Kyoto art exhibitions and cultural events

● All 8 Monet works owned by the Asahi Group will be exhibited together for the first time in 10 years* ● "Jewel Box in the Ground" (Underground Pavilion), an exhibition room designed by Tadao Ando specifically for the "Water Lilies" series ● Witness Monet's magnum opus from his later years As the museum celebrates its 30th anniversary, a passageway leading underground from the main building, "Oyamazaki Villa," which is over 100 years old, leads to a circular exhibition room designed by Tadao Ando, ​​created specifically to display Claude Monet's "Water Lilies." In this "Jewel Box in the Ground" (Underground Pavilion), all 8 Monet works, one of the core pieces in the museum's collection, will be exhibited in two phases, six pieces each. Five "Water Lilies" paintings and three others, including "Japanese-style Drum Bridge," will be displayed together for the first time in 10 years. Enjoy an immersive viewing experience surrounded by Monet's magnum opus in a tranquil space that harmonizes beautifully with the garden and surrounding nature. *Some exhibits have been changed, with 6 pieces displayed in each of the first and second periods. List of Works

This time, ZENBI—Kagizen Art Museum—will be holding a collection exhibition centered on the book "Kagizen: Behind the Scenes of a Kyoto Confectionery Shop" (authored by Yoshiya Imanishi), published in 2024. When you think of Kagizen Yoshibo (hereinafter referred to as Kagizen), many people will surely think of works such as the "Large Zelkova Wood Display Shelf with Wipe-Lacquer Finish" (1932) and the "Mother-of-Pearl Inlaid Kuzukiri Container" (1932) by wood and lacquer artist Tatsuo Kuroda (1904-1982). The wrapping paper for the confectionery has been designed by painter Etsuro Suzuki (1924-2013), the paper bags by contemporary artist Akira Yamaguchi (1969-), and various artists have also created the decorative paper used depending on the season and purpose. Titled "Behind the Scenes," this exhibition will introduce the collection items that have adorned the confectionery and the shop, along with confectionery molds and other items indispensable to Kagizen's confectionery making. The exhibition also features photographs used in the book showing the process of making the sweets. Please come and see the "behind the scenes" that support Kagizen. [Exhibiting Artists] Kanjiro Kawai, Tatsuaki Kuroda, Etsuro Suzuki, Akira Yamaguchi, and others *The book "Kagizen: Behind the Scenes of a Kyoto Confectionery Shop" (by Yoshiya Imanishi) can also be purchased at the Kagizen Ryobo online shop [https://www.kagizen.co.jp/].

His beautiful typesetting has been backed by his unquestionable knowledge and skill as a printer. He did not shirk from typographical experimentation with the "Broadside" (broadsheets) printed and published during the 1980s and the 1990s, when letterpress printing no longer played a central role in the transmission of information. He explored the artistic potential of letterpress printing. His originality also bloomed freely with the typographic maps (maps made up solely of text) that he created in later years. Alan Kitching followed his own path, without being swayed by the trends and circumstances surrounding printing. He can only be described as a treasure, without peer, whose work is immediately identifiable at first glance.

Chrysanthemums, which bloom with dignified elegance even in the cold, are also known as 'the flower of the reclusive hermit'. They have been likened to the image of an 'hermit' (a person who withdraws from worldly affairs), and have long been regarded as a symbol of sages and virtuous gentlemen, representing purity, integrity, and noble character. In ancient China, many poems themed on chrysanthemums were composed by literary figures such as Tao Yuanming, who was particularly devoted to the flower. It is said that chrysanthemums were introduced to Japan during the Heian period, and from around the time of the Kokin Wakashū (Collection of Ancient and Modern Japanese Poetry), they began to appear frequently in waka poetry. Later, during the Edo period, around the Genna and Kan'ei eras, chrysanthemum cultivation became widespread among the general public, and by the mid-Edo period, around the Genroku era, it had become a major craze. A wide variety of chrysanthemums were cultivated, and not only did chrysanthemum-viewing and flower competitions flourish, but the flower also became a highly popular motif in kimono designs and various works of art.

