Takuya Yamashita
Born in 1985 in Mie. Graduated from Kyoto University of the Arts Master’s department of Sculpture in 2013.
He creates site-specific installations, oftentimes using now defunct mascot soccer team “Tobimaru” as a motif.
Solo Shows | |
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2014 | “UNDER 35/2014 Takuya Yamashita” BankART studio NYK (Yokohama) |
“TALION’S Child” TALION GALLERY (Tokyo) | |
“museum 〆 an” Nakamura Keith Haring Museum (Yamanashi) | |
“RAINFRAN” and “Drawing” Art Osaka 2014 / ARTCOURT Gallery (Osaka) | |
2013年 | “NEXT EXHIBITION/ Yuusuke Ooki ‘Uchinko 2’ “ Art Center Ongoing (Tokyo) |
“GEISAI #18 Koichi Watari Award winner” Hidari Zingaro (Tokyo) | |
“Drawing” YEBISU ART LAB (Nagoya) | |
“Jaku-Jaku sama” ART ZONE (Kyoto) | |
“Jaku-Jaku sama O-NEON” Antenna Media (Kyoto) | |
2012 | “LOCAL HERO” N-MARK B1 (Nagoya) |
Group Shows | |
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2015年 | “HUB-IBARAKI ART COMPETITION” Ibaragi city Culture Center (Osaka) |
2014 | “ COVERED TOKYO Hikarie 2014” Shibuya Hikarie 8F (Tokyo) |
“Yokohama Triennale: Find the Meaning of Asia "BankART Life4" East Asian dream “ BankART Studio NYK (Yokohama) | |
“Sandwich | Anteroom” Anteroom (Kyoto) | |
2013 | “Aichi Triennale 2013” Choujya machi, Matsumoto machi (Aichi) |
“AT PAPER. EXHIBITION ‘09’” Hotel Anteroom Kyoto, kara-s (Kyoto) | |
2012年 | “TOKYO FRONTLINE/SANDWICH by Kohei Nawa” 3331 Chiyoda Arts (Tokyo) |
“Kohei Nawa-TRANS | SANDWICH” Hankyu Umeda Gallery (Osaka) | |
“ANTEROOM PROJECT” Hotel Anteroom Kyoto (Kyoto) | |
2011 | “Artcourt Frontier 2011 #9” ARTCOURT Gallery (Osaka) |
“New Nagoya Island – Yokohama Triennale 2011 Related Event” Shinko Pia Shin- Minatomura (Yokohama) | |
2009 | “Art Students Selection Exhibition 2009” Bunka Forum Kasugai (Aichi) |
Yamashita’s work has an ominous look, but is consistently mixed with a humor. This view is always cleverly expressed through his installations that creatively manipulate the spatial and material limitations. Yamashita often uses the character “Tobimaru”, mascot the Yokohama Flügels, a professional soccer team that no longer exists, due to a merger with another team. Thus, Yamashita revives Tobimaru through his sculptures and installations. By intentionally making the work look improvised or prop-like, he alludes to the incomplete fragility of the subject matter. Additionally, Yamashita is conscious of site-specificity, and aims to reveal the true nature of the location by creating installations that interfere with it.