Mitsutoshi Hanaga : Awakenings: Art in Society in Asia 1960s -1990s (The National Museum of Modern Art, Tokyo)



10 Oct – 24 Dec 2018


Location: Art Museum Special Exhibition Gallery
Date: October 10 – December 24, 2018
Time: 10:00-17:00 ( Fridays and Saturdays open until 20:00 )
*Last admission : 30 minutes before closing.
Closed: Mondays ( except December 24, 2018 )
Admission: Adults: ¥1,200( 900 )College / University students: ¥800( 500 )

Free Admission Days: November 3, 2018
Organizers: The National Museum of Modern Art, TokyoThe Japan Foundation Asia CenterNational Museum of Modern and Contemporary Art, KoreaNational Gallery Singapore

More info:


Design: Gento MATSUMOTO


Paris Internationale 2017


10.18 – 22, 2017


Paris Internationale 2017
11, Rue Beranger 75003 Paris, France

Aoyama Meguro x Gallery Kochuten: Booth 8FM


Date: 18-22 October 2017

Tuesday, October 17th
Professional Preview, 11-5pm
Opening, 5-8pm
By invitation only.



Paris Internationale
Galerie Antoine Levi, Paris
Galerie Crevecoeur, Paris
Galerie Gregor Staiger, Zurich
Galerie High Art, Paris
Galerie Sultana, Paris

Aoyama Meguro x Gallery Kochuten is pleased to announce its participation in Paris Internationale 2017.
Artist: Mitsutoshi HANAGA  



羽永光利一〇〇〇(NADiff A/P/A/R/T、恵比寿)


4.28 – 5.28, 2017


会期:2017年4月28日(金)- 5月28日(日)
月曜日定休 ※月曜が祝日の場合は翌日
会場:NADiff a/p/a/r/t B1F NADiff Gallery
〒150-0013 東京都渋谷区恵比寿1丁目18-4 1F
営業時間 12:00-20:00

会場:NADiff a/p/a/r/t 店内

Installation view, 羽永光利一〇〇〇(NADiff A/P/A/R/T、恵比寿)

この度NADiff Galleryでは、写真家・羽永光利の作品群を纏めた圧倒的ヴォリュームのレゾネ的アーカイブ集『羽永光利 一〇〇〇』の刊行を記念した展覧会を開催いたします。

1933年東京生まれの羽永光利は、1950年代後半から1980年代にかけて日本の社会が大きく移り変わっていく激動の時代を潜り抜け、その生涯をかけて膨大な数の写真を残しました。 戦後日本が様々な矛盾と社会問題を抱える時代において、羽永は弱者や辺境の人々の視点からシャッターを切り、前衛芸術、アンダーグラウンド劇場、イベント、公害問題、学生運動、舞踏、コミューン活動など多岐に渡る現場の写真を記録し続けました。近年、10万点にもおよぶ膨大な写真群の全貌が明らかになるにつれ、時代の目撃者という写真家像にとどまらず、「羽永光利は、撮影とは現場へ介入するラディカルな行為であると証明した芸術家だ」と、新たに国内外から熱い注目を集めています。
本展では『羽永光利 一〇〇〇』に収録される作品を中心に構成し、若者たち、表現者たちの姿を至近距離で見守り続けた羽永光利の行為とまなざしをたどり、近年「再検証」され益々注目が高まる羽永光利の仕事の全貌に迫ります。

オープニングトークイベントでは、自身が主宰するメールマガジン『ROADSIDER’S WEEKLY』内での羽永光利特集において、羽永のドキュメンタリー写真家としての側面を紹介した編集者・都築響一氏、そして戦後日本のアヴァンギャルドと昭和の視覚文化が専門の東京ステーションギャラリー学芸員・成相肇氏を迎えるオープニングトークを開催します。さらに、NADiff a/p/a/r/t 店内におけるブックフェアや、DOMMUNEでの特番放映の関連イベントもございます。






NADiff A/P/A/R/T(恵比寿)


「パフォーマンス写真家とその作家たち」 トークイベント




京都岡崎 蔦屋書店(京都)