In September of the third year of the Kan'ei era (1626), during the early Edo period, Emperor Go-Mizunoo visited Nijo Castle in Kyoto at the invitation of the retired shogun Tokugawa Hidetada and the current shogun Tokugawa Iemitsu. On the first day, September 6th, the city of Kyoto was filled with unprecedented excitement as the imperial family, court nobles, the shogun, and daimyo from all over the country gathered for a grand procession. The Kan'ei Imperial Visit can be said to have heralded the arrival of an era of peace and spurred the stirrings of a new culture. This exhibition looks back on this historical event, focusing on the "Nijo Castle Imperial Visit Folding Screen" (a Kyoto City designated cultural property) owned by the Sen-oku Hakukokan Museum, which vividly depicts the imperial procession. Furthermore, it examines the Kan'ei culture that developed from before and after this event into the latter half of the 17th century, starting with a single woman named Tofukumonin (Tokugawa Kazuko). As the daughter of a shogun and later the empress of the emperor, she was surrounded by a constellation of cultural figures, including Emperor Go-Mizunoo, Sen no Sōtan, Shōkadō Shōjō, Kobori Enshū, and Nonomura Ninsei. Through interactions that transcended social class, they forged their own unique forms of beauty. The exhibition traces her footsteps in beauty and interaction, featuring items associated with Tōfukumonin, who served as a bridge between the public, military, and common people. Nearby are numerous temples and shrines associated with the early Edo period's restoration, including Kōunji Temple, Tōfukumonin's family temple. Spend some time reflecting on the Kan'ei culture in this place that still conveys the spirit of the refined people of that era.

The bronze vessels of the Yin and Zhou dynasties, characterized by their intricate and delicate forms, sometimes bear inscriptions of characters used by the people of that time. These ancient Chinese characters—bronze inscriptions—are the older forms of the Chinese characters we use today, and offer valuable clues to understanding the society and culture of that era. Carefully reading the inscriptions allows one to experience a sense of reality, as if hearing the very breath of the ancient Chinese people. The beauty of the characters themselves is also remarkable, captivating and influencing calligraphers throughout history. This autumn, the Bronze Gallery will hold a special exhibition focusing on these bronze inscriptions, exploring their rich world together with the Sumitomo Collection. This is a must-see for anyone interested in bronze vessels or ancient China, as well as calligraphy and ancient characters.

The Hosomi Art Foundation holds diverse exhibitions around the 1,000-piece Japanese art collection. Featuring works from the Jomon/Yayoi periods to Edo-period painting by various schools, the collection represents almost all periods of Japanese art in the genres of painting, sculpture, decorative art and calligraphy, among which are some first-rate works by Ito Jakuchu.

Matsunobe Soshi is an artist who engages with intangible phenomena such as lines, shadows, the unconscious, and the ground (background) through installations, sculptures, drawings and various other media. Using everyday motifs such as wallpaper, rubber bands, and graffiti as materials, he has presented works that focus on the processes by which these materials are made, as well as their functions and relationships. His practice calls into question the act of creation itself, prompting us to reconsider the premises of making, seeing, and being. Alongside introducing Matsunobe’s consistent approach, this exhibition offers viewers an opportunity to newly reflect on their own ways of perceiving and interpreting the world. The Triangle The Triangle is a space newly created for the reopening of the Kyoto City KYOCERA Museum of Art. It aims to nurture and support emerging artists, especially those associated with Kyoto, and to provide opportunities for museum visitors to experience contemporary art. In order to connect the artist, museum, and viewer in a triangle and deepen those connections, the space hosts an eponymous series of special exhibitions and presents new artistic expression f

Yamaga Seika, a pioneer of textile art. This long-awaited retrospective—the first in 40 years—will be held at Kyoto City KYOCERA Museum of Art. Yamaga developed teori-nishiki (handwoven brocade), a distinctive form of textile art in which the artist oversees every stage of production, from design and material selection to the weaving process itself. Through representative works and archival materials, this exhibition traces the career of this little-known Kyoto-born artist, featuring tapestries created for the Gion Festival as well as spatial decorations produced in collaboration with architect Murano Togo, among other works. Born into a family engaged in letterpress printing in Kyoto, Yamaga Seika (1885–1981) began studying Nishijin-ori textile design and nihonga painting in his teens. He later became a student of Kamisaka Sekka, under whom he further expanded the scope of his artistic practice. Yamaga gained recognition after developing teori-nishiki (handwoven brocade), a form of tapestry weaving in which the artist personally undertakes every stage of production—from design and yarn selection to the weaving process itself. In 1927, he was awarded a Special Prize in the newly es

Georges Rouault (1871-1958), a devout Catholic, created a unique style of art in modernizing France, distancing himself from the contemporary artistic trends. The harsh expressions of acrobats and other people living on the fringes of society, which he initially depicted in dark tones, gradually transformed over time, becoming gentler and more compassionate, and the layers of paint he applied increased in thickness. This evolution in expression and technique can also be seen in his works depicting biblical themes, suggesting that the painter found Christ in the figures of secular people and attempted to depict both together. This exhibition, one of the special exhibitions commemorating the 30th anniversary of the museum's opening, brings together all four of Rouault's works from the Asahi Group Oyamazaki Villa Museum of Art's collection, along with approximately 35 works from the Panasonic Shiodome Museum of Art, a center for Rouault research in Japan, highlighting the prayers the painter expressed in both sacred and secular themes.

