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Cover: Light sculpture ‘Flash’ 1968 acrylic, wood and light 220 x 110 x 35 cm

Katsuhiro Yamaguchi

Imaginarium

11 September - 26 October 2013

Katsuhiro Yamaguchi, 2012

In 2009 we made the exhibition Experimental Workshop: Japan 1951-1958, which brought me closer to Katsuhiro Yamaguchi’s work. I soon realised the importance he has, not just in Japan. It is therefore a great honour that we areable to make this first one-person exhibition here in London.

My special thanks go to Jasia Reichardt for all her help and her brilliant essay,and to Shigeru Yokota and his gallery staff, especially Reiko Fukasawa. I wouldalso like to thank Kyoko Ando here in London. Finally and most of all, a specialThank You to Katsuhiro Yamaguchi for giving us this wonderful exhibition.

David Juda, August 2013

Exhibition, Katsuhiro Yamaguchi From Vitrine to Video, Kanagawa Prefectural Gallery, 1981

Katsuhiro Yamaguchi — Imaginarium

Yamaguchi’s ‘Imaginarium’ was a project he developed gradually from the1950s. It is an updated version of Malraux’s Le Musée Imaginaire (1947), amuseum of an infinite number of reproductions. What Yamaguchi wanted toachieve with his ‘Imaginarium’ was to enable the visitor not only to see allthe works in the world, but also to interact with them. He wanted art to beseen very much like everything else in our natural environment, somethingthat can be touched moved, addressed, and changed. Like Malraux, Yamaguchi was in advance of his time.

The 21 works in this exhibition represent the early period of Katsuhiro Yamaguchi'screative life. They belong to the 1950s and 1960s, an important moment for experiment in the history of Japanese art. For Yamaguchi this was the beginningof his progress from illusionistic Vitrines, light sculptures, constructions withstretched sacking, structures with fluorescent plastics and photographs, tovideo, to installations and finally to multimedia works. Since the 1950s, usingwhatever technology was available, his work has concentrated on two specificideas: the spectator's intentional or unintentional interaction with the works, anda fluid exchange between the past and the present. By the 1970s, Yamaguchi was already known in Japan as the father of videoand media art, gradually becoming one of the most admired and influentialartists in the country.

The 1950s was a significant period of experimental art in Japan that left the conventional concerns of painting and sculpture behind. The new art set out toembrace movement, music, dance, unconventional materials, lighting effects,photographic collages and synchronised audio-visual presentations with multiple screens. Leading this departure from convention was a group of youngartists and composers, who belonged to Experimental Workshop (Jikken Kobo)so named by the poet and critic, Shuzo Takiguchi. Yamaguchi was one of its 14members. Among them were: Kuniharu Akiyama, Shozo Kitadai, Toru Takemitsu,Hideko Fukushima, Hiroyoshi Suzuki and Joji Yuasa. Like the other members of Experimental Workshop, Yamaguchi had no conventional art education. He hadtrained as a lawyer and when he joined the group in 1951, he was 23. The grouphad neither an office nor a studio — during the seven years of its existence, theExperimental Workshop was portable, and its members worked where theycould, individually or in small teams. They were responsible for some memorableexhibitions, animated environments and experimental stage designs for ballets.

Yamaguchi's works of that period, 1950s and 1960s, anticipate his later develop-ment because they already deal with ideas he continued to develop through-out his career. What are they?

First of all, he emphasises that any single three-dimensional work, can be seen inseveral different ways. 'When I took pictures of my work,' — wrote Yamaguchi —'I would light it with Kiyoji Otsuji and others, and then shoot a certain part of thework. Things look completely different depending on the way you light them.'His Trial Objects (cat. nos. 9-11), for instance, yellow forms in fluorescent acrylic,when suspended from above under a rotating light, perhaps even an ultravioletlight, will change their appearance for each of the visitors looking at them.The same is true of the Magnetic Reliefs (cat. no. 12) that look different everytime someone changes the positions of the coloured pieces on the verticalblack surface. When we look at the work we see what was done last time, wedon't see, we don't know, the history of the movements of the magnetic piecesthat had taken place before. The past has gone, what we see is just the present.What had been seen once becomes virtual, a memory. And that is central to Yamaguchi’s thinking. That is what he wants to capture — the history of thepiece, the history of what it looked like at different times.

