#Museum Wiesbaden 2022

[fashionbooksmilano]

Frank Stella

Editor Jörg Daur, Museum Wiesbaden

Text by Bernard Ceysson, Jörg Daur, Andreas Henning, Lea Schäfer

Design by Frank Bernhard Übler, Leipzig

Kerber, Bielefeld 202, 144 pages, 24x29cm, ISBN 978-3-7356-0873-4

euro 25,00

email if you want to buy booksinprogressmilano@yahoo.it

Frank Stella (*1936) situates his oeuvre not only in the present. Abstraction or representation, simulacrum, sign, and ornament, as well as questions of surface and space have fascinated him anew time and again. The publication presents the following phases in his oeuvre in the context of the Museum Wiesbaden’s collection: the early works, the stripe paintings attributed to minimalism, the departure into space, and thus from the picture to the relief, as well as the use of ornament and arabesque. In interplay with current sculptures by the artist, not only the rigorousness of his oeuvre but also the relevance of his work until today is thus shown.

Events Frank Stella. Alexej-von-Jawlensky-Preis 2022, 10.6.–9.10.2022, Museum Wiesbaden

03/02/24

[germanpostwarmodern]

A hundred years after his birth Dieter Stein (1924-2022) remains Würzburg’s most significant abstract artist although his name has largely been forgotten. In 1950 he was the first to present abstract paintings in his rather conservative hometown. During the 1950s and early 1960s Stein also gained recognition through his participation in numerous exhibitions of contemporary art in Germany and beyond: as part of the „Third International Art Exhibition“ his work „8/53“ travelled Japan in 1955, the double exhibition „Biennale 57. Jeune Peinture. Jeune Sculpture“ presented his painting „9/55“ and in July of 1964 his works were presented alongside those of Cy Twombly and Gotthard Graubner in Wiesbaden. By the time Stein had already left behind the firmly contoured shapes, the grids and lines that characterized his work of the 1950s. Instead, his paintings got darker, the compositions more crystalline, differentiated and multi-faceted. At the same time Stein widely stopped taking part in exhibitions and withdrew from the art market, a conscious step he took after reading the critiques of society and capitalism by the Frankfurt School.

Nevertheless, Stein remained a very active and well-connected artist, alas only in Würzburg. That the quality of work remained consistent and just like his earlier works awaits rediscovery demonstrates the current exhibition at Museum Kulturspeicher in Würzburg: up until February 2, 2025 „Dieter Stein. die Augen auswaschen“ offers the opportunity to explore the complete work of the artist. The same goes for the accompanying catalogue, published by Kerber Verlag, that offers those, like the author, who will not make it to the exhibition the same comprehensive overview of Stein’s work. Besides the obligatory illustrations it also includes three very insightful essays that follow the development of Stein’s oeuvre up until his very late works, situate his 1950s work in the context of German abstract art and trace his few but impressive wall paintings. Interestingly the catalogue also doesn’t leave out Stein’s figurative works on paper, a very different but intriguing body of work whose presentation rounds out this informative catalogue.

[kolajmag]

COLLAGE ON VIEW

Kaleidoskop

at the Frauen Museum in Wiesbaden, Germany 5 March-7 May 2023. "Kaleidoskop" is an international exhibition of contemporary collage with twenty invited artists, and an exhibition of Assemblages, from the "Art in a Box" call to artists made on Instagram in September 2022. "Kaleidoskop" is a dynamic collage, an expression that is born by bringing together a number of artists and resources in movement, that finally merge into images that surprise, because the artworks are as different as their creators. MORE

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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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[barbucomedie]

Bronze Helmet of the Roman Empire from Wiesbaden-Erbenheim, Germany dated to the Mid 1st Century on display at the Roman Army Museum in Greenhead, England

This helemt is of the Weisenau type and lacks the two cheekpieces, a frontal browguard and its top crest box attachemnt. On its deep and broad neckguard there are two visible ownership/unit inscriptions, but they are not legible. Found in the excavated material from a Mainz building site in Germany in 1971/1972.