Download flyer (Japanese only)

Love and desire, the poignant emotions of people yearning for one another—artists depicted these in the form of "shunga" (erotic prints). It is believed that these prints already existed during the Heian period. The *Chigo Zōshi*, being publicly displayed for the first time in this exhibition, is an illustrated scroll from the early 14th century depicting intimate relationships between young boys and monks, accompanied by accompanying text. It is considered a legendary shunga, whose existence was only known through copies and books. Also on display is a scroll copy of the *Koshibagaki Zōshi*, one of the oldest shunga depicting sexual activity in Japan, made by the Edo period artist Tani Bunchō. Furthermore, the exhibition includes hand-painted shunga by Tsukioka Settei and others, as well as Katsushika Hokusai's masterpiece *Nami Chidori* (Waves and Plovers), and works related to "love" by Uemura Shōen and Kaburagi Kiyokata.

The year 2026 marks the 400th anniversary of Emperor Gomizunoo’s historic imperial visit to Nijō Castle in 1626 (Kan’ei 3). This event sparked a cultural revival in Kyoto, fostering vibrant developments across tea practice, calligraphy, flower arrangement, and other Japanese cultural arts. Through works from our collection, this exhibition highlights the artistic sensibilities and exchanges of such figures as Emperor Gomizunoo, Empress Tōfukumon'in, Kobori Enshū, Sen no Sōtan, Shōkadō Shōjō, Nonomura Ninsei, and Hon’ami Kōetsu, who shaped the cultural milieu of the Kan’ei era (1624–1645). We hope you enjoy this refined world up close in an intimate setting.

Cult Figure of a Falcon-headed Deity Egypt 1295 - 1213 B.C. Statue of Goddess Egypt about 270 - 246 B.C.

Located in Higashi-Ōmi City, Shiga Prefecture, Hyakusai-ji is one of the three great temples of Kōtō, the region along the eastern shores of Lake Biwa. According to tradition, this ancient temple was founded by Prince Shōtoku (574–622). Enshrined in its Main Hall is the temple’s principal image of devotion, a standing Eleven-Headed Kannon, also traditionally associated with the prince. Despite repeated fires and periods of religious persecution, the temple has continued to transmit the light of Buddhism to this day. Revered as a highly sacred hidden Buddha (hibutsu), this Kannon long remained veiled in mystery. Recent research, however, has led to its designation as an Important Cultural Property, dating it to the latter half of the Nara period (710–794), followed by comprehensive conservation treatment. On the occasion of restoration work on the Main Hall, this sacred image will be exhibited outside the temple for the first time at MIHO MUSEUM. Many temple ruins from the Hakuhō period (645–710) have been identified throughout Shiga Prefecture, and in HigashiŌmi City, distinctive features such as roof tiles known as the “Kōtō style” have also been discovered. Hyakusai-ji is believe

Kyoto City University of Arts Gallery and Kyoto Experiment are pleased to present a two-person exhibition featuring Kaori Endo and Mithu Sen. Both artists explore the space between what appears on the surface and what lies beneath it, approaching this space in distinct ways. Endo turns her attention to the layers of memory and dreams, while Sen explores the shifting boundary between revealing and concealing. What comes into view, and what remains unseen, is left open to each visitor. Kaori Endo "The Sleep in the 22nd C." The blending of cultures via the silk road, the inextricable nature of the colors red and blue, contemporary society, and war. Kaori Endo, whose practice draws on craft methodologies to shed light on people’s everyday experiences, has assembled multi-layered motifs and fragments of memories, exploring the relationship between how things appear on the surface and what lies beneath. The piece takes form through a large boat-like structure and textiles such as kimono obi and carpet. Mithu Sen "Unwritten Intimacy" Based in India, Mithu Sen is an interdisciplinary artist whose practice, grounded in radical hospitality, questions language, institutional authority, and so

Kyoto was founded more than a thousand years ago. Its historic sites, sacred precincts, and charming townscapes have made it a global destination for travelers. In this exhibition, as painted during the early-modern and into the modern period, you can enjoy Kyoto’s enduring attraction.

