ART TAIPEI 2026 台北世界貿易中心 一館 ブースA32 | ART TAIPEI 2026, Taipei World Trade Center Hall 1, Booth A32
ART TAIPEI 2026
2026年10月30日（金）― 11月2日（月）
会場：台北世界貿易中心 一館（台北市信義區信義路五段5號）
ブース：A32
出展者：株式会社かみ屋（Kami Ya Co., Ltd.）
出展作家：井上有一（書）、辻村史朗（陶）
第33回となるART TAIPEI 2026に出展します。台湾・海外あわせて127軒の画廊が集まる、アジア太平洋地域の主要なアートフェアのひとつです。
主な出展作品
井上有一
《泰》1961年 凍墨・和紙 120.5 × 195.0 cm CR61125a
《喝》1963年 凍墨・和紙 121.5 × 188.0 cm CR63021
《老》1963年 凍墨・和紙 92.0 × 122.5 cm CR63127a
《道》1966年 墨・和紙 54.0 × 71.0 cm CR66147a
《万水一月》1970年 墨・和紙 50.2 × 182.0 cm CR70301
《塔》1971年 墨・和紙 122.0 × 183.0 cm CR71003
《断》1977年 墨・和紙 132.0 × 174.0 cm CR77066
《十牛図（序八）》1984年 コンテ・和紙 50.0 × 52.4 cm CR84225a
辻村史朗
丸壺の大壺を中心とした構成
会期
VIPプレビュー：10月29日（木）12:00 ― 20:00
一般公開：
10月30日（金）14:00 ― 19:00
10月31日（土）11:00 ― 19:00
11月1日（日）11:00 ― 19:00
11月2日（月）11:00 ― 18:00
主催：社団法人中華民国画廊協会（TAGA）
公式サイト：https://art-taipei.com/
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ART TAIPEI 2026
30 October – 2 November 2026
Taipei World Trade Center Hall 1
(No. 5, Section 5, Xinyi Road, Xinyi District, Taipei)
Booth A32
Exhibitor: Kami Ya Co., Ltd.
Artists: Yu-ichi Inoue (calligraphy) and Shiro Tsujimura (ceramics)
Kami Ya will exhibit at the 33rd edition of ART TAIPEI, one of the principal art fairs in the Asia-Pacific region, bringing together 127 galleries from Taiwan and abroad.
Selected works
Yu-ichi Inoue
Tai 泰, 1961, frozen ink on Japanese paper, 120.5 × 195.0 cm, CR61125a
Katsu 喝, 1963, frozen ink on Japanese paper, 121.5 × 188.0 cm, CR63021
Ro 老, 1963, frozen ink on Japanese paper, 92.0 × 122.5 cm, CR63127a
Michi 道, 1966, ink on Japanese paper, 54.0 × 71.0 cm, CR66147a
Bansui-Ichigetsu 万水一月, 1970, ink on Japanese paper, 50.2 × 182.0 cm, CR70301
To 塔, 1971, ink on Japanese paper, 122.0 × 183.0 cm, CR71003
Dan 断, 1977, ink on Japanese paper, 132.0 × 174.0 cm, CR77066
Jugyu-zu (Prologue 8) 十牛図（序八）, 1984, conté on Japanese paper, 50.0 × 52.4 cm, CR84225a
Shiro Tsujimura
A presentation centred on large round jars
Opening hours
VIP Preview: Thursday 29 October, 12:00 – 20:00
Public days:
Friday 30 October, 14:00 – 19:00
Saturday 31 October, 11:00 – 19:00
Sunday 1 November, 11:00 – 19:00
Monday 2 November, 11:00 – 18:00
Organiser: Taiwan Art Gallery Association (TAGA)
Official site: https://art-taipei.com/
かみ屋コレクション展 001 | The Kami Ya Collection 001
2026年9月14日（月）― 10月9日（金）
会場：かみ屋 麹町
木曜・金曜 11:00―16:00（ご予約不要）
月曜―水曜 ご予約制
土曜・日曜 休廊
かみ屋のコレクションから、四人の作家の仕事を並べます。
井上有一、辻村史朗、細川護熙、小泉淳作。手がけた領域はそれぞれに異なります。
麹町へ移ってから初めてのコレクション展です。
14 September – 9 October 2026
Kami Ya Kojimachi
Thursday & Friday, 11:00–16:00, no appointment needed
Monday to Wednesday by appointment
Closed Saturday & Sunday
Works by four artists from the Kami Ya collection.
