泉太郎
Taro Izumi

Taro Izumi
B: But the lens had clearly captured the passing tiger.
2017
Video
The work consists of a series of feature films which were screened in themuseum theatre, showing artworks from various public collections inJapan. The artist selected a single artwork which he shot continuously
for the duration of the museum’ s opening hours. Viewers were invited tohelp themselves from the popcorn stand located in front of the theatre.
Screening times and posters of the other films were exhibited in a
separate room.
-- translated from A Child Suddenly press release

Exhibition History
A Child Suddenly
21st Century Museum of Contemporary Art, Kanazawa
October 7, 2017 - March 25, 2018

Taro Izumi
Y: Raise your knee, now lower it. P: I put thestones away so they won’ t trip.
2017
Video
The work is a series of videos of sneakers
and boots against a brightly coloredbackground. The artist filmed shoes
worn by people, and played backthe videos on a monitor. After physicallycovering parts of the monitor withcolored boards so that only the shoewould remain visible on the screen,
the videos were filmed once again.
The graphic contrast of colors and theseemingly immobile images almost start
to resemble shoe advertisements.
-- translated from A Child Suddenly press
releaseExhibition History
A Child Suddenly
21st Century Museum of Contemporary Art, Kanazawa
October 7, 2017 - March 25, 2018

Taro Izumi
D: Night begins the moment you hold back a sneeze?
Well then, Mister, how about you and me go for a nice long sneeze?
2017
Mixed media/ video
The video shows an individual dressed in women’ s clothing standing on the
sidewalk, waiting for someone in the middle of the night. Is there any differencein an artwork waiting for its visitors, and a stranger on the sidewalk waiting forsomeone’ s arrival?
-- translated from A Child Suddenly press release

Exhibition History
A Child Suddenly
21st Century Museum of Contemporary Art, Kanazawa
October 7, 2017 - March 25, 2018

Taro Izumi(Deer) 85 91 92 94 98 100 102 108 110 112 115 116 * 117 * 119+2
2017
Mixed media
Dimensions variable
The installation consists of twenty five monitors on the floor, accompanied
by a children’ s t-shirt displayed above the monitors. Each monitor showsa video of found footage from the internet of an octopus trying to escapeits captor. A children’ s t-shirt visibly stretched to its limit from four
directions floats above the monitors.
-- translated from A Child Suddenly press release

Exhibition History
A Child Suddenly
21st Century Museum of Contemporary Art, Kanazawa
October 7, 2017 - March 25, 2018

Taro Izumi
Old Name, or: Sorry, It’ s Already Taken
2018
Mixed media
Dimensions variable
The work consists of six monitors,
each showing a video of an eel placed
inside an iron mold which is shaped in
an alphabetical letter. The six monitors
together spells out the words “so mean” .
-- translated from A Child Suddenly press
releaseExhibition History
A Child Suddenly
21st Century Museum of Contemporary Art, Kanazawa
October 7, 2017 - March 25, 2018

Taro Izumi
A Yacht2018
Mixed media
Dimensions variable
The installation consists of a series of videos
documenting the same event from threedifferent camera perspectives. One
video follows an individual making a lap
around the museum while clenching his/herfist, and arriving to a blue target, whichhe/ she vigorously knocks on it. A video
shot from a fixed camera placed in front of
the blue target shows a video of theindividual arriving, knocking, and leaving
the target. The last video is shot from acamera attached to the individual’ s armthat captures the individual’ s fist
throughout his/her journey. Through thesedifferent layers and perspectives, the work
recreates the same event in a three
dimensional way.
-- translated from A Child Suddenly press release
Exhibition History
A Child Suddenly
21st Century Museum of Contemporary Art, Kanazawa
October 7, 2017 - March 25, 2018

Taro Izumi
Punishment by Cheek Toothpicks/ Grapes
2018
Mixed media
Dimensions variable
The pillars supporting this museum is designed to be as thin and as few as possible,
to minimize their existence. For this work, the artist installed pants, shoes, andpower plugs onto the pillars. Just as humans are capable of supporting themselveswith their two legs, these thin and handful pillars are enough to structurally support
the museum. The digital signages located in the entrances of the floors show slow
motion videos of people’ s legs.
-- translated from A Child Suddenly press release

Exhibition History
A Child Suddenly
21st Century Museum of Contemporary Art, Kanazawa
October 7, 2017 - March 25, 2018

