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Taro Izumi, 'My eyes are not in the centre', installation view at White Rainbow, London, 2018. ©Taro Izumi. Courtesy White Rainbow, London and Take Ninagawa, Tokyo. Image: Damian Griffiths.

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Taro Izumi, 'My eyes are not in the centre', installation view at White Rainbow, London, 2018. ©Taro Izumi. Courtesy White Rainbow, London and Take Ninagawa, Tokyo. Image: Damian Griffiths.

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Taro Izumi, 'My eyes are not in the centre', installation view at White Rainbow, London, 2018. ©Taro Izumi. Courtesy White Rainbow, London and Take Ninagawa, Tokyo. Image: Damian Griffiths.

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Taro Izumi, 'My eyes are not in the centre', installation view at White Rainbow, London, 2018. ©Taro Izumi. Courtesy White Rainbow, London and Take Ninagawa, Tokyo. Image: Damian Griffiths.

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Taro Izumi, 'My eyes are not in the centre', installation view at White Rainbow, London, 2018. ©Taro Izumi. Courtesy White Rainbow, London and Take Ninagawa, Tokyo. Image: Damian Griffiths.

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Taro Izumi, 'My eyes are not in the centre', installation view at White Rainbow, London, 2018. ©Taro Izumi. Courtesy White Rainbow, London and Take Ninagawa, Tokyo. Image: Damian Griffiths.

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Taro Izumi, 'My eyes are not in the centre', installation view at White Rainbow, London, 2018. ©Taro Izumi. Courtesy White Rainbow, London and Take Ninagawa, Tokyo. Image: Damian Griffiths.

Taro Izumi

My eyes are not in the centre

14 September – 3 November

White Rainbow is proud to announce My eyes are not in the centre, an expansive new installation by Taro Izumi. This is the artist’s first UK solo exhibition.

Comprised entirely of new work, Izumi’s exhibition constructs a complex web of interactions mediated through technology, evoking digital and new media’s dissociative effects on the senses. How does perceptible reality change when first hand experience is outsourced to a lens? Minor actions are captured on camera, then broken down and reconstituted – original footage is isolated, reversed, compartmentalised and made strange. The exhibition’s title alludes to this disorientated vision; symptomatic of life lived increasingly through a screen.

Based in Tokyo, Izumi (b. 1976, Nara, Japan) is one of Japan’s leading artists working with multimedia and collaborative practice. Izumi’s large structural works are often made up of simple, familiar objects, constructed in such as way as to transform the everyday into the absurd. His playful, almost childlike works often conceal undertones of dark humour and irony.

Across the exhibition, familiar items and scenes don’t seem quite right. A bartender insistently chisels a block of concrete with an ice pick; a group of people sunbathe at a tropical resort. Yet look closer at this confected beach scene – the concrete stage set adorned with fake fruit and other synthetic props becomes a gross simulacrum. The figures on the adjacent monitor pursue a suntan that will never come, as the rays that land on them come instead come from the light of five projectors overhead. The setting is Black Mirror does Club Tropicana, chipping away at a lucid-seeming reality.

Across his practice, Izumi uses video as a recursive apparatus for exploring the mechanisms of art making, while also commenting on the materiality of video by combining it with structural and architectural interventions into the exhibition space. Made with disarmingly simple materials, these structures are often used in the production of the videos, creating a feedback loop between space and video, production and reception, recorded time and real time.

This exhibition sees Izumi focus for the first time on the impact of drone technology. The artist humorously bastardises the concept of the drone as unmanned and automated by reinserting a human presence into the chain. White Rainbow’s back room, attic and office space are taken over by sprawling installations, but have been walled off, and remain inaccessible to the viewer. A ‘human drone’ sits atop a theatrical wooden staircase in the main gallery space. This human drone is the only person permitted entry to these closed off spaces by means of a small aperture in one of the gallery walls. At the request of the audience, this drone – with a Go Pro camera attached to their prosthetic hand – enters these spaces, filming the installations as they go, before returning to the audience. The viewer’s only way to access these installations is by the video link subsequently handed to them by the human drone. This absurd extra step reintroduces human subjectivity into a technology designed to skirt the need for human involvement.

Izumi’s intricate technological constructions stimulate the senses – our eyes, our ears, our touch, leaving us caught somewhere between body and image.

Taro Izumi was recently the subject of a major retrospective at Palais de Tokyo, Paris, in 2017.

From September – November 2018, Izumi will be in residence at Delfina Foundation, London, concurrent with his exhibition at white rainbow.

White Rainbow will publish a new catalogue on Taro Izumi in November, which will include a new essay by writer and critic Philomena Epps, and installation photographs.

This exhibition has been organised in cooperation with Take Ninagawa, Tokyo.