Time, movement and transformations are the themes Yamaguchi tackles in theVitrines (cat. nos. 4, 14, 15), which he started making during the years of the Experimental Workshop. These are paintings covered with layers of patternedand/or opaque glass, which impose a texture on the painted surface. The texture, in turn, becomes affected by whatever is reflected in the glass such asthe fragmented faces of the viewers. As one walks in front of one of the Vitrinesso one experiences an illusion of the painting in motion. Their appearancechanges. No photograph taken of the work from a given angle, however care-fully positioned, will be quite the same as others. Artists like Soto and Agam,have used a similar principle of walking in front of the work to see it change,often quite radically, as one continues to move. With the Vitrines, however, especially the large ones, the changes tend to be subtle, small, but sometimesquite unexpected however many times one undertakes the journey in front ofthe picture.

The Vitrines are the beginning of Yamaguchi's journey following the moment hefirst marveled at making something that defies our grasp. How to combine thepast and the present? How can a work of art absorb all that is going on aroundit? It doesn't matter if the visitors to the gallery do not stop to contemplate theobjects on display — their presence casts a shadow, and the work is affectedby their presence. These thoughts led Yamaguchi towards several significantworks, which placed him right in the centre of the art and technology movement in Japan.

One particular work intended to combine the past and the present is called Reflection 1958,1994. It was exhibited at Satani Gallery in 1994. On one side of

Still for the auto-slide projection "Adventure of the Eyes of Mr.W.S., a Test-Pilot”, Composition byKatsuhiro Yamaguchi, Music by Hiroyoshi Suzuki, 1953

Still for the auto-slide projection "Adventure of the Eyes of Mr.W.S., a Test-Pilot”, Composition byKatsuhiro Yamaguchi, Music by Hiroyoshi Suzuki, 1953

the gallery hung Vitrine — Landscape, 1958. Opposite this was installed VideoPassage, 1994, a construction of transparent acrylic columns with eight videomonitors. A hand-held camera, in the shape of a small sphere could be held bya visitor and pointed at any detail on the Vitrine. That detail then became transferred to the Video Passage and combined with other reflections. In thatexhibition the viewers' attention was directed towards reflections in the VideoPassage, some of which they could control. The physical reality of the workfaded as the viewers themselves joined the images gathered inside the work.Yamaguchi’s inspiration for the works that combine the old and the new, thepast and the present was the story by Adolfo Bioy Casares, The Invention ofMorel. In it, Morel creates a machine that replays ad infinitum scenes from thelife of a group of characters. Whoever is watching cannot participate becausethe sequences replicated by the machine are locked into the moments whenthey were recorded. And so, in the book, the world consists of those virtual life-like images going about their business, and the viewer, a young man who tries,but cannot, join them.

The Vitrines are not the only works through which the ethos of ExperimentalWorkshop has continued in Yamaguchi's work. Jikken Kobo was a collective enterprise in which composers, photographers, and lighting designers collaborated, improvising with whatever means were available. Yamaguchi hascontinued to work with groups of artists, musicians, architects, dancers, students,and has continued to invent means to realise their common ideas. He organisedperformances, teams working with video, displays, exhibitions, and operas. Theethos of Experimental Workshop was never far away, but in the 1990s the ideasunderlying experimental art in Japan found their new home on Awaji Island inthe Art Village organised by Yamaguchi. This too was intended to tread unorthodox paths of combining and redefining ideas outside the current mainstream.

Today, Yamaguchi is not able to undertake and organise big projects, but hecontinues to work. He now paints vibrant animated gouaches that continue toreflect his view of the changing world unfolding before him. One of his mostmoving recent exhibitions was his Sanriku Requiem at Tamagawa University inTokyo. This was a requiem in memory of the devastation inflicted by the tsunamion Sanriku, the beautiful northeastern Tohoku region, in 2011.

Yamaguchi’s work continues to emphasise Shuzo Takiguchi’s dictum for the Experimental Workshop, that in experiment nothing can be, or should even attempt to be, fixed and made permanent.

Jasia Reichardt, August 2013

Yamaguchi’s diagram charting the development of his work concept (appeared in the magazineJapan Interior Design, 1981)

3

1 Photography for APN 1953 Composition: Katsuhiro YamaguchiPhotography: Kiyoji Otsujigelatin silver print14.5 x 18.8 cm

2 Photography for APN 1953 Composition: Katsuhiro YamaguchiPhotography: Katsuhiro Yamaguchigelatin silver print21.7 x 14.6 cm

