Takeshi Murata

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*Untitled (Pink Dot)*, 2007.
Image courtesy of the artist, Empty Gallery, Ratio 3 and Salon 94.

Multi video loop *(Timewarp Experiment, No Match, Infinite Doors)*, 2007 – 2011.

Image courtesy of the artist, Empty Gallery, Ratio 3 and Salon 94.

*Flag*, 2017.
Image courtesy of the artist, Empty Gallery, Ratio 3 and Salon 94.

Image courtesy of the artist, Empty Gallery, Ratio 3 and Salon 94.

*Melter 2*, 2003.
Image courtesy of the artist, Empty Gallery, Ratio 3 and Salon 94.

[left] *Om Rider*, 2013-14.
[right] *Night Moves*, 2012.

Image courtesy of the artist, Empty Gallery, Ratio 3 and Salon 94.

*Untitled (Silver)*, 2006.
Image courtesy of the artist, Empty Gallery, Ratio 3 and Salon 94.

Takeshi Murata graduated from the Rhode Island School of Design in 1997 with a B.F.A. in Film/Video/Animation. His work has been exhibited at The Museum of Modern Art, New Museum, The Kitchen, Eyebeam, New York Underground Film Festival; Smack Mellon, Deitch Projects, Anthology Film Archive, New York; Museum of Fine Arts, Houston, Texas; Yerba Buena Center for the Arts, San Francisco, California; Contemporary Arts Center, Cincinnati, Ohio; Peres Projects, Los Angeles, United States; Taka Ishii Gallery, Tokyo, Japan; FACT Centre, Liverpool, United Kingdom, among many others. Early solo exhibitions include Black Box: Takeshi Murata at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. in 2007. Other recent solo exhibitions were held at Kunsthall Stavanger, Stavanger, Norway; Vox Populi Gallery, Philadelphia; Salon 94, New York; and Ratio 3, San Francisco, United States.

Education

B.F.A. in Film/Video/Animation, Rhode Island School of Design, Providence, RI, 1997

Solo Exhibitions

2017

Living Room, Yamamoto Gendai, Tokyo, Japan

Infinite Doors, Empty Gallery, Hong Kong

1000 Years, Ratio 3, San Francisco

2016

Second Nature, Kasia Michalski Gallery, Warsaw, Poland

2015

Takeshi Murata, Halsey McKay Gallery, East Hampton, NY

Kunsthall Stavanger, Stavanger, Norway

2014

Takeshi Murata: OM Rider, Salon 94, New York, NY

2013

Takeshi Murata: Midnight, Ratio 3, San Francisco, CA

Takeshi Murata: Mortality, Museum of Art and Design, New York, NY

2012

Synthesizers, Salon 94, New York, NY

2011

Get Your Ass to Mars, Ratio 3, San Francisco, CA

2008

Layr Wuestenhagen Contemporary, Vienna, Austria

2007

Escape Spirit VideoSlime, Ratio 3, San Francisco, CA

Damage Control, Gallery.Sora, Tokyo, Japan

Vox Populi Gallery, Philadelphia, PA

Black Box: Takeshi Murata, Hirshhorn Museum and Sculpture Garden, Washington DC

Lift 02: Takeshi Murata, The Kitchen, New York, NY

Two, The Reliance (The Approach), London

2006

Silver Equinox, Ratio 3, San Francisco, CA

Group Exhibitions

2017

Nerve Center, The Pit, Los Angeles, CA

Broken Language, Shulamit Nazarian, Los Angeles, CA

After Us, curated by Lauren Cornell, Chi K11 Art Museum, Shanghai, China

2016

The Campaign for Art, San Francisco Museum of Modern Art, San Francisco, CA

At Home, curated by Dan Nadel, Launch F18, New York, NY

2015 - 2016

The Metabolic Age, curated by Chus Martínez, Museo de Arte Latinoamericano de Buenos Aires, Argentin

2015

HQTBD | Still/Life, Basilca Hudson, Hudson, NY

2014

Early Man, The Hole, New York, NY

Spaced Out: Migration To The Interior, Curated by Phong Bui, Redbull Studios, New York, NY

Museum of Modern Art in Warsaw, Poland

Rewritten by Machine and New Technology: Video Art in the 20th and 21st Centuries, University Art Gallery, Indiana State University, Terre Haute, IN

Speculative Materialism Oo Oo, Leclere-Maison de Ventes aux Encheres, Marseille, France

2013

ANAMERICANA, American Academy in Rome, Italy

Empire State: New York Art Now, Palazzo Delle Esposizioni, Rome, Italy

Galerie Thaddaeus Ropac, Paris Pantin, France

the poetics of mountains, their mutations and multifarious things, Presented by Artprojx. Verbier 3-D as part of its ‘Mutations’ programme, Verbier, Switzerland