Yu-ichi Inoue, Shiro Tsujimura, Morihiro Hosokawa, Junsaku Koizumi — each working in his own field.
This is the first collection exhibition since our move to Kojimachi. It is numbered because it will not be the last.
From the studio -工房から- 音丸版画 鑪屋工房／山仁田窯 かみ屋 麹町｜Prints by Tataraya Studio, Pottery by Yamanita Gama, Kami Ya Kojimachi
2026年6月4日–6月26日｜かみ屋 麹町｜音丸版画 鑪屋工房の木版画と、鹿児島の山仁田窯の焼き物を集めた二人展。既存の「美術」の枠組みの外側で、人の手によって実直につくられたものが集う場として企画しました。
June 4 – June 26, 2026 | Kami Ya Kojimachi | A two-person exhibition bringing together woodblock prints from Tataraya Studio’s Otomaru Prints and pottery from Yamanita Gama in Kagoshima — works made by hand, outside the conventional framework of “fine art.”
辻村史朗「抽象画」展 かみ屋 麹町｜Shiro Tsujimura Abstract Paintings, Kami Ya Kojimachi
2026年4月2日–4月24日｜かみ屋 麹町｜横幅3.6メートルに及ぶ大作を中心とした抽象画展。清朝の「御墨」を煮出した漆黒を、唐代の製法を継承する竹の紙に描いた作品を、紙の伸縮に配慮した4枚構成の装丁で展示しました。あわせて氏の代名詞である陶の仕事も紹介しました。
April 2 – April 24, 2026 | Kami Ya Kojimachi | An exhibition of abstract paintings centered on a monumental work spanning 3.6 meters in width, rendered in ink from a rare Qing-dynasty inkstick on bamboo paper in the Tang-dynasty papermaking tradition, mounted in four panels to accommodate the paper’s natural expansion and contraction. Ceramic works, for which the artist is equally well known, were also on view.
井上有一「コンテ書」展 かみ屋 麹町｜Yuichi Inoue Conte Works, Kami Ya Kojimachi
2026年2月26日–3月27日｜かみ屋 麹町｜日本橋から麹町への移転を記念した企画展。戦後日本を代表する書家・井上有一の「コンテ書」作品を紹介し、陶芸家・辻村史朗の焼き物作品もあわせて展示しました。
February 26 – March 27, 2026 | Kami Ya Kojimachi | An exhibition commemorating the gallery’s relocation from Nihonbashi to Kojimachi, featuring conte works by Yuichi Inoue, one of the leading calligraphers of postwar Japan, alongside ceramic works by Shiro Tsujimura.
Above the Valley of Calligraphy, Stand the Twin Peaks: Yu-ichi Inoue x Wei Ligang, Amanyangyun
Installation completed／Public opening never realized | Amanyangyun (Shanghai) | Yu-ichi Inoue x Wei Ligang, Dialogue Exhibition
Above the Valley of Calligraphy, Stand the Twin Peaks | Yu-ichi Inoue x Wei Ligang, Dialogue Exhibition／Amanyangyun (Shanghai) | Installation completed／Public opening never realized
(The opening was repeatedly postponed due to Shanghai’s COVID-19 lockdown, and the exhibition ultimately ended without ever opening to the public.)
A “dialogue exhibition” between Yu-ichi Inoue and the contemporary Chinese calligrapher Wei Ligang. Two traditional courtyard buildings within Amanyangyun, a luxury resort in Shanghai, served as the venue. Installation was completed, but due to Shanghai’s large-scale COVID-19 lockdown, the exhibition ended without the public opening ever taking place. It was shown privately only to hotel guests and residents. A catalogue, Above the Valley of Calligraphy, Stand the Twin Peaks, was produced to document the exhibition. The World Paper Culture Heritage Support Foundation Kamimori, established by Kami Ya, supported the exhibition.
Exhibition Overview
Status | Installation completed／Public opening never realized (Following repeated postponements due to Shanghai’s COVID-19 lockdown, the exhibition ended without ever opening to the public)
Venue | Amanyangyun (Shanghai), two traditional courtyard buildings
Works | Approx. 40 works by Yu-ichi Inoue
Artists | Yu-ichi Inoue, Wei Ligang
Organizers | Yangyun International Community, Kouzan Fine Arts Company
Support | World Paper Culture Heritage Support Foundation Kamimori (established by Kami Ya)
Touring | Part of a series of Yu-ichi Inoue exhibitions in China (same series as the exhibitions at Tsinghua University Art Museum and Shanghai Powerlong Museum)
Significance of the Exhibition
A “Dialogue Exhibition” Between Yu-ichi Inoue and Wei Ligang
While the exhibitions at Tsinghua University Art Museum and Shanghai Powerlong Museum were retrospective in character, this exhibition was a new attempt: a “dialogue exhibition” with the contemporary Chinese calligrapher Wei Ligang. By juxtaposing Inoue’s calligraphy with Wei’s contemporary calligraphic expression, the exhibition was conceived to illuminate Inoue’s art anew through resonance and contrast between the two artists.
