Takesada Matsutani


Paris, Matignon

Opening on January 6, 2023 from 6 to 8 pm.

Inquire about the exhibition:
inquiries@alminerech.com

The gallery is open from 11 am until 7 pm.

  • Untitled, 1986
    Graphite pencil, white spirit, acrylic on Canson JA paper
    64.8 x 49.8 cm
    25 1/2 x 19 1/2 in
  • Expanding-22, 2022
    Vinyl adhesive and graphite pencil on canvas
    92 x 73 x 2.5 cm
    36 x 28 1/2 x 1 in
  • Point de Contact 9-2010, 2010
    Vinyl adhesive, graphite pencil, gouache on plywood
    18.5 x 12.5 cm
    7 1/4 x 4 7/8 in
  • Fly 2000-7, 2000
    Vinyl adhesive and graphite pencil on canvas
    162 x 130 cm
    63 3/4 x 51 1/8 in
  • A Drop / Une Goutte, 2018 - 2022
    Vinyl adhesive and ink on canvas and cotton
    140 x 140 x 5.6 cm
    55 1/8 x 55 1/8 x 2 1/4 in
  • Untitled, 1986
    Graphite pencil, vinyl adhesive, acrylic, white spirit on Canson Dessin JA paper
    64.8 x 49.8 cm
    25 1/2 x 19 5/8 in
  • Untitled, 1986
    Graphite pencil, White Spirit, acrylic on Canson JA paper
    64.8 x 49.8 cm
    25 1/2 x 19 5/8 in
  • C. Circle 2022 / C, 2022
    Ink, acrylic, vinyl adhesive on cotton, plywood board
    146 x 139 cm
    57 1/2 x 54 3/4 in
  • A Semi Circle-14, 2014
    Vinyl adhesive, graphie pencil, cotton mounted on plywood
    42 x 16.5 cm
    16 1/2 x 6 1/2 in
  • Untitled, 2015
    Ink and acrylic on plywood
    26.8 x 12.5 x 2.5 cm
    10 1/2 x 4 7/8 x 1 in
  • Brush, 2010
    Vinyl adhesive, sumi ink, on cotton and plywood
    34 x 8 cm
    13 3/8 x 3 1/8 in
  • Untitled, 2022
    Vinyl adhesive, ink, graphite pencil on paper, plywood box
    22 x 16.8 x 2.3 cm
    8 1/2 x 6 1/2 x 1 in
  • A-Triangle 2020-3, 2020
    Acrylic on cardboard, vinyl adhesive, plywood box
    22 x 16 x 3 cm
    8 1/2 x 6 1/2 x 1 in
  • Work-17, 2017
    Paint on plywood
    27.7 x 9.4 x 3 cm
    11 x 3 1/2 x 1 in
  • Lampe-12, 2014
    Vinyl adhesive, collage (dry paint), acrylic, graphite pencil on canvas mounted on plywood
    27.5 x 22 x 4 cm
    11 x 8 1/2 x 1 1/2 in
  • Black, White. Green-2022-11,, 2022
    Vinyl adhesive, acrylic, graphite pencil on canvas mounted plywood
    91.5 x 63 x 4.5 cm
    36 x 25 x 2 in

Press release

Almine Rech Paris, Matignon, is excited to announce its presentation of a selection of mixed-media, abstract works by the pioneering Japanese modern artist Takesada Matsutani, which will open at the gallery on January 6, 2023, and run through February 18, 2023.  

Featuring an overview of the artist’s creations from the past two decades, the exhibition will also include several of Matsutani’s emblematic works from the 1970s and 1980s; together, these works will offer a compact survey of his art’s themes and technical development during the most recent phase of his long career, which has spanned some of modernism’s most notable eras. 

Matsutani, who has been based in Paris since the 1960s, is best known for his involvement with the Gutai Art Association, a group of young artists who, with their leader, the older painter Jirō Yoshihara (1905-1972), came together in 1954, in western Japan, with the aim of, as their manifesto declared, “locking up” the “fraudulent” art of the past like “corpses in the graveyard.” Experimenting with materials and a wide range of art-making methods, the Gutai artists fueled Japan’s post-World War II avant-garde with rambunctious, tradition-busting energy.  

Inspired by Yoshihara’s commands to work with and reveal the expressive spirit of their materials and to “create what has not been created before,” Gutai’s members developed what are now regarded as some of the most groundbreaking and prototypical works of installation art, performance art, and conceptual art. The group had a high-profile presence at Expo ’70, the world’s fair that took place in Osaka, Japan, in 1970. It disbanded two years later, following Yoshihara’s death. 

Matsutani was a member of Gutai’s so-called second generation, since he joined the group some time after it had been established. Demonstrating a unique approach to handling his materials, he worked with vinyl glue, paint, and other media to create sculptural works on canvas with highly textured surfaces. Often they featured what appeared to be strange orifices or other unusual, organic-feeling forms. Matsutani used his own breath or an electric fan to blow air onto his liquid-glue blobs. In this way, he could control their shapes or stimulate the flow of his moist, malleable material as it dried and hardened. 

— Edward M. Gómez, arts journalist, art critic and author


Selected press