Kyoto was founded more than a thousand years ago. Its historic sites, sacred precincts, and charming townscapes have made it a global destination for travelers. In this exhibition, as painted during the early-modern and into the modern period, you can enjoy Kyoto’s enduring attraction. The famous places, traditional events, and distinctive culture that attracted the artist's eye still fascinate both Japanese and overseas visitors. The show features Scenes in and Around Central Kyoto (first show period), Scenes Outside Central Kyoto (middle and late show period), and Hara Zaichū's (1750−1837) Aoi Matsuri Scroll (sections on display in each period). You can both feast your eyes on depictions of iconic Kyoto geiko and maiko, and savor paintings of well-loved Kyoto vegetables. In this city known for its long-established shops, packaging has long brought delight to urban culture. Japanese sweet shops even commissioned top artists to design wrapping. Here you can see examples created by Tomioka Tessai (1836−1924), Ikeda Yōson (1895−1988), and others. Whether you are a first-time visitor or a resident, we hope the art in this exhibition helps you to discover things you didn’t know and to

Leica Camera Japan is pleased to present “Dérive”, a solo exhibition by photographer Mitsuru Wakabayashi, at Leica Gallery Kyoto. As he walks through the city, there are moments when a particular scene unexpectedly captures his attention. Mitsuru Wakabayashi has spent years photographing these fleeting encounters. Rather than searching for extraordinary places or dramatic events, Wakabayashi finds inspiration in the subtle details of everyday life. Drawn by a passing scene, he pauses, releases the shutter, and preserves a moment that might otherwise go unnoticed. Through the quiet accumulation of such encounters, his photographic vision has taken shape. The exhibition title, Dérive, is a French term meaning "drift." Developed by the Situationist International movement in the 1950s, the concept describes a way of experiencing the city not merely as a route between destinations, but through wandering and responding intuitively to its atmosphere and surroundings. Wakabayashi encountered the concept while reflecting on his own long-standing approach to photography. Although he often could not explain why a particular place drew his attention, the act of walking without purpose and res

The title FOUR , proposed by Atsushi Nishijima, takes its name from John Cage’s composition FOUR . One of Cage’s series of works known as “Number Pieces,” FOUR provides four performers with scores indicating designated periods of time, or “time brackets,” during which they may produce sound. What sounds they make within these brackets, as well as when and for how long, is left entirely to the individual performers. There is no predetermined melody or rhythm. Listening closely to one another, the performers make decisions in the moment, allowing sounds to emerge and take shape. In much the same way, this exhibition brings together four distinct practices by Kiyoshi Izumi, Nobukazu Takemura, Atsushi Nishijima, and Keitetsu Murai within the framework of a single exhibition. Through the distances, gazes, and silences that emerge between one work and another, between the works and the space, and between the works and the viewer, unforeseen relationships begin to take shape. Rather than simply viewing completed works, visitors become part of the experience by placing themselves within the environment.

An immersive exhibition exploring Zen through the works of Studio Ghibli. The Zen and Studio Ghibli Exhibition will be held in autumn 2026 at the Higashiyama Cube, New Building of the Kyoto City KYOCERA Museum of Art. Based on the book Zen and Ghibli , which compiles conversations between Studio Ghibli producer Toshio Suzuki and Zen monks, this exhibition offers a unique, experiential way to encounter a Zen-like sense of acceptance through Ghibli’s works. Ghibli films often embody a worldview that does not divide good and evil, leaves space instead of rushing to answers, and embraces the attitude of “accepting without fully understanding.” This resonates deeply with the Zen principles of “not dividing,” “not judging,” and “seeing things as they are.” The Boy and the Heron (2023), the latest film by Hayao Miyazaki, which attracted audiences worldwide, leaves a quiet, lingering impression without offering clear answers. This exhibition is structured around that film, revealing a Zen-inspired way of seeing that shapes Ghibli’s world.

The Tale of Genji , written during the Heian period (794–1185) by Lady Murasaki Shikibu (dates unknown), is Japan’s most esteemed literary classic and is widely regarded as the world’s first novel. Set against the rarefied world of the imperial court, the story recounts the romantic entanglements of the “shining prince” Genji with an array of distinctive women, while providing vivid glimpses into daily life and the human psyche. Murasaki’s tale has enchanted successive generations over the past millennium, giving birth to a broad range of cultural and artistic forms. This exhibition of unprecedented scale presents a diverse array of approximately 250 artworks (planned total, including those shown at other venues). These encompass masterful paintings and works of decorative art inspired by scenes from the Tale and its motifs, later manuscript editions and commentaries produced by successive generations, and works tracing the novel’s influence on the performing arts. Among the highlights are the Blue-Cover edition ( Aobyōshi bon ), a manuscript edited by Fujiwara no Teika (1162–1241), and the elusive “Phantom Genji Scrolls” (also known as the Moriyasu edition), a lavish set of illust

We are pleased to present an exhibition of ceramic works by Tatsuya Hattori, based in Toki, Gifu Prefecture. After studying at the Tajimi City Pottery Design and Technical Center, Hattori established his practice in Toki. Working primarily on the potter’s wheel, he creates a wide range of vessels, including teaware, pots, and tableware, using black and white glazes, silver decoration, and other techniques. His attention extends beyond the overall form to details that directly affect the experience of use, such as the fit of lids, the shape of spouts, and the feel of handles, resulting in pieces that offer a sense of ease in everyday use. This exhibition features a wide selection of works, centered on teaware, alongside coffee drippers, mugs, plates, and vases. It offers an opportunity to experience Hattori’s work across a range of vessels for tea and coffee, everyday dining, and flowers. We warmly invite you to visit the exhibition.