Taro Izumi
Footprint of melted sorbet
2017
Mixed media
In his videos, Izumi or other performers carry out actions that
resemble “games” or “play” in which meaning and nonsense
alternate and the line between reality and fiction is blurred byelements that are both amusing and puzzling. Footprint ofmelted sorbet, a work that consists of a number of screenssurrounding a large map of Berlin, shows people looking up at
the sky at different places in the city.
-- excerpt from Mercedes-Benz Art Scope 2015 - 2017: Wandering to
Wonder press release

Exhibition History
Mercedes-Benz Art Scope 2015 - 2017: Wandering to Wonder
Hara Museum of Contemporary Art, Tokyo
May 27 - August 27, 2017
Visions of Exchange: Mercedes-Benz Art Scope Award 2009- 2017
Daimler Contemporary Berlin
June 2 - November 3, 2018

Taro Izumi
Levitating bottoms (over 12 wandering maniacs dreaming of being late)2017
Mixed media
Levitating bottoms (over 12 wandering maniacs
dreaming of being late) was inspired by Izumi’ s
experience of air travel. It consists of a set of seats that
resemble but aren't exactly like those on a jetliner,arranged in rows, each attached with a monitor. A video
projected onto a large screen in front shows performers
eating what looks like airplane food, acting out the directives
that appear as captions in the monitors, and otherwise
spending the same amount of time doing these things thata jetliner would take to fly between Japan and Europe. As
the time drags on, it becomes less clear whether the increasing
fatigue they project is play acting or real.
-- excerpt from Mercedes-Benz Art Scope 2015 - 2017: Wandering
to Wonder press release

Exhibition History
Mercedes-Benz Art Scope 2015 - 2017: Wandering to Wonder
Hara Museum of Contemporary Art, Tokyo
May 27 - August 27, 2017

Taro Izumi
Untitled with irregularities
2017
Video
2 min. 19 sec.

Exhibition History
Mercedes-Benz Art Scope 2015-2017: Wandering to Wonder
Hara Museum of Contemporary Art, Tokyo
May 27 – August 27, 2017

Online video documentation:
https://youtu.be/wtbk8yXGn58

Taro Izumi
Treatment for a five-fold door
2017
2 videosExhibition History
Mercedes-Benz Art Scope 2015-2017: Wandering to Wonder
Hara Museum of Contemporary Art, Tokyo
May 27 – August 27, 2017

Online video documentation:
https://youtu.be/_VWARx78GXU
https://youtu.be/1BS7XQTGfkQTaro Izumi
A skinny worm to attract a fat frog
2017
Video
3 min. 29 sec.

Exhibition History
Mercedes-Benz Art Scope 2015-2017: Wandering to Wonder
Hara Museum of Contemporary Art, Tokyo
May 27 – August 27, 2017

Online video documentation:
https://youtu.be/vWqVYDRJz5k

Taro Izumi
The opposite of excercise
2017
Mixed media/ video
28 min. 16 sec.

Exhibition History
Mercedes-Benz Art Scope 2015-2017: Wandering to Wonder
Hara Museum of Contemporary Art, Tokyo
May 27 – August 27, 2017

Online video documentation:
https://youtu.be/LCTgWCy3zhE

Taro Izumi
Transparently dyed mulberry field juice
2017
Mixed media/ video
13 min. 29 sec.

Exhibition History
Mercedes-Benz Art Scope 2015-2017: Wandering to Wonder
Hara Museum of Contemporary Art, Tokyo
May 27 – August 27, 2017

Online video documentation:
https://youtu.be/643bbDZJKEk

Taro Izumi
Worms can differentiate between the laughter and cries of locusts
2017
Mixed media installation / video
Connected with several of Taro Izumi’ s flagship themes – including
the overturning of things, and the individual’ s place in society – thislarge installation includes several dozen performers, whose legs havebeen trapped in a vast structure, at the exhibition’ s opening night
and in a video projection during all the exhibition. “I always try toimmobilise things in a world in motion.”-- excerpt from Pan press release

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/_BLIJCJV-vg

Taro Izumi
To forget the day that I forgot to wear sunscreen
2017
Mixed media installation / video“Every day, I filmed a brick in a wall until night fall. Eachtime, it’ s the same brick, but each time is a different moment.
I waited while filming, just as bricks wait in a wall.” Taro
Izumi then put together digitally these hundreds of shots,
one after the other, composing his film stone by stone, fromthe bottom to the top, as a mason builds an edifice. The
projection of a wall, on a wall: more mischievous thaninhospitable, this work, which welcomes visitors to the show,
reveals Taro Izumi’ s taste for the gap between things andtheir depictions, objects and their images.
-- excerpt from Pan press release