3 Photography for APN 1953 Composition: Katsuhiro YamaguchiPhotography: Kiyoji Otsujigelatin silver print14.1 x 9 cm

4 Vitrine ‘Distorted Mirror’ 1956aluminium leaf, glass, synthetic resin, paint, paper on wood panel43.2 x 31.1 x 7.7 cm

Cloth Sculptures, 1962-63

5 Untitled (cloth sculpture) 1960smetal and cloth70 x 90 x 47 cm

6 Untitled (cloth sculpture) 1960smetal and cloth96 x 46.5 x 34.5 cm

7 Untitled (cloth sculpture) c.1960metal and cloth52 x 51 x 31 cm

8 Mesh Sculpture 1961 painted wire mesh46 x 34 x 27 cm

9 Trial object in acrylic plastic 1960sacrylic plastic90 x 90 x 25 cm

10 Trial object in acrylic plastic 1960sacrylic plastic45 x 38 x 25 cm

11 Trial object in acrylic plastic 1960sacrylic plastic57 x 38 x 19.5 cm

12 Magnetic relief 1963 painted wood, magnet and metal (variable configurations)100 x 100 x 5.5 cm

13 Light sculpture ‘Flash’ 1968 acrylic, wood and light220 x 110 x 35 cm

14 Light sculpture ‘Vitrine’ 1990s acrylic, wood and light28 x 33.3 x 13.5 cm

15 Light sculpture ‘Vitrine’ 1990s acrylic, wood and light43 x 53.5 x 13.5 cm

16 Untitled c.1950crayon on paper24.8 x 35 cm

17 Untitled c.1950crayon and watercolour on paper24.5 x 33 cm

18 Untitled c.1950graphite on paper26.8 x 34.7 cm

19 Untitled c.1950crayon and ink on paper18.1 x 25.6 cm

20 Untitled c. 1950crayon and watercolour on paper25.9 x 35 cm

21 Conception: Universe c.1950crayon on paper25.8 x 34.3 cm

Katsuhiro Yamaguchi and Hiroyoshi Suzuki editing their auto-slide projection piece, 1953

BIOGRAPHY

1928 Born in Tokyo1945 Enters preparatory course at

the Department of Engineering, Nihon University

1948 Forms Shichiyokai with Shozo Kitadai, Hideko Fukushima and others

1951 Graduates from the Depar-ment of Law, Nihon UniversityForms Jikken Kobo (Experimen-tal Workshop) with Shozo Kitadai, Hideko Fukushima, Toru Takemitsu, Kuniharu Akiyama and others

1961-62 First trip to Europe and America Meets Yoko Ono and Fluxus artists in New York Visits Frederick Kiesler’s studio

1962 Presents his first stretched-fabric sculpture

1966 Presents his first light sculpture made of acrylicForms Enbairamento no Kai(Environment Group)

1968 Selected as Japan’s repre- sentative for the Venice Biennale

1970 Art Director, Mitsui Pavilion, Expo ‘70, Osaka

1972 Forms Video Hiroba (Video Plaza)aimed to promote video art

1977 Launches the concept of Imaginarium

1977-92 Professor at the Institute of Art and Design, Tsukuba University

1978 Publishes Kankyo GeijutsukaFrederick Kiesler (Environmental Artist Frederick Kiesler)

1981 Art Director, Theme Pavilion, Portopia ‘81, Kobe

1982 Participates in the formation of Aru Juni (Arts Unis), a group promoting high technology art inJapan

1990 Participates in the plans to createthe Awajishima Art Village

1992- Professor Emeritus, Tsukuba University

1992-97 Director, Artec, International Biennale, Nagoya

1992-99 Professor, Department of VisualInformation Design, Kobe DesignUniversity

1999- Professor Emeritus, Kobe Design University

2000-02 President, Institute of Environmental Art and Design

2001- Visiting Professor, Joshibi University of Art and Design

AWARDS

1967 Grand Prix, 4th Nagaoka Contemporary Art Museum Award Exhibition, Nagaoka Con-temporary Art Museum

1968 National Museum of Modern Art Award, 8th Contemporary Japanese Art Exhibition, Tokyo Metropolitan Art Museum

1969 Award of Merit, 1st International Contemporary Sculpture Exhibi-tion, Hakone Open-Air Museum

1975 Premio Industria Villares, 13th São Paolo Biennale

1985 Laser d’Or, 6th International Video Art Festival, Locarno

1993 Conseil de l’Europe Prize for the contribution to Video Art, 14th International Video Art Festival, LocarnoGrand Prix de la ville de Locarnofor Metabolism in Locarno, joint production with Opera, 14th International Video Art Festival, Locarno

2001 42nd Mainichi Art Award

SELECTED SOLO ExHIBITIONS

1952 Matsushima Gallery, Tokyo1953 Vitrines, Takemiya Gallery, Tokyo1955 Vitrines, Wako Gallery, Tokyo1956 American Cultural Centre,

YokohamaKatsuhiro Yamaguchi / Kiyoshi Seike: Decorative Space, Wako Gallery, Tokyo