Contemporary art by Kyoto-connected artists across nine unusual locations in Kyoto.

Experimental performing arts, exhibitions, talks, workshops, dance, music, and installation across Kyoto.

Contemporary art gallery in Kyoto, Japan

Carefully observing plants he encounters in his everyday surroundings, Yano translates them into delicate wood sculptures. They bloom, are eaten by insects, decay, and eventually decompose. Within this cycle, fleeting moments reveal both the vitality and fragility of life. It seems that Yano seeks to preserve these moments within wood.

Mikako Nakagami Ink Painting Solo Exhibition ~Something They Can See~

What kind of jewellery truly suits you? This shouldn't be dictated by the opinions of others or by your age, nor does it have to come from an expensive brand; rather, it should be something that expresses how you feel right now, empowering you to live with strength and fulfilment. This exhibition showcases the work of artists who are exploring this very aspiration. It was 1964, in an era when jewellery was not yet mainstream in Japan, that Hiramatsu Yasuki (1926–2012), Hishida Yasuhiko (1927–1981) and others established the Japan Jewellery Designers Association (JJDA). The ‘International Jewellery Arts Exhibition’ (held at the Seibu Department Store in Shibuya from 1970 to 1986), organised primarily by the JJDA, introduced Western trends to Japan and helped to disseminate the concept of design as a value distinct from that of materials alone. In the late 1970s, Japan was introduced to jewellery which engaged conceptually with the distinctive characteristics of the medium and echoed contemporary art. Known as ‘contemporary jewellery’, this work offered expressions that subverted the traditional roles of wealth and symbolic status, as well as the relationship between the wearer and t

白石ちえこ氏の写真には、輪郭の定まらない記憶や、時間の底に沈んでいるものを、そっとすくい上げるような眼差しがあります。本展では、2015年の写真集『島影』、2020年の『鹿渡り』より作品を展示いたします。 Archive Harada Kazumasa Photo Exhibition "The Meeting of Two Eyes"

Born in Aichi Prefecture in 1957. Began photographing at the age of 16, later studying painting before turning fully to photography. Known for his use of techniques such as gelatin silver printing, he first exhibited at Torino Fotografia ’87 in Italy. In 1994, his exhibition at Shapiro Gallery in San Francisco brought him international recognition. His first photobook, A Box of Ku, was published in 1996 by Nazraeli Press (USA). In 1998 he held a solo exhibition at Yancey Richardson Gallery in New York, followed by his first European solo exhibition in 2006 at Galerie Camera Obscura in Paris, after which he became increasingly active in Europe. In 2014 he published Small Things in Silence (Seigensha), marking the 40th anniversary of his career. His field of activity has since expanded beyond Japan, the US, and Europe, and in 2018 the Multimedia Art Museum, Moscow held Yamamoto Masao. Photography. Since 2018 he has been developing his BONSAI series, engaging deeply with Japanese aesthetics. He continues to work from his base at the foot of the Yatsugatake mountains in Yamanashi Prefecture. yamamotomasao.com Published in commemoration of this exhibition, this monograph encapsulates M

When a work of art is acquired, each piece has its own story. It tells the story of "when," "where," "who," "what," "why," and "how" it was acquired. The Sumitomo Collection spans a wide range of fields, from ancient Chinese bronze artifacts to Chinese and Japanese calligraphy and paintings, Western paintings, modern ceramics, tea ceremony utensils, stationery, and even Noh masks and costumes. Many of these were acquired from the mid-Meiji period to the Taisho period by Sumitomo Kichizaemon Tomoito (pen name: Shunsui, 1864-1926), the 15th head of the Sumitomo family who laid the foundation for the current Sumitomo Group. The Western-style painter Kosugi Misei, who visited Shunsui's Suma villa, described his impression of Shunsui as follows: "A wealthy person has two personalities; one is the personality of the wealthy person themselves, and the other is the personality of their family." In the works that Shunsui acquired, too, two consciousnesses, "family" and "myself," flow at their core. However, "home" and "self" cannot be clearly separated; there is "self" within "home," or "home" within "self," and like brackish water where freshwater and saltwater mix, this collection was formed under a unique set of values ​​where "home" and "self" intersect. This exhibition commemorates the 100th anniversary of Sumitomo Shunsui's death and introduces the modern art that Shunsui was interested in. Through his interactions with creators who lived in the same era, what did Shunsui gaze upon, and what did he seek? In this exhibition, we will trace Shunsui's encounters (=fortunes) with works in chronological order, re-examining his aesthetic sense, and reconsidering the history of collection formation from the perspective of the background of collection and the historical context.

