Takuro Tamayama
Solo Exhibition
Intervenes / Light and Table / Sound as Time / Hole
2025.3.15（Sat）- 4.12（Sat）
Gallery hours: 12:00 – 18:00
Closed on Sundays, Mondays and holidays
*In conjunction with Kosuke Nagata solo exhibition “Becoming Salmon“
Opening reception: March 15 (Sat), 2025 17:30 – 19:00
*The Artist will attend the reception
Takuro Tamayama x Kosuke Nagata Opening Talk Session: March 15 (Sat.) 16:00 – 17:30
(Scheduled. Further details will be announced later.)
We at ANOMALY are pleased to announce our upcoming solo exhibition by Takuro Tamayama titled Intervenes / Light and Table / Sound as Time / Hole. The exhibition will run from March 15 (Sat.) to April 12 (Sat.), 2025.
Takuro Tamayama (b. 1990) is an artist who creates sculptures using found objects such as everyday items and pieces of furniture, composes displays mimicking gravitational deviations, produces videos and music, and creates pictorial space by means of intense lighting (or the absence of lighting). In short, he dynamically changes the very experience of space with minimal dissimilation.
Titled Anything will slip off / If cut diagonally, Tamayama’s first large-scale solo exhibition in ANOMALY was held in July 2021. In parallel with the exhibition, art lovers were also able to see When I was born when I was born, a plan display of spatial composition experimentally shown on the Internet.
With a minimum of handling, Anything will slip off / If cut diagonally deftly replaced gravity. While giving viewers a sort of déjà-vu feeling due to the use of things seen on an everyday basis as the component elements, Tamayama created circumstances that definitely could not occur in a world dominated by Newtonian mechanics, and by means of extremely analogue methodology. The exhibition signaled the arrival of a leading new artist.
For example, in the exhibition, a huge illuminator beamed down diagonally, at an 18-degree angle / the floor was rotated 90 degrees, making it align with the wall / spaghetti slipped off a plate placed (or hung?) on the wall (which is “correct,” the behavior of the plate, or that of the spaghetti?) / a glass held water with a tilted surface / a table that had developed in three dimensions was pasted on a wall in two dimensions / a ball revolved slowly around the point of contact between two spherical surfaces (the immeasurability of the point of contact) / music was turned into noise by being elongated / and a video showed an inclined horizon over a very long period of time. These and other elements were spread throughout the whole space and shifted the viewer’s sense of space.
The solo exhibition FLOOR by Tamayama currently being held at the Toyota Municipal Museum of Art, which was designed by Yoshio Taniguchi, is an unprecedented and daring one, in that it features only one enormous object passing through all five of the exhibition rooms. Tamayama, who has thus far perfectly controlled lighting, is proactively incorporating the natural light that filters down into the exhibition rooms of the museum.
The space is therefore bathed in the axis of time by light, which changes along with the transition of the day and illumines the space in various phases. The works and space go beyond the shapes of the actual things and appear while changing by the moment and radiating a different presence.
As a result, all of the visitors may not have the same experience of the works in this exhibition, which permits personal experiences. While Tamayama once completely controlled the space, he releases his grip, and thereby seems to have captured nature, meaning the slanting of the sun, the rotation of the earth, and even time.
As if in response to FLOOR, the Intervenes / Light and Table / Sound as Time / Hole exhibition held in Tokyo may initially appear unfinished at first glance.
Rather than actively curating the exhibition, the artist is attempting to complete it by means of the circumstances, i.e., the peripheral environment, works (≒ objects), and people involved, just as they are. The acts of subjectively composing space and deciding the placement of works are common to all artists. Tamayama, too, has typically designed spaces and determined the arrangement of works with a precision in units of millimeters. But for this exhibition, he has abandons that control and adopts a completely opposite approach.
For example, let us consider the beams supporting the gallery space of the former warehouse and the holes in the pipes. Instead of ignoring these elements as parts of the environment, Tamayama incorporates them into the exhibition.
The displays in this exhibition also succeed because they were shaped by chance operation and the intentions of others.
This could be regarded as an approach vividly reflecting Tamayama’s own experience; in the transition from the “wet state” of a display during installation to the “dry state” after its completion, the objects “behind the scenes and various intentions of the concerned are apt to be overlooked. For this exhibition, he daringly endeavored to make them manifest.
It should be added, however, that the works shown in this exhibition themselves were produced with the same millimeter-level precision as in the past, and this may create a peculiar with the space, which is filled with the sense of otherness.
The two exhibitions being held simultaneously each create their own distinct spaces according to the concept of a solo exhibition. However, in response to Tamayama’s invitation, the works “intervene” in each other’s space.
Tamayama is boldly attempting a display composition swayed by the environment and circumstances, and Kosuke Nagata, who is presenting the other solo exhibition, seeks to connect with society through the conventional exhibition format. These differing approaches are expected to generate a new alternative within the exhibition format, potentially sparking a chemical reaction between the two.
The solo exhibition by Tamayama will take place just before he departs to Los Angeles for an overseas seminar. We encourage you to come and experience it.
Born in Gifu, 1990. Lives and works in Tokyo.
After graduating from Aichi University of the Arts, he completed the master’s program at Tokyo University of the Arts in 2015.
His meticulously composed spaces reference familiar imagery, incorporating various objects such as furniture and everyday items, color gradations expressed through kinetic movement, vivid lighting and sound. Major recent exhibitions include “Tamayama Takuro: FLOOR” (Toyota Municipal Museum of Art, 2025), “ART IN THE PARK (Under Construction)” (Ginza Sony Park, 2024), and “SENSE ISLAND/LAND 2024” (Kanagawa, 2024).