1958 Katsuhiro Yamaguchi: Works withLight and Glass, Wako Gallery, Tokyo

1959 Sato Gallery, Tokyo1961 3rd Contemporary Vision Series:

Space and Form / Works of Katsuhiro Yamaguchi, Sato Gallery, Tokyo

1964 Katsuhiro Yamaguchi: Three- Dimensional Works, Akiyama Gallery, Tokyo

1977 Katsuhiro Yamaguchi: Video-rama, Minami Gallery, Tokyo / Sony Tower, OsakaKatsuhiro Yamaguchi: Video Performance, École Sociologique Interrogative, ParisKatsuhiro Yamaguchi: Experi-mental Drawings, Ao Gallery, Tokyo

1978 Katsuhiro Yamaguchi: Video Art Presentation, CAYC, Buenos AiresKatsuhiro Yamaguchi: Environ-mental Video Art, Anthology FilmArchives, New York

1981 Katsuhiro Yamaguchi: From Vitrine to Video, Kanagawa Prefectural Hall Gallery, YokohamaKatsuhiro Yamaguchi: Anthologi-cal Print, Gallery Hosun, TokyoKatsuhiro Yamaguchi: Info-Environmental Sculpture, Tokyo Gallery, Tokyo

1984 4th Homage to Shuzo Takiguchi: Katsuhiro Yamaguchi Video Spectacle Future Garden, SataniGallery, Tokyo

1986 Katsuhiro Yamaguchi: Video Spectacle Galaxy Garden, Hyogo Prefectural Museum of Modern Art, Kobe / Laforet Museum Espace, Tokyo

1987 Katsuhiro Yamaguchi: Video Installation, Gatodo Gallery, TokyoFestival Arte Elettronica,Camerino

1988 Katsuhiro Yamaguchi: Video Image and Architecture – Arch, Pillar, Zambini, Satani Gallery, Tokyo

1992 Another Katsuhiro Yamaguchi, Tsukuba Museum of Art, IbaragiKatsuhiro Yamaguchi: Media Circus, Aichi Prefectural Museumof Art, Nagoya Katsuhiro Yamaguchi, CAYC, Buenos Aires

1994 Katsuhiro Yamaguchi: Reflection1958:1994, Satani Gallery, TokyoYamakatsu Kojo Open Factory, Yamakatsu Kojo, Awajishima

Exhibition, Katsuhiro Yamaguchi: Vitrines, Wako Gallery, 1955

Exhibition, Today's Vision 3: Space and Form of Katsuhiro Yamaguchi, Sato Gallery, 1961

1995 Katsuhiro Yamaguchi: Vitrine Images, Satani Gallery, TokyoRetrospective of Katsuhiro Yamaguchi, 16th International Video Art Festival, Locarno

1996 Methods of Contemporary Art (2): Media and Expression - Takumi Shinagawa and Katsuhiro Yamaguchi, Nerima Art Museum, Tokyo

1999 Public Art in the Age of Multime-dia, Kobe Design University GalleryDenno Kage-e Yugi, Muyu Togen Zu (Computerized Shadow Play: Dream Journey to Peach Grove Utopia), Satani Gallery, Tokyo

2000 Darkness 2000 Light, Nizayama Forest Art Museum, Toyama

2001 Katsuhiro Yamaguchi: Dragon Stream, INAx Gallery 2, Tokyo

2004 Katsuhiro Yamaguchi: 1950’s – Drawings for Vitrine, Shigeru Yokota Gallery, Tokyo

2006 Katsuhiro Yamaguchi: Pioneer ofMedia Art, From Experimental Workshop to Teatrine, Museum of Modern Art, Kamakura & Hayama

2009 Katsuhiro Yamaguchi: Legend Flight of ICARUS in Greece, The Third Gallery Aya, Osaka

2010 Katsuhiro Yamaguchi and The Legend of Urashima Taro, Shinanobashi Gallery, Osaka

2011 Sanriku Requiem, Tamagawa University, Tokyo

2013 Katsuhiro Yamaguchi - Imaginarium, Annely Juda Fine Art, London

SELECTED GROUP ExHIBITIONS

1948 Shichiyokai Exhibition, Hokuso Gallery, Tokyo

1949 1st Yomiuri Independent Exhibition, Tokyo Metropolitan ArtMuseum

1950 2nd Yomiuri Independent Exhibition, Tokyo Metropolitan ArtMuseum

1951 3rd Yomiuri Independent Exhibition, Tokyo Metropolitan ArtMuseum

1952 3rd Experimental Workshop Presentation, Takemiya Gallery, Tokyo4th Yomiuri Independent Exhibition, Tokyo Metropolitan ArtMuseum

1953 5th Yomiuri Independent Exhibition, Tokyo Metropolitan ArtMuseumChusho to Genso (Abstraction and Surrealism), National Museum of Modern Art, Tokyo