Normally inaccessible modern buildings, guided tours, talks, and special events across Kyoto.

Studio Spass and Team Thursday are graphic design studios based in Rotterdam, the Netherlands' second-largest city. With typography at the core of their work, they have expanded their practice into visual identities, publications, and spatial objects, while continuing to approach materials and scale with curiosity and an experimental spirit. This exhibition introduces the distinctive design of Rotterdam, a thriving port city, which differs somewhat from the widely familiar image of Dutch design centered on Amsterdam, thereby broadening perceptions of design in the Netherlands.

We are looking for submissions of works to be featured at the zine exhibition and sale "koen zine fair" scheduled to be held in November. We welcome submissions of any genre or size, including photographs, illustrations, and essays. We look forward to your submissions. Dates: November 5th (Thu) - November 23rd (Mon, public holiday), 2026 *Closed on Mondays and Tuesdays Venue: koen 2F gallery 15-2 Ichijoji Tsukamoto-cho, Sakyo-ku, Kyoto City, Kyoto Prefecture 606-8176 [Submission Period] 1st Submission Period: July 1st (Wed) - 20th (Mon), 2026 2nd Submission Period: September 15th (Tue) - 30th (Wed), 2026 [How to Apply] Please submit the application form and send one copy of your work within either submission period. *If a sample is not sent within the submission period, your application may not be accepted. For details, please check the application guidelines listed on the application form.

Contemporary art, historical art, craft, and jewellery across three historic Nishijin temples.

"Kyoto Art Month" connects art events and exhibitions held throughout Kyoto in October and November, creating opportunities to enjoy art amidst Kyoto's unique culture and scenery. It will be linked to events such as "Art Collaboration Kyoto," a contemporary art fair based on the concept of "collaboration"; "CURATION⇄FAIR Kyoto," an art fair showcasing and selling art ranging from ancient to contemporary pieces in historic temple architecture and gardens; and "Art Rhizome KYOTO," which exhibits and sells works by young artists with ties to Kyoto. Shuttle bus services will also be provided. Why not explore Kyoto this autumn, a city vibrant with art? A shuttle bus service connecting the main venues of "Kyoto Art Month" is planned for November 6th-9th. Further details will be announced as soon as they are finalized.

International contemporary-art fair and related exhibitions across Kyoto.

Oct.31th ,Tue – Nov. 8th Sun, 2026 12:00~18:00(last day ~17:00) Takuro Oshima creates sound artworks that celebrate and "play" with noise by developing instruments and devices that deviate precise control—a creative practice rooted in his personal experience with stuttering. In recent years, he has served as a radio personality on Sound Yaroze RADIO ("Let's Play Sound RADIO"), a talk-and-noise program on Kyoto’s community station FM 79.7MHz Kyoto Sanjo Radio Cafe, where he casually discusses sound exploration and broadcasts experimental audio works.

The Kagizen Art Museum is pleased to present an exhibition of works by Uichi Shimizu (1926-2004), a Living National Treasure, whose 100th birthday will be in 2026. Born in Gojo, Kyoto, Uichi Shimizu aspired to become a ceramic artist at a young age. In his early career, he studied under Munemaro Ishiguro (1893-1968) and devoted himself to pottery making, influenced by young ceramic artists of Gojozaka at the time, as well as Fujio Koyama (1900-1975). He subsequently won numerous awards at exhibitions such as the Japan Traditional Crafts Exhibition and received high international acclaim, including the Grand Prix at the 1958 Brussels World's Fair. Furthermore, after moving his workshop to Horai in Shiga Prefecture in 1970, he devoted himself to pottery making, searching for clay and stones while walking through the mountains, and becoming a leading figure in "iron glaze." In this exhibition, with the cooperation of Uichi's granddaughters, Aiko Shimizu and Shiro Shimizu, we will introduce works ranging from those from his Gojo period, which are rarely seen, to his later works produced in Horai, Shiga.

November 25th (Wed) - November 30th (Mon), 2026, 11:00 AM - 7:00 PM (until 3:00 PM on the last day) Photographer Hidekazu Nagai Solo Exhibition Fragments of memories etched by the Earth, encountered during his travels around the world. Bringing their brilliance and presence to you.

Download flyer (Japanese only)

Download flyer (Japanese only)

This exhibition is held as the second half of the "Zen and Ghibli" Kyoto Exhibition , which explores Zen through the works of Studio Ghibli.

The 119th Nitten in Kyoto, showing of the national tour of Japan’s largest public exhibition, will feature about 500 artworks related to Kyoto and Shiga across the 5 traditional Nitten categories （nihonga, Western painting, sculpture, crafts, and calligraphy）.