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017

Taro Izumi
30
2017
Set of 2 videos
30 is a video installation in which footage of a boy and of a group of adults is
installed in separate spaces, with the boy and the adults imitating wolf cries tocall out to each other. Izumi has long displayed an awareness of issues
concerning video and language in his work, and one could say that he has
incorporated both in this installation. By creating a situation in which several
dogs show no reaction at all to the howling of wolves while humans call to eachother not in human language but by imitating the language of animals, Izumi isposing questions around the nature of language and of mutual understanding
with others. As a result of the howling voices and repeated responses that echothrough the separate spaces, people are also able to recognize the characteristicsof these spaces. In today’ s society, where engaging in conversations without
speaking when communicating with others via social media has become a matterof course, this work focuses anew on the importance of verbal communication.
-- excerpt from 21st Century Museum of Contemporary Art, Kanazawa,
Collection catalogue

Collection of
21st Century Museum of Contemporary Art, Kanazawa
Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/uReMHtSwQmw

Taro Izumi
Tickled in a dream... maybe? (The eyelid that protrudes more than the cheek)
2017
Assembly of various elements, wood, metal, various objects, fabrics,
light bulb accompanied by a double video projection
Dimensions variable
Unique piece
In this series of works, combining sculptures, photographs and videos, Taro Izumi has produced media made up of everyday items –chairs, tables, stools, cushions – which are rapidly associated so as tosupport a body imitating the unwinding or the impulsion of asportsperson in action. “It’ s a kind of architecture aimed at images
or videos. (...) Here, I’ ve tried to rethink the architecture meant for
pictures, to make the body’ s volume conform to the rules ofimagistic representation, to differentiate the passing of time in aflow from broken-up time, to give back volume to a compressedworld, and to look for a living structure in a flat surface…”-- excerpt from Pan press release

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/qH2KY7CeYOsTaro Izumi
Tickled in a dream... maybe? (Protect bananas from pirates)
2016
Assembly of various elements, wood, metal, various objects, fabrics,
light bulb accompanied by a double video projection
Dimensions variable
Unique piece

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017

Taro Izumi
Tickled in a dream...maybe? (It was visible from Canada)
2017
Assembly of various elements, wood, plastic globe accompanied by adouble video projection
Dimensions variable
Unique piece

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/dkXL2HUs28E

Taro Izumi
Tickled in a dream...maybe? (The camel that was slimmed by the wind)
2017
Assembly of various elements, wood, plant, accompanied by adouble video projection
Dimensions variable
Unique piece

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/EG56pI6dtdQ

Taro Izumi
Tickled in a dream...maybe? (The destination of breath)
2017
Assembly of various elements, metal, various objects,
accompanied by a double video projection
Dimension variable
Unique piece

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/eJPiANadrS0

Taro Izumi
Tickled in a dream...maybe? (The cloud fell)
2017
Assembly of various elements, wood, metal, fabrics, CD player,CDs, accompanied by a double video projection
Dimensions variable
Unique piece

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Stop and Go
Hara Museum Arc, Gunma
June 30 - September 30, 2018
Online video documentation:
https://youtu.be/ue_w7nUCmcg

Taro Izumi
Tickled in a dream...maybe? (Soft knife)
2017
Assembly of various elements, wood, metal, various objects, light bulb,
accompanied by a double video projection
Dimensions variable
Unique piece

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/wkEIIQXqsV8

Taro Izumi
Tickled in a dream...maybe? (The muscles of the cucumber)
2017
Assembly of various elements, wood, various objects,
light bulb, accompanied by a double video projection
Dimensions variable
Unique piece

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/4QuikO0jLt8

Taro Izumi
Tickled in a dream... maybe? (The night shattered)
2017
Assembly of various elements, wood, metal, various objects, fabrics, TV
accompanied by a double video projection
Dimensions variable
Unique piece

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/YtFIvlT65CA

Taro Izumi
The piercing wink of the star that is not visible
2017Videos, arrows
Four archers from the club Les Archers de Paris have inscribed the letters“EELS ” on the wall, by shooting arrows whose tips have been covered withpieces of cloth soaking in differently coloured inks. “Archery is a sport inwhich points are scored thanks to the quality of the arrow’ s trajectory, as
well as the strength used so as to resist gravity. But an eel has a movement
which is contrary to a straight line. This is something that can easily be seen
by watching it move from above.”-- excerpt from Pan press release

