15th Anniversary Exhibition

Where We Now Stand—In Order to Map the Future[2]




10:00 - 18:00 (until 20:00 on Fridays and Saturdays)1st half: Oct 12 (Sat) - Dec 19 (Thu) 2019 2nd half: Feb 4 (Tue) - Apr 12 (Sun) 2020


21st Century Museum of Contemporary Art, Kanazawa


Mondays (but open on Oct 14 & 28, Nov 4 2019, and Feb 24,2020), and Oct 15 (Tue.), Nov5 (Tue), Notice of Museum Closure (Dec 20, 2019 - Feb 3, 2020), 2020 andFeb 25 (Tue), 2020


Adult: ¥450 (¥360)
University: ¥310 (¥240)
Elem/ JH/ HS: Free
65 and over: ¥360
*( ) indicate advance ticket and group rates (20 or more).

Audio guide:

Cost: Smartphone app: ¥490 (payment by smartphone / purchase at Apple Store)
Rental audio guide: ¥600
Rental location: In front of the general information monitor

For More Information:

21st Century Museum of Contemporary Art, Kanazawa
Phone: +81-76-220-2800
E-Mail: info@kanazawa21.jp

Now in our 15th anniversary year, the museum’s collection stands at 3,880 artworks—an achievement of the two decades since collecting began in 2000, prior to the museum’s opening. In those two decades, society has changed radically, a phenomenon the collection strongly reflects in its growing number of artworks sharply attuned to their times. This exhibition will reinterpret the collected works from the perspective of today’s issues so as to form a picture of where we now stand, in a complexly diversifying world, and begin sketching out a map of the future.

Related Projects

Mathieu Briand Artist Talk

Date/time: October 12 (Sat) 14:00-15:30 *With interpretation (Japanese-English)
Venue: Lecture Hall
Admission: Free Capacity: 70 (order of arrival) Doors open: 13:45

Abstract Value

  • TERUYA Yuken
    21st Century Museum of Contemporary Art, Kanazawa 2019
    Collection of the artist
    Courtesy of the Artist and Yumiko Chiba Associates
    photo: Yuken Teruya Studio

    The maturation of capitalism showed that everything in the world is measurable in money terms dictated by the market economy. This also applies to works of art. The marketable value of an artwork is even considered the value of the artwork itself, but is it, in fact? Value is an extremely abstract thing, and each person has different standards and preferences. Never in human history was the world so thoroughly ruled by economic values as in the 20th century, and currently, those conditions are accelerating. This section, through works of art, spotlights other values that we need to nurture.

    Artist: TERUYA Yuken


  • OKI Junko a swallow 2015
    Collection of 21st Century Museum of Contemporary Art, Kanazawa
    © OKI Junko photo: KIOKU Keizo

    In ancient times, the body was a vessel for participating in nature and giving habitation to gods and spirits. With science’s advances, however, the mechanisms of life have gradually been unraveled and, today, the body is reduced to a network of matter manipulatable at a molecular level. This section examines our contemporary perceptions of the body. Through works by artists who look at memory residing in the body, it inquires into the meaning the body has newly acquired/lost in a highly rationalized social environment.

    Artists: TANAKA Atsuko, Ana MENDIETA, ODANI Motohiko, OKI Junko, LEE Bul

Object—A Model of an Event or Concept

  • benandsebastian 21st Century Museum of
    Contemporary Art, Kanazawa: Department of
    Collection of 21st Century Museum of
    Contemporary Art, Kanazawa
    © benandsebastian photo:KIOKU Keizo

    An object’s data is unique. By duplicating its template, a physical object can be created in space. Not only physical objects: the same kind of method can be used in virtual space for examining the overall system governing it. In the 21st century, due to advancements in virtualization using data, we will likely need to use such terms as “class” and “instance” in addition to original, duplicate, and clone when thinking about objects in art.

    Artists: benandsebastian

(Dis-) Communication

  • IZUMI Taro 30 2017
    Exhibition view of Taro Izumi, “Pan,” Palais de Tokyo, 2017
    supported by SAM Art Projects.
    Collection of 21st Century Museum of Contemporary Art, Kanazawa
    photo: Aurelien Mole

    These days, when communication via smartphone and personal computer is more common than through verbal conversation, we deal with an environment more ambiguous and less supportive of judging whether communication is being achieved. Certainly, we can instantly connect with people far away and easily exchange information, seemingly with anyone. Yet, is real understanding being reached? In a society where voiceless conversation has become indispensable to everyday living, what does “communication” mean?