1954 6th Yomiuri Independent Exhibition, Tokyo Metropolitan ArtMuseumNew Artists from Yomiuri Inde-pendent Exhibition, Yoseido Gallery, Tokyo

1955 7th Yomiuri Independent Exhibi-tion, Tokyo Metropolitan Art MuseumAbstract Art from Japan and America, National Museum of Modern Art, TokyoArt Club Group Exhibition, Sato Gallery, TokyoWorks of the Experimental Work-shop, Muramatsu Gallery, TokyoNew Artists of Today – 1955, Museum of Modern Art, Kamakura & Hayama

1956 7th Exhibition of Distinguished Works, Nihonbashi Mitsukoshi Department Store, TokyoArt Club Exhibition, Nabisu Gallery, Tokyo8th Yomiuri Independent Exhibition, Tokyo Metropolitan ArtMuseum

International Arts and Crafts Exhibition, FlorenceThree Artists of the Experimental Workshop, Fugetsudo Gallery, TokyoExhibition of 46 Artists, Matsuzakaya Gallery, TokyoWorld Art of Today, Nihonbashi Takashimaya Department Store, Tokyo15 New Artists, Chuo Koron Gallery, Tokyo

1957 9th Yomiuri Independent Exhibi-tion, Tokyo Metropolitan Art MuseumSummer Exhibition for the Enjoy-ment of New Vision and Space, Fugetsudo Gallery, Tokyo

1958 10th Yomiuri Independent Exhibi-tion, Tokyo Metropolitan Art MuseumOsaka International Art Festival: New World of Paintings / Art Informel and Gutai, Takashimaya Department Store, Osaka

1959 1st Exhibition of Shudan 30, TokyoDepartment Store, Tokyo11th Yomiuri Independent Exhibi-tion, Tokyo Metropolitan Art Museum2nd Exhibition of Shudan 30, Shirokiya Department Store, TokyoKatsuhiro Yamaguchi and Hiroyuki Uemura: Oil Paintings, Fugetsudo Gallery, Tokyo

1960 12th Yomiuri Independent Exhibi-tion, Tokyo Metropolitan Art Museum1st Shudan Contemporary Sculpture Exhibition, Ikebukuro Seibu Department Store, Tokyo

1961 13th Yomiuri Independent Exhibi-tion, Tokyo Metropolitan Art Museum2nd Shudan Contemporary Sculpture Exhibition, Ikebukuro Seibu Department Store, Tokyo

1962 Art Club Exhibition, Shinjuku Daiichi Gallery, Tokyo3rd Shudan Contemporary Sculpture Exhibition, Ikebukuro Seibu Department Store, Tokyo

1963 15th Yomiuri Independent Exhibition, Tokyo Metropolitan ArtMuseumContact 7 Exhibition, Tsubaki Kindai Gallery, TokyoKatsuhiro Yamaguchi, Minami Tada and Michio Fukuoka: ThreePerson Show, Shinjuku Daiichi Gallery, Tokyo

1964 Off Museum Exhibition, Tsubaki Kindai Gallery, TokyoArtists of Today: 1964, YokohamaCivic Art GalleryArt with New Materials, Shinjuku Odakyu Department Store, TokyoArt Club Sculpture Exhibition, Tokiwa Gallery, Tokyo

1965 Four Contemporary Artists, Ikebukuro Seibu Department Store, Tokyo1st Contemporary Japanese Sculpture Exhibition, Ube City Open-Air Sculpture MuseumThe New Japanese Painting andSculpture, Museum of Modern Art, New YorkArt Club Prints Exhibition, Tokiwa Gallery, Tokyo

1966 7th Contemporary Japanese ArtExhibition, Tokyo Metropolitan ArtMuseum

Exhibition, Katsuhiro Yamaguchi, From Vitrine to Video, Kanagawa Prefectural Gallery, 1981

Katsuhiro Yamaguchi standing in front of the Mitsui Group pavilion, ExPO'70, Osaka, 1970

Trends in Contemporary Art, National Museum of Modern Art,KyotoColour and Space, Minami Gallery, TokyoFrom Space to Environment, Ginza Matsuya, Tokyo

1967 9th International Art Exhibition of Japan, Tokyo Metropolitan Art MuseumGuggenheim International Exhibition, Guggenheim Museum, New York4th Nagaoka Contemporary Art Museum Awards Exhibition, Nagaoka Contemporary Art MuseumArt in Wonderland, Tokyo Gallery, Tokyo