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/A6-QAmicbEo

Taro Izumi
Inhale the shadow
2017
Videos, sink
In a basket, some fruit decays from day to day. Paint is regularly put
directly on these fruits so as to conceal their aging.
-- excerpt from Pan press release

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017

Taro Izumi
Fish that have melted become water
2017
VideosIn the exhibition space, two screens show the filmingof a performance. A performer keeps pressed down
the tip of a can of spray paint, while moving alongside
the walls of the show. Minor obstacles get in the way,thus modifying the path of the line. Meanwhile, asecond performer follows closely, carefully wiping out
everything that has been painted. “This line is thenatural environment of the entire exhibition space.
It reproduces the movement of a wave in the sea.”-- excerpt from Pan press release

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online documentation:
https://youtu.be/-o1wd9sfGS8

Taro Izumi
Beautiful assistant (a)2017Installation, video, botanicals, furniture,
wooden sculptures
These videos show Taro Izumi’ s assistants indifferent situation. “I’ m often more interested
in what’ s going on behind in a video, than in themain subject. It can even happen that the role
adopted by an assistant is the one that people
notice first. (...) ‘Beautiful assistant’ reveals thestar hidden inside each assistant.”-- excerpt from Pan press release

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online documentation:
https://youtu.be/tVB-nRDPaOo

Taro Izumi
Beautiful assistant (b)2017Video and 7 monitors

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online documentation:
https://youtu.be/Wkr4pzEu51M

Taro Izumi
Beautiful assistant (c)2017Video and wooden sculpture

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017

Taro Izumi
Beautiful assistant (d)2017Video and photographs

Exhibition History
Pan
Palais de Tokyo, Paris
February 2 - May 8, 2017
Online video documentation:
https://youtu.be/r_P_AJYwHfYTaro Izumi←contact2016 - 2017
Mixed media←contact is a series of sculptures, videos and documentary photographs resulting
from a kind of correspondance between Izumi and an Italian furniture upholsterer.
In this correspondence, Izumi first created a sculpture, which was thentransformed into a chair by the artisan. Izumi in turn altered the chair back into asculpture, and the process was repeated several times. After undergoing numerous
transformations, the final chair are exhibited alongside a series of sculptures madewith the parts that were removed by the artisan each time he turned the object
back into a chair. With the artist's objective of making a sculpture and the artisan's
objective of making a chair nested within a twofold task, the work is ultimately
made from the things that escaped the intentions of its creators.
Exhibition History
Paradoxa. Japanese Art Today
Casa Cavazzini, Udine
April 17 - August 28, 2016←contact
Take Ninagawa, Tokyo
September 9 - October 21, 2017
Online video documentation:
https://youtu.be/2gV_57J8U3A
https://youtu.be/w8sXdy055AU

Taro Izumi←contact2016 - 2017
Mixed media

Exhibition History
Paradoxa. Japanese Art Today
Casa Cavazzini, Udine
April 17 - August 28, 2016←contact
Take Ninagawa, Tokyo
September 9 - October 21, 2017
Online video documentation:
https://youtu.be/2gV_57J8U3A
https://youtu.be/w8sXdy055AU

Taro Izumi←contact2016 - 2017
Mixed media

Exhibition History
Paradoxa. Japanese Art Today
Casa Cavazzini, Udine
April 17 - August 28, 2016←contact
Take Ninagawa, Tokyo
September 9 - October 21, 2017
Online video documentation:
https://youtu.be/2gV_57J8U3A
https://youtu.be/w8sXdy055AU

Taro Izumi
Sponge2015
Found objects (pet bottles, banana peels, plastic toy soldier,table tennis balls, bottle caps, animal figures, plastic andsponge tree toys, polypropylene clear sheet protector, photos)
with mixed media drawings on papers and table
Dimensions variable
In this work, several layers of drawings are arranged
beneath those visible on the surface. First one drawing
was made in one way, and then the next was drawn
according to a completely different mental process.
That is, the drawings were made following a methodologythat could be described both as a restraint and a liberation
for maintaining the kind of flexibility needed to throw aball far at any time. In opposition to the idea that all thethinking and processes that went into a work can be seen inits surface, displaying these drawings on top of each other
could be considered an attempt to show the existence of
production that exists within the work as a kind of internalorgan.

