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Kishio Suga "Existence Within Definite Contours"
Tomio Koyama Gallery Kyobashi
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Kishio Suga
Tomio Koyama Gallery Kyobashi, Roppongi, and Tennozu are pleased to present “Existence Within Definite Contours,” an exhibition by Kishio Suga that is being presented at all three spaces at the same time.
Since 2015, Kishio Suga has been holding exhibitions of his new works at our gallery for ten consecutive years. This exhibition represents a further development of the world of Suga’s works as seen from various angles.
On display at the Kyobashi space will be new sculptures and installations. In Roppongi, drawings from the 1970s and 80s and small three-dimensional works from the 1980s through 2000s will be exhibited. Meanwhile, the gallery in Tennozu will showcase activation videos, photographs, and drawings from the early stages of Suga’s career, as well as a series of works using paste on slate from the 1990s.
The catalog, which is published annually, features a special contribution from Simon Groom, Director of the Scottish National Gallery of Modern Art, who curated a two-person exhibition by Suga and Carla Black (2016) and wrote a text for the catalog of Suga’s solo exhibition at the Museum of Contemporary Art Tokyo (2015).
Kishio Suga (1944-) was a key member of the Mono-ha art movement of the late 1960s and 70s. He subsequently went on to deepen the essential world of his works expressed by the diversity of the existence of things, and has carved out a unique niche as a leading contemporary practitioner of postwar Japanese art.
Suga’s thinking, which focuses on “things” (mono) themselves that were previously only everyday materials, the human beings who perceive those things, and their relationships with each other, continues to pose fundamental questions about existing art and ways of looking at the world, earning him a formidable international reputation.
Suga has participated in more than 400 exhibitions, and his works are in the collections of more than 40 museums in Japan and abroad, including the Centre Georges Pompidou, the Tate Modern, and the Museum of Modern Art in New York. He will be presenting a solo exhibition at Dia Beacon in New York opening July 19, 2025.
Regarding the new works at this exhibition, and his own practice, Suga says that he now works simply and quickly. “Simplicity is important to me now. I think my work from my younger days was rather complicated. To know what ‘things’ are saying, and a kind of complexity that does not appear as such — that is what is important, however. Works from a long time past and works from the present are continuous, and not divided by time. The thoughtfulness in a particular moment, however, changes what is important and how we see it.”
On the occasion of this exhibition, Suga penned the following statement.
“Existence Within Definite Contours”
Things always exist as singular entities. And yet, people possess a mode of thought that resists this. We try to perceive meaning in things, and things can momentarily reveal aspects they never revealed before. What is visible is not all there is. And just because something is invisible does not mean that it lacks existence. It is the human eye that acknowledges existence—and the same eye that denies it. We must anticipate conditions beyond the norm.
Kishio Suga, May 2025
Suga sees things (mono) not as mere “solids” or “objects” that human subjectivity has imbued with meaning and significance, but rather as entities with their own unique logic and direction, a kind of substantial quality or “thickness” that incorporates within it the reactions of people, as well as a sense of contemporaneity and the present.
The role of the artist is to listen to and pick up on this. In his many texts and interviews, Suga often refers to the act of “seeing the ‘invisible’ that lies latent in ‘things.’”
It is not difficult to simply look at a thing. To know the inner nature and essence of that thing, however, is no mean feat.
Incorporated into Suga’s work is a kind of internalization of howincorporates the way in which the unique sense of existence and place (space) associated withinvolved in how a “thing” transforms itbecomes into a “work of art.” becomes internalized. By presenting a domain (edge) that alludes to the dual nature or presencehowmakes us think that there is something on both sides of that thing, as it were, Suga reveals the essence of that which lies within the thing.
This is also a situation in which “the invisible world appears through the visible,” thanks to the work.
In Entering Distance, a new work on display at this exhibition, two large U-shaped figures facing each other on the top and bottom have been placed on a yellow background. They are surrounded on three sides but open on one side, as if some kind of air or energy flow were resonating from that side. The work is full of a “complexity that does not appear as such,” achieved through the use of a very limited number of elements, as if the yellow of the ground was involved, but existed as a separate edge.
In his text, Simon Groom states.
