髙橋耕平 / Kohei Takahashi



髙橋耕平(たかはし こうへい)


1977年京都府生まれ。2003年に「MUZZ PROGRAM SPACE」を共同設立し、2010年まで現代美術の展覧会企画・運営に関わる。現在はドキュメンタリー形式の作品を中心に、パフォーマンスの記録やアーカイブ資料を使用した作品を主に発表する。近年の主な展覧会に「文化庁メディア芸術祭京都 Ghost(ゴースト)」ロームシアター京都(2018年)、「切断してみる。ー二人の耕平」豊田市美術館(2017年)、個展「髙橋耕平 – 街の仮縫い、個と歩み」兵庫県立美術館(2016年)、「PAT in Kyoto 第二回京都版画トリエンナーレ2016」京都市美術館(2016年)、「ほんとの うえの ツクリゴト」旧本多忠次邸(2015年)、個展「史と詩と私と」京都芸術センター(2014年)、「Imitator2」MART,ダブリン(2014年)、「パズルと反芻 “Puzzle and Rumination”」Island MEDIUM、NADiff a/p/a/r/t、JIKKA(2012年)等がある。

Kohei Takahashi

Artist, Lecturer at Kyoto University of Art and Design, Department of Fine and Applied Arts

Born in 1977, Kyoto. In 2003 he co-established the contemporary art space “MUZZ PROGRAM SPACE” and has then curated and managed contemporary art exhibitions until 2010. He currently works using records and archive material of performances to mainly create documentaries.

Main exhibitions in recent years include Japan Media Arts Festival in Kyoto “Ghost” ROHM Theatre Kyoto (2018), “Work on Five Hypotheses to Cut Off…” Toyota Municipal Museum of Art (2017), solo exhibition “Kohei Takahashi – Transitional Cityscapces, Individual Paths” Hyogo Prefectural Museum of Art (2016), “PAT in Kyoto Print Art Triennale 2016” Kyoto Municipal Museum of Art (2016), “play on the facts” former Tadatsugu-Honda house (2015), solo exhibition “Shi to Shi to Shi to” Kyoto Art Center (2014), “Puzzle and Rumination” Island MEDIUM, NADiff a/p/a/r/t, JIKKA (2012).
















Without being rational, absolute, or declaring.

Must situations with no decisions, or indecisive attitudes be criticised? By observing and confronting a subject with sincerity it should become uneasy to force a decision, foregrounding a sense of unclarity. Sawada mainly confronts herself with photography and video; because of her sincere eye that is directed towards her subject, she is able to embody undecided situations with humour, and construct a space to indulge in photography by exposing the subject’s state of replication from an unexpected angle. This space created by Sawada with her sharp eye, is like a game in which anybody can take part; I am always looking forward to participating as a player.


(Hana Sawada)


Contact in practice.

Drawing lines in the midst of a demonstration in front of the National Diet Building in her living sphere, reading aloud a long text from memory while walking by the gate of constructions for a helipad in Takae Okinawa, exchanging breaths over and over with an old friend of the opposite gender; in each situation is Yanase’s body, and in each situation Yanase is in contact with another person. Confrontation, sympathy, rejection, reconciliation, the birth of hope – energy is born where there is contact. Yanase uses her body and the lens to project this onto the screen (our retina, standing in front of it). The screen is the surface of contact between Yanase and ourselves, and there is a constant energy so strong that makes us hesitate to embrace it.


(Anri Yanase)


To shape one’s learning. To learn about shape.

In one of Katayama’s recent works, is a video of him learning from his mother-in-law how to speak Chinese, her mother tongue. It is a process of opening the mouth to the Chinese pronunciation, of teaching the shape of the mouth to the body, as well as teaching the shape of his mother-in-law’s family to his body as he becomes a new family member. Learnings will inevitably expose histories that one has accepted without even realising, bringing both the pleasure and regret of new discoveries. Katayama teaches us the basics of learning, presenting a documentation of him in the middle of the process.


(Tatsuki Katayama)

助成 一般財団法人ニッシャ印刷文化振興財団
Funding:Nissha Foundation for Printing Culture and Technology

後援 京都商工会議所、一般社団法人京都経済同友会
Support:Kyoto Chamber of Commerce and Industry, Kyoto Association of Corporate Executives