Collection of
Dallas Museum of Art, Texas

Taro Izumi
Candidate Untitled (Can not see the shadow of the rainbow)
2015
Fabric, artificial flowers, wood, photographs, video
Dimension variableThis work comprises an installation of 300 tree costumes arranged like a forest in the exhibition space. In the film
shoot, the costumes were worn by actors who collectively cosplayed as a forest. Additionally, other cosplayers,
dressed as characters like Superman and Marvelous Melmo, Riderman (from the series Kamen Rider) and merman,
wandered around the forest while being trailed by cameramen who filmed them. The characters were chosen because theactors and voice actors who originally portrayed them were already dead. As the cameramen filmed these shell-likecharacters wandering through the cosplay forest, the cosplayers dressed as trees necessarily ended up being captured
in the background. The installation emphasizes and foregrounds the existence of the numerous people who are always“landscaped” into the background behind the main characters. Viewers must wander through the forest in order toview the footage projected at the very back of the exhibition space, but no matter where they stand, the foregrounded
trees obscure the view.
Exhibition History
In Our Time: Art in Post-industrial Japan
21st Century Museum of Art, Kanazawa
April 25 - August 30, 2015
10th Anniversary
Take Ninagawa, Tokyo
May 12 - June 34, 2018
Online video documentation:
https://youtu.be/2pBcfM21RiY

Taro Izumi
Wink Lion2013
Crayon and paper on wooden panel
84 x 154 cm
As everyone knows, the wink is a cute, sexysign made with one eye. If the wink is basicallya positive sign of affection, it could also be said
to carry with it the negative effect of reducing
one's visual sense of perspective. In other words,
this positive expression is constituted by a negating
action. For Wink Lion, I first made a drawing while
wearing my glasses, and then removed my glasses tomake a copy of part of the drawing, which I thenpasted on top of the original. As with the wink, thiswork was produced through the negating effect oflimiting my vision by removing my glasses.

Taro Izumi
North Pole2013
Crayon and paper
Set of thirty works on paper
31 x 44 cm, each
I've never been to the North Pole, but inpictures it always seems to be completely
covered in white snow and ice, althoughoccasionally one can also see black dots andshadows. I removed my glasses and repeatedly
copied the image, with white areas gradually
coming to dominate everything else. In thisprocess there was also a moment where I became
liberated from my awareness of the identity of
the image, for example, the face of a tiger. Thiswas due to the massing of color. In this way, theimage gradually devolved into easily recognizable
colors.

Taro Izumi
Caramel2013
Mixed media installation/ video
I cut out the eyes from footage of animals that I filmed
at a zoo, and then replaced them with footage of humaneyes displayed on monitors arranged behind the missing
parts of the original footage. The human eyes were filmedby placing volunteers in a restrictive contraption andthen making them watch performances by myself. The
performances involved generally unremarkable actions,such as transferring liquids from one container toanother, swinging around a racket, or moving about
while holding a candle. I made nine performances fornine volunteers, whose eyes were then inserted into thoseof nine animals.

Exhibition History
Roppongi Crossing 2013: Out of Doubt
Mori Art Museum, Tokyo
September 21, 2013 - January 13, 2013

Taro Izumi
Skating Rink for Angleworms
2012
Performance
Performance at a shopping arcade in the Roppongi district of Tokyo.
At first it seems that the masked figure is simply wandering around.
However, his actions are captured by a video camera that has been
installed high overhead, with the footage relayed to a TV monitor onto
the surface of which has been pasted a maze-like pattern. A person
standing before the monitor guides the masked figure through the mazeby calling out directions. Since the masked figure has no way of graspinghis position in the maze, he is entirely dependent upon these vocal
directions. The goal of the performance is essentially to complete theinvisible maze, using the video camera and monitor to determine alternate
rules to the real world.

Exhibition History
Roppongi Art Night 2012
Tokyo
March 24 - 25, 2012

Taro Izumi
Visor and Fan
2012
Installation/ video
The floor of the exhibition space is completely covered in blackboard, and arabbit is released into the room. Without touching it at all, I minutely detail
my observations of the rabbit in white crayon onto the floor. As a result of mypersistent observations of the rabbit's appearance, the floor is completely coveredin text.

Exhibition History
Real Japanesque: The Unique World of JapaneseContemporary Art
The National Museum of Art, Osaka
July 10 - September 30, 2012
Online video documentation:
http://youtu.be/4PRd6fj1nXE

Taro Izumi
Corset (Library)2012
Mixed media installation/ video
Two people are lying down inside a structure, the interior
floor of which is covered in blackboard. One personchooses a volume from among the books stored in thelower part of the structure, and uses the Japanese hiragana
syllabary to copy the text – including punctuation – onto
the blackboard area while crawling backwards. As thoughchasing the first person, the other person crawls forward
while reading each of the characters, which upon reading
are then erased his/her body. The pair repeat this processacross several books, completing multiple circuits aroundthe structure.