The works slowly, subtly, gently induce a different sort of looking: one in which the individual work before us, whilst whole and complete in itself, simultaneously induces a desire, practically a need, to view the next work, and a different arrangement of elements that appear at once so final and yet so contingent. The wonder is that a sense of the infinite should coexist with a sense of necessity.
Simon Groom, “Connection of Separated Causes,” Kishio Suga “Existence Within Definite Contours” exhibition catalogue, Tomio Koyama Gallery, 2025
Of his current work, Suga also had the following to say.
“Before, I would use iron, stone, and rope, but now I only use wood. Although wood suits me in terms of the feeling it gives me and how it relates to my consciousness, the way in which I use things is more important than the materiality of the object. Philosophy is necessary to look at things. The act of creating an artwork is not aboutThings are not ideas: thingsthey already have an existence. Unless you are constantly thinking about what state your actions and circumstances are in, rather than about methodologies, it is extremely difficult to succeed at creating something.” (from an interview conducted at Suga’s studio, February 2025)
Suga’s senses have become even more finely honed over the past decade. Even as he maintains an underlying strain of thinking, he is not averse to change. Thanks to this keen sensitivity to the spirit of the times and human consciousness, Suga’s works continue to express a sense of contemporaneity. He constantly poses us questions, presenting us with a fresh worldview where theory and things intersect with each other. We hope you will take the rare opportunity to visit this exhibition.
Since 2015, Kishio Suga has been holding exhibitions of his new works at our gallery for ten consecutive years. This exhibition represents a further development of the world of Suga’s works as seen from various angles.
On display at the Kyobashi space will be new sculptures and installations. In Roppongi, drawings from the 1970s and 80s and small three-dimensional works from the 1980s through 2000s will be exhibited. Meanwhile, the gallery in Tennozu will showcase activation videos, photographs, and drawings from the early stages of Suga’s career, as well as a series of works using paste on slate from the 1990s.
The catalog, which is published annually, features a special contribution from Simon Groom, Director of the Scottish National Gallery of Modern Art, who curated a two-person exhibition by Suga and Carla Black (2016) and wrote a text for the catalog of Suga’s solo exhibition at the Museum of Contemporary Art Tokyo (2015).
Kishio Suga (1944-) was a key member of the Mono-ha art movement of the late 1960s and 70s. He subsequently went on to deepen the essential world of his works expressed by the diversity of the existence of things, and has carved out a unique niche as a leading contemporary practitioner of postwar Japanese art.
Suga’s thinking, which focuses on “things” (mono) themselves that were previously only everyday materials, the human beings who perceive those things, and their relationships with each other, continues to pose fundamental questions about existing art and ways of looking at the world, earning him a formidable international reputation.
Suga has participated in more than 400 exhibitions, and his works are in the collections of more than 40 museums in Japan and abroad, including the Centre Georges Pompidou, the Tate Modern, and the Museum of Modern Art in New York. He will be presenting a solo exhibition at Dia Beacon in New York opening July 19, 2025.
Regarding the new works at this exhibition, and his own practice, Suga says that he now works simply and quickly. “Simplicity is important to me now. I think my work from my younger days was rather complicated. To know what ‘things’ are saying, and a kind of complexity that does not appear as such — that is what is important, however. Works from a long time past and works from the present are continuous, and not divided by time. The thoughtfulness in a particular moment, however, changes what is important and how we see it.”
On the occasion of this exhibition, Suga penned the following statement.
“Existence Within Definite Contours”
Things always exist as singular entities. And yet, people possess a mode of thought that resists this. We try to perceive meaning in things, and things can momentarily reveal aspects they never revealed before. What is visible is not all there is. And just because something is invisible does not mean that it lacks existence. It is the human eye that acknowledges existence—and the same eye that denies it. We must anticipate conditions beyond the norm.
Kishio Suga, May 2025
Suga sees things (mono) not as mere “solids” or “objects” that human subjectivity has imbued with meaning and significance, but rather as entities with their own unique logic and direction, a kind of substantial quality or “thickness” that incorporates within it the reactions of people, as well as a sense of contemporaneity and the present.
The role of the artist is to listen to and pick up on this. In his many texts and interviews, Suga often refers to the act of “seeing the ‘invisible’ that lies latent in ‘things.’”
It is not difficult to simply look at a thing. To know the inner nature and essence of that thing, however, is no mean feat.
