Exhibitions and Events

About "Future of Creation"
As of September 2014, we are presenting a new series of exhibitions, "Future of Creation," each of which takes a distinctive theme and embodies a trend now in the making. We are guided in this endeavor by four creators from the forefront of Japanese art and architecture who join us as supervisors--Toshio Shimizu (artistic director), Ryohei Miyata (metal artist), Toyo Ito (architect), and Kengo Kuma (architect). Each undertakes a three-month long exhibition, for a total four exhibitions each year.

Introduction by Toshio Shimizu
A Fascination with Plinths
Plinths are the theme of this exhibition because the showcased artist Colliu has a keen interest in sculpture plinths.
If we think back to the earliest known modes of sculpture in Japan, we hit upon the dogu dating from the Jomon period. Dogu did not have plinths. If dogu were indeed made and used for magical purposes, any magical quality they were endowed with must have been expected to affect the real world in some way. In other words, the relationship between dogu and humans was a direct one, negating the need for a plinth, which by nature serves to distinguish what is on the plinth from the real world.
This train of thought, if allowed to carry on, will inevitably lead to the need to re-examine sculpture-plinth relationships around the world and throughout history, from ancient Mesopotamia, Egypt, and Greece to the present, and will give rise to endless questions such as, "Why did Kofun-period Japan produce horse-shaped haniwa without plinths, while human-shaped ones nearly always came with plinths?" and "Why did Cycladic figurines have no plinth, while Greek statues of gods and goddesses did?" and so on and so forth.
Returning to the subject of Colliu and our own time, as an art producer I recall that the sculptures created by the contemporary artists I have worked with--Anish Kapoor, Richard Deacon, Kan Yasuda, and Daniel Buren to name just a few--invariably did not have plinths.
Auguste Rodin released sculpture from architecture, but not quite from the plinth. Marcel Duchamp removed the act of sculpting from sculpture, and at the same time did away with the plinth. Constantin Brâncuși and Vladimir Tatlin occasionally did without the plinth, but their works were still clearly detached from the real world. A notable change in the situation occurred in the second half of the 20th century, when the Gutai, Jikken-kobo, Arte Povera, and Mono-ha artists, as well as Joseph Beuys and others, demonstrated moves toward sculpture that embodied non-physical world or idea while seamlessly occupying real-world space. Sculptures created by them were part of a historical continuum.
Today we are seeing a resurging interest in plinths. Colliu creates plinths and deploys them in her exhibition space. The plinths come in simplified shapes and are covered in flat vivid colors in keeping with her other works to date in terms of color and form.
What is significant here is that the plinths are a platform for Colliu's fantasy world. Much like the Japanese tokonoma, the top of the plinth is an absolute space detached from the real world. However, unlike the tokonoma, which can accommodate sculptures and other objects, Colliu's plinths seem far too independent and assertive for the placing of any physical sculpture. They seem more suitable for non-physical sculpture--"imagination," if you like--or physical sculpture with as little suggestion of its physical qualities as possible.
Coming back once again to the dogu, our earliest sculpture, if its "magical power" belonged, after all, to the world of imagination, it makes fairly good sense to me that Colliu's plinth exists as something supporting the imagination. Although the evolution of 20th-century sculpture was about doing away with the plinth and pursuing the non-physical world or "idea," resultant artworks still retained their physical shapes. Colliu has revived the plinth, but is trying to dematerialize sculpture at the same time. Whether sculpture will ever completely lose its physical form is anyone's guess--perhaps it will live on as holograms and similar--making plinths all the more fascinating.

  • Exhibition
  • Exhibition
  • Exhibition "RIMOWA Heritage Ginza" W5266×H3456mm (RIMOWA GINZA 7 chome store)2019
  • Exhibition "Prospect-Refuge(眺望-隠れ家)" (La foret TOILET GALLERY) 2019
    photo by Mino Inoue
Date 12 October,2019 - 14 January, 2020 *The exhibition is extended
Open Hours 10:00-18:00
Closed Wednesdays, 24 November, 28 December-5 January 2020
Admission Free
Planned and organized by LIXIL Corporation


Supervisor of the 20th Future of Creation
Toshio Shimizu

Toshio Shimizu holds the positions of president of TOSHIO SHIMIZU ART OFFICE and professor at the Graduate School of International Cultural Relations, Gakushuin Women’s College, as well as being a curator and art critic.
Born in Tokyo in 1953, Anciens Élèves del’ École du Louvre. Having worked as a curator at the Tokyo Metropolitan Teien Art Museum and director of the Contemporary Art Center, Art Tower Mito, he now engages mainly in organizing
exhibitions and art events, as well as producing public art.
His recent achievements in art direction include: the Tostem booth at the Japan Industry Pavilion, Expo 2010 Shanghai;ar tworks at Tokyo Midtown; ar tworks at Toyosu Front; artworks at Nagoya Lucent Tower; artworks at Iwate refecture Citizens’ Cultural Exchange Center – Aiina; artworks at Muza Kawasaki Symphony Hall; artworks at OTEMACHI FINANCIAL CITY; artworks at TOKYO MIDTOWN HIBIYA; artworks at COREDO Muromachi Terrace ;Yoko Ono Bell of Peace (exhibition) at Gakushuin Women’s College; THE MIRROR (exhibition); author of Tsuguharu Fujita(Tokyo Bijutsu,2018).
photo: Herbie Yamaguchi

Artist and model
Colliu presents her highly original universe employing a wide range of mediums including drawing, painting, and sculpture.
Her signature motifs include figures with distinctive eyes.

2009 BFA, Musashino Art University
2011 “GODHAND” (Mitsui Garden Hotel Kashiwa/Chiba)
2012 Solo Exhibition “Maybe Baak-hap-ji” (island MEDIUM/Tokyo)
2013 Solo Exhibition “the Chameleon is so enraged that he died in a fit” (WALL Harajuku/Tokyo)
“HELLO, SHIBUYA TOKYO” (Plaza Singapura/Singapore)
Solo Exhibition “Inner muscle” (Lamp harajuku y MEXICO CHIDO/Osaka)
Solo Exhibition “Thousand billion mini salad” (Logos Gallery, B1F, Shibuya PARCO Part 1/Tokyo)
2014 “National Museum of Art, Okutama—Drifting premium of 13 days” (National Museum of Art, Okutama/Tokyo)
“Kobashi and Colliu’s Commemorative photo” (Hikarie 8F/Tokyo)
2015 “Mekurumeku Makumakuri” (GALLERY Momo Projects/Tokyo)
“Roppongi Art Night”(Roppongi Crossing/Tokyo)
Shell Art Award 2015 prize
2016 Solo Exhibition “The other side” (BLOCK HOUSE/Tokyo)
2017 "La Rêve" (NEWoMan ART wall/Tokyo)
Solo Exhibition “ROOM” (CALM & PUNK GALLERY/Tokyo)
2018 “KAN-KAN” (NEW ALTERNATIVE Gallery/Kagoshima)
“COTEN” (NEW PURE +/Osaka)
“KAN-KAN-NI” (hitoto/Osaka)
2019 “Prospect-Refuge(眺望-隠れ家)” (La foret TOILET GALLERY /Tokyo)
“RIMOWA Heritage Ginza” (RIMOWA Store Ginza/Tokyo)
  • October, 2019
  • October, 2019
  • October, 2019
  • October, 2019
  • October, 2019
    Photo:Chieko Shiraishi
  • October, 2019
    Photo:Chieko Shiraishi
  • October, 2019
    Photo:Chieko Shiraishi
  • October, 2019
    Photo:Chieko Shiraishi