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Contemporary Asian art

ESSAY: Ozawa’s ‘Vegetable weapons’

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ESSAY: Nobuyoshi Araki’s photographs

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Yayoi Kusama / The obliteration room installed for APT4 (before activation)
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Kusama’s Obliteration room

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An installation view of a bright gallery space, with a sculptural artwork taking the form of a van carrying a cobbled-on second level on top.

ESSAY: YNG’s Mobile Studio

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ESSAY: Mieko Shiomi: The world as a process

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ESSAY: Kimio Tsuchiya’s cycles of loss

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Shigeo Toya / Japan b.1947 / Woods III 1991–92 / The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 1994 with funds from The Myer Foundation and Michael Sidney Myer through the Queensland Art Gallery Foundation and with the assistance of the International Exhibitions Program / © Shigeo Toya / A sculptural work made of carved wooden pillars arranged in a geometric form on a gallery floor.

ESSAY: Shigeo Toya’s Woods III

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ESSAYS: Morimura’s alter-egos

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ESSAY: Michiko Kon’s unsettling photographs

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ESSAY: Hiraki Sawa’s O

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Yoshizawa’s vibrant abstraction

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ESSAY: Takahiko Iimura’s video experiments

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ESSAY: Toshio Shibata’s Onogami village, Gunma

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ESSAY: Tsuguo Yanai’s ‘Protoplasm’ lithographs

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A photograph of a rural road in Japan, with a house seen at left and fields either side.

ESSAY: Asakai’s ‘Passage’ series

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ESSAY: Lee Ufan’s Relatum

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ESSAY: Kashiki’s fluid compositions

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ESSAY: Kusama’s pumpkins and flowers

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ESSAY: Teruya’s Notice – Forest

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ESSAY: Moriyama’s distinctive photographs

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Ay-O’s ‘finger boxes’

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A delicate, tiny sculpture of a white pillow, photographed with a white background.

ESSAY: Rei Naito

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A detail view of a painting of many tiny crescents on a cream background, appearing to represent foam, water or cells.
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Yayoi Kusama's infinities

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ESSAY: Kasahara’s

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ESSAY: Ay-o’s spring pictures

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ESSAY: Teppei Kaneuji’s White discharge works

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An installation view of a sculpture taking the form of a deer made of glass balls and beads.
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Kohei Nawa: PixCell-Double Deer#4

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Takashi Murakami

ESSAY: Murakami’s Mr DOB

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ESSAY: Sugimoto’s Hall of Thirty-Three Bays

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ESSAY: Sato’s Breath-graph no. 21

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