    Artist: IZUMI Taro


  • KANEUJI Teppei Endless, Nameless #1 2014
    Collection of 21st Century Museum of Contemporary Art, Kanazawa
    © KANEUJI Teppei
    photo: KIOKU Keizo

    Collage—a word deriving from a French verb meaning “to glue.” Surrealist and Cubist artists incorporated this technique in their work in the early 20th century. By combining elements intrinsically unrelated, they could mix meanings as well as forms and structures, and obtain a creativity that transcended intellectual interpretation. The art of collage, with the kitchiness of its cutting and pasting, is frequently seen in contemporary art as well. While printed matter using color photographs brings freshness to the work, the flood of ready-made images from magazines and comics create a sense of parody and irony. Collage also resonates with our visual experience as people accustomed to the “cut and paste” function on computers. Collage is like a paradigm that transcends its utility as an art technique and says something about our perceptions in contemporary society.

    Artists: KANEUJI Teppei, SHIMIZU Akira, KUSAMA Yayoi

Confused Vision

  • SYS*017.ReR*06/PiG-EqN\15*25 (user model)
    Producer: Mathieu BRIAND 2004/2019
    Collection of 21st Century Museum of Contemporary
    Art, Kanazawa
    Courtesy of 21st Century Museum of Contemporary
    Art, Kanazawa

    The 20th century saw remarkable progress in the development of television, video, film, and Internet media, with result that boundaries between reality and fictive film/video imagery grew ambiguous. Today, in the 21st century, massive amounts of video are transmitted day and night on social networks, thereby accelerating conditions in which truth is obscured: we can no longer know what is true and what isn’t. In this artwork, the images appearing are continually replaced indiscriminately, beyond one’s control, thereby creating visual confusion. More than eliciting our interest or fascination, the work is critical of the frenzy in our contemporary viewing habits.

    Artist: Mathieu BRIAND


  • Kamide Choemon-gama + Maruwakaya
    “The Skull” Candy Jar with Design of Flowers 2009
    Collection of 21st Century Museum of
    Contemporary Art, Kanazawa
    © Kamide Choemon Gama © Maruwakaya
    photo: SAIKI Taku

    Today, Japanese crafts (kogei) is in a transition from “crafts” that are rooted in the land, whose historical and cultural origins are clear, to “KOGEI” imbued with global character, born from 3D printers and the incessant movement of creators engaged in collaborations and cultural exchange. Contemporary art, on the other hand, is moving in the opposite direction from “crafts”: suffering from excessive globalization, it seeks a return regional character. In our approach to Japanese crafts, we in this section call it KOGEI, thereby creating a context freeing it from confinement in existing categories and genres. Liberating it thus from existing value standards, we take the KOGEI world’s diversity of materials, techniques, and forms as a subject. KOGEI, like contemporary art, is a product of its times. We can therefore find points where they intersect in keywords common to both: the land, the culture, their physicality and materiality, and society.

    Artists: “Unryuan” KITAMURA Tatsuo, TERAI Naoji, TOMIMOTO Kenkichi, YAMAMURA Shinya, MAE Fumio, OBA Shogyo, NAKANO Koichi, IKURA Takashi, Bodil MANZ, KAMIDE Keigo, Kamide Choemon-gama + Maruwakaya, AOKI Katsuyo, TAKEMURA Yuri, HASUDA Shugoro, HATAKEYAMA Koji, Pippin DRYSDALE, TOKUDA Yasokichi III, MITSUKE Masayasu, HAYAMA Yuki, KITADE Fujio, OHI Toyasai (Ohi Chozaemon X / Toshiro), KUWATA Takuro, Scott CHASELING, Michael ROWE, Ron KENT, NAKAGAWA Mamoro, OHI Chozaemon XI (Toshio), NAKAMURA Takuo, Rupert SPIRA, SUDA Yoshihiro, OKUMURA Hiroyuki, HASHIMOTO Masaya, KUZE Kenji, ITABASHI Hiromi, NAKAMURA Shinkyo, IEZUMI Toshio, TASHIMA Etsuko, TANAKA Nobuyuki, TSUKADA Midori, OHGITA Katsuya, NARAHARA Hiroko, Jan FIŠAR, Vladimir ZBYNOVSKY, MIYAZAKI Kanchi

Created Sceneries

  • SONE Yutaka Hong Kong Island / Chinese 1998
    Collection of 21st Century Museum of Contemporary Art, Kanazawa
    © SONE Yutaka
    photo: SAIKI Taku

    SONE Yutaka walks the world’s forests, jungles, caves, deserts, and cities. The landscapes he evokes appear to be landscapes existing autonomously, everywhere. While clearly there before our eyes, they suggest incredible distances as if imbued with a vast narrative transcending human expression. The artist, mobilizing his own experience, memory, sense, and imagination, sublimes events actual or potential, there, in a pure white landscape by sculpting blocks of marble harboring millenniums of time. Through this, then, he endeavors to create a new scenery.