Manga artist Moto Hagio was born in Fukuoka Prefecture in 1949. Since her debut in 1969, she has captivated readers for over half a century with her works in a wide range of genres, including fantasy, science fiction, mystery, and history. In 2012, she became the first shojo manga artist to receive the Medal with Purple Ribbon, in 2019 she was selected as a Person of Cultural Merit, in 2022 she received the Order of the Rising Sun, Gold Rays with Neck Ribbon, and in 2024 she received a Special Honor Award at the Angoulême International Comics Festival in France, and in the same year she became a member of the Japan Art Academy. Having been familiar with foreign children's literature and films since childhood, Hagio took her first overseas trip to Europe in 1972, and the following year she studied in England for about six months. Her experiences traveling abroad have greatly influenced her work. This exhibition will showcase a number of valuable original drawings, mainly from her representative works "The Poe Clan" and "The Heart of Thomas," as well as manga set in Europe, including England, Germany, France, and Italy. The venue, the Asahi Group Oyamazaki Villa Museum of Art, will celebrate its 30th anniversary in 2026. To commemorate this, the museum, which houses the Oyamazaki Villa, a Western-style building over 100 years old characterized by its architecture modeled after the English Tudor Gothic style, will explore the charm of Ms. Hagio's world of art through more than 200 original drawings and other works.

Fujino Yumiko is an artist who expands nihonga (Japanese-style painting) into three-dimensional space while remaining rooted in its traditional materials and techniques. By allowing her works to stand free from the wall, she brings attention to the “gaps” between the artwork and its surroundings, engaging viewer’s movement, the ambient light of the exhibition space, and subtle senses of presence. Her practice often begins with research into abandoned houses in various regions, places that still bear traces of everyday life. Drawing on these sites, Fujino incorporates into her paintings elements that evoke the passage of time, creating landscapes where layered temporalities and human memories intersect. This exhibition invites viewers to reconsider nihonga not as a self-contained, flat medium, but as an open field that connects with time and space, suggesting new possibilities for nihonga in contemporary art. The Triangle The Triangle (basement level of the Northwest Entrance, free admission) is a space newly created to mark the renewal opening of the Kyoto City KYOCERA Museum of Art. It aims to nurture and support emerging artists, while also providing a space where visitors, inclu

This exhibition explores the creative depths of Raphaël Zarka (1977-), a Paris-based artist who investigates geometric forms, and Horiuti Masakazu (1911-2001), a pioneer of abstract sculpture in Japan, focusing on the shared theme of “The Thinking Sculptor” to unravel the intellectual pursuits of both artists, which transcend national and temporal boundaries. The display will feature not only completed works but also precious archive materials such as sketches, notebooks, and maquettes, giving visible form to the creative process and revealing how geometric forms are derived from logical thought. In addition, special attention is given to the prolific literary careers of both artists, presenting a “duet of thinking” between the pursuit of form and the process of constructing ideas through words. A key highlight is Zarka’s new body of work, developed through research into Horiuti’s sculptures, which signals a new phase of modernity. This new series represents the culmination of a spiritual dialogue between two artists and an ambitious effort to open new horizons for modernity in contemporary sculpture. Rich in intellectual stimulation, this exhibition reexamines the essence of sculp

Our whole life is one big sculpture. Based in London, Gilbert & George have spent more than half a century pursuing their ideal of "Art for All." This exhibition traces the evolution of their artistic practice, from documentation of their iconic Living Sculpture, The Singing Sculpture (1969)—in which the artists, covered in multi-colour metallic powder, stood atop a table singing and moving to a popular music-hall song—to their later large-scale picture groups, addressing themes such as religion, sexuality and urban life. Rare photographs and archival footage documenting the artists' visits to Japan during the 1970s are also on view. Marking both their first major exhibition in Japan in 30 years and the 60th anniversary of their meeting in 1967, this landmark exhibition offers a rare opportunity to experience the extraordinary range of Gilbert & George's singular, sincere and uncompromising vision of art.