Amanyangyun, an Extraordinary Venue
Amanyangyun is a luxury resort in Shanghai featuring traditional Ming and Qing dynasty architecture relocated and restored from Anhui province. Rather than a museum, two historic courtyard buildings (traditional Chinese residences) served as the exhibition venue — an unprecedented setting where the space of ancient architecture intersected with contemporary calligraphy.
An Unusual Course of Events Due to the COVID-19 Pandemic
Installation of the exhibition had been completed, but the large-scale COVID-19 lockdown that subsequently struck Shanghai led to repeated postponements of the public opening date, and the exhibition ultimately ended without ever opening to the public. It was shown only privately to hotel guests and residents of Amanyangyun. A catalogue, Above the Valley of Calligraphy, Stand the Twin Peaks: Yu-ichi Inoue, Wei Ligang, Dialogue Exhibition, was produced to document the exhibition.
Works on View
The exhibition combined approximately 40 works of calligraphy by Yu-ichi Inoue (primarily hanging scrolls and framed works) with contemporary calligraphic works by Wei Ligang. A detailed list of works is compiled in the catalogue Above the Valley of Calligraphy, Stand the Twin Peaks.
About the Artists
Yu-ichi Inoue
Yu-ichi Inoue (1916–1985) was a calligrapher born in Tokyo. As a leading figure in Japan’s postwar avant-garde calligraphy movement, he gained international acclaim for his distinctive expression, including his single-character calligraphy (ichiji-sho).
Wei Ligang
Wei Ligang (b. 1964, Shanxi Province, China) is one of China’s leading contemporary calligraphers. Known for his distinctive style that incorporates abstract and pictorial elements while drawing on traditional calligraphy, he is active both in China and internationally.
Catalogue
A catalogue, Above the Valley of Calligraphy, Stand the Twin Peaks: A Dialogue Between Yuichi Inoue and Wei Ligang (Japanese title: 翰墨・双峰 井上有一 魏立刚 対話展), was produced for the exhibition. It includes a preface by curator Hongxiao Wei and is structured in two (or more) parts.
Exhibition Photographs
Photos: Kami Ya (Exhibition photographs are taken from the exhibition pamphlet)
Yu-ichi Inoue: The Profundity of Ink, Shanghai Powerlong Museum
21 May – 29 August 2021 | Shanghai Powerlong Museum | approx. 78 works (estimated)
YU-ICHI INOUE: The Profundity of Ink / Shanghai Powerlong Museum | 21 May – 29 August 2021 | approx. 78 works (estimated)
Held as the first stop in the Chinese touring exhibition following Tsinghua University Art Museum’s “Bell Tolls from Japan,” with the Kamimori Foundation, established by Kami Ya, taking part as a supporting organisation.
Exhibition Overview
Dates | 21 May (Fri) – 29 August (Sun) 2021
Venue | Shanghai Powerlong Museum (Shanghai, China)
Works on view | approx. 78 (estimated)
Organiser | Shanghai Powerlong Museum
Support | Kamimori Foundation for the Preservation of World Paper Culture (established by Kami Ya)
Touring exhibition | First stop in the Chinese tour of Tsinghua University Art Museum’s “Bell Tolls from Japan” (Nov 2020 – Mar 2021)
Significance of the Exhibition
First Stop of the Chinese Touring Exhibition
“Bell Tolls from Japan,” held at Tsinghua University Art Museum in Beijing from November 2020, drew approximately 80,000 visitors before closing. Several museums across China proposed hosting a touring version, and this exhibition was realised as the first such stop. With a run of roughly 100 days, it offered a valuable opportunity to introduce Yu-ichi Inoue’s work to audiences within China at a time when international travel was difficult due to the pandemic.
A Critical Perspective of “Depth, Density, Purity”
Chinese contemporary calligrapher Wei Ligang contributed a critical essay, “The Profundity of Ink,” written for the exhibition, discussing Inoue’s calligraphy in terms of three qualities: depth (immersion in Chinese calligraphic tradition), density (the concentration of Zen and visceral intensity), and purity (the elevation that transformed the essence of Chinese calligraphy into a contemporary idiom). It stands as a primary source illustrating how Yu-ichi Inoue has been received within Chinese calligraphic circles.