Incorporated into Suga’s work is a kind of internalization of howincorporates the way in which the unique sense of existence and place (space) associated withinvolved in how a “thing” transforms itbecomes into a “work of art.” becomes internalized. By presenting a domain (edge) that alludes to the dual nature or presencehowmakes us think that there is something on both sides of that thing, as it were, Suga reveals the essence of that which lies within the thing.
This is also a situation in which “the invisible world appears through the visible,” thanks to the work.
In Entering Distance, a new work on display at this exhibition, two large U-shaped figures facing each other on the top and bottom have been placed on a yellow background. They are surrounded on three sides but open on one side, as if some kind of air or energy flow were resonating from that side. The work is full of a “complexity that does not appear as such,” achieved through the use of a very limited number of elements, as if the yellow of the ground was involved, but existed as a separate edge.
In his text, Simon Groom states.
The works slowly, subtly, gently induce a different sort of looking: one in which the individual work before us, whilst whole and complete in itself, simultaneously induces a desire, practically a need, to view the next work, and a different arrangement of elements that appear at once so final and yet so contingent. The wonder is that a sense of the infinite should coexist with a sense of necessity.
Simon Groom, “Connection of Separated Causes,” Kishio Suga “Existence Within Definite Contours” exhibition catalogue, Tomio Koyama Gallery, 2025
Of his current work, Suga also had the following to say.
“Before, I would use iron, stone, and rope, but now I only use wood. Although wood suits me in terms of the feeling it gives me and how it relates to my consciousness, the way in which I use things is more important than the materiality of the object. Philosophy is necessary to look at things. The act of creating an artwork is not aboutThings are not ideas: thingsthey already have an existence. Unless you are constantly thinking about what state your actions and circumstances are in, rather than about methodologies, it is extremely difficult to succeed at creating something.” (from an interview conducted at Suga’s studio, February 2025)
Suga’s senses have become even more finely honed over the past decade. Even as he maintains an underlying strain of thinking, he is not averse to change. Thanks to this keen sensitivity to the spirit of the times and human consciousness, Suga’s works continue to express a sense of contemporaneity. He constantly poses us questions, presenting us with a fresh worldview where theory and things intersect with each other. We hope you will take the rare opportunity to visit this exhibition.
Schedule | Jul 11 (Fri) 2025-Aug 9 (Sat) 2025 Opening Hours Information
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| Fee | Free | ||||
| Website | https://tomiokoyamagallery.com/en/exhibitions/kishiosuga2025/ | ||||
| Venue | Tomio Koyama Gallery Kyobashi https://tomiokoyamagallery.com/en/ | ||||
| Location | 3F Toda Building, 1-7-1 Kyobashi, Chuo-ku, Tokyo 104-8388 | ||||
| Access | 3 minute walk from exit 6 at Kyobashi Station on the Ginza line, 5 minute walk from exit B1 at Nihombashi Station on the Ginza and Tozai lines, 5 minute walk from exit A7 at Takaracho Station on the Toei Asakusa line, 7 minute walk from the Yaesu Central exit of JR Tokyo Station. | ||||
| Related images | Click on the image to enlarge it |
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面白かった！ 木のボードの上に、おそらくほとんど同じ規格（太さ）の木材が接着されている。木材の並びは一見すると整然と秩序づけられているが、よくよく見つめ直してみると、多くの作品には並びの秩序のなかにズレやはみだしがあることがわかる。たとえば同じ長さの木材が水平に並べられるなかで、一本だけ端が切り落とされ、その端が少しの間を空けて元の木材の延長線上に置かれていたりする。全体がなす規則とそこからはみ出てしまう個が、幾何学的に、淡々と、それでいてやわらかくポップに表現されていた。寂しさと息苦しさが軽やか。何より木の匂いが展示室内に充満している。材質を肌で感じられるのは楽しい。
にけ
Kawai
菅木志雄さんは、事あるごとに見てきた。最近のものなのか若い頃のものなのかわからないほど、とある水準以上のレベルで必ず出来上がってくるのがすごい。バラツキが無い。 これは違うんじゃない？上手い事拮抗してないんじゃない？って言うのが無い。 全て、きちんと、とあるバランスで拮抗している。 その意味で完璧。 自分もいつも、正しい位置に正しく置きたい。