[NowArt] Aichi Triennale e-book Brochure 2019 for YouTube

AICHI TRIENNALE 2019 August 1–October 14, 2019

Aichi Prefectural Museum of Art Nagoya City Art Museum

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Tam ing Y/Our Passion AICHI TRIENNALE 2019 August 1–October 14, 2019 AICHI TRIENNALE 2019 August 1–October 14, 2019

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아이치 현립 미술관

Nagoya City Art Museum 나고야시립미술관

Nagoya City Performing Arts Center 나고야시립공연예술센터

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AICHI MUSUM of ART 아이치미술관 愛知美術館 Nagoya City Art Museum 나고야시립미술관

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The Romeos, 2018 Love Comes From the Most Unexpected Places, Trondheim Kunstmuseum, Trondheim, Norway Photo: Aksel-Dev Dhunsi Copyright: Trondheim Kunstmuseum and Dora García

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Kiss, or Dual Monitors, 2017, Hello World: for the Post-Human Age, The Contemporary Art Gallery, Art Tower Mito, Ibaraki, Japan Photo: Niko

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New Wave (solo), VICTORI + MO, New York, USA, 2018

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La Intención (The intention), 2016 Originally commissioned and produced by Fondazione Fòcara di Novoli, Lecce, Italy Photo: Annamaria La MastraCourtesy of the artist

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Sixty Minutes Smiling, 2014 Anna WITT

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Vocabulary of Solitude, 2014-2016 Ugo Rondinone: Vocabulary of solitude (solo), Museum Boijmans Van Beuningen, Rotterdam, the Netherlands Photo: Stefan Altenburger Courtesy of studio rondinone

AICHI TRIENNALE 2019 August 1–October 14, 2019

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Postproduction, 2018 Courtesy of the artist NAGATA Kosuke

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Between 2 and 3 (My desk), 2017 ISHIBA Ayako

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Installation view at Aichi Triennale 2019 Decoy-walking, 2019 Photo: Ito Tetsuo

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Abstracted / Family, 2019 TANAKA Koki

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Installation view at Aichi Triennale 2019 Modern Fart: Inaugural Issue Art and Immersion; or, and Inordinate Obsession with Projection Mapping, 2019 Photo: Ito Tetsuo

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Stranger Visions, 2012-2013 Courtesy of the artist and Fridman Gallery

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Installation view at Aichi Triennale 2019 Last Words / TypeTrace, 2019 Photo: Ito Tetsuo

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Fallen Star, 2018Lisson Gallery, London, UK Photo: George Darrell © Ceal Floyer; Courtesy Lisson Gallery

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“Drawing on Glass” “looking at the vacant scenery” looking at the vacant scenery 2016.11.11 BUNYA Yukari

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SUGE Syunichi

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Seamless Transitions, 2015 James BRIDLE

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SUGE Syunichi

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Installation view at Aichi Triennale 2019 Drone Shadow, 2019 Photo: Ito Tetsuo

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SUGE Syunichi

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Installation view at Aichi Triennale 2019 Drone Shadow, 2019 Photo: Ito Tetsuo

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tsurugi No.1, 2016 Photo: Kei Okano Courtesy of KAYOKOYUKI

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Everyday Maneuver, 2018, Tomorrowland — Yuan Goang-Ming Solo Exhibition, TKG+, Taipei, TaiwanCourtesy of the artist

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Child Soldier, 2017 Courtesy of the artist

[Closed]

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The Box, 2014 Director: Michael Schiller Photo: The Center for Investigative Reporting

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After “Freedom of Expression?”

Exhibition title design, woodcut by Misako Ichimura, from the exhibition poster from 2015

AICHI TRIENNALE 2019 August 1–October 14, 2019

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After “Freedom of Expression?”

From the exhibition view of "Restriction of Expression, After"

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Untitled (Clock), 2014 Collection MCA Sydney Courtesy of Assembly New York

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“FedEx” “Travel Pictures” Travel Pictures [Tschaikowskistrasse 17 in multiple exposures* (LAXFRATHF/TXLCPHSEALAX) March 27–April 3, 2006] *Contax G-2, L-3 Communications eXaminer 3DX 6000, and InVision Technologies CTX 5000, 2006/2008 A25 Aichi Prefectural Museum of Art

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Installation view at Aichi Triennale 2019 Falls of the Evolution, 2019

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Los Caminantes One flew over the Void (Bala perdida), 2005Courtesy of the artist, inSite 05 and Peter Kilchmann galerie, Zürich

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Adieu News [Closed] The Possibility of the Half, 2012, Korea Artist Prize, National Museum of Moderm and Contemporary Art, Gwacheon, South Korea Photo: Kim Yong-gwan Courtesy of the artist

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Gesture of Rally #1805 (detail), 2018 SAWADA Hana

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10,148,451, 2018 Tate Modern Hyundai Commission Photo: Tate Modern Courtesy of Estudio Bruguera

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das schöne blau 13.5.17 Photo: Daniel Martin다 Courtesy of WAKO WORKS OF ART

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Catastrophe, 2018 Photo: James Risdon FUJIWARA Aoi

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Love Story, 2016, Featuring Alec Baldwin and Julianne Moore Commissioned by the National Gallery of Victoria, Outset Germany + Medienboard Berlin-Brandenburg South African Pavilion, 57th Venice Biennial, 2017 Photo: Andrea Rossetti