    Artist: SONE Yutaka

Material and Technique

  • Jan FABRE The Wall of Ascending Angels 1993
    Collection of 21st Century Museum of
    Contemporary Art, Kanazawa
    © Angelos bvba / Jan Fabre
    photo: SAIKI Taku

    Since the late 20th century, artists have engaged in endeavors that transgress conventional genres such as painting, sculpture, crafts, and photography or else traverse multiple genres. In the 21st century, owing to change in our social conditions, the materials and techniques used in art are also changing at an accelerating pace, and it is no longer possible to classify works by genre. An important factor behind is that the Western-centric art world has come under criticism, and the art of various regions and cultural areas is receiving renewed scrutiny. Many of the materials taken up in this section are fragile by nature, such as rusty metal, wood, soil, and insects. The techniques are also diverse and complex. How to preserve such works and hand them down to the future is one of the major challenges facing museums today.

    Artists: El ANATSUI, ODANI Motohiko, Jan FABRE, NAKAMURA Kimpei, NAKAMURA Kohei, NAKAGAWA Yukio, SUDA Yoshihiro

Urban Space

  • Chris BURDEN Metropolis 2004
    Collection of 21st Century Museum of Contemporary Art, Kanazawa
    © Chris Burden Estate
    photo: KIOKU Keizo

    In the design of urban space, grasping city structure is gaining more importance than the comprehensive view. This is because technological innovation is giving us varying new vantage points on the city beyond our conventional ground view. A tension between polar extremes is giving shape to the city, one being an intent to create clear, beautiful order as represented by the Parthenon, and the other, to let urban space form irregularly like a maze. The motorization developed in the 20th century is changing dramatically, what with electrification and self-driving cars, and the resulting spread of invisible networks is becoming more complex—a trend which will accelerate in the future. In the 21st century, as global populations become concentrated in cities, urban theory is concerned with a generative field where fluidity and exchange/replacement produce dynamic, restless intersection.

    Artist: Chris BURDEN

Discussing Relationship

  • photo: SUZUKI Yoko

    The world exists through “relationships,” and “relationships” give form to daily life. The artworks gathered here examine the myriad relationships between people, between things, and between people and things. ABE Taisuke uses old clothing and fabric pieces as materials for creating art and holding workshops. Old clothing is gathered and given new forms (artworks); as people touch the creations and take them home, invisible relationships expand out beyond the art museum. Then, Abe is also producing works in residency at the museum taking the museum collection as an axis. The works awaken relationships on many levels—between the artist and the collected works, between viewers and the collected works, and between viewers and the artist himself—and give shape to the “everyday” of life at the museum.

    Artist: ABE Taisuke

    Residency period: 11.3 (Sun-hol)-12.19 (Thu) *Excluding days museum is closed
    Workshop period: 2.4 (Tue)-3.1 (Sun) 2020
    *Excluding days museum is closed
    Time: 10:00-18:00
    Venue: Next to People’s Gallery & Project Room

An audio guide curator-narrated and lovingly made.

  • Gimhongsok This is Rabbit 2005
    Collection of 21st Century Museum of
    Contemporary Art, Kanazawa

    Curators help viewers navigate the exhibition. They discuss the individual artworks from their own perspectives, describing in their own words the concepts behind the artworks, how they were created, and aspects to be attentive to when viewing them. This original audio guide created by 21st Century Museum of Contemporary Art, Kanazawa lets viewers feel as if personally guided by a curator through the galleries. Download the application to your smartphone or enjoy the rental audio guide.

    Cost: Smartphone app: ¥490 (payment by smartphone / purchase at Apple Store)
    Rental audio guide: ¥600
    Rental location: In front of the general information monitor
    Audio guide production: ON THE TRIP


Organized by:

21st Century Museum of Contemporary Art, Kanazawa
(Kanazawa Art Promotion and Development Foundation)