Exhibition History
Real Japanesque: The Unique World of JapaneseContemporary Art
The National Museum of Art, Osaka
July 10 - September 30, 2012

Taro Izumi
Egyptian Frog, Ground Meat, Rain
2012
Sculpture/ video
For this work I made a structure comprising 18 3.5-meter tubes
stacked lengthwise upon each other. There are handles attachedto each tube on each side of the structure. Turning the handles
causes the tubes to rotate, and paint to spill from their top of thestructure. I filmed over 10 people conducting this action. Thereis a natural decal effect as paint gradually flows down the turning
tubes. Since the tubes cannot be rotated unless the handles areturned at the same time, it becomes increasingly difficult tocomplete the task as paint accumulates on the sides of the tubes.

Exhibition History
Real Japanesque: The Unique World of JapaneseContemporary Art
The National Museum of Art, Osaka
July 10 - September 30, 2012

Taro Izumi
Untitled
2012
Sculpture, video
The work comprises five abstract sculptures
made in forms that do not allow for empathy
or identification. Each sculpture is given to
one of five participants, who each attempt tointegrate the sculptures into their daily lives.

Exhibition History
Real Japanesque: The Unique World of JapaneseContemporary Art
The National Museum of Art, Osaka
July 10 - September 30, 2012
Online video documentation:
https://youtu.be/m-lwLvq6vl8
https://youtu.be/qkQL0eXRPpE
https://youtu.be/HWsxgrjVzao

Taro Izumi
Untitled
2015
Video and iron sculpture
28 x 28 x 67 cm
45 min. 2 sec.
UniqueOnline video documentation:
http://youtu.be/x9kuGSZydL8

Taro Izumi
Untitled
2015
Video and iron sculpture
17 x 3 x 166 cm
33 min. 29 sec.
UniqueOnline video documentation:
http://youtu.be/wuwz3YdfRxYTaro Izumi
Untitled
2015
Video and iron sculpture
30.5 x 32 x 35 cm
53 min. 12 sec.
uniqueOnline video documentation:
https://youtu.be/wbo25OoBSNE

Taro Izumi
Skunk Tunnel (Crawling into Inner Tube Hole through Barrel
into Stomach)
2011
Mixed media installation / Video
A performance for which I turned the exhibition venue intoa massive boardgame-like installation and then used myself asa game piece. Each square of the board is marked with adifferent direction, which I performed. For example, uponlanding on the square marked "Mud" I would cover myself in
mud, or landing on the square marked "Scream" I would screamout. Several days' worth of footage of this performance wasprojected alongside the installation. In performing within
specific rules, the lines between freedom and control became
blurred. This could also be called the productive system formaking a sculpture in which I used myself as the material.

Exhibition History
Omnilogue: Alternating Currents Exhibition- Japanese Art After March 2011
Perth Institute of Contemporary Art, Western Australia
November 12 - December 31, 2011
Online video documentation:
http://youtu.be/MW72PMDXmxETaro Izumi
Tsubo (the Metro)
2011
Mixed media installation/ video
This work involved riding and peddling seven bicycles that were lined up
together, with different-colored panels attached to the spokes of the backwheel of each bicycle. Due to the variation of the speeds at which the riders
peddled, viewed from the end of the line the panels appear to emerge one byone, or overlap to create different colors, producing a number of effects. Eachrider is free to peddle at their own pace or apply the brakes whenever they feellike it, and it is indeed these gaps in timing that create a painterly effect.

Exhibition History
Yokohama Triennale 2011
BankART 1929, Yokohama
August 6 - November 6, 2011

Taro Izumi
Fishing and Bone Setter
2011
Mixed media installation/ video
Three separate rooms each contain a person wearing a mask. The personin the middle room carries out actions in response to an object that isplaced there, while simultaneously explaining these actions throughspeech. For example, in the case of a pot, the action/explanation mightbe "I stick my hand into the hole and raise the pot." Based on these
explanations, the people in the other rooms perform the same actions
to the objects before them. However, since all the objects are different,
almost all the actions are difficult to carry out.

Exhibition History
Yokohama Triennale 2011
BankART 1929, Yokohama
August 6 - November 6, 2011

Taro Izumi
Diagonal Harvest
2011
Mixed media installation/ video
Attach a video camera to a rotating tripod and make it rotate. Where it
stops, you then paint between the gaps in the building's beams while checking
the video on a TV monitor. Repeat until the roof is covered in an abstract
painting-style color field.