赤瀬川原平 赤瀬川宅 1967年か 写真:羽永光利

Mitsutoshi Hanaga-1000BUNKO, ART FAIR TOKYO 2017, Aoyama Meguro × Gallery Kochuten (Tokyo International Forum/ Booth N51)

3.16 – 19, 2017




Venue: Tokyo International Forum, Hall E and Lobby Gallery
Aoyama Meguro × Gallery Kochuten/ Booth N51
Mitsutoshi Hanaga website:

Opening Dates:
Thursday March 16th 2017
16:00 – 18:00 Private Preview (Invited guests only)
18:00 – 21:00 Vernissage (Invited guests only)

Friday March 17th 2017
11:00 – 13:00 VIP Advance Admission (Invited guests only)
13:00 – 20:00

Saturday March 18th 2017
11:00 – 20:00

Sunday March 19th 2017
10:30 – 17:00
※Last admission is 30 minutes before closing.

Tokyo International Forum,Hall E and Lobby Gallery
3 Chome-5-1 Marunouchi,Chiyoda-ku,Tokyo-to 100-0005, Japan

Tel: 03-5797-7912 E-mail: URL:
more info:


We would like to announce the publication of the first full-scale photo book of the work of Mitsutoshi Hanaga (1933 – 1999), “Mitsutoshi Hanaga 1000,” as the fifth publication of the paperback series “1000 BUNKO,” which follows “Takuma Nakahira 1000.” Each volume of this series is so incredibly thick that it appears to be a monument in itself.

Mitsutoshi Hanaga went through the postwar period from the late 1950s to the late 1980s when Japanese society experienced a drastic transition and he left behind approximately 100,000 photographs throughout his lifetime.
Living in postwar Japan, which was experiencing rapid growth and was burdened with various contradictions and social issues, Hanaga continued to record the reality of diverse scenes. He documented events such as social movements, student protests, the pollution issue, young people in the street or bars, Butoh, underground theater, and avant-garde art, which was suffering from neglect at the time, through photography from a perspective of the weak and outcast. This unique style of Hanaga, who consistently focused on his subjects by close contact with diverse locations and situations, is beyond comparison.
In recent years, along with the full picture of his enormous photographic archive being revealed, the existence of Hanaga is attracting remarkable attention domestically and internationally. He is shown not only as “a witness of the era” and “a photographer,” but also in the context of performance art, saying “his radical, repeated actions themselves, shooting while intervening in the locale, can be considered as his artistic expression.”

Upon production of this photo book, negatives left by Hanaga, which had been mostly unprinted, have been scanned and reviewed for selection for display since 2013. As a result, photos are arranged in chronological order, not by category, and chronology of the period, background information in English/Japanese, and text by Raiji Kuroda are contained.


Cooperation: 一〇〇〇BUNKO, MATCH and Company, TOKYO-SPORTS, Daisuke Motogi Architecture


h80_1000bunko_logoh50_MATCHandCompanyh80_tokyosports h80_dma_logo




1967年12月9日 ゼロ次元(加藤好弘)「全裸防毒面歩行儀式」(撮影:羽永光利)


ART PHOTO TOKYO -edition zero- /Booth 311(茅場町共同ビルディング・東京)

11.17 – 20, 2016

Booth: 3F, 311

First Choice: 15:00-17:00
Opening Reception: 18:00-21:00

開場時間:11月18日(金)・19日(土) | 12:00 – 20:00
11月20日(日) | 12:00 – 17:00
〒103-0025 東京都中央区日本橋茅場町1丁目6-12

More info:ART PHOTO TOKYO -edition zero-

田中功起, I considered the title of this work but it never come up. Following things could be related to the title.
1) I love to go out from the exhibition space because of BankART facing the sea.
2)There are so many trashes which some artists made and showed as art work before in BankART.
3) I want to make a raft using those trashes.
4) I think it’s not a question that the raft float on water or not but it’s good to be floating there.
, 2007, 400x600mm, ed.5