1968 34th Venice Biennale Exhibition, National Museum of Modern Art,Tokyo8th Contemporary Japanese ArtExhibition, Tokyo Metropolitan ArtMuseumContemporary Space – Light and Environment ‘68, Sogo Department Store, Kobe34th Venice Biennale, Japanese Pavilion, VeniceFluorescent Chrysanthemum, Tokyo Gallery / Minami Gallery, TokyoTrans-flection in Space, Nippon Sheet Glass Company Head Office Glass Centre, OsakaFluorescent Chrysanthemum, ICA, London

1969 Ars ‘69, Atheneum Art Museum, HelsinkiInternational Sci-tech Art – Electromagica ‘69, Sony Building, Tokyo9th Contemporary Japanese ArtExhibition, Tokyo Metropolitan ArtMuseum

Contemporary Art: Dialogue between East and West, National Museum of Modern Art,Tokyo1st International Contemporary Sculpture Exhibition, Hakone Open-Air Museum3rd Japanese Contemporary Sculpture Exhibition, Ube City Open-Air Sculpture Museum

1970 Expo Art Exhibition, Expo Museum, OsakaContemporary Art Festival, Yokohama Civic Art Gallery

1972 1st Video Communication: DO ITYOURSELF KIT, Sony Building, TokyoOpened Retina, Grabbed Image: Video Week, American Centre, Tokyo

1973 Matrix International Video Conference, Vancouver Art GalleryContemporary Japanese Art – A20 Year Vision, Tokyo Metropoli-tan Art MuseumDevelopment of Postwar Japan-ese Art: Abstract and Non-figurative, National Museum of Modern Art, TokyoComputer Art ‘73, Sony Building, Tokyo

1974 Underground Cinemateque Special Programme <Tokyo-NewYork VIDEO EXPRESS>, Tenjo SajikiKan, TokyoFirst 100 Feet Film Festival, Sabo Kaikan Hall, Tokyo / NanatsuderaKyodo Studio, Nagoya / Italian Cultural Centre Hall, Kyoto / Hokkaido Shimbun Hall, Sapporo11th International Art Exhibition of Japan, Tokyo Metropolitan ArtMuseum

Japan – Tradition und Gegen-wart, Städtische Kunsthalle Düsseldorf and other venues in Norway, Sweden and Denmark 4th Kobe Suma Rikyu Park Contemporary Sculpture Exhibi-tion, Suma Rikyu Park, KobeInternational Computer Art, SonyBuilding, TokyoSt Jude Invitational Video Show, de Saisset Museum at Santa Clara UniversitySelected Artists of Today, Yokohama Civic Art Gallery9th Japan Art Festival, Musée d’Art Contemporain de Montreal / Vancouver Art GalleryCharity Art Fair ‘74: Dolls, Gallery Heart Art, TokyoBooks as Objects, Nishimura Gallery, Tokyo

1975 Video Art, Institute of Contemporary Art, PennsylvaniaUniversityVision of Japanese Contempo-rary Art, Ikebukuro Seibu Department Store, Tokyo8th Gendai no Zokei – Kidoairaku(Contemporary Forms - Joy, Anger, Pathos and Humour), Daimaru Department Store, Kyoto13th Sao Paolo Biennale, Sao Paolo4th International Open Encounter on Video, CAYC, Buenos AiresIllumination / Original Lighting Equipment, Ao Gallery, TokyoWonderland / Hand-made Toys, Ao Gallery, TokyoCharity Fair ‘75, Gallery Heart Art, Tokyo

1976 5th International Open Encounter on Video, ICC, AntwerpDrawings by 15 Sculptors, Ao Gallery, TokyoWonderland / Toys and Objects, Ao Gallery, Tokyo

1977 Bird’s Eye View of ContemporaryArt – Artists in Search of Tomorrow, National Museum of Modern Art, KyotoGerman Month Fukuoka: Video Art of Germany and Japan, Fukuoka Cultural HallWonderland / Tiny Weeny Exhibition, Ao Gallery, TokyoVideo Art of Germany and Japan, Fukui Fine Arts Museum

1978 International Video Art Tokyo ‘78, Sogetsu Art Centre, TokyoBeauty of Space – Beauty Lives: In Search of a New Visual Space, Tochigi Prefectural Museum of Fine Arts, UtsunomiyaVideo Art of Germany and Japan – Towards a New Awareness ‘78, Miyazaki UniversityVideo Art of Germany and Japan, Maki Gallery, Tokyo1st São Paolo International Video Art Exhibition, Museu da Imagem e do Som, São Paolo

1979 Video from Tokyo to Fukui and Kyoto, Museum of Modern Art, New YorkArt of Performance, Palazzo Grassi, VeniceDevelopment of Modern Japan–From Meiji and Taisho to Showa, Tokyo Metropolitan Art Museum/Kyoto Municipal Museum of ArtKusuo Shimizu and his Artists, Minami Gallery, Tokyo

