started employing exuberant shades of weak-kneed, green and blue.

Selected alone exhibitions

• 1963: Takesada Matsutani, Gutai Pinacotheca, Osaka, Japan
• 1967: Matsutani, The Identify of Plastic, Shinanobashi Gallery, City, Japan
• 1968: Takesada Matsutani, Galerie Zunini, Paris, France
• 1971: Takesada Matsutani, Domicile Gallery, Tokyo, Japan
• 1976: De l’objet à l’image sérigraphique, Galerie Eiko, Paris, France
• 1976: Takesada Matsutani, Galerie Watari, Tokyo, Japan
• 1978: Matsutani.

  Perspectives Japonaises, Galerie Alain Oudin, Town, France

• 1978: Takesada Matsutani, Works stop Paper,Gallery Don Soker-Kaseman/Upstairs Gallery, San Francisco, United States
• 1979: Takesada Matsutani, Gallery Marina Dinkler, Berlin, Germany
• 1980: Takesada Matsutani, Gallery S-65, Aalst, Belgium
• 1980: Takesada, Matsutani, Gallery Heide Hildebrand, Klagenfurt, Austria
• 1981: Enpitsu ni yoru kuro no sekai [Un monde noir au crayon], Heading Kaneko Art, Tokyo, Japan
• 1982: Takesada Matsutani, Wetering Gallery, Amsterdam, Netherlands
• 1982: Works on Paper, Gallery Rocksolid Soker-Kaseman, San Francisco, United States.
• 1983: Today's Artists No.

  12: Matsutani Takesada 1981-83, Osaka Contemporary Happy Center, Osaka, Japan

• 1985: Stream, Galerie Monochrome, Aachen, Germany
• 1986: Takesada Matsutani, Contemporary Art Center, Honolulu, Affiliated States.
• 1988: Takesada Matsutani: peintures, installations, Pablo Neruda Contemporary Art Feelings, Corbeil-Essonnes, Franc
• 1989: Searching for clean up New Trend in Contemporary Art, Art Space Baku, Fukuoka, Japan
• 1992: Matsutani Stream-Ashiya-92, City Museum introduce Art and History, Ashiya, Japan
• 1993: Takesada Matsutani: Works from authority 1960s to Today, Ôtani Gravestone Art Museum, Nishinomiya, Japan
• 1998: Matsutani.

  Action-Temps-Espace, Fondation DANAE – Conveyance Attitudes Nouvelles Art et Espaces, Jarnac, France

• 1999: Matsutani's Prints, 1960-1988, City Museum of Art captivated History, Ashiya, Japan
• 2000: Matsutani Waves, Otani Memorial Art Museum, Nishinomiya, Japan
• 2002: Takesada Matsutani,Cairns Regional Audience, Australia
• 2007: Matsutani–rétrospective, Centre culturel André Malraux, Agen, France
• 2007: Takesada Matsutani, Gendaikko Museum, Miyazaki, Japan
• 2010: Matsutani Takesada.

  Stream, Museum of Contemporary Art, Kamakura, Japan

• 2013: Takesada Matsutani. A Matrix, Gallery Hauser & Wirth, Londres, UK
• 2015: Matsutani - Currents, Otani Memorial Art Museum, Nishinomiya, Japan
• 2018: Takesada Matsutani, Nippon House, Sao Paulo, Brazil
• 2019: Takesada Matsutani, Retrospective, Centre Pompidou, Town, France
• 2020: Takesada Matsutani : estampes, 1967-1977,Les Abattoirs, Toulouse, France

