White Rainbow will be closed from 14–17 April 2017 for the Easter break.
The gallery will reopen on 15 April and continues to show Lightness until 22 April 2017.
White Rainbow is pleased to announce the first UK solo show by Yuko Mohri (b.1980, Tokyo).
The focus of Mohri’s exhibition will be an installation of her project Moré Moré (Leaky), a long-term research project into the Tokyo metro. Mohri exhibited her first iteration of the project at the Nissan Art Award 2015, which she consequently won.
Moré Moré (Leaky) will run from 9th February until 11th of March 2017 with a preview on Wednesday 8th February from 6-8pm.
Shigeo Anzaï discusses his personal experience of the 1970 Tokyo Biennale as well as the significant moment it represented in the development of contemporary Japanese art.
White Rainbow is pleased to announce the participation of Chim↑Pom and Chu Enoki in the Busan Biennale 2016: Project 1 an/other avant grade china-japan-korma.
Busan Biennale is one of the largest celebrations of contemporary art in Korea and brings together more than 100 artists from 22 countries in the port city of Busan. The theme of the 2016 edition is “Hybridizing Earth, Discussing Multitude,” highlighting East Asian experimental art trends and their historical significance. The biennial explores major contemporary art movements in Korea, China and Japan, influenced by 20th century historical events such as the Cultural Revolution and Tiananmen Square incident in China, the atomic bombing of Hiroshima in Japan and the democracy uprising in Korea. The show is curated and presented by a curatorial team that consists of Korean, Chinese and Japanese curators.
Busan Museum of Art, South Korea
3 September – 30 November 2016
Yuko Mohri will present a series of new site-specific installations as part of the Kochi-Muziris Biennale 2016
12/12/2016 – 29/03/2017
Youki Hirakawa of White Rainbow’s ‘Into a Horizon’ will be participating in ‘Kaunas in Art‘, which will be returning for it’s 7th edition.
Part of festivals opening event:
Youki Hirakawa (Japan) / White Rainbow Gallery/ (London);
23 09 2016 / FRIDAY, 19:00, POST Gallery, (Laisvės al. 51a, 3rd floor, Kaunas)
White Rainbow is pleased to announce Tate Modern’s acquisition of 16 Shigeo Anzaī works.
Anzai’s photographs documenting the 1970 Tokyo Biennale are now on view as part of the permanent collection display, ‘A View from Tokyo: Between Man and Matter’, (Boiler House Level 4 West, Tate Modern, Bankside).
White Rainbow is pleased to announce a series of collaborative performances between Satoru Aoyama and Japanese musician Ken Ikeda to coincide with Satoru Aoyama | Division of Labour.
Ken Ikeda will perform a series of improvised musical pieces alongside a live video performance by Satoru Aoyama, featuring the artist’s embroidered maps, currently on display at the gallery.
Thursday 28th April 2016
Indicative performance times:
18:30 / 19:00 / 19:30
(Contains flashing imagery)
in conjunction with
Ken Ikeda is a composer born in Tokyo (1964) – currently living in New York. He has exhibited sound art and visual installations around the world. He often collaborates with artists, such as the painter Tadanoori Yokoo and artists Mariko Mori and Hiroshi Sugimoto. He has also composed and recorded for the filmmaker David Lynch.
For information: email@example.com
For press information: firstname.lastname@example.org
Image: Ken Ikeda, in Earshots by AndreJ, 2015
More information on the exhibition here.
White Rainbow is pleased to announce that we will be hosting tours of our current exhibition,
Kazuo Katase. mimesis: u tsu su.
Booking is not essential, but would be recommended if you are group of more than five people.
To book please contact: email@example.com.
Tours of the exhibition will take place every Saturday, at 3 pm and 4 pm.
We look forward to welcoming you at White Rainbow.
Back to the Future | Grey 12
6 to 8 November 2015
Oval Lingotto, Turin, Italy
White Rainbow is pleased to take part in Artissima, 6 to 8 November 2015, with a solo presentation of Chu Enoki.
Chu Enoki (b. 1964) is one of the seminal figures in postwar Japanese art and is recognised as an inspirational figure by many contemporary Japanese artists such as Keiji Uematsu (b. 1947), Takashi Murakami (b. 1962), Koki Tanaka (b. 1975) and the collective Chim↑Pom (founded 2005). Since 2000, Enoki has been the subject of several museum retrospectives in Japan. Despite this, Enoki remains to this day largely unknown internationally.