折元立身, The Document of ANIMAL ART 1978 – 2014 (LIMITED BOX), 2015, Movies, Catalogue raisonne, Photo, Box made of paulownia



橋本聡, Photographer: Bodybuilder, 2012, 73.8×110.8cm, ed.2of 5


Dec. 9, 1967, Zero Jigen (Yoshihiro Kato) “全裸防毒面歩行儀式 (Zenra-Boudokumen-Hoko-Gishiki)” Photo by Mitsutoshi Hanaga

Mitsutoshi Hanaga Archives Project
7.23 – 8.20. 2016

Installation view

List (pdf)
Photo No,(pdf): 
Social situation  Butoh  Theater    Avantgarde


Date: July.23 (Sat) – August.20 (Sat), 2016
Opening Reception: July. 23 (Sat), 2016,  19 – 21 pm

Wednesday – Saturday: 12 – 19 pm
Sundays and National Holidays: 12 – 18 pm
Closed on Mondays and Tuesdays

Talk Event:
Date: August.13(sat), 16 pm –
Venue: Aoyama Meguro

Yoshitaro Inami (Curator, Setagaya Literary Museum)
Taro Hanaga


Aoyama Meguro is pleased to announce our new exhibition “Mitsutoshi Hanaga Archives Project” beginning from July 23 through August 20. Based on four themes of avant-garde art, Butoh (avant-garde dance), theater, and social situation, around 200 photographs, selected from the archive of Mitsutoshi Hanaga, etc., will be exhibited.
Mitsutoshi Hanaga was born in Tokyo, 1933. He went through the turbulent times from the late 1950s to 1980s when Japanese society experienced a drastic transition and he left behind a huge amount of photographs throughout his lifetime.
While living in postwar Japan, which was burdened with various contradictions and social issues, Hanaga continued to record the reality of diverse scenes such as avant-garde art, underground theater, current events, the pollution issue, the student movement, Butoh, and the commune movement through photography from a perspective of the weak and outcast. The existence of Hanaga, who continued to focus on struggling youths seeking their meaning of existence by close contact, has legendarily been remembered and thought of as “an artist behind a system.”
However, in recent years, along with the full picture of his photographic works is being revealed, the existence of Hanaga is attracting remarkable attention internationally not only as “a witness of the era” and “a photographer,” but also in the context of performance art, saying “his radical, repeated actions themselves, shooting while intervening in the locale, would be considered as his artistic expression.”

A talk event, etc., will be held during the term of the exhibition. This will be announced on our website once details are decided.
Please come and view this exhibition where a door into a fresh examination of the transition of postwar Japanese society and the history of avant-garde art will be opened to you through the eyes of Mitsutoshi Hanaga.


Information of releasing a new book:
Mitsutoshi Hanaga 一〇〇〇
Publisher: 一〇〇〇bunko


Oct.10, 1964, Hi Red Center “Dropping Event” Photo by Mitsutoshi Hanaga

Organizer: Mitsutoshi Hanaga Archives Project
Grants: Arts Council Tokyo

Mitsutoshi Hanaga Biography

1933   Born in Otsuka, Tokyo.

1956   Entered the Faculty of Art of the Bunka Gakuin.

1958   Graduated from the Faculty of Art of the Bunka Gakuin. Later served as a lecturer in the college from 1965 to 1968.

1959 – 60    Attracted to the works of Man Ray and Moholy-Nagy, created a photogram “décalcomanie” in his own way. During its exhibition at “NELKEN,” a café-gallery at Koenji, he met Shuzo Takiguchi.

1961   Held the first solo exhibition at Daiichi Gallery (Shinjuku, Tokyo). Having been discovered by Shigene Kanamaru, Takachiyo Uemura, and photographer Hisae Imai, he became an assistant to Imai.

1962   Became a freelance photographer. Published photos which dealt with social issues and avant-garde expressions/activities through photo journalistic or art magazines. During 1962 and 1965, his documentary photos on young people were appeared in “Weekly Heibon” and other photos in “Weekly Josei” magazines, etc. During 1962 and 1968, held his 2nd to 8th solo exhibitions at Daiichi Gallery and Muramatsu Gallery.