Photographs taken by myself 2022

[gagosiangallery]

Katharina Grosse at Gagosian Beverly Hills

August 31, 2021

KATHARINA GROSSE Repetitions without Origin

September 11–October 23, 2021 456 North Camden Drive, Beverly Hills __________ My works provide models for thinking through border spaces. . . . Consider the border between water and land—a concept of the border that is quite familiar. What does the ocean mean for me when I come from the land? What does it mean for those who come from the ocean? —Katharina Grosse Gagosian is pleased to present new paintings by Katharina Grosse. This is her fourth exhibition with the gallery and her first at Gagosian in Los Angeles. Grosse has expanded the scope and potential of painting beyond the frame to approach the scale and awe of nature and architecture in relation to site. Using a spray gun, she blasts pure liquid color over canvases, objects, buildings, and entire landscapes in audacious yet nuanced explorations of gesture and physicality. While Grosse’s bold formal innovations possess an undeniable liveness and freedom, they are also grounded in keen analysis; her chosen medium of spray paint is a tool for conducted improvisation and a catalyst for surprising reactions between material, support, mind, eye, and hand. In addition to her rigorous yet uninhibited technical approach, Grosse is keenly attuned to her working environment. Shifting between the studio and other less orthodox sites, she uses one to inform the other in a constant and fertile exchange. Her most recent paintings on canvas, with their jewel tones of green, ochre, ruby, and gold, allude to nature’s subtler chromatic palette, departing from the saturated technicolor for which she is known. Despite the impressive scale of these paintings, the effects of light, shadow, and outline evoke a microscopic view or the movement of floaters across one’s field of vision.

In some of the paintings on view, botanical matter is laid down as a stencil before Grosse floods the canvas with color. Left behind are thin, luminous ribbons that swirl around each glowing tableau, their forms rendered illusionistic and ethereal in the spray gun’s particle haze. In some compositions, ghostly tendrils and writhing strands press up against seemingly membranous surfaces; in others, sharply delineated “scars” in the painted surface presage Grosse’s other new experiment on view: unstretched painted canvases that have been layered and sliced to produce loose, trailing textiles that emphasize absence as much as the presence of the painted medium. Grosse’s use of stencil and outline also engages with an art historical lineage that touches upon botanical cyanotypes, camera-less Surrealist photograms, and early experimental cinema. Film provides a particularly rich source of inspiration for her practice; these canvases convey fluid, churning motion while also reflecting the ability of paint to halt time and capture the medium’s fleeting physical transformations. By substituting the passive and touchless nature of freeze-frames and light-based impressions with the forceful presence of the spray gun, however, Grosse pushes past her precursors into a contemporary idiom that suggests unprecedented relations between painting and the liveness of digital images. Katharina Grosse was born in 1961 in Freiburg im Breisgau, Germany, and lives and works in Berlin and New Zealand. Collections include the Milwaukee Art Museum; Pérez Art Museum Miami; Baltimore Museum of Art; Museum of Modern Art, New York; Albright-Knox Art Gallery, Buffalo, NY; Centre Pompidou, Paris; and Kunsthaus Zürich. Recent exhibitions and installations include Two younger women come in and pull out a table, De Pont Museum, Tilburg,  Netherlands (2013); WUNDERBLOCK, Nasher Sculpture Center, Dallas (2013); psychylustro, Mural Arts Philadelphia (2014); yes no why later, Garage Museum of Contemporary Art, Moscow (2015); Seven Hours, Eight Rooms, Three Trees, Museum Wiesbaden, Germany (2015); Rockaway!, MoMA PS1 at Fort Tilden, New York (2016); The Horse Trotted Another Couple of Metres, Then It Stopped, Carriageworks, Sydney (2018); Wunderbild, National Gallery, Prague (2018); Mumbling Mud, chi K11 art museum, Shanghai, and chi K11 art space, Guangzhou, China (2018); Mural: Jackson Pollock/Katharina Grosse, Museum of Fine Arts, Boston (2019); Is it You?, Baltimore Museum of Art (2020); and It Wasn’t Us, Hamburger Bahnhof–Museum für Gegenwart, Berlin (2020). Grosse participated in the 56th Biennale di Venezia (2015); ARoS Triennial, Aarhus, Denmark (2017); and Helsinki Biennial (2021). Chill Seeping from the Walls Gets between Us, Grosse’s solo exhibition at the Helsinki Art Museum, remains on view until January 23, 2022. _____ Katharina Grosse, Untitled, 2021, acrylic on canvas, 131 ⅞ × 78 ¾ inches (335 × 200 cm) © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2021. Photo: Jens Ziehe

[architectnews]

Making the Museum Reinhard Ernst, Aedes Exhibition

Making the Museum Reinhard Ernst, Berlin Built Environment Exhibition, Aedes Architecture Forum News