Based in Tokyo, Izumi (b. 1976, Nara, Japan) is one of Japan’s leading artists working with multimedia and collaborative practice. Izumi uses video as a recursive apparatus for exploring the mechanisms of art making, while also commenting on the materiality of video by combining it with structural and architectural interventions into the exhibition space. Made with disarmingly simple materials, these structures are often used in the production of the videos, creating a recursive loop between space and video, production and reception, recorded time and real time.

Izumi was recently the subject of a major retrospective at Palais de Tokyo.

Selected Solo Exhibitions

2018  My eyes are not in the centre, White Rainbow, London, UK

2017  A Child Suddenly, 21st Century Museum of Contemporary Art, Kanazawa, Japan

2017  ←contact, Take Ninagawa, Tokyo, Japan

2017  Night Lie, Galerie Georges-Philippe & Nathalie Vallois, Paris, France

2017  Pan, Palais de Tokyo, Paris, France

2015  Wa Ra Doki Po kai No Jyutu, Art Center Ongoing, Tokyo, Japan

2014  The Combine PI, The Liberty PO, Take Ninagawa, Tokyo, Japan

2014  No Night, Day Neither, Nassauischer Kunstverein, Wiesbaden, Germany

2013  contact→, HIGURE 15-17 cas, Tokyo, Japan

2013  Dizzy Footing / Eel Getting Close to Numbed Legs, hiromiyoshii roppongi, Tokyo, Japan

2013  CSLAB EXHIBITION Vol.2 Taro Izumi: Kaizuka to Seikatsu, Tokyo Zokei University CS-Lab, Tokyo, Japan

2013  Check, Arts Initiative Tokyo [AIT], Tokyo, Japan

2013  The Source of Wrinkles, Galerie Georges-Philippe & Nathalie Vallois, Paris, France

2011  Taro Izumi, SPROUT curation, Tokyo, Japan

2011  Brave Yawn, hiromiyoshii, Tokyo, Japan

2011  Cloud, looks like a spider, NADiff Window Gallery, Tokyo, Japan

2011  Taro Izumi, Tamagawa Art Gallery, Tamagawa University, Tokyo, Japan

2010  Kneading, Kanagawa Prefectural Gallery, Yokohama, Japan

2010  Manhunt & Sneak Dating, hiromiyoshii, Tokyo, Japan
2010 Hide in a Whale’s Stomach, Mouse, Asahi Art Square, Tokyo, Japan

2009  My Attempt to Build a Mountain Ended up with a Hole Wide Open, NADiff a/p/a/r/t, Tokyo, Japan

2009  Helsinki, Galerie Georges – Philippe & Nathalie Vallois, Paris, France

2008  Magician’s Bread, Solar Eclipse, hiromiyoshii, Tokyo, Japan

2008  junglebook, gallery stump Kamakura, Kanagawa, Japan

2007  Game pedestal (warehouse),buro013 by hiromiyoshii, Tokyo, Japan

2006  Trolly, hiromiyoshii, Tokyo, Japan

2005  GENIUS EPISODE 1&2, HIROMI YOSHII FIVE, Tokyo, Japan

2003  Zilent, Kojimachi Gallery, Tokyo, Japan

2002  Bargain (Fictitious),Pepper’s Loft Gallery, Tokyo, Japan

Selected Group Exhibitions

2017  Japanorama – A new vision on art since 1970, Centre Pompidou-Metz (curated by Yuko Hasegawa)

2017  Japanese Connections, Nikolaj Kunsthal, Copenhagen, Denmark

2017  Mercedes-Benz Art Scope 2015-2017: Wandering to Wonder, Hara Museum of Contemporary Art, Tokyo, Japan

2016  Une Forme olympique, Campus HEC, Paris, France (curated by Jean-Marc Huitorel)

2016  Paradoxa. Japanese Art Today, Casa Cavazzini, Udine, Italy

2016  Paris Champ & Hors Champ, Galerie de l’Alliance Française, Mendoza (Argentine); Recife (Brazil); Joao Pessoa (Brezil); Medellin (Columbia); Pereira (Columbia); Manizales- (Columbia)

