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#ParkMcArthur, Missions, 2025, anodized aluminum, in three parts. 5, 7, 9, 11, 13, open now
#ParkMcArthur, Missions, 2025, anodized aluminum, in three parts. 5, 7, 9, 11, 13, open now
Open now: #GōzōYoshimasu, « Cher Monstre », includes Voix, 2020, mixed media on paper.
Gōzō Yoshimasu created these works following his visits to the city of Ishinomaki, an area profoundly impacted by the Great East Japan Earthquake (2011).
Combining writing with drawing, collage, and calligraphy, the series Voix (2019–2020) explores the ways in which the boundaries between sound and meaning become blurred within spoken language.
Congratulations to #GōzōYoshimasu, who was awarded the inaugural Serpentine & FLAG Art Foundation Prize.
Selected by a jury composed of Michelle Kuo, Venus Lau, Hans Ulrich Obrist (Serpentine), Jonathan Rider (The FLAG Art Foundation), and Rirkrit Tiravanija, Yoshimasu will receive a £200,000 award alongside two solo exhibitions: first at Serpentine North in autumn 2027, followed by a presentation at The FLAG Art Foundation in New York in spring 2028.
@SerpentineUK
@FLAGArtFoundation
Gōzō Yoshimasu’s exhibition « Cher Monstre » is currently on view at the Paris gallery through May 31.
#SungTieu in 5,7,9,11,13. Sung Tieu is also included in the Whitney Biennial and the German Pavilion at the Venice Biennale, open now. Photography: Nicholas Knight and Andrea Rossetti.
#SungTieu in 5,7,9,11,13. Sung Tieu is also included in the Whitney Biennial and the German Pavilion at the Venice Biennale, open now. Photography: Nicholas Knight and Andrea Rossetti.
#SungTieu in 5,7,9,11,13. Sung Tieu is also included in the Whitney Biennial and the German Pavilion at the Venice Biennale, open now. Photography: Nicholas Knight and Andrea Rossetti.
#JasperMarsalis in 5,7,9,11,13, open now. Untitled, 2024, pen on paper in artist's frame
Open now: #GōzōYoshimasu, « Cher Monstre », includes the series Dear Monster (Kaibutsu-kun), 2012–2016, mixed media on paper.
"In search of a 'possible poetry' in the aftermath of the catastrophe of March 11 that struck Japan in 2011, Yoshimasu produced this series of visual poems between 2012 and 2016, while driven by a profound sense of compassion and commitment in the face of the disaster’s consequences. In a daily routine reminiscent of Buddhist monks copying sutras, he arranges large sheets of paper every day and draws lines by hand. He then inscribes his writings upon them—often interwoven with those of the postwar poet and thinker Takaaki Yoshimoto (and Yoshimasu’s mentor)—which he composes and recomposes before covering them with ink and brightly colored paint until they became illegible."
Excerpt from Elodie Royer’s text for the exhibition.
Open now, 5, 7, 9, 11, 13: Walter De Maria, Jasper Marsalis, Park McArthur, Sung Tieu. Walter De Maria, Large Rod Series: Circle/Rectangle 5, 7, 9, 11, 13, 1985, stainless steel, in nine parts
Opening 28 April: 5, 7, 9, 11, 13: Walter De Maria, Jasper Marsalis, Park McArthur, Sung Tieu. Numbered installation diagram of Walter De Maria, Large Rod Series: Circle/Rectangle 5, 7, 9, 11, 13, 1985, stainless steel, in nine parts, edition 2 of 2
Opening 28 April: 5, 7, 9, 11, 13: Walter De Maria, Jasper Marsalis, Park McArthur, Sung Tieu. Numbered installation diagram of Walter De Maria, Large Rod Series: Circle/Rectangle 5, 7, 9, 11, 13, 1985, stainless steel, in nine parts, edition 2 of 2
Open now: #GōzōYoshimasu, « Cher Monstre », includes the series Momentary Ecriture, 1999–2000, Polaroid, ink.
Since the 1970s, photography has been part of Gōzō Yoshimasu's artistic practice. Following his first photo exhibition in 1990, this medium began to play a more significant role.
After receiving a proposal for a Polaroid photo exhibition in Tokyo in 2002, he began working on the series Momentary Ecriture, in which he wrote his texts on the reverse of instant prints using white, gold, and silver ink.
While traveling frequently, Gōzō Yoshimasu used Polaroids as a form of diary, documenting his daily activities. Unlike his carefully "polished" poems, these texts were written immediately after the photos were taken, without revision.
Looking at the Polaroids presented in the exhibition, one notices that a Katsina doll appears in almost every photo. This immortal spiritual being, carved by the Hopi people, accompanies the artist on his travels.
Open now: #GōzōYoshimasu, « Cher Monstre », includes the series Momentary Ecriture, 1999–2000, Polaroid, ink.
Since the 1970s, photography has been part of Gōzō Yoshimasu's artistic practice. Following his first photo exhibition in 1990, this medium began to play a more significant role.
After receiving a proposal for a Polaroid photo exhibition in Tokyo in 2002, he began working on the series Momentary Ecriture, in which he wrote his texts on the reverse of instant prints using white, gold, and silver ink.
While traveling frequently, Gōzō Yoshimasu used Polaroids as a form of diary, documenting his daily activities. Unlike his carefully "polished" poems, these texts were written immediately after the photos were taken, without revision.
Looking at the Polaroids presented in the exhibition, one notices that a Katsina doll appears in almost every photo. This immortal spiritual being, carved by the Hopi people, accompanies the artist on his travels.
Open now: #GōzōYoshimasu, « Cher Monstre », includes the series Momentary Ecriture, 1999–2000, Polaroid, ink.
Since the 1970s, photography has been part of Gōzō Yoshimasu's artistic practice. Following his first photo exhibition in 1990, this medium began to play a more significant role.
After receiving a proposal for a Polaroid photo exhibition in Tokyo in 2002, he began working on the series Momentary Ecriture, in which he wrote his texts on the reverse of instant prints using white, gold, and silver ink.
While traveling frequently, Gōzō Yoshimasu used Polaroids as a form of diary, documenting his daily activities. Unlike his carefully "polished" poems, these texts were written immediately after the photos were taken, without revision.
Looking at the Polaroids presented in the exhibition, one notices that a Katsina doll appears in almost every photo. This immortal spiritual being, carved by the Hopi people, accompanies the artist on his travels.
Closing soon: #ElisabettaBenassi in WHY LOOK AT ANIMALS? A Case for the Rights of Non-Human Lives, @emstathens, through 16 April 2026. M’Fumu, 2015, cast ceramic plaster, ink, steel.
Opening tonight in Paris: #GōzōYoshimasu: « Cher Monstre », 6–8pm. Dear Monster, 2014, mixed media on paper.
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