Continuity with the Tsinghua Exhibition
The works travelled directly from Tsinghua University Art Museum to Shanghai Powerlong Museum, meaning the same body of work was shown continuously within China — a defining feature of this exhibition. The display followed the same organising principles as Tsinghua, grouping works by period (such as the 1950s and 1970s) and by script format (single-character and multi-character works).
Kami Ya’s Role
In this exhibition, Kami Ya and the foundation it established played the following roles: the Kamimori Foundation for the Preservation of World Paper Culture (established by Kami Ya) took part as a supporting organisation; the Foundation’s Representative Director, Haruko Hirose, served on the organising committee; and Kami Ya lent works for the exhibition.
Works on View
Approximately 78 works were on view (estimated), selected from the Tsinghua exhibition’s checklist in consideration of the venue’s spatial constraints. Details of representative works will be added once confirmed.
About Yu-ichi Inoue
Yu-ichi Inoue (1916–1985) was a leading calligrapher of postwar Japanese contemporary art. He developed “sho” (calligraphy) made of paper and ink into a form of individual expression within the context of contemporary art. He continued to work while teaching for 41 years, and remains one of the few Japanese artists to have gained international recognition at a remarkably early stage.
Installation Views
Photography: Shanghai Powerlong Museum.
Yu-ichi Inoue: Bell Tolls from Japan, Tsinghua University
20 November 2020 – 28 March 2021 | 112 works | 72,100 visitors. The largest exhibition of Yu-ichi Inoue’s work ever held in mainland China, with Kami Ya’s own Kamimori Foundation taking part as a supporting organisation.
Yu-ichi Inoue: Bell Tolls from Japan / Tsinghua University Art Museum | 20 November 2020 – 28 March 2021 | 112 works. The largest exhibition of Yu-ichi Inoue’s work ever held in mainland China, with Kami Ya’s own Kamimori Foundation taking part as a supporting organisation.
Exhibition Overview
Dates: 20 November 2020 (Fri) – 28 March 2021 (Sun) *Opening ceremony 20 November, 14:00
Venue: Tsinghua University Art Museum, Galleries 7 & 14, 4th Floor (Beijing, China)
Works exhibited: 112
Attendance: 72,100 (avg. 650/day)
Organiser: Tsinghua University Art Museum, Huangshan Art Co., Ltd.
Cooperation: Embassy of Japan in China, China International Exhibition Agency, World Paper Culture Heritage Support Foundation Kamimori (founded by Kami Ya) / Special Cooperation: Yu-ichi Inoue Memorial Foundation
Curator: Su Dan (Deputy Director & Professor, Tsinghua University Art Museum) / Masanori Aoyagi (former Commissioner, Agency for Cultural Affairs; Chairman, Tama Art University) / Yuji Akimoto (Director & Professor, The University Art Museum, Tokyo University of the Arts) / Wei Ligang (Contemporary Calligraphy Artist; Vice Chairman, China Contemporary Calligraphy Art Society)
Artist: Yu-ichi Inoue (1916–1985)
Tour: Shanghai Powerlong Museum, “Ink Abyss — A Retrospective of Yu-ichi Inoue,” 21 May – 29 August 2021
Significance of the Exhibition
The largest Yu-ichi Inoue exhibition ever held in mainland China
The exhibition report describes this show as the largest exhibition of Yu-ichi Inoue’s work held in China to date. 112 representative works spanning his entire career were organised by production period and script form.
Reception in the Homeland of Kanji
For more than 40 years, Yu-ichi Inoue’s work has influenced Chinese calligraphy as a pioneer of new directions in the art, even in China, the homeland of kanji. This influence extends beyond calligraphy into contemporary art as a whole. The exhibition was organised in response to growing interest within China.
Organised by Single-Character, Multi-Character, and Conté Works
Works representative of each period were classified and presented by format: “single-character works” (ichimonji-sho) with a single kanji brushed onto large paper, “multi-character works” (tamonji-sho) featuring poems and words reflecting thought and philosophy, and “conté works” from his final years, when he replaced the brush with charcoal and conté crayon.
An Academic Symposium Gathering Chinese Researchers
An academic symposium was held at Tsinghua University Art Museum on the opening day, with 13 Chinese scholars of calligraphy and contemporary art speaking. Beyond a simple exhibition of works, it became an occasion to situate Yu-ichi Inoue within Chinese academic discourse.