The Cat Show, White Columns, New York, NY

The Mother of Design, Marunouchi House, New York, NY

How Things are Made, Spot Welders, New York, NY

Time Moving and Storage: Takeshi Murata, James Ferraro, Ben Jones, Loyal Gallery, Malmo, Sweden


2024-09-27	James T. Hong at Argo Factory, Tehran
	I Am Standing in the Middle of the Information Highway and Laughing is a new exhibition curated by Raha Raissnia and Martin Germann, opening August 16 through October 18 at the Argo Factory in Tehran. Taking its title from late artist Jonas Mekas’ Manifesto Anti-100 years of Cinema, a performative exhibition in Tehran will unfold over two different episodes. Its main aim is to celebrate the unbound energy of collaborative work and friendship on the one hand and moments of reflection and stillness on the other. Its point of departure is the Manichean binary between darkness and light, as sine qua non condition for the existence of technologically mediated images. The second chapter of the exhibition, curated by Martin Germann, opens on Friday, September 27, with Marco Fusinato, James T. Hong, Tiffany Sia and Sam Lewitt. Read more …
2024-09-22	Jacqueline Kiyomi Gork in Slipper, Personal Space, Vallejo, California
	Jacqueline Kiyomi Gork is participting in the group exhibition Slipper at Personal Space, Vallejo, California. Featuring works by: David Bayus, Lemia Monet Bodden, Kari Cholnoky, Ximaps Dong, Erik Frydenborg, Jacqueline Kiyomi Gork, Albert Herter, Catalina Ouyang, and Elina Vainio. “Slipping between registers, like prophesy, some excessive field leaves deposits in our shared existence. It takes form, in the shape of slips of the tongue, or a slipped disc, articulated and yet still monstrous. The environment is overpopulated by tools and weapons that encode our lust or aggression into metal, plastic, or paper, infused with the unspeakable. Here is a collection of objects, of various media, that cannot be fully accounted for, that leave a remainder or lapsus, that aren’t completely discrete, and sit like cairns on a landscape, death’s representatives, recording trajectories between past and future. Marking the differences that matter, that can be utilized to situate oneself and guide a famished party. Small signs, like fragments of fossils, can refer to immensity.” – Albert Herter Read more …
2024-09-20	Vunkwan Tam in Improvisation at Inside Out Museum, Beijing, curated by Carol Yinghua Lu
	Improvisation is on view through January 19th, 2025 at the Inside Out Museum in Beijing. It was curated by Carol Yinghua Lu with Na Rongkun, Sining Zhu, Cao Liyao, Li Huiyi and Sun Yuhan. Participating artists and collectives include Cang Xin, Chen Liang, Chen Zhou, Ergao (He Qiwo), Gao Fu, He Liping, He Ruijun, Hu Yiyao, Liu Zhan, Luo Lin, M Art Group, Ma Liuming, Pak Sheung Chuen, Peng Xueying, Rong Rong, The Cement Park, Song Xiaohong, Song Dong, Vunkwan Tam, Tong Tianqing, Wang Shihua, Wang Sishun, Yorkson, Zhang Huan, Zhang Wei, Zhang Zhihui, Zhong Yunshu, Zhou Bin, Zhu Fadong, Zuoxiao Zuzhou. Improvisation is one of the characteristics of art, as well as a method of creative practice. It highlights an artistic process where the artist finishes their work immediately and swiftly, using everything at hand, when the inspiration, provoked by an external stimulus or an internal impulse, hits unpreparedly and uncontrollably. In the context of traditional Chinese music culture, due to its unique system of notation and inheritance, improvisation was once a ubiquitous technique in musical practice. Improvisation is a cross-cultural phenomenon that is probably as old as the human race. This is the reason why we encounter improvisation frequently throughout different historical moments and creative activities in the long history of art. From the Dada’s rejection of logic and introduction of chaos and irrationality into their creative practice, to the Situationists who, out of an ideal to fight against Capitalism’s alienation of the individual, advocated the pursuit of genuine desires, the experience of life, and the sense of adventure. People can see that improvisation is the method, the idea, the principle, and the real life itself. Read more …
2024-09-19	Empty Gallery Staff Announcement
	Empty Gallery is pleased to announce the appointment of Alexander Lau as senior director, and Kaitlin Chan as director. Lau has served as director of the gallery, and its associated label Empty Editions, for over nine years, and been foundational in the development of our exhibition program and artist roster. Based in New York and Hong Kong, Lau also sits on the board of Primary Information (NYC). Chan joined the gallery in 2020 as associate, and has since contributed to over ten exhibitions as an artist liaison, as well as through public programming, communications, art fairs and sales. Chan is also a cultural worker who creates comics and lectures on self-publishing amongst other topics.
2024-09-19	Henry Shum in Bodily Powers at Crèvecœur, Paris
	Bodily Powers is now on view at Galerie Crevecouer (9 rue des Cascades, Paris) through November 2, 2024. Participating artists include Koichi Enomoto, Ester Knapová, Stanislava Kovalcikova, Autumn Ramsey, Emma Reyes, Margaret Salmon and Henry Shum. Read more …