Making the Museum Reinhard Ernst, Aedes Exhibition in Berlin

28 Apr 2022

Making the Museum Reinhard Ernst

Making the Museum Reinhard Ernst – opening Friday, 13 May 2022, 6.30pm at Aedes Architecture Forum, Berlin

Image © Frank Marburger_Klaus Helbig

Exhibition: 14 May – 29 June 2022 Opening: Friday, 13 May 2022, 6.30pm, more information will follow via newsletter Venue: Aedes Architecture Forum, Christinenstr. 18–19, 10119 Berlin Opening hours: Tue–Fri 11–6.30pm, Sun–Mon 1–5pm, Sat 14 May 2022, 1–5pm

Image © Frank Marburger_Klaus Helbig

The Museum Reinhard Ernst, scheduled to open in spring 2023 in the city centre of Wiesbaden, is an 8,910 square metre facility exhibiting Reinhard Ernst’s private collection of abstract art. Funded entirely by the Reinhard & Sonja Ernst Foundation, the project is the culmination of a planning process beginning in 2010, and of the long friendship between Reinhard Ernst and Japanese architect Fumihiko Maki.

Image © Courtesy of Maki and Associates

The exhibition Making the Museum Reinhard Ernst documents the intense design and construction process via sketches, drawings, models, photos and artefacts organised under four general themes: Context, Form, Detail and Construction. Accordingly, the space at Aedes is divided into four quadrants that use a variety of materials to provide insights into this complex building project.

Image © Frank Marburger_Klaus Helbig

About the museum Since the 1970s, Wiesbaden-based businessman Reinhard Ernst has compiled an extensive, important collection of more than 860 works of abstract art. For quite some time, he had a desire to make them accessible to the public. This gave rise to the idea of a museum for abstract art, which would exhibit works from the ‘Reinhard Ernst Collection’ as well as loans from other museums.

Image © Frank Marburger_Klaus Helbig

From this vision a specific plan was produced. In 2016, the Reinhard & Sonja Ernst Foundation submitted a proposal to the city of Wiesbaden to build and operate a museum at its own expense. After a public participation procedure and cross-party approval, a centrally located property was provided to the foundation based on a 99-year lease. For this period, the foundation will be in charge of maintaining services and financing the exhibitions.

Image © Frank Marburger_Klaus Helbig

Aedes directors Kristin Feireiss and Hans-Jürgen Commerell point out: ‘We see an exemplary model in the way Reinhard Ernst and the city of Wiesbaden have managed this deal. In Berlin and elsewhere, museum projects of similar nature sometimes turn into monuments to the politically responsible at the expense of the taxpayer. This case is different.’

Image © Courtesy of Maki and Associates

As an internationally appealing address for abstract art with art education for young people, a central meeting point with a restaurant, a museum shop, an event hall and a public forum, the intention of the Museum Reinhard Ernst is to enrich Wiesbaden and the region. As such, a passionate collector’s vision will create a contemporary house of culture for everyone in the year 2023.

Image © Courtesy of Maki and Associates

Architecture by Maki and Associates Reinhard Ernst was able to engage one of the most important international architects for the design of the museum: Fumihiko Maki. Ernst has been friends with him not just for many years, but for decades. The Japanese architect, born in 1928, was part of the Metabolist movement in the 1960’s and has already received many awards for his work, including the Pritzker Architecture Prize. Fumihiko Maki has built numerous museums and cultural buildings.

Image © Courtesy of Maki and Associates

For the Museum Reinhard Ernst, Maki and Associates created a three-storey building that fits into the historic surroundings of Wiesbaden’s city centre, yet is unique and modern. The ground floor with the entrance area is dominated by a fully glazed courtyard open to the top, which provides a lot of daylight and extends over the entire height of the building. In order to meet the requirements of the permanent and temporary exhibitions, the programme and the technical building services, Maki and Associates has divided the building into further quadrants that surround this inner courtyard.

Image © Courtesy of Maki and Associates

These simple stone-clad volumes, suspended and cantilevered above the glazed ground floor, exhibit a delicate balance of tension and compression forces made possible by the exacting calculations and specialized embedded steel connections from structural engineers Bollinger + Grohmann. Through this close collaboration, the design team successfully eliminated almost all freestanding columns from the building, enabling the generous interconnected spaces throughout.

Image © Frank Marburger_Klaus Helbig

On the interior, a generous three-dimensional public circulation network surrounds the courtyard. Targeted north-facing openings in the exhibition rooms also allow complex diagonal views through and across the museum at multiple levels. The architecture provides a clear wayfinding through the exhibits, but each visitor is free to create their own path. It is precisely this openness and layering of space that is a signature of Maki’s work, and here in Wiesbaden it is mobilised to connect the museum interiors to the surrounding city.