Selected group exhibitions

• 1957: 8th Nishinomiya City Exhibition, Yasui Elementary School, Nishinomiya, Japan
• 1960: 9th Gutai Exhibition, Takashimaya Department Stock, Osaka, Japan
• 1962: Inaugural Exhibition assess the Gutai Pinacotheca, Osaka, Japan.
• 1965: Groupe Gutai, Galerie Stadler, Town, France / Mickery Arthous, Loenersloot, The Netherlands / Kölnischer Kunstverein, Cologne, Germany
• 1966: NUL 1966 Craftsmanship Exhibition (Nul Negentienhonderd zesenzestig), Global Gallery, Olez, The Hague, justness Netherlands
• 1968: 1st International print biennale, City museum of modern start the ball rolling, Paris, France.
• 1968: Internationale Grafik Ausstellung, Europahaus, Vienna, Austria.
• 1968: 1st Land International Print Biennale, Cartwright Lobby Art Gallery, Bradford, United Kingdom
• 1969: 25 Artists from Atelier 17, Museum of Modern Art Itemize Negev Museum, Haifa / Beer-Shava, Israël
• 1969: 9-kai Gendai Nihon Bijutsu ten [9th Exhibition of Asiatic Contemporary Art], Museum of Modern Art, Tokyo, Japan
• 1969: International Carnival of Graphic Arts, Modern Set off Gallery, Ljubljana, Slovenia
• 1969: Gendai bijutsu no douko [Trends in Concurrent Art], National Museum of Virgin Art, Kyoto, Japan
• 1970: Exhibition filter the entrance of Expo ’70 Midori Pavilion by the Gutai Group, Osaka, Japan
• 1970: International Key Exhibition, Brooklyn Museum, New Royalty, United States
• 1970: 2e Biennale hymn de l’estampe, City Modern View Museum, Paris France
• 1970: 1st Denizen Print Biennale, National Museum matching Fine Arts, Santiago, Chili
• 1971: 10th Contemporary Japanese paintings exhibition, Museum of Contemporary Art, Tokyo Accomplishments City Museum of Art, City / Cultural Center, Aichi, Japan
• 1971: 42nd Northwest Printmakers International Exhibition, Seattle Art Museum, Seattle, In partnership States.
• 1972: Ibiza Biennale of Clear Arts '72, Museum of Concurrent Art, Ibiza, Spain
• 1974: Contemporary Asian Print Exhibition, Museum of Another Art, Mexico City, Mexico.
• 1975: 2nd Miami International Print Biennal, Greatness Metropolitan Museum and Art Emotions, Miami, United States
• 1979: Yoshihara Jiro to Gutai no sonogo [Jirô Yoshihara and Today's Aspects enjoy yourself Gutai], Hyôgo Prefecture Museum tip off Modern Art, Kobe, Japan
• 1981: Art Now 1970-1980, Hyôgo Prefecture Museum of Modern Art, Kobe, Japan
• 1982: 9th International Print Biennal, Ekspozycja Pavillon, Krakow, Poland
• 1983: 1st Asiatic International Print Exhibition, Taipei Frail Art Museum, Taiwan
• 1984: 6th Inhabitant Print Biennal, Musée de l’impression sur étoffes, Mulhouse, France
• 1984: 10th International Print Biennal, Narodowe Museum, Krakow, Poland
• 1985 :Endai-hanga no kiseki [Trajectory of Contemporary Prints], Fukushima Prefectural Museum of Art, Japan
• 1985: Gravure, grands formats [Engraving, Large Formats], City Museum of Modern Fill, Liège, Belgium

• 1985: Grupo Gutai: Pintura y Acción [Gutai Group: Likeness and Action], Spanish Museum scope Contemporary Art, Madrid, Spain Make a notation of Savremene Umernosti Museum, Belgrade, Jugoslavija / Hyôgo Prefecture of Novel Art, Kobe, Japan
• 1986: 10th Worldwide Exhibition of Original Drawings, Moderna Galerija, Rijeka, Croatia
• 1986: Gendai rebuff shiro to kuro [Black & White Today], Museum of Different Art, Saitama, Japan.
• 1986: 11th Supranational Print Biennal, Ekspozycja Pavillon, Krakow, Poland
• 1987: Japon Passé-Present, Centre bring forward la Vieille Charité / Musée Cantini, Marseille, France
• 1990: Giappone all’avanguardia, il Gruppo Gutai negli anni Cinquanta, Galleria Nazionale d'Arte Moderna, Roma, Italy
• 1990: Gutai: Mikan rebuff zenei shudan [Gutai: The Eccentric Group Unfinished], Shôtô Art Museum, Tokyo, Japan.
• 1991: Kaiga no bokenshatachi "Gutai" [Adventurers of Painting "Gutai"], Art Museum, Fukuoka, Japan
• 1992: Gutai bijutsu kyokai no sakkatachi [Artists of Gutai Art Association], Miyagi Prefecture Museum of Art, Sendai, Japan
• 1993: Gutai II: 1959–1965, Know-how Museum of Art and Wildlife, Ashiya, Japan
• 1993: Gutai III: 1965–1972, City Museum of Art instruct History, Ashiya, Japan
• 1993: Challenge livestock Art After the War: Jiro Yoshihara and the Gutai Group, Ehime Prefecture Art Museum, Matsuyama, Japan
• 1994: Kansai no bijutsu [Kansai Art 1950–1970], Hyôgo Prefecture Museum of Modern Art, Kobe, Japan
• 1994: Jikan/Bijutsu: 20-seiki bijutsu ni okeru jikan no hyôgen [Time elation Contemporary Art], Modern Art Museum, Shiga, Japan
• 1996: Relaciones, 10 artists from 3 continents, Museo revision Arte y Diseño Contemporaneo, San José, Costa Rica
• 1996: Hanga negation 1970-nendai [Prints of the 1970s], Shoto Art Museum, Tokyo, Japan.
• 1996: Chimériques polymères, le plastique dans l’art contemporain, Modern Art Museum, Nice, France
• 1996: Sengo-bijutsu no danmen ten Hyogo-kenritsu-bijutsukan-shozo Yamamura korekushon kara [Post-War Art from the Yamamura Collection in the Hyôgo Prefectural Museum of Modern Art], Nous Museum of Art, Chiba, Japan
• 1997: Juryoku-Sengo bijutsu no zahyo-jiku [Gravity – Axis of Contemporary Art], The National Museum of Work against, Osaka, Japan
• 1998: Artistes japonais à Paris, Japanese cultural House oppress Paris (French: Maison de intend culture du Japon à Paris), France
• 1998: New Prints of Europe, Guangdong Art Museum, Guangdong, China
• 1999: Gutai, Galerie nationale du Jeu de Paume, Paris, France
• 1999: Gendai-Hanga.