Selected Works
Nine representative works selected from the checklist of 112 works accompanying the exhibition report. Dates range from 1960 to his final year, 1985, spanning single-character works through conté works.
Gō (Grandeur) 豪, 1960
Frozen ink on paper, 131.2 × 180 cm
Tora (Tiger) 虎, 1963
Ink on paper, 121 × 192 cm
Hana (Flower) 花, 1967
Ink on paper, 146 × 222 cm
Ai (Love) 愛, 1972
Ink on paper, 90.3 × 120.7 cm
Hin (Poverty) 貧, 1976
Ink on paper, 126 × 161.5 cm
Ah, Yokogawa National School 噫横川国民学校, 1978
Ink on paper, 243.5 × 145 cm
Profit Expansion 利潤拡大, 1978
Ink on paper, 96 × 138 cm
Taka (Hawk) 鷹, 1981
Ink on paper, 95 × 142 cm
The Bears of Mt. Nametoko, a tale by Miyazawa Kenji 宮沢賢治童話 なめとこ山の熊, 1985
Charcoal on paper, 49 × 86 cm
Related Programmes
Opening Ceremony & Academic Symposium
Date | 20 November 2020 (Fri), 14:00–18:00
Venue | Tsinghua University Art Museum, 4th Floor Lecture Hall
Organiser | Tsinghua University Art Museum (Academic Research Department)
Academic Chair | Su Dan
Remarks | Su Dan / Du Pengfei / Wei Ligang / Masanori Aoyagi (video message)
In the final session, discussions were held on three themes: “The Purity and Elevation of Yu-ichi Inoue,” “A Comparison of Contemporary Calligraphy and Western Abstract Painting,” and “A Comparison of Traditional and Contemporary Calligraphy in China and Japan.” Wei Ligang, Du Dakai, Liu Zhengcheng, Liu Yanhu, and other Chinese scholars of calligraphy and contemporary art — 13 in total — took part.
About Yu-ichi Inoue
Yu-ichi Inoue (1916–1985) was a leading figure in postwar Japanese contemporary art. Working with paper and ink, he brought calligraphy into the context of contemporary art as a form of individual expression. He continued to produce work throughout a forty-one-year career as a schoolteacher, and was among the very few Japanese artists to gain international recognition at such an early stage.
Installation Views
Photos: courtesy of Tsinghua University Art Museum
Yu-ichi Inoue — La Calligraphie Libérée, Japonismes 2018, Paris & Albi
July 14 – December 17, 2018 | Maison de la Culture du Japon à Paris & Musée Toulouse-Lautrec, Albi | Official Japonismes 2018 program (34,621 total visitors)
Yu-ichi Inoue — la calligraphie libérée (Official Japonismes 2018 Program A-5)
① Maison de la Culture du Japon à Paris ② Musée Toulouse-Lautrec, Albi
① July 14 – September 15, 2018 ② September 29 – December 17, 2018
As part of Japonismes 2018: les âmes en résonance, a national cultural program marking the 160th anniversary of Japan-France diplomatic relations, a solo exhibition of Yu-ichi Inoue’s work was held at the Maison de la Culture du Japon à Paris under the official “Exhibitions” category (A-5). After its Paris run, the exhibition traveled to the Musée Toulouse-Lautrec in Albi. Once selected as an official program, the content of the exhibition — including the selection and organization of works — was planned jointly by curator Yuji Akimoto, the Japan Foundation, and Kami Ya. With special cooperation from The National Museum of Modern Art, Kyoto, Kami Ya was also one of the principal lenders of calligraphy works. The exhibition drew a combined total of 34,621 visitors across both venues, and 92% of visitors surveyed reported being “satisfied” with the exhibition.