2015  Paris Champ & Hors Champ, Galerie de l’Alliance Française, Buenos-Aires (Argentina); Cordoba (Spain)

2015  In Our Time: Art in Post-industrial Japan, 21st Century Museum of Contemporary Art, Kanazawa, Japan

2014  Paris Champ & Hors Champ, Galerie des bibliothèques de la Ville de Paris, France

2014  Collection 2, National Museum of Art, Osaka, Japan

2014  Twentieth Anniversary Special MOT Collection: Chronicle 1995-, Museum of Contemporary Art, Tokyo, Japan

2014  Japon, Contemporary Art Center, Meymac, France

2014  PORTRAIT DE 3/4, Galerie Georges – Philippe & Nathalie Vallois, Paris, France

2013  DOUBLE MESSAGE, SCAI THE BATHHOUSE, Tokyo, Japan

2013  Roppongi Crossing 2013: OUT OF DOUBT, Mori Art Museum, Tokyo, Japan

2013  Rokko Meets Art 2013, Mount Rokko National Park, Hyogo, Japan

2013  HUMOR and LEAP of THOUGHT, Okazaki Mindscape Museum, Aichi, Japan

2013  Identity IX, nca | nichido contemporary art, Tokyo, Japan

2013  MOT Collection, Museum of Contemporary Art Tokyo, Japan

2013  Why not live for Art? II – 9 collectors reveal their treasures, Tokyo Opera City Art Gallery, Tokyo, Japan

2013  Dea Syuturumu (The Storm, Der Sturm) – The Storm For Art and Popular Culture,Nagoya Citizens Gallery Yada, Nagoya, Japan

2012  But Freash, Tokyo Wondersite Hongo, Tokyo, Japan
2012 VOICE OF IMAGES, Palazzo Grassi – Francois Pinault Foundation, Venice, Italy

2012  THE ECHO 2012 BERLIN, Kunstraum Kreuzberg / Bethanien, Projektraum, Berlin, Germany

2012  Real Japanesque: The Unique World of Japanese Contemporary, The National Museum of Art, Osaka, Japan

2012  Humour, parodie et vidéos: créations vidéo du Japon contemporain, Maison de la Culture du Japon, Paris, France

2012  Veranda, Tightrope Walking, Compulsive Plot, TALION GALLERY, Tokyo, Japan

2012  Marsupials, TALION GALLERY, Tokyo, Japan

2012  Koganei Artfull-Jack! BERMUDA TRIANGLE, Chateau Koganei, Tokyo, Japan

2011  Omnilogue: Alternating Currents – Japanese Art After March 2011, Perth Institute of Contemporary Arts (PICA), Perth, Australia

2011  Yokohama Triennale 2011: OUR MAGIC HOUR – How Much of the World Can We Know?-,
NYK Waterfront Warehouse (Bank ART Studio NYK), Yokohama, Japan

2011  Invisibleness is Visibleness: International Contemporary Art Collection of a Salaryman – Daisuke Miyatsu, Museum of Contemporary Art, Taipei, Taiwans

2011  Silent Narrator: On Plural Stories, Museum of Contemporary Art, Tokyo, Japan

2011  JAPANCONGO: Carsten Hollers double-take on Jean Pigozzis collection,
Centre national d’art contemporain, Grenoble, France; Moscow Centre for Contemporary Art, Moscow, Russia; Palazzo Reale di Milano, Italys