Animals, mountains, flowers, and even the daily lives of people—all come alive and shine in his brush. This is the ideal world of Konoshima Oukoku, imbued with empathy for life and a subtle lyricism. To commemorate the 150th anniversary of the birth of Konoshima Oukoku (1877-1938), a Japanese painter who was active in Kyoto from the Meiji to Showa periods, we will hold a retrospective exhibition showcasing Oukoku's work, which has been undergoing a resurgence in recent years, on the largest scale to date. Born in 1877 (Meiji 10) in Sanjo Muromachi, Kyoto, Oukoku studied painting under Imaoka Keinen, who followed the Maruyama-Shijo school. With a simple style that expressed animals and nature with rich lyricism based on observations of nature, he won first prize at the 1st Ministry of Education Art Exhibition (Bunten) in 1907 (Meiji 40) and continued to win top prizes for six consecutive years, becoming one of the leading figures in the Japanese art world from the Meiji to Showa periods. Based on the refined sensibilities nurtured in Kyoto, his polished brushwork, and his reliable depictions based on thorough sketching, Sakuraya painted a wide variety of subjects, from animals and flowers to landscapes and historical events, in both large and small works, leaving behind numerous masterpieces. On the other hand, contrary to his glamorous career, he was known as a simple and unassuming person who would go sketching whenever he had free time, usually dressed in plain kimono and simple hakama, and after the Showa era, he distanced himself from the art world and devoted himself to a life of Chinese poetry and calligraphy. After his death, he was largely overlooked for a long time, but in the 2010s, he began to attract attention again, mainly for his animal paintings, through several exhibitions held at the Sen-oku Hakukokan Museum. This exhibition, held to commemorate the 150th anniversary of his birth, will survey Sakuraya's entire artistic career with approximately 100 works, including representative works such as "Kangetsu" (Cold Moon) and works being shown for the first time, based on these recent research findings. We hope that this exhibition will mark the beginning of a new story for Sakuraya, who lived his life wholeheartedly on the path of art, and for us as well.

Hyakunin Isshu is an anthology of 100 poems by 100 poets. It was collected here in Saga Arashiyama 800 years ago by Fujiwara no Teika, who carefully selected each of the short waka poems. A permanent exhibition at Saga Arashiyama Museum of Art and Culture conveys the charm, and tells the history, of Hyakunin Isshu. *The museum is closed during the exhibition changeover period for special exhibitions and is not open for permanent exhibitions only. Please be aware of this in advance. Chapter I. Sadaie, the editor of the Hyakunin Isshu Meigetsuki (reproduced in facsimile) by Fujiwara-no-Teika Chapter II. The Hyakunin Isshu as a form of education Momiji Hyakunin Isshu Ogura Nishiki, 1792 (woodblock print) Hyakunin Isshu Hina Karuta, Meiji era (printed on paper) Chapter III. From amusement to competitive karuta Ogurayama Hyakkei Sugoroku (One hundred views of Mt. Ogura boardgame), late Edo period (woodblock print, multicoloured) Hyakunin Isshu Karuta, Edo period Ita karuta (board karuta), 1945 Chihayafuru Kokurayama Cup championship commemorative fan ＊Please be aware that the works on display change according to the time of year. You can refer to the latest exhibits on the list of work

ISSEY MIYAKE KYOTOのKURAではKURA展「Mark Borthwick: Something Out of Nothing Into Everything」を開催しています。 プロジェクトについて HOMME PLISSÉ ISSEY MIYAKEの今季のテーマである「 In a New Light 」、ひいてはものづくりへの取組みは、光から生み出される自然現象や、その偶然性と儚さを慈しむボスウィック氏の写真におけるアプローチに通ずるものがあります。プリーツに光を当てることで明らかになる布の凹凸や、風に靡くことで生まれるドレープの透け感と重なり、人が着用することで浮かび上がる立体と影… 光によって自然に発生する光景をボスウィック氏の詩的な視点によって、連続性を持った瞬間として再解釈されました。

An arts and culture facility in the former Meirin Elementary School near Shijo-Karasuma, with exhibitions, performances, workshops, studios, a cafe and library open to visitors.

A kogei gallery and salon near the Philosopher's Path, presenting Japanese hand-crafted wares and works for a contemporary lifestyle in a historic building once connected to painter Chokunyu Tanomura.

A Kyoto gallery and shop focused on handmade tableware, tea and works by artists, potters, woodworkers and lacquer artists, with retail prices set by the makers.

Founded by painter Insho Domoto in 1966, the museum presents works shaped by his belief in breaking with tradition to create new art; he also designed the building inside and out.

A converted wood warehouse in quiet Iwakura that combines a handmade Japanese footwear atelier with a gallery introducing selected objects, clothing, craft and cultural events.

A gallery shop near Ginkakuji and the Philosopher's Path, presenting ceramics, kintsugi and contemporary craft in an old house setting, with opening days announced on Instagram.

ARTCOURT Gallery's appointment-only Kyoto viewing room, opened in 2018 in a Kitashirakawa residence designed around nature, art and time spent in a living space.

Although set in the heart of the lively Gion area, the museum offers you a quiet haven once you step inside. Its fifth floor features a Sun Garden and a tea arbor designed to allow visitors to view the exhibits in natural light. The museum holds special exhibitions of modern and contemporary paintings, crafts, photos, calligraphic works, and more, centering on the collections of works by Japanese-style painter Kagaku Murakami, oil painter Kaoru Yamaguchi, and multi-genre artist Rosanjin Kitaoji.