1980 Development of Contemporary Sculpture – Postwar Sculptures by 41 Artists, Kanagawa Prefectural Civic Hall Gallery, YokohamaJapanese and American Video Art, Ikebukuro Seibu DepartmentStore Studio 200 / Hyogo Prefec-tural Museum of Art, Kobe / Fukuoka Art Museum / Osaka Contemporary Art Centre / Hokkaido Museum of Modern Art, Sapporo / Hara Museum, Tokyo / Museum of Modern Art, New YorkMoving Image Expression ‘80 – Exploring with Video, Kyoto Municipal Museum of Art1st Japanese Culture Design Conference: Performing ‘80, Yokohama Silk Museum and othersVideo Roma 80, Museo del Folklore Romano, Rome

1981 The 1950’s: Darkness and Light, Tokyo Metropolitan Art MuseumContemporary Japanese Art, Miyagi Museum of Art, SendaiThe 1960’s: A Decade of Change in Contemporary Art, National Museum of Modern Art,Tokyo / National Museum of Modern Art, KyotoDevelopment of Japanese Modern Sculpture, Museum of Modern Art, Kamakura & Hayama

1982 1st Contemporary Arts Festival: Shuzo Takiguchi and Postwar Art,Museum of Modern Art, Toyama4th Sydney Biennale, Sydney

1983 2nd Contemporary Arts Festival: Art and Engineering, Museum of Modern Art, ToyamaELECTRA, Musée d’Art Moderne de la Ville, Paris

1985 6th International Video Art Festival, LocarnoGiappone Avanguardia del Futuro, Palazzo Rosso, GenoaContemporary Self Portraits, Museum of Modern Art, Saitama, UrawaInternational High Technology and Art, Shibuya Seibu Department Store, Tokyo40 Years of Contemporary Art, Tokyo Metropolitan Art MuseumFukui International Video ‘85 Festival, Festival Plaza, Fukui

1986 Contemporary Japanese Art, Taipei Fine Arts MuseumImage du Futur ‘86, La Cité des Arts et des Nouvelles Technolo-gies de MontrealJapon des Avant Gardes 1910-1970, Centre Georges Pompidou, ParisTSUKASHIN ANNUAL ‘86 – Hanging Art, Tsukashin Hall, AmagasakiInternational High Technology and Art, Matsuzakaya, Nagoya /Sunshine City, TokyoHaptic Art, Gallery TOM, Tokyo

1988 Image du Futur '88, La Cité des Arts et des Nouvelles Technolo-gies de MontrealHigh Technology Art of Japan, Taiwan Museum of Art, Taichung

1989 World Design Expo: Gaudi and Modernisme Catala, Nagoya Castle4th Contemporary Arts Festival: Moving Images of Today, Museum of Modern Art, ToyamaEuropalia ‘89 Japan Festival - New Tools New Images, Museumvan Hedendaagse Kunst,Antwerp

1990 Light in Art, Kamakura Gallery, Tokyo

1991 11th Homage to Shuzo Takiguchi: Experimental Work-shop and Shuzo Takiguchi, Satani Gallery, TokyoHigh Tech Art 1991, Ginza Matsuya Department Store, TokyoRadicalchip: Contemporary Art from Japan, Chapter Arts Centre, Cardiff2nd Nagoya International Biennale ARTEC ‘91, Nagoya City Science Museum

1992 International Biennale in Nagoya- ARTEC ‘91, Taiwan Museum of Art, Taichung / National School of Arts, Taipei

1993 Japan Cultural Festival in Paris: Nouvelles Images au Japon, UNESCO Cinema Room, Paris

1994 When Body Becomes Art, Itabashi Art Museum, TokyoMetamorphosis of Art in the Postwar Era, Iwaki City Art Museum, Fukushima

1995 Japanese Culture: Fifty Postwar Years 1945-1995, MeguroMuseum of Art, Tokyo / HiroshimaCity Museum of Contemporary Art / Hyogo Prefectural Museum of Modern Art, Kobe / Fukuoka Prefectural Museum1st Gwangju Biennale: Info-Art, Gwangju

1996 Nonstatic Art in the 20th Century, Wakayama Prefectural Museum of Modern ArtShedding Light on Art in Japan 1953, Meguro Museum of Art, Tokyo1964: A Turning Point in Japan-ese Art, Museum of Contempo-rary Art, TokyoVideo Art 1966-1996, Museo Cantonale d’Arte, Lugano