In spring 2015, White Rainbow presented Chu Enoki: Enoki Chu, a solo exhibition of the artist, which focused on his sculptural work since the turn of the century. Consisting mainly of cast iron sculptures based on military apparatus such as canons, Colts and Kalashnikov guns, these works comment on the ambiguities of foreign policy in postwar Japan. At Artissima, White Rainbow focuses on an earlier period in Enoki’s practice, when he mainly used his body as a tool to comment on developments in society. A range of works and documentation of landmark events are selected to highlight his conceptual engagements with the body and performance in the 1970s and 80s.
In 1977, on a visit to a friend in Hungary as well as to the first French retrospective of Marcel Duchamp in the newly opened Centre Pompidou in Paris, Enoki conceived a bodily intervention that playfully combined the different impulses behind his trip to Europe. He shaved off all the hair on one half of his body, leaving the other half untouched. The star shape that Duchamp shaved on his head upon his arrival in America – famously photographed by Man Ray – can be seen as the starting point for using the body as art. The Japanese phonetics for Hungary is a homophone with hangari, which literally means half-shaved, connecting the country with his bodily intervention. Going to Hungary with HANGARI documents his travels through Europe half-shaved; as well as a double portrait of the artist, including the mirroring intervention when the artist shaved the other half of his body in 1979.
Enoki’s alter ego Rose Chu found expression both in performative burlesque self-portraits as well as a bar hosted by Rose. For this, Enoki dressed up as a moustached woman, undermining strict gender categories. At Bar Rose Chu everybody was welcome, and Rose Chu served the house Whiskey with a specially designed label. With an allusion to Duchamp’s Rrose Sélavy pseudonym in its gender play, Bar Rose Chu is also an exploration of the happening and Enoki’s ideas about integrating art fully in daily life. Rose, or the colour pink, stands for the ‘forbidden land,’ a reference to the many bars reserved for American servicemen and foreigners, often decorated in pink. The bar only appeared for a few days, as if a lucid dream.
Society does not function as an isolated system, but is always influenced from external forces. With Dioxin and UFO, Enoki gives tangible form to both a microscopic and macroscopic threat. For Dioxin, the artist gave sculptural form to the toxicity that can take over society, and the human inability to contain its ungraspable spread. Furthermore, it raises questions about rapid economic development in Japan and the consequences of nuclear activities. UFO stages a fictional attack on Japan by an extraterrestrial power by manipulating photographs of Kobe’s major public institutions. Through this humorous extraterrestrial attack the artist playfully criticises Japan’s postwar modernisation, which happened mostly without consideration of its side effects on society.
Strongly convinced by his ideas about art and everyday life, much of Enoki’s artistic practice is immaterial or ephemeral. Using cast iron throughout his career, the artist nonetheless often remelted existing sculptures to produce new work. Hence, many of his performances and interventions exist predominantly through photographic documentation. White Rainbow will present portfolios of photographs that document and convey the initial ideas that went into Enoki’s project, as well a selection of drawings that illustrate the artist’s creative drive.
Chu Enoki, We Captured a Small UFO at Last!, 1974, set of nine manipulated black and white photographs, collage, white Holbein ink.
Courtesy the artist and White Rainbow, London.
The late opening of Kouichi Tabata’s Scape at the Daiwa Anglo-Japanese Foundation are:
29 September, 1, 5 16, 20 & 22 October 2015.
Usual opening hours: Monday to Friday, 9.30am to 5pm
Venue: Daiwa Foundation Japan House
13/14 Cornwall Terrace (Outer Circle)
London NW1 4QP
White Rainbow is pleased to announce that the gallery will present a body of works by Chu Enoki in the Back to the Future section of Artissima, November 2015. Back to the Future is a curated section that this year focuses on works of exceptional pertinence from the decade 1975 – 1985, with a focus on the documentation of ephemeral practices such as performance and happening. The curatorial selection committee consisted of Eva Fabbris, independent curator, Milan; João Fernandes, vice-director, Museo Nacional Centre de Arte Reina Sofia, Madrid; Elena Filipovic, director, Kunsthalle Basel, Basel and Beatrix Ruf, director, Stedelijk Museum, Amsterdam.
For more information about Back to the Future, visit Artissima.
Kunstverein Wolfenbüttel e.V. (
Opening hours: Tue-Fri 16:00-18:00 / Sat and Sun 11:00-13:00
From the 18th of January until the 22nd of February 2015 the Kunstverein Wolfenbüttel will present a solo exhibition by Youki Hirakawa. Unseen/Unscene is the title the artist has chosen for this exhibition. Is the impossibility of seeing as perceiving the incentive of acting, or the desire not to be staged? The works are ambivalent, and keep their mystery. A two-channel video-installation and a videofilm examine the phenomenon of perception in moving images.