2024-09-17	Taro Masushio in formazione di forme.. curated by Matilde Guidelli-Guidi at Felix Gaudlitz, Vienna
	formazione di forme.. curated by Matilde Guidelli-Guidi at Felix Gaudlitz, Vienna, as part of curated by 2024, is on view from 17 September through October 19, 2024. The exhibition features works by Alighiero Boetti, Aria Dean, Taro Masushio, and Samson Young, chosen for their distinct approach to form-making. Masushio took the Untitled (Youth) pictures in San Francisco in the early aughts, at a time of youthful infatuation with the aesthetics and techniques of formalist photography. He shot the SoMa scene through that lens: analog camera and the zone system, the body flattened and closely cropped in black-and-white symmetries. Finding those negatives in his archive last summer arose feelings of embarrassment toward his puppy love days. An embarrassment that he worked through, coming face to face with that innocent attraction to formalism, and by extension to a younger self, that is akin to kink. So that in the printing process, he treated the negatives to further heighten the compositional elements in ways that replay the darkroom devotion of his youth. Masushio said: “Vis-à-vis my personal history, I want to propose a provocation of (modernist?) aesthetics and the taboo of being a formalist, which I thought was kind of kinky. (A kind of parallel between concept/ form vs norm/ taboo). But there is always a bit of embarrassment about making these kinds of (po-mo) gestures, too.” The form/ affect dyad shifts valence from attraction to embarrassment to kink in the reception of these works. Which is real? This fractal approach to the archive is typical of his overall method. An earlier body of work emerged from fortuitously finding, in a temporary lodging, a box of prints and recognizing them as the work of the late Jun’icha En’ya—an elusive figure and one of the earliest Japanese photographers of homoerotica. A visit to En’ya’s environs in Osaka generated Masushio’s works: photographs of pencil-traced snapshots that he furtively took in En’ya’s archives, and still-life pictures of the objects that En’ya owned or that he might have. Between Masushio and the En’ya “idea” there is no articulated relationship of influence. Form escapes filiation there: the pressure of the archival materials and the pencil pressing against paper. Read more …
2024-09-07	Tishan Hsu in Interface Remix, MoCA Toronto
	Tishan Hsu’s solo exhibition Interface Remix at MOCA Toronto opens to the public on Sunday, September 8.  “Interface Remix” showcases key works from the past five decades of Hsu’s career alongside never-before-seen creations that explore themes of transformation and alienation. In his first ever Canadian solo exhibition, Hsu’s groundbreaking work navigates the intersection of technology and the human body through his multidisciplinary practice spanning painting, sculpture, and installation. Hsu will also be in conversation with Alex Da Corte on September 8th at 2PM in an accompanying program. Read more …
2024-09-04	Works by Mickael Marman, Emmanuel Louisnord Desir, & Cici Wu at 47 Canal
	Cici Wu’s Lovers Revolt, Lovers Resolve (Reincarnations of Lantern), 2020, is now on view at 47 Canal through September 14 in a group presentation with Mickael Marman and Emmanuel Louisnord Desir. Read more …
2024-08-23	Jes Fan in Dream States, Groundspace of The Metropolitan Museum of Manila
	Jes Fan’s Bivalve II is now on view at Dream States, Groundspace of The Metropolitan Museum of Manila, through January 2025. Artists: Jes Fan, Katharina Grosse, Michael Ho, and Olafur Eliasson. Special thanks to Tim Tan.
2024-08-15	Raha Raissnia at Argo Factory, Pejman Foundation
	I Am Standing in the Middle of the Information Highway and Laughing is a new exhibition curated by Raha Raissnia and Martin Germann, opening August 16 through October 18 at the Argo Factory in Tehran. Taking its title from late artist Jonas Mekas’ Manifesto Anti-100 years of Cinema, a performative exhibition in Tehran will unfold over two different episodes. Its main aim is to celebrate the unbound energy of collaborative work and friendship on the one hand and moments of reflection and stillness on the other. Its point of departure is the Manichean binary between darkness and light, as sine qua non condition for the existence of technologically mediated images. For the first chapter of the exhibition, a number of artists have been carefully selected by Raha Raissnia to accompany two of her own works. In the spirit of Mekas’s Manifesto, they are all friends whom she has known personally from many years of living and working in New York City. Artists: Jonas Mekas, Raha Raissnia, Andrew Chalk, Pip Chodorov, Martha Colburn, Milton Cruz, Albert Herter, Andrew Lampert, Jeanne Liotta, Timo Van Luijk, Panagiotis Mavridis, Jordan Mintzer, Jason Babak Mohaghegh, Stom Sogo and Justina Zukauskaite Read more …

Bodily Powers is now on view at Galerie Crevecouer (9 rue des Cascades, Paris) through November 2, 2024.

Education

Solo Exhibitions

Group Exhibitions