2011  Shifting Surfaces: Experience, Perspectives and Media, Artsonje Museum, Gyeongju, Korea

2010  Violence and Universe, Island, Kashiwa,Japan

2010  Trust: Media City Seoul, Seoul Museum of Art, Seoul, Korea

2010  MOT Collection: Enter Here – What do you see?,  Museum of Contemporary Art Tokyo, Japan

2010  CITY 2.0: The Evolutionary Theory of City on the Web Generation, EYE OF GYRE, Tokyo, Japan

2010  Media Landscape – Zone East, Contemporary Urban Centre, Liverpool, U.K

2009  Everyday Life, Another Space, Kanagawa Prefectural Gallery, Yokohama, Japan

2009  TWIST & SHOUT: Contemporary Art form Japan, Bangkok Art and Culture Centre, Bangkok, Thailand

2009  Extra/Ordinary: Video Art from Asia, University of Kansas, Spencer Museum of Art, Kansas,U.S.A

2009  POST. O: The Reverse of TOPOS, Garden City Space of Art, Taipei, Taiwan

2009  CREAM International Festival for Arts and Media Yokohama 2009, Nogeyama Animal Park, Yokohama, Japan

2009  Summer Museum for All Ages: Art Everyday!!,Museum of Modern Art, Gunma, Japan

2009  Winter Garden: Exploration of the Micropop Imagination in Contemporary Japanese Art, 2009 – 2016,  Champasri Art Gallery Mahasarakham University, Mahasarakham; Koala space, Tianjin;
53 ART MUSEUM, Guangzhou; Hong Kong Arts Centre, Hong Kong;
Kaohsiung Cultural Center, Kaohsiung; University Malaya Art Gallery, Kuala Lumpur;
Muzium & Galeri Tuanku Fauziah, Penang; Omani Society Fine Arts, Muscat;
M16 ARTSPACE, Canberra; Gallery Central, Perth; Metropolitan Museum of Manila, Manila;
Yongdusan Gallery, Busan; Lotte Gallery, Anyang, Anyang; Jeju Museum of Art, Jeju;
Public Information & Cultual Center Embassy of Japan in Seoul, Korea, Seoul;
The Exhibition House, Ho Chi Minh City Labour Culture Palace, Ho Chi Minh;
Vietnam Fine Arts Museum, Hanoi; Sintra Modern Art Museume, Sintra; Museum University of Alicante, Alicante; Theocharakis Foundation Museum, Athens; Malmitalo, Helsinki; Gezira Art Center, Cairo; Tkachi, St.Petersburg; National Center for Contemporary Arts, Moscow; Ernst Museum, Budapest; University Museum of Chopo, Mexico City; The Japan Foundation, Tronto;
Japanese American Cultual and Community Center, Los Angeles; Aberystwyth Arts Centre,
Aberystwyth; The Japan Cultural Institute in Rome, Rome; The Japan Cultural Institute in Cologne, Cologne; Hara Museum of Contemporary Art, Tokyo

2009  Re:Membering – Next of Japan, Alternative Space LOOP, Seoul, Korea

2009  Waiting for Video: Works from the 1960s to Today, National Museum of Modern Art,Tokyo, Japan

2009  UNLIMITED, A+, Tokyo, Japan

2008  Between Art and Life: Performativity in Japanese Art, Centre d’Art: Contemporain, Geneve, Switzerland

2008  TOKYO NONSENSE, Scion Installation L.A., Los Angeles, U.S.A

2008  THE ECHO, ZAIM, Yokohama, Japan

2008  Landmark project 3: Let’s Cross Route 16←Let’s Go to Noge!, Yokohama, Japan

2008  Food and Contemporary Art 2008, BankART1929, Yokohama, Japan

2007  Techniques of Storytelling – speaking of unspeakable, SSamize Space, Alternative space Loop, Seoul, Korea

2007  Out of the Ordinary: New Video from Japan, Museum of Contemporary Art, Los Angeles, U.S.A

2007  COLLECTOR’S CHOICE: Collection 2, Daelim Contemporary Art Museum, Seoul, Korea

2007  The Door into Summer – The Age of Micropop, Contemporary Art Gallery, Art Tower Mito, Ibaraki, Japan

2006  After The Reality, Deitch Project, New York,U.S.A

2006  FUKUTAKEHOUSE in Echigo-Tsumari Art Triennial, Niigata, Japan

2006  THEORY OF EVERYTHING: VIDEOART FROM TOKYO, Caochangdi Workstation Art Center, Beijing; tank.tv; Location One, New York; New York University

2005  The World is Mine, HIROMI YOSHII FIVE, Tokyo , Japan

2005  Gallery Artist Show, hiromiyoshii, Tokyo, Japan

2004  Field of Dreams, Project Room / Tomio Koyama Gallery, Tokyo, Japan

2001  Gallery LE DECO, Tokyo, Japan

Selected Performances

2014  JINS ART PROJECT,  JINS Kichijyoji, Tokyo, Japan

2013  hubn’t, (as a member of Orrorin) Art Center Ongoing, Tokyo, Japan

2013  Walking Roof, (participate as Taro Izumi + Orrorin), Roppongi Art Night, Tokyo, Japan

2012  campfire, blanClass, Yokohama, Japan

2012  Sumida River Art Project, Asashi Art Square, Tokyo (with Zakuro Yamaga), Japan

2010  Azumabashi Dance Crossing, Asashi Art Square, Tokyo, Japan

2008  Performance with Zakuro Yamaga, TOYOTA CHOREOGRAPHY AWARD 2008, Tokyo, Japan

2007  Performance with Zakuro Yamaga, HARAJUKU PERFORMANCE Plus, Laforet Harajuku, Tokyo, Japan

Scholarships and Residencies

2017  SAM ART PROJECT, Paris

2015  Merdedes-Benz Art Scope 2015-2017, Berlin

2014  The Follow Fluxus – After Fluxus Grant, The Nassauischer Kunstverein, Wiesbaden

2013  The Japan-UK Residency Exchange Programme 2013, Cove Park, Helensburgh

Selected Public Collections

Le Fonds départementale d’art contemporain de la Seine-Saint-Denis (FDAC) François Pinault Foundation;Jean Pigozzi Collection;Le Fonds municipal d’art contemporain de la ville de Paris (FMAC) ; M+ Museum for Visual Culture, Hong Kong;Kadist Art Foundation;Spencer Museum of Art, The University of Kansas; The Japan Foundation;Museum of Contemporary Art Tokyo; Tokyo National Museum of Art, Osaka;JINS;Dallas Museum of Art

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