Exhibition Overview
Exhibition Title | YU-ICHI INOUE — la calligraphie libérée (lit. “Calligraphy Liberated”)
Dates | ① Paris: July 14 (Sat) – September 15 (Sat), 2018 ② Albi: September 29 (Sat) – December 17 (Mon), 2018
Venues | ① Maison de la Culture du Japon à Paris ② Musée Toulouse-Lautrec, Albi, France
Works | 76 calligraphy works plus 17 related items — 93 items in total
Organizers | The Japan Foundation, Musée Toulouse-Lautrec (Albi venue)
Special Cooperation | The National Museum of Modern Art, Kyoto
Cooperation | UNAC TOKYO, World Paper Culture Heritage Support Foundation Kamimori, All Nippon Airways (ANA)
Curator | Yuji Akimoto (Director, Tokyo University of the Arts University Art Museum; Director, Nerima Art Museum)
Total Visitors | Paris: 11,597 Albi: 23,024 Combined: 34,621
Catalogue | 2,500 copies printed, priced at €19, 144 pages
Significance of the Exhibition
An Official Program of the National Cultural Initiative “Japonismes 2018”
Japonismes 2018: les âmes en résonance was a major joint Japan-France cultural and artistic initiative, whose implementation was agreed upon by Prime Minister Shinzo Abe and then-President François Hollande of France in May 2016. Unfolding over roughly eight months across more than 20 venues in and around Paris, this exhibition was selected as one of 15 programs in the official “Exhibitions” category (A-5). Presented alongside programs dedicated to Tadao Ando, Ito Jakuchu, the Rimpa school, and Tsuguharu Foujita, the exhibition positioned Yu-ichi Inoue’s calligraphy as a representative voice of Japanese contemporary art within this national cultural initiative.
Special Cooperation from The National Museum of Modern Art, Kyoto
Many of the works on view belong to the collection of The National Museum of Modern Art, Kyoto, credited as providing “special cooperation” for the exhibition. Signature works from the museum’s collection, including Muga (1956) and Hin (1972), formed the backbone of the exhibition.
A Two-Venue Structure: Paris to Albi
After its run at the Maison de la Culture du Japon à Paris, the exhibition traveled to the Musée Toulouse-Lautrec in Albi — extending its reach beyond a single overseas museum to a regional French city as well. In Albi, the selection of works and the layout of the exhibition walls were reorganized to suit the scale of the venue.
Media Coverage and Visitor Response
According to the Japan Foundation’s report, the exhibition received 48 print media mentions in France (including Arte Journal and La Croix), 7 radio and television features (including Arte), and 50 web mentions. In Japan, coverage included 9 print mentions (including Bijutsu Techo, Art Collectors’, Nikkei Shimbun, and Mainichi Shimbun), 1 television feature (NHK’s Art Scene), and 13 web mentions.
In visitor surveys, 92% reported being “satisfied with the exhibition,” and approximately 97% said they “wanted to learn more about Japan.” Comments included: “A beautiful exhibition that let me discover calligraphy,” and “I felt that Inoue spoke of his philosophy of life through calligraphy.”
Works on View
The exhibition list was organized into five thematic groups.
· 1. Sparse-character and single-character works (characters as form, where art and calligraphy meet)
· 2. Image and word (images and language)
· 3. Multi-character works 1: words addressed to society (agitation, wartime experience, and calligraphy)
· 4. Multi-character works 2: testamentary words (death poems and related works)
· 5. Word-writing: the words of modern poetry and fairy tales (word-writing and recitation)
Representative Works
Muga A | 1956, glue and ink on paper | Collection of The National Museum of Modern Art, Kyoto
Hin | 1972, sumi ink on paper | Collection of The National Museum of Modern Art, Kyoto
Ā Yokokawa Minkoku Gakkō | 1978, sumi ink on paper | Gunma Museum of Modern Art / private collection (2 works)
Bukkō Kokushi Ge | 1980, sumi ink on paper | Collection of The National Museum of Modern Art, Kyoto
Miyazawa Kenji tales: Yodaka no Hoshi (series) | 1984, conte on paper | Collection of The National Museum of Modern Art, Kyoto, and others
Miyazawa Kenji tales: Nametokoyama no Kuma (series) | 1984–85, charcoal on paper | Collection of The National Museum of Modern Art, Kyoto, and others
In addition to the above, related items on view included brushes used by Inoue during his lifetime, the complete three-volume raisonné of his work, a portrait photograph by Kazumi Kuriage, and a rug from his studio (shown only at the Albi venue).
Related Programs
A supplementary teaching booklet in French was produced, and educational outreach programs were held for middle and high school students. A press conference was also held, and the exhibition received wide coverage in both French and Japanese media.
About the Artist
Yu-ichi Inoue (1916–1985) was a calligrapher who represented Japan’s postwar contemporary art scene. He brought calligraphy — the art of paper and ink — to full flower as a form of individual expression within the context of contemporary art. While working as a schoolteacher for 41 years, he continued to create, and remains one of the few Japanese artists to have gained international recognition at a remarkably early stage.
