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《the One ー呉爾羅(仮設のモニュメント6)》,
the One -呉爾羅 (provisional monument 6)
© Motohiko ODANI, TM & © TOHO CO.,LTD.
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《the One ー呉爾羅(仮設のモニュメント6)》
the One -呉爾羅 (provisional monument 6)
© Motohiko ODANI
TM & © TOHO CO.,LTD.
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《V (仮設のモニュメント5)》2024
百年後芸術祭展示風景、千葉、2024年
V (Provisional Monument 5) 2024
Hyakunengo Art Festival installation view, Chiba, 2024
Photo by Osamu Nakamura
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「i n v a s i o n」展示風景、ANOMALY、東京、2023
i n v a s i o n
Installation view, ANOMALY, Tokyo, 2023
Photo: Hidehiko Omata
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「i n v a s i o n」展示風景、ANOMALY、東京、2023
i n v a s i o n
Installation view, ANOMALY, Tokyo, 2023
Photo: Hidehiko Omata
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「i n v a s i o n」展示風景、ANOMALY、東京、2023
i n v a s i o n
Installation view, ANOMALY, Tokyo, 2023
Photo: Hidehiko Omata
名称未設定
《Monument of Baculum(仮設のモニュメント3)》
Monument of Baculum (Provisional Monument 3)
2022, Video, 43 sec., loop
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《新しい心臓、新しい発電》2022
「i n v a s i o n」展示風景、ANOMALY、東京、2023
New Heart, New Power Generation2022
i n v a s i o n
Installation view, ANOMALY, Tokyo, 2023
Photo: Hidehiko Omata
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《新しい心臓、新しい発電》2022
「i n v a s i o n」展示風景、ANOMALY、東京、2023
New Heart, New Power Generation2022
i n v a s i o n
Installation view, ANOMALY, Tokyo, 2023
Photo: Hidehiko Omata
こんぼうや
《こんぼうや》
「瀬戸内国際芸術祭2022」展示風景、女木島、2022年
KONBO-YA
"Setouchi Triennale 2022" installation view, Megijima, 2022
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《こんぼうや》
「瀬戸内国際芸術祭2022」展示風景、女木島、2022年
KONBO-YA
"Setouchi Triennale 2022" installation view, Megijima, 2022
Photo: Hidehiko Omata
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《こんぼうや》
「瀬戸内国際芸術祭2022」展示風景、女木島、2022年
KONBO-YA
"Setouchi Triennale 2022" installation view, Megijima, 2022
Photo: Hidehiko Omata
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《こんぼうや》
「瀬戸内国際芸術祭2022」展示風景、女木島、2022年
KONBO-YA
"Setouchi Triennale 2022" installation view, Megijima, 2022
Photo: Hidehiko Omata
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《こんぼうや》
「瀬戸内国際芸術祭2022」展示風景、女木島、2022年
KONBO-YA
"Setouchi Triennale 2022" installation view, Megijima, 2022
Photo: Hidehiko Omata
odani reborn
《サーフ・エンジェル(仮設のモニュメント2) 》
「Reborn-Art Festival 2021-22 — 利他と流動性 —」展示風景、渡波エリア 旧水産加工場、2022年
Surf Angel (Provisional Monument 2)
"Reborn-Art Festival 2021-22 — Altruism and Fluidity —" installation view, Watanoha Area, 2022
Photo: Taichi Saito
s_C1_小谷元彦《サーフ・エンジェル (仮設のモニュメント2) 》_7
《サーフ・エンジェル(仮設のモニュメント2) 》
「Reborn-Art Festival 2021-22 — 利他と流動性 —」展示風景、渡波エリア 旧水産加工場、2022年
Surf Angel (Provisional Monument 2)
"Reborn-Art Festival 2021-22 — Altruism and Fluidity —" installation view, Watanoha Area, 2022
Photo: Taichi Sato
s_C1_小谷元彦《サーフ・エンジェル (仮設のモニュメント2) 》_5
《サーフ・エンジェル(仮設のモニュメント2) 》
「Reborn-Art Festival 2021-22 — 利他と流動性 —」展示風景、渡波エリア 旧水産加工場、2022年
Surf Angel (Provisional Monument 2)
"Reborn-Art Festival 2021-22 — Altruism and Fluidity —" installation view, Watanoha Area, 2022
Photo: Taichi Sato
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The Lionman, 2020-2021
Photo courtesy: Oita Prefectural Government
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The Lionman, 2020-2021
Photo courtesy: Oita Prefectural Government
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The Vanishing Subjects / The Vanishing Objects, 2020
Installation view "Omni Sculptures",
Musashino Art University Museum, Tokyo
Photo: KEI OKANO
Public Device
Torch of Desire -52nd Star2020
"PUBLIC DEVICE – Symbolism and Permanence of Sculpture –" Installation view
Photo: Risaku Suzuki
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Skeleton -Torso, Depth of the Body, Installation view at Albertz Benda, 2016
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Aero Former -Eardrums233-234 We've heard the screams from far away, 2013
The artist and sculptor, Motohiko Odani made his debut with the 1997 solo exhibition “Phantom Limb,” at P-House Daikanyama in Tokyo. His works have been showcased continuously at the international exhibitions and art biennales such as Lyon Biennale (2000), and the Istanbul Biennale (2001), and notably at the Japan Pavilion as a representative of his country in Venice 2003.
The core theme running through his artistic output encompasses the phantasm in lost physical sensations and transformation of the body, and it explores ambivalent gap between existence and absence, a state of awakening and a half dreaming. His artistic interest and sensibility further reach out to the genealogies in the sculptural works of Japanese Buddha, and modern sculptures to pursuit unknown territory for his work of art. Incorporating diverse media including three-dimensional works, photography, videos in a sculptural installation for the immersive experience and audience interaction, his oeuvre is highly acclaimed in and out of his country.
The major solo exhibitions include “Phantom Limb” at Mori Art Museum (2011-2011, traveled to Shizuoka Prefectural Museum of Art, Takamatsu City Museum, and Contemporary Art Museum Kumamoto), “Terminal Moment” at Kyoto Art Center, Kyoto (2014), and “MOTOHIKO ODANI: DEPTH OF THE BODY” at Albertz Benda, New York (2016). In 2011, he received The 25th Denchu Hirakushi Award, and the Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize for New Artists in 2012.