Image © Frank Marburger_Klaus Helbig

Exhibition The focus of the exhibition Making the Museum Reinhard Ernst is not on finished items or images, but on the work in progress – highlighting the acts of thinking, making, and construction, rather than presentation. Based on four thematic areas – Context, Form, Detail and Construction – a large number of sketches, drawings and models by Maki and Associates as well as artefacts and video material provide insights into the complex process of creating the new building. The exhibited items presented on the four thematic quadrants at Aedes will be supplemented by photos from the photographers Klaus Helbig and Frank Marburger, who have documented the making of the museum from the beginning.

Image © Frank Marburger_Klaus Helbig

About Maki and Associates Maki and Associates – an internationally recognised architectural firm based in Tokyo – was founded by Fumihiko Maki in 1965 upon his return from over ten years of study, work, and teaching in the United States. The firm provides comprehensive services ranging from urban design and master planning, site planning and feasibility studies, facilities programming, architectural building and facade design, and interior design. While eschewing any particular style or aesthetic formula, Maki and Associates’ work has been consistently recognized for its high quality, humanistic approach to modern architecture.

Image © Courtesy of Maki and Associates

The firm’s projects have won numerous domestic and international awards, a testament to their ability to execute work to the same ambitious standards in a wide variety of settings. Fumihiko Maki’s career has been recognized with many of architecture’s highest accolades, most notably the Pritzker Architecture Prize (1993), the Praemium Imperiale (1999), and The American Institute of Architects Gold Medal (2011).

Image © Frank Marburger_Klaus Helbig

Speaking at the opening Dr. h.c. Kristin Feireiss Aedes, Berlin Hideo Suzuki Deputy Head of Mission at the Embassy of Japan in Germany Reinhard Ernst Reinhard & Sonja Ernst Foundation, Wiesbaden Michel van Ackere Maki and Associates, Tokyo

We thank the Aedes Cooperation Partners Zumtobel, Cemex, Camerich, Erwin Hymer Group

Image © Frank Marburger_Klaus Helbig

Further information: www.aedes-arc.de

Good Vibrations, Aedes Exhibition images / information received 280422

Location: Christinenstr.18-19, 10119 Berlin, Germany

Aedes Architecture Forum Exhibitions

Aedes Architecture Forum News in 2020

4 Jun 2020 Water Garden at Aedes Architecture Forum Curated by Junya Ishigami & Associates photo © Courtesy of nikissimo Inc.

Aedes Architecture Forum Exhibitions

Archi-Tectonics – Winka Dubbeldam & Justin Korhammer, New York Flat Lands & Massive Things – From NL to NYC & Beyond picture © Archi-Tectonics Archi-Tectonics Architecture Event

Active Buildings – Innovation for Architecture in Motion Aedes Architecture Forum Exhibition by falkeis²architects photo : Filmfabrik Active energy building in Vaduz, Liechtenstein

Woodland Sweden – Contemporary Timber Construction Härbret Summer House in Nannberga by General Architecture/Stockholm: picture © Åke E:son Lindman

Urban Intermedia: City, Archive, Narrative Harvard Mellon Urban Initiative and Graduate School of Design, Harvard University picture © Harvard Mellon Urban Initiative

The Groundscape Experience Dominique Perrault, Paris with SubLab, EPFL, Lausanne & ADSlab, EWHA Womans University, Seoul picture © Dominique Perrault Architecte Dominique Perrault

Nieto Sobejano Arquitectos: TABULA – The Arvo Pärt Centre in Estonia image © Nieto Sobejano Arquitectos Nieto Sobejano Arquitectos

Marina One Singapore – Architecture Exhibition in Berlin image courtesy of architects Aedes Architecture Forum Exhibition in Berlin

Berlin Architecture

German Buildings

Comments / photos for the Good Vibrations, Aedes Exhibition page welcome

The post Making the Museum Reinhard Ernst, Aedes Exhibition appeared first on e-architect.