Exhibition Photographs
Photos courtesy of the Japan Foundation, from the “Japonismes 2018: Yu-ichi Inoue” report (6 from Paris, 2 from Albi)
![井上有一「HANA」展 アニエスベー ライブレリー・ギャルリー（香港）｜[HANA] by Inoue Yuichi, Agnès b.'s Librairie Galerie, Hong Kong](https://images.squarespace-cdn.com/content/v1/5508d7d4e4b0bcc6146cb138/1787621130651-Y73LZS1UIOIWTVXSJER0/%E3%82%B9%E3%82%AF%E3%83%AA%E3%83%BC%E3%83%B3%E3%82%B7%E3%83%A7%E3%83%83%E3%83%88+2026-08-25+10.25.09.png)
井上有一「HANA」展 アニエスベー ライブレリー・ギャルリー（香港）｜[HANA] by Inoue Yuichi, Agnès b.'s Librairie Galerie, Hong Kong
会期：2016年10月9日～12月31日｜会場：アニエスベー ライブレリー・ギャルリー（香港）｜キュレーター：林嘉欣（カレナ・ラム）。香港のブティックブランドアニエスベーのギャラリーで開催された、井上有一の作品を紹介する展覧会。
October 9 – December 31, 2016 | Agnès b.’s Librairie Galerie, Hong Kong | Curated by Karena Lam. An exhibition introducing the work of Yu-ichi Inoue, held at the gallery space of the French fashion brand agnès b. in Hong Kong.
A Centennial Exhibition INOUE Yuichi, Kanazawa
2 January – 21 March 2016 | 207 works | 137,547 visitors. Kami Ya was involved from the planning stage of this exhibition, the largest retrospective of Yu-ichi Inoue held to date.
A Centennial Exhibition INOUE Yuichi / 21st Century Museum of Contemporary Art, Kanazawa | 2 January – 21 March 2016 | 207 works. Kami Ya was involved from the planning stage of this exhibition, the largest retrospective of Yu-ichi Inoue held to date.
Exhibition Overview
Dates: 2 January (Sat) – 21 March (Mon), 2016 *Works were rotated during the exhibition period
Venue: 21st Century Museum of Contemporary Art, Kanazawa (Galleries 7–12 and 14)
Works exhibited: 207
Attendance: 137,547
Organiser: 21st Century Museum of Contemporary Art, Kanazawa
Cooperation: The National Museum of Modern Art, Kyoto / UNAC TOKYO Co., Ltd.
Curator: Yuji Akimoto (then Director, 21st Century Museum of Contemporary Art, Kanazawa)
Artist: Yu-ichi Inoue (1916–1985)
Catalogue: Yu-ichi Inoue 1955–1985.
Published by the 21st Century Museum of Contemporary Art, Kanazawa and the Kamimori Foundation, 2016
29.8 × 23.5 cm, 395 pages, ¥3,000 + tax ISBN 978-4-9908732-0-2
Significance of the Exhibition
The largest retrospective of Yu-ichi Inoue to date
The previous largest retrospective, YU-ICHI works 1955-85, was held in 1989 at The National Museum of Modern Art, Kyoto and subsequently toured to other venues, comprising 107 works. With 207 works, this exhibition nearly doubled that number, presenting a definitive overview from his earliest pieces to his final years.
Museum holdings and privately held works
Thirty-one works were drawn from the collection of The National Museum of Modern Art, Kyoto, shown alongside major works including Gutetsu 愚徹 from the National Museum of Art, Osaka, and Tokyo Air Raid 東京大空襲 and Ah, Yokokawa National School 噫横川國民學校 from the Museum of Modern Art, Gunma. To these was added a substantial group of important privately held works that had rarely been exhibited.
Large-scale works in a gallery twelve metres high
A series of single-character works was installed continuously across the large gallery, on a scale without precedent for an exhibition of calligraphy. Major large-scale works were also shown, including a fourteen-metre charcoal transcription of the complete text of Miyazawa Kenji's The Bears of Mt. Nametoko, and a scroll of approximately thirty metres copying the calligraphy of Yan Zhenqing.
Selected Works
The works date from 1955 to 1985, spanning the full thirty years of Yu-ichi Inoue's career. The exhibition occupied Galleries 7–12 and 14, with works rotated during the exhibition period.
