Taro Izumi

Taro Izumi, Little Cammy, 2010, installation multimédia © Taro Izumi, courtesy of Take Ninagawa, Tokyo, photo: Yuichiro Tanaka

Taro Izumi. ex
Museum Tinguely, 2 September – 15 November 2020

Our large summer exhibition offers an immersion in the quirky, mischief-filled world of Japanese artist Taro Izumi (b. 1976, Nara). Izumi has created a unique creative universe, an organic ecosystem that does not fit into any established artistic category. It closely intermingles sculpture, installation, performance and video: a sculpture becomes an installation, which is in turn made into the scenery for a performance, which itself reappears on the multiple screens that populate his exhibitions.

 

Izumi interconnects materials such as wood, textiles, plants, fur, furniture and all kinds of recycled items to structures that look like they have been «cobbled together», but were nevertheless precisely assembled, the result of not only high technology and long-term reflection, but also spontaneous energy and a certain immediacy. 

 

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Installation view at White Rainbow, London, 2018: Taro Izumi, Spring is between Winter and Summer, sleeping is between Spring and early Summer, 2018
Stage set with plants, fruit, drinks, and beach apparel, video projection and video on monitors; dimensions variable
© Taro Izumi, Courtesy White Rainbow, London; Take Ninagawa, Tokyo and Galerie GP & N Vallois, Paris
Photo: Damian Griffiths

Taro Izumi manipulates opposites. He uses absurdity, chance, accidents and humour as constitutive elements of his work. The journey he has imagined for Museum Tinguely is scattered with mirages and optical illusions: a washing machine stands on a metallic pyramid, a gigantic cat turns into a film-viewing hut, and robotic vacuum cleaners move around an immaculate floor like motorised insects.

 

Izumi creates antagonistic and often surrealistic object pairings, the meaning of which often remains a mystery. Together, these objects root themselves in the absurdities of our everyday life to recount to us the gentle chaos of today’s world.

Installation view at White Rainbow, London, 2018: Taro Izumi, Spring is between Winter and Summer, sleeping is between Spring and early Summer (detail), 2018; dimensions variable © Taro Izumi, Courtesy White Rainbow, London; Take Ninagawa, Tokyo and Galerie GP & N Vallois, Paris Photo: Damian Griffiths

Installation view at White Rainbow, London, 2018: Taro Izumi, Spring is between Winter and Summer, sleeping is between Spring and early Summer (detail), 2018
© Taro Izumi, Courtesy White Rainbow, London; Take Ninagawa, Tokyo and Galerie GP & N Vallois, Paris
Photo: Damian Griffiths

Taro Izumi, Sphinx, 2018; durational performance © Taro Izumi, Courtesy White Rainbow, London; Take Ninagawa, Tokyo and Galerie GP & N Vallois, Paris; photo: Yukitaka Amemiya

Taro Izumi, Sphinx, 2018; durational performance © Taro Izumi, Courtesy White Rainbow, London; Take Ninagawa, Tokyo and Galerie GP & N Vallois, Paris; photo: Yukitaka Amemiya

Taro Izumi, Piscine (detail), 2017 3 live streaming cameras, 3 tripods, 3 neons (blue, green, red), 3 monitors; dimensions variable ©︎ Taro Izumi, Courtesy Galerie GP & N Vallois, Paris Photo: Aurélien Mole

Installation view at 21st Century Museum of Contemporary Art, Kanazawa: Taro Izumi, Old Name, or: Sorry, It’s Already Taken, 2018 6-channel video; dimensions variable ©︎ Taro Izumi, courtesy of 21st Century Museum of Contemporary Art, Kanazawa, and Take Ninagawa, Tokyo Photo: Nobutada Omote

Taro Izumi, Untitled, 2012 Sculpture, video © Taro Izumi, courtesy of the National Museum of Art, Osaka, and Take Ninagawa, Tokyo Photo: Nobutada Omote

Taro Izumi, Yam, 2013 Mixed media; dimensions variable © Taro Izumi; Courtesy of Take Ninagawa and Taro Izumi Photo: Keizo Kioku

Installation view at Galerie GP & N Vallois, Paris: Taro Izumi, Taking a river nerve, 2017 Mixed media Installation; dimensions variable ©︎ Taro Izumi, Courtesy of GP & N Vallois Photo: Aurélien Mole