Until 22 Aprilà 2017

Galerie Comparative is pleased to present the first solo exhibition in France of Japanese artist Tsuyoshi Maekawa (1936).



In Japan, Maekawa made history by integrating the Gutai movement.


Under the influence of Yoshihara, the group's founder and Maekawa’s mentor, the Japanese movement refused artistic modernity to be exclusively a Western reality.


Before any other movement, and worldwide, Gutai rejected traditional artistic constraints thanks to a wide range of practices: using the body through exploring abstraction, participatory and performance art, technological art, installation art.


Where the first generation of Gutai had made imprints of their bodies on flat paper or canvas, Maekawa blurred the frontier between painting and sculpture. 



Since 1952 when he discovered the work on burlap by Joan Miro, Maekawa used the material he kept working since then, cutting, chiselling, knitting, constraining, extending, sewing or painting the cloth.


He then links lines and reliefs. And creates as many spaces as there are folds, in which matter is lodged, such as river beds each carrying their own microcosm. Maekawa also harnesses every potentials of the colour: its power of expansion, of saturation, of coverage, dilution, the almost photographic fixation on the canvas of the oil and pigment within it.



In Japanese aesthetics and particularly through the concept of Wabi, imperfections and accidents are valued, which refer to the impermanence and the fluxes in which lies the nature of reality.


Playing with the fundamentals of cultures, Maekawa’s works hold their universal nature from the motifs charged with striking energy.


Their shapes evoke both macroscopic and microscopic worlds, both geological movements and furrowed fields, both the folds of the earth produced by retreating animals and the rhythm of natural life, or the biology of life. The Japanese dry garden, model from the seventeenth century that acts as a shortened image of the world, would anchor this elementary universalism into Japanese aesthetics: as abstract formations, these gardens had to be seen from the second floor of a house by full moon, when sand shines in the silver light and the dunes appear like the waves of a motionless ocean.


Each month, one work explained.

This month Untitled 141262 (2014)



2015 : Gutai : Splendid Playground, Guggenheim Museum, New York

2013-2014 : Expositions monographiques à la Axel Vervoordt Gallery, Galerie Dominique Lévy, New York, Whitestone Gallery, Tokyo



Tate Gallery, London, acquisition in 2015

The National Museum of Modern Art, Kyoto

The National Museum of Art, Osaka

Museum of Contemporary Art Tokyo Hyogo

Prefectural Museum of Art

The Museum of Modern Art, Wakayama

Miyagi Museum of Art, Sendai

Ashiya City Museum of Art and History, Ashiya

Takamatsu City Museum of Art, Takamatsu

Osaka City Museum of Modern Art, Osaka

Hikami Municipal Ueno Memorial Museum, Hikami

Hasegawa Museum of Contemporary Art, Tokyo

Hira Art Museum, Shiga

Hotel Riviera Shishikui, Kaiyo

Hotel Trinity Sapporo, Sapporo

Shinsei Lutheran Church, Matsuzaka

Houmei Country Club, Sasayama-shi

Yoshikawa Country Club, Yoshikawa

Creo Osaka Chuo (Osaka Gender Equality Center), Osaka

Rest Villa Hachioji, Hachioji Furusato (Special Nursing Home for the Elderly), Tokyo Granda Mikage-Nishi

Hashima City Fureai Kaikan, Hashima

Esperanza Joto

Saiseikai Senri Hospital, Suita

Toyooka Public Hospital, Toyooka

Akashi Medical Center, Akashi

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01 42 77 53 08


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