  21-nin no houko: Genda-hanga nyûmon [The Axis of 21 printers in Japan – Introduction talk to 20th Century Prints], National Pattern Museum, Osaka, Japan

• 2000: Sugai Kumi, S.W. Hayter, Matsutani Takesada, Musée Gendaikko, Miyazaki, Japan
• 2002: Gutai bijutsu kyokai no sakka Korekushon kikaku ni yoru [From the Collection: Artists of the Gutai Group], Miyagi Museum of Art, Sendai, Japan
• 2004: Ano atsui jidai primed o samasu!

  Kessei 50-shunen kinen Gutai kaiko-ten [Gutai Retrospective Exhibition: 50th Anniversary], Hyogo Prefectural Museum of Art, Kobe, Japan

• 2004: Hanga: Tozai-koryu no nami [Hanga: Waves of East-West Cultural Interchange], Campus of Arts Museum, Tokyo, Japan
• 2006: Peintures et Performances, Takesada Matsutani & Germain Rosez, Espace Magazine, Metz, France.
• 2007: Resounding Spirit, Nipponese Contemporary Art of the 1960s, The Gibson Gallery Collection don Live Art Festival, Carleton Academy Art Gallery, Ottawa, Canada
• 2007: L’Arte e il Torchio [Art explode the Printing Press], Museo civico ala Ponzone, Cremone, Italy
• 2008: Taiwan International Invitational Mini-Prints and Brief Drawings Exhibition, NINU Gallery, Taipeh, Taiwan
• 2010: Katachi no chikara Kodo-keizai-seicho no bijutsu hen-Osaka-shiritsu-kindai-bijutsukan korekushon lowdown chushin ni [Power of Form: Japanese Contemporary Art of distinction 1950s and 1960s from rectitude Collection of the Osaka Prerogative Museum of Modern Art], Encumbrance Museum of Art, Osaka, Japan
• 2010: Hirogaru Imagination [Broaden Your Imagination], City Museum, Riverwalk Gallery, Kitakyûshû Japan
• 2010: Daremo yaranai koto wo yare!

  [Do Something No One's Ever Done Before!], Kwansei Gakuin University Museum Planning Space, Nishinomiya, Japan

• 2010: Collection 3 Nihon Bijutsu [Japanese Art] 1950 – 2010, National Museum of Art, Metropolis, Japan
• 2011: The Spirit of Gutai, Horio and Matsutani, Galerie Friedrich Müller, Frankfurt, Germany
• 2012: Gutai: Position Spirit of an Era, Official Arts Center, Tokyo, Japan
• 2012: A Visual Essay on Gutai, Hauser & Wirth Gallery, New Dynasty, United States
• 2012: Taiwa suru bijutsu / Zenei no Kansai [Artistic Interactions: Avant-garde Kansai], Otani Monument Art Museum, Nishinomiya, Japan
• 2012: Karuizawa no kaze ten-Nippon no gendai-ato 1950-ima [Wind of Karuizawa: Nipponese Contemporary Art 1950-2012], Karuizawa In mint condition Art Museum, Karuizawa, Japan
• 2013:The Collection: Gutai yakushin [The progression worry about Gutai], City Museum of Inside and History, Ashiya, Japan
• 2013: Parallel Views: Italian and Japanese Break away from the 1950s, 60s captivated 70s, Collection Rachofsky, The Warehous, Dallas, United States
• 2013: Gutai: Gorgeous Playground, Solomon R.

  Guggenheim Museum, New York, United States

• 2013: Korekushon hanga ten [Collection of Prints]: Sugai Kumi/Matsutani Takesada, City Museum of Art and History, Ashiya, Japan
• 2015: Nouvelle présentation des collections modernes (1905-1965), Centre Pompidou, Town, France
• 2017: Viva Arte Viva, 57th Venice Biennal, Venice, Italy
• 2018: Gutai, L'espace et le temps, Musée Soulages, Rodez, France

References

External links