Exhibition History
Violence and Universe
island ATRIUM, Chiba
January 15 - February 13, 2011

Taro Izumi
Diagonal Harvest
2011
Mixed media installation
A sculptural installation in which human figures madeout of wood are used to prop up furniture and otherobjects at skewed angles. Shifting their orientation
rendered these objects unusable, but also turned themfrom objects into sculpture. Taking caution not tooverturn the precariously balanced figures as one walks
through the installation also has an effect on the physicalcreativity of the visitors.

Exhibition History
Violence and Universe
island ATRIUM, Chiba
January 15 - February 13, 2011

Taro Izumi
Collar of Rotating Gut
2011
Mixed media installation/ video
Several participants are asked to imagine an animal and then shape theclay to create a figure of the animal in mind. Since each participant comesup with a different animal, they endlessly work and rework the clay, nevercoming any closer to completing the task.

Exhibition History
Taro Izumi
Tamagawa Art Gallery, Tokyo
September 26 - October 2, 2011

Taro Izumi
Battle without Woodpeckers or Pike
2011
Video
Produced at Tamagawa University. University students
were instructed to run so as to avoid being filmed by thevideo camera I was holding. Since the video camera's primary
purpose is filming, even when the cameraman is moving andattempting to film at the same time, it is in fact quitedifficult to escape the camera's field of view.

Exhibition History
Taro Izumi
Tamagawa Art Gallery, Tokyo
September 26 - October 2, 2011
Online video documentation:
http://youtu.be/SPX6QF0Xw2c

Taro Izumi
Cultivation of Shoe Sole2010
Mixed media installation/ video
This was the largest work I displayed at Kanagawa
Kenmin Hall. I filmed myself making aboardgame-like path while advancing according to
the spins of a roulette wheel. The
path as well as the instructions along the path wererandomly created by the staff. Following the path, I
made performances according to the instructions on
the squares upon which I landed. Moreover, this wasfilmed from overhead, and then projected as a video
onto the same site containing the traces of thecompleted performances. With the traces overlappingwith the process in the video, different temporal axes
came to intersect each other. As well, the process ofgradually progressing along the gameboard came toresemble the lines of a giant drawing on the ground.
Exhibition History
Kneading
Kanagawa Prefectural Gallery, Kanagawa
November 2 - 27, 2010
Online video documentation:
http://youtu.be/vXTePn1GNfE

Taro Izumi
Little Cammy
2010
Mixed media installation/ video
I first built a small hut in the exhibition space, which I then roll overwith the help of several people. A video camera is attached to the window
area of the hut so that I am constantly filmed in an upright position, whilebehind me furniture, paint, flour and other materials are scattered throughthe air as though they were in zero gravity. This work is one of several I
have made for which I go to the exhibition space and make, film anddisplay on site a work that appears to have a life of its own. Shaped like along hallway, the exhibition space offered suitable space for rolling a
hut-like structure. The work has significance as a work not in theobjective of making itself but rather in that the action of rolling resultsin something beyond my intent as an artist, with the scattered elements
inside the hut combining to produce a painterly effect.

Exhibition History
Kneading
Kanagawa Prefectural Gallery, Kanagawa
November 2 - 27, 2010
Online video documentation:
http://youtu.be/DfzP6UytI2Q

Taro Izumi
Untitled
2010
Mixed media installation/ video
Four walls are installed in the exhibition space, each containing a
different-shaped hole. Starting from the rightmost wall and continuing
to the opposite side, I stuff a green object into each hole and force itthrough. Since the holes are gradually smaller, bits and pieces break off
the object, which also gradually shrinks in size. A plinth placed on theother side of the hole in the final wall is the object's final resting place.

Exhibition History
Kneading
Kanagawa Prefectural Gallery, Kanagawa
November 2 - 27, 2010

Taro Izumi
Signal Fire
2010
Video
Incorporating the performance of numerous volunteers who gathered in
the large venue. This was filmed following two rules: when the color of
the spotlight turns red, everybody tries to escape being caught by thelight; when it turns blue they try to enter the field of the light. Moving
your body in response to simple rules is both the essence of games andsports, but when it is carried out at such a large collective scale it also
looks like people panicking during a disaster.