[voidplus-jp]

中島吏英 　「Flat」 2022.3.17 (thu) ― 4.2 (sat)

void+では3月17日(木)より中島吏英「Flat」展を開催いたします。 中島は2000年に東京藝術大学美術学部芸術学科を卒業後渡英してチェルシー芸術大学彫刻科、ロンドン大学スレード芸術大学彫刻科を修了。以降ロンドンを活動の中心に国内外で展覧会やフェスに数多く参加してきました。2021年には、イギリスのThe David and Yuko Juda Art Foundation Awardの2ndプライズを受賞し、益々今後の活動が注目される作家です。 音楽と彫刻の二つのメディアを融合させた作品でよく知られている中島ですが、既存の楽器を奏でて音を出すのではなく、私たちが普段目にする日用品、例えばバケツやビス、プレートやカップ、石、木の廃材などのオブジェを使い、時にはそれらをモーターなどにつなげて音を作りだし、スペース全体を様々な物音と、音と音との間の余白、それらを奏でるオブジェで彫刻に作り上げます。即興音楽のシーンでも、デヴィット・カニングハム、デヴィッド・トゥープ、ミキ・ユイ、チャールズ・ヘイワード、鈴木昭男等のミュージシャンともコラボレーションし、実験的なシーンでも活躍しています。今回は2016年以降様々な会場にて共演してきた坂田明氏を会場に迎え、トークとパフォーマンスを3月26日（土）に行う予定です。 前回のvoid＋での展示では、ギャラリー自体をスピーカーに見立て、来場者にイギリスのダンジネス（Dungeness）の海辺にてフィールドレコードしたサウンドでスペース自体を響かせました。12年ぶりのvoid+での今回の展覧会では、どんな音にギャラリーが形作られていくのか、是非みなさまこの機会に実際に足をお運び、体感してください。

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＜展覧会概要＞

■タイトル: 中島吏英 「Flat」 ■会場：void+ (東京都港区南青山3-16-14-1F) ■会期：2022 年3月17日（水）―4月2日（土）12:00-18:00 ■定休日：日、月、祝日 ■お問合せ：info@voidplus.jp ■www.voidplus.jp ■協力：YN Associates

■トーク＋パフォーマンス *限定20名 3月26日（土）18:00~  ¥2,000- 出演_中島吏英、坂田明　 ご予約メール：info@voidplus.jp

Photo: Rie Nakajima Installation view at Ikon Gallery, Birmingham

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中島吏英（なかじまりえ）b.1976.4.21  

2000 東京藝術大学美術学部芸術学科卒業 2005 チェルシー芸術大学BAファインアート彫刻科卒業 2006 文化庁新進若手芸術家海外留学制度英国研修 2007 ロンドン大学(UCL) スレード芸術大学MFAファインアート彫刻科修了 2009 ポーラ美術文化財団英国研修 2012 Cafe OTO アソシエートアーティスト／ロンドン 2017 Boom Oxford Contemporary Music 研究員／オックスフォード

＜受賞歴＞ 2003 Peter Blake Circus Competition、２���賞、ロンドンインスティテュート 2007 Peter and Elizabeth MacLean 賞、スレード芸術大学 2014 The Arts Foundation 賞、実験音楽部門 2021 The David and Yuko Juda Art Foundation Award、２等賞、Annely Juda Gallery

＜個展＞ 2022  「In Sounds, In Places」 La Chaufferie／Haute école des arts du Rhin　ストラスブルグ 2020「See - Saw」Labor Neunzehn／ベルリン 2019「Stepping」STUK／ルーヴェン 2018「Cyclic」Ikon Gallery／バーミンガム 2017「Paging」Breakthrough Book Gallery／香港 2016「Throw」Lydgalleriet／ベルゲン 2016 「Wind Touch」Le Bruit De La Musique／リモージュ 2015「おとになる」シューゴアーツウィークエンドギャラリー／東京 2015「Leave」Karin Weber Gallery／香港 2014「Fall」3331アーツ千代田／東京 2014「Fall」noshowspace／ロンドン 2010「I Can Hear It」Soundfjord／ロンドン 2010「pun～q’ 」Quare／ロンドン 2009「Unwind 」Void+／東京

＜主なグループ展＞ 2021「Polyphony」Kunstsammlung Gera／Orangerie & Museum Für Angewandte Kunst／ゲラ 2020「Klangkünste - drei Positionen an den Rändern eines weiten Feldes」Kunsthaus Wiesbaden／ヴィーズバーデン 2019「Dead Plants & Living Objects」Vostell Marpartida Museum／マルパルティダ 2019「Big Orchestra」Schirn Kunsthalle／フランクフルト 2019「Persisting Realities」Kunstraum Kreuzberg:Bethanien／ベルリン 2018「Minor Landscape」Galería de Arte Municipal de Valparaíso／バルパライソ 2016