Gutetsu 愚徹, 1956
Ink on paper, 187 × 178 cm｜The National Museum of Art, Osaka
Hin (Poverty) 貧, 1972
Ink and glue on Japanese paper, 125 × 180 cm｜The National Museum of Modern Art, Kyoto
Tokyo Air Raid 東京大空襲, 1978
Ink on paper, 188 × 71 cm each｜The Museum of Modern Art, Gunma
Ah, Yokokawa National School 噫横川國民學校, 1978
Ink on paper, 145 × 244 cm｜The Museum of Modern Art, Gunma
Kaeru Tanjosai, a poem by Kusano Shimpei 草野心平詩 蛙誕生祭, 1983
32 × 55 cm｜Private collection
Ue (Above) 上, 1984
Ink and glue on Japanese paper, 137 × 180 cm｜Private collection
The Bears of Mt. Nametoko, a tale by Miyazawa Kenji 宮沢賢治童話 なめとこ山の熊, 1985
Charcoal, approx. 14 m in total length｜Private collection
Kokoro (Heart) 心, 1985, his final work
Ink and glue on Japanese paper, 143 × 182 cm｜Private collection
Related Programmes
9 January｜Opening lectures: "Yu-ichi Inoue: Calligraphy is an Art for Everyone" / "Reading Yu-ichi Inoue's Works: Object, Character, Onomatopoeia"
Masaomi Unagami / Takayuki Kurimoto
29 January｜Evening gallery tour for members of the museum's Friends programme
Yuji Akimoto
13 February｜Centennial conversation on Yu-ichi Inoue
Toru Haga × Masaomi Unagami
14 February｜Centennial tea gathering (Shotoan)
Host: Masaomi Unagami
28 February｜Workshop: "Big Brush, Big Characters — Take on Yu-ichi Inoue!"
Otomaru Kitami
13 March｜Lecture: "The Brush and the Treader — Yu-ichi Inoue and Miyazawa Kenji"
Ryuta Imafuku
14 February 2016 marked the centenary of Yu-ichi Inoue's birth. The conversation was held the day before, and the tea gathering on the day itself. The workshop invited children to write with large brushes on large sheets of paper.
About Yu-ichi Inoue
Yu-ichi Inoue (1916–1985) was a leading figure in postwar Japanese contemporary art. Working with paper and ink, he brought calligraphy into the context of contemporary art as a form of individual expression. He continued to produce work throughout a forty-one-year career as a schoolteacher, and was among the very few Japanese artists to gain international recognition at such an early stage.
Installation Views
photos：yuichiihara
井上有一 關渡美術館（台北）「書寫的現代主義終結：從井上有一、李禹煥到張羽」展｜The End of Modernity in Calligraphy: From Yuichi Inoue, Lee Ufan to Zhang Yu, Kuandu Museum of Fine Arts, Taipei
会期：2015年7月24日～9月20日（終了日は要確認）｜会場：關渡美術館（台北・台北藝術大学）。井上有一、李禹煥（リー・ウファン）、張羽（チャン・ウー）の3作家を取り上げ、書と現代美術の関係を問い直すグループ展。
July 24 – September 20, 2015 (end date to be confirmed). Kuandu Museum of Fine Arts, Taipei (Taipei National University of the Arts). A group exhibition featuring Yu-ichi Inoue, Lee Ufan, and Zhang Yu, examining the relationship between calligraphy and contemporary art.
井上有一 シアトル美術館 アジア美術館「カリグラフィック・アブストラクション」展｜Calligraphic Abstraction, Seattle Art Museum, Asian Art Museum
会期：2015年5月9日～10月4日｜会場：シアトル美術館 アジア美術館（アメリカ・ワシントン州）。東西の書による抽象表現を取り上げたグループ展に、井上有一の作品が出品されました。
May 9 – October 4, 2015 | Seattle Art Museum, Asian Art Museum, Washington, USA. Works by Yu-ichi Inoue were featured in a group exhibition exploring abstraction in East Asian calligraphy.
没後30年 井上有一展 瀬戸内市立美術館｜After His Death in '30, Yuichi Inoue Exhibition, Setouchi City Museum of Art
会期：2015年5月2日～6月14日｜会場：瀬戸内市立美術館（岡山県瀬戸内市）。没後30年を機に、井上有一の作品を見直す個展。
May 2 – June 14, 2015 | Setouchi City Museum of Art, Okayama. An exhibition revisiting the work of Yu-ichi Inoue on the 30th anniversary of his death.
井上有一「遠くて近い」展 智美術館｜Far Yet Close: Calligraphy by Inoue Yuichi, Musée Tomo
会期：2015年4月4日～7月26日｜会場：智美術館（菊池寬実記念、東京・虎ノ門）。井上有一の作品を中心に、近代書の表現を紹介する個展。
April 4 – July 26, 2015 | Musée Tomo (Kikuchi Kanjitsu Memorial), Tokyo. A solo exhibition centered on the work of Yu-ichi Inoue, introducing his approach to modern calligraphic expression.