Exhibition History
Kneading
Kanagawa Prefectural Gallery, Kanagawa
November 2 - 27, 2010
Online video documentation:
https://youtu.be/rMso9OQJw-M

Taro Izumi
Pigeon2010
Video
I have someone inside a sealed room look at a mirror and attempt to describe
their own face in words through minute observation. On the outside, I attempt torecreate the face through drawing on the basis of the verbal descriptio

Exhibition History
Kneading
Kanagawa Prefectural Gallery, Kanagawa
November 2 - 27, 2010

Taro Izumi
Burying Alive2010
Mixed media installation/ performance
The exhibition space is covered in different patterned andcolored carpets. Upon entering the space viewers hear a soundthat does not seem to come from anyplace in particular. As
they walk through the room, viewers gradually realize that thesound changes depending on which carpet they are standing,and almost begin to dance across the carpets as they play withthe different sounds that emerge from them. In fact, I am
observing the visitors through a surveillance camera from aroom next to the exhibition space, and playing instruments
in realtime in response to the positioning of their feet.
Visitors are made aware of this situation through a TV
monitor placed in a corner of the room. Since I am using mysight to identify the positioning of their feet and thencreating sounds through bodily reactions, there are also
occasional gaps in timing that occur when the visitors movequickly, but once they are aware of the system, the visitors
experience a strange sense of confidence, and enjoy
collaborating with me.
Exhibition History
Kneading
Kanagawa Prefectural Gallery, Kanagawa
November 2 - 27, 2010

Taro Izumi
Sunbathing
2010
Mixed media installation
A white cloth is contained in an acrylic case. Tracing the form of the cloth, blacklines drawn onto the case emphasize the dimensionality of the cloth through theshadows they cast upon it.

Exhibition History
Taro Izumi
sprout curation, Tokyo
July 30 - September 17, 2011
Kneading
Kanagawa Prefectural Gallery, Kanagawa
November 2 - 27, 2011

Taro Izumi
Fish Bone as Slang2010
Mixed media installation/ video
A work made in Korea. I asked university students to make performances on thestreets of Seoul, which I then filmed and presented on TV monitors. In front of
the monitors I placed everyday items that I had acquired in Seoul, which I thenfilmed and scaled up into a large projection, so that due to the overlap of footage
in the projection it appears as though the students are climbing on the everyday
items. Without being told what kind of system would comprise the work, thestudents had been instructed to go out onto the streets and shake unsteadily.
Ultimately presented as a part of the work through video in which they appear to
be shaking on top of everyday items, the students experienced an uncanny
sensation of the scale of their bodies and being physically connected to both thevideo and the world outside the video.

Exhibition History
Trust: Media City Seoul
Seoul Museum of Art, Seoul
September 7 - November17, 2010

Taro Izumi
Fish-Bone-Hanger
2010
Mixed media installation/ video
In a large-scale video projection, I climb onto things like plastic bottles andhammers and then jump down again. I first made a performance in the streets,
which I filmed and then replayed through a TV monitor, in front of which areplaced everyday items. This was in turn filmed by another camera and projected
in realtime. Like a video game, it almost appears as though I am having
adventures among the everyday items, although in the original performances
filmed in the streets I was actually climbing onto vending machines and hanging
from fences. In order to link a life-sized physical sensation and the world inside
the video, it was important for me to reveal the structure behind the video,
rather than using special effects composited on a computer.

Exhibition History
MOT Collection: Enter Here - What do you see?
The Museum of Contemporary Art, Tokyo
Online video documentation:
https://youtu.be/IOFds-Dcw0s

Taro Izumi
Butter2010
Mixed media installation/ performanceWith a tiger-shaped doll attached to my back, I crawl through the structure. As it
proceeds, the tiger knocks down cans of paint and flour that have been placed along thestructure, the contents of which all fall upon me, the motive force. Smearing thesematerials along the interior of the structure as I continue crawling, something like apainting begins to emerge. There is a children's story about a tiger that ran in circles
until it melted into butter; crawling in circle, I appear to gradually lose my humanform and melt into the material for a painting..

Exhibition History
MOT Collection: Enter Here - What do you see?
The Museum of Contemporary Art, Tokyo

Taro Izumi
View of Untouchable Echoes
2009
Sculpture/ video
I first make a completely meaningless object, which I then present to people
on the street, asking them to describe what they see. After filming thestatements of several people, I ask several volunteers to make a new object
based on those recordings. Since there are several statements, no unified image
appears. I then take the new object out onto the streets and conduct similarinterviews, which I then use as the basis for a new group of volunteers to makea third object. I repeat the process for a total of five times, producing a totalof six objects including the original object that I made myself.

Exhibition History
Everyday life Another space
Kanagawa Prefectural Gallery, Yokohama
December 16, 2009 - January 23, 2010