1997 5th Nagoya International Biennale ARTEC ‘97, Nagoya City Art MuseumJapanese Art 1960’s: Japanese Summer 1960-1964, Art Tower Mito

1998 Electronically Yours, Tokyo Metropolitan Museum of PhotographyThe Library of Babel: Characters/Books / Media, NTT InterCom-munication Centre, TokyoSogetsu Art Centre 1945-1970, Ashiya City Museum of Art & History / Chiba City Museum of Art

2000 Homage to Taro Okamoto from Seven Artists, Taro Okamoto Museum of Art, Kawasaki

2002 The Dream of a Museum, Hyogo Prefectural Museum of Art, KobeTwelve Japanese Artists from theVenice Biennale 1952-2001, Art Tower Mito

2007 Art, Anti-Art, Non-Art: Experimen-tations in the Public Sphere in Postwar Japan 1950-1970,The Getty Centre, Los AngelesExperimental Workshop and APN, Fuji xerox Art Space, Tokyo

2009 Experimental Workshop: Japan 1951-1958, Annely Juda Fine Art, London

2012 Tokyo 1955-1970: A New Avant-Garde, Museum of Modern Art, New YorkDoor to Modernity: Jikken Kobo, Museum of Modern Art, Kamakura & Hayama / Iwaki City Art Museum, Fukushima / Museum of Modern Art, Toyama/ Kita Kyushu Municipal Museum of Art, Fukuoka / Setagaya Art Museum, Tokyo

2013 Collection Recollection VOL.1, 5 Rooms Sculpture / Art Objects / Three-Dimensional Work, Kawamura Memorial DIC Museum of Art, Sakura Public Art

PUBLIC ART

1970 Light Sculpture Light Cube, Expo ‘70, Osaka

1973 Sculpture Negative Relief(collaboration with Takayasu Ito), Yomiuri Shimbun Building, Tokyo

1982 Video Sculpture Image Bird,Ikebukuro Seibu Department Store, Tokyo

1983 Video Installation Sign Video, Holography Media Jizo, Roppongi WAVE, Tokyo

1984 Display Design with 144 Monitor Televisions, Holography Sculpture Media Shichifukujin, Yurakucho Seibu Department Store, Tokyo

1986 Video Sculpture Baroque, Shinjuku Isetan Department Store, Tokyo

1987 Video Sculpture Trio, O Art Museum, Tokyo

1988 Video Sculpture Kawasaki, Kawasaki Civic MuseumVideo Multi-projection Bridge to Bridge, Seto Ohashi Kakyo Kinenkan, Kurashiki

1989 Video Multi-projection Video-rama Gaudi, World Design Expo,NagoyaVideo Sculpture Metamorphosis of Water, TOTO Showroom, Tokyo

1993 Monument Soaring Life, Moriya Town, Ibaraki

1995 Installation of Light and Sound

(entrance lobby), Installation of

Sound (patio), Museum of Contemporary Art, Tokyo

1996 Sound installation Oto no Kehai, Galleria, Tokyo Opera City

1999 Multi-media public art Bird Boat,

Video Passage, Osaka City Living Information Centre, Osaka

1999 Multi-media public art Dragon, Institute of Contemporary Art, Taipei

PUBLICATIONS

1967 Futeikei Bijutsuron (Free Forms and Concepts), Gakugei Shorin

1978 Kankyo Genjutsuka Frederick

Kiesler (Environment Artist Frederick Kiesler), Bijutsu Shuppansha

1981 Works of Katsuhiro Yamaguchi

/360°, Rokuyosha1983 Tsumetai Performance (Cold

Performance), Asahi Shuppan-sha (dialogue with Toru Shimizu)

1985 Performance Genron (Principles of Performance), Asahi ShuppanshaRobot Avant-Garde, PARCO Publishing

1987 Eizo Kukan Sozo (Creation of Environmental Images), Bijutsu Shuppansha

1992 Tenjin Festival in the Media Age,Bijutsu ShuppanshaUBU Yu-Fuyu, Zeppan Shobo

ISBN 1-904621-53-8

Photographs of works: Sadamu Saito, Ian Parker

Portrait photograph: Shigeru Yokota

Essay © Jasia Reichardt

Translation of biography: Kyoko Ando

Catalogue © Annely Juda Fine Art/Katsuhiro Yamaguchi 2013

Works © Katsuhiro Yamaguchi

Printed by Deckers Snoeck, Belgium

Video works by Katsuhiro Yamaguchi shown in the exhibition:

Sanriku Requiem, 2012

Legend Flight of Icarus in Greece, 2009

Image Bird, 1981

Fantasy on Gaudi, 1978

Ooi and Environs, 1977

Girl in Vortex, 1977

Video Kaleidoscope, 1977