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Installation view at Aichi Triennale 2019 Woodstock 2017, 2017 KATO Tsubasa Photo: Takeshi Hirabayashi

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Installation view at Aichi Triennale 2019 2679, 2019 KATO Tsubasa Photo: Takeshi Hirabayash

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Telón de Boca, 2018 Photo: Ramiro Chaves Courtesy of Museo Universitario del Chopo

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Nature Theater of Oklahoma Founded in 2004 Based in New York, USA

AICHI TRIENNALE 2019 August 1–October 14, 2019

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Nature Theater of Oklahoma Founded in 2004 Based in New York, USA

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“in vitro” shadow of a coin, 2013-2018, shadow work, Oyama City Kurumaya Art Museum, Tochigi, Japan Photo: Shinya Kigure

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Survivor Long-Term Memory, 2019 Roppongi Crossing 2019: Connexions, Mori Art Museum, Tokyo (Japan) Courtesy of ANOMALY

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Mujō (The Heartless) Installation view at Aichi Triennale 2019 Mujō (The Heartless), 2019 Photo: Ito Tetsuo

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The Clothesline Installation view at Aichi Triennale 2019 The Clothesline,2019 Photo: Ito Tetsuo

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compressed pattern (Warrior) MASUMOTO Keiko

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Psicomagia abridged: a selection of letters written to Alejandro Jodorowsky "Psycomagie social d’Alejandro Jodorowsky" from Poesía Sin Fin (2016) Photo: Aya Yamamoto

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《1996》 2019 AOKI Miku Photo: Tetsuya Matsushita

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Portrait of a woman unknown, 2014 Courtesy of the artist Tania PÉREZ CÓ RDOVA

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Dream no.6, 2017 Courtesy of the artist Sholim

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Katarina ZDJELAR

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Shoum, 2009 Katarina ZDJELAR

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Katarina ZDJELAR

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The Romeos, 2018 Love Comes From the Most Unexpected Places, Trondheim Kunstmuseum, Trondheim, Norway Photo: Aksel-Dev Dhunsi Copyright: Trondheim Kunstmuseum and Dora García

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Water Dance, 2015 Barthélémy TOGUO WOMAD, Charlton Park, Malmesbury, UK © Courtesy Galerie Lelong, Paris & Bandjoun Station, Cameroon

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Installation view at Aichi Triennale 2019 TSUDA Michiko You would have gone there to see them by then., 2019 Photo: Takeshi Hirabayash

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A Large Sea of an Old House of the Peninsula of the Small Sea, 2017 WASAKI Takahiro Suzu 2017: Okunoto Triennale, Ishikawa, Japan Photo: Keizo Kioku

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Installation view at Aichi Triennale 2019 Truly Existing Imaginary Genres, 2019 Song-Ming ANG Photo: Takeshi Hirabayashi

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GE YU LU (Road), 2017

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MISSING PIECE seven years one day, 2014, WASHIO Tomoyuki Awazu Kiyoshi, Makurihirogeru (EXPOSE)1 Art Running Wild: Awazu Kiyoshi and Performance, 21st Century Museum of Contemporary Art, Kanazawa,

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Until my voice dies. New Faces made here, 2016, Hi in the darkness (solo), Komagome Soko, Tokyo, Japan Photo: Kenji Morita Courtesy of the artist Kyun-Chome

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Taylor Iida :There is no smoke without fire, 2013 Photo: Keisuke Yunoki Courtesy of the artist ECHIGO Masashi

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“Brilliant children” :Mountains of Switzerland, 2018 Photo: Takumi Suizu Courtesy of the artist YUMISASHI Kanji

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My anthem, 2019 © BontaroDOKUYAMA

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Dig Your Dreams.

Buying a 7-Eleven at 7-Eleven, 2018 Courtesy of the artist tomotosi

AICHI TRIENNALE 2019 August 1–October 14, 2019

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↓ (1946-1948 / 1923-1951) ↓(2017), 2017 ODAWARA Nodoka

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Empty and Poke, 2018 Photo: Hideto Nagatsuka

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Hotel Aporia One or Several Tigers, 2017 HO Tzu Nyen

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Unboxing the Future Installation view at Aichi Triennale 2019 Unboxing the Future, 2019 Anna WITT

Photo: Ito Tetsuo AICHI TRIENNALE 2019 August 1–October 14, 2019

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Installation view at Aichi Triennale 2019 Return from the Mission, 2018 Anna HULAČOVÁ Photo: Takeshi Hirabayashi Photo: Ito Tetsuo

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Fallen Star, 2018 Lisson Gallery, London, UK Photo: George Darrell © Ceal Floyer; Courtesy Lisson Gallery Photo: Takeshi Hirabayashi Photo: Ito Tetsuo

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“An American Index of the Hidden and Unfamiliar” "Paperwork and the Will of Capital“ Taryn SIMON

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“An American Index of the Hidden and Unfamiliar” "Paperwork and the Will of Capital“ Taryn SIMON

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installation view at Aichi Triennale 2019 TAKAMINE Tadasu Anti-thesis: Gazing up at the endless blue // stained forever by its color // I have ceased to be myself, 2019 Photo: Takeshi Hirabayashi

AICHI TRIENNALE 2019 August 1–October 14, 2019

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Revolution Is an Abstraction A Happy Day FC No. 11, from the series “A Happy Day”, 2016 (in process) Reynier Leyva NOVO

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Shylight Drifter (with Lonneke and Ralph), 2018 Studio Drift Photo: Tom Cornelissen

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