1964   His photos were appeared in “LIFE” and “LIFE International” magazines.

1965 – 68   Documentary photos from visiting young artists, and photos of the little theater movement and Butoh (avant-garde dance) appeared in magazines such as “Bijutsu Techo” and “Ohara School of Ikebana.”

1968 – 70   Photos on contemporary art, Butoh, little theater, the adult entertainment business, and social issues appeared in “Fujinkoron” and “Asahi Graph” magazines.

1971 – 75   Serialized photo travel stories in “Weekly Asahi,” published by the Asahi Shimbun Company. Serialized a column named “NowNow (currently named ‘Dekigotology’)” in that magazine.

1972 – 79   Published reportage on art, photo travel story, and documentary photos in magazines such as “Bijutsu Techo,” “Geijutsu Shincho,” and “Geijutsu Seikatsu.”
During 1972 and 1978, held his 9th to 11th solo exhibitions at Ginza Kaigakan and Shimizu Gallery (Ogikubo, Tokyo).

1979   Participated in an exhibition titled “TOKYOTEN” at Tokyo Metropolitan Art Museum.

1981 – 83   Planned Shinchosha’s new photo magazine “FOCUS.” He himself was active as a reporter.

1982   Held a solo exhibition at Gallery Shunju (Ginza, Tokyo). Invited to the photo exhibition at Festival d’Avignon in France. The exhibition toured 15 cities in France until 1983.

1983  Invited by Centre Pompidou in Paris to hold an exhibition of his photos and slides. Also held an autograph session at Flammarion bookstore within the Centre Pompidou, commemorating the publication of his photo book “The Butoh.” Held a solo exhibition at Nantes, France.

1984   Held a solo exhibition at UNESCO headquarters in Paris. Held an exhibition of two artists at Gallery White in Israel. Invited to exhibit his artwork in the Video category at the Venice Biennale. Held an exhibition of positive named “Hypochondelicious” at Gallery Shunju.

1985   Participated in a Butoh festival. Held an exhibition named “The Return of Butoh Photos” at Toshiba Ginza Seven hosted by the Japan Culture Group and a solo exhibition at Gallery Shunju. Invited to exhibit his artwork at the Horizont Festival in Berlin.

1999   Passed away in December.

2014   Gallery Kochuten and Aoyama Meguro held an exhibition at Art Fair Tokyo 2014 named “Total Recall ─ Works of Mitsutoshi Hanaga (1959-1999)” through which the documentary photos of Hanaga were introduced on a full scale. An exhibition “A Witness! Mitsutoshi Hanaga: Focusing on his works on ‘Butoh’” was held at Gallery Kochuten. His works were exhibited at the exhibition “The Age of Ashita no Joe” held at Nerima Art Museum. Started from Chiba City Museum of Art, the exhibition titled “‘The Principles of Art’ by Genpei Akasegawa: From 1960s to the Present,” which featured his works, toured Oita Art Museum and Hiroshima City Contemporary Art Museum during 2014 and 2015.
2015   An exhibition, “Mitsutoshi HANAGA: The documentation photography of the Japanese avant-garde art and performance (1964-1973)” was held at Aoyama Meguro. His works were exhibited in the exhibition titled “Performing Arts in Asia” held at Asia Culture Center in Gwangju, Korea. Also exhibited in the exhibition “The EY Exhibition: The World Goes Pop” held at Tate Modern, London during 2015 and 2016.

2016   His works were exhibited in the exhibition “Butoh Photography” held at Weltkunstzimmer, Dusseldorf. Also exhibited in “The Emergence of the Contemporary: Avant-Garde Art in Japan, 1950-1970” held at Paço Imperial, Rio de Janeiro. A book written by Reiko Tomii “Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan” (Cover photo: Mitsutoshi Hanaga) was published by The MIT Press. Further, his works are scheduled to be exhibited in an exhibition at Fri Art: Centre d’art de Fribourg in Switzerland.


June, 1968 “Kanda-Quartier-latin-Toso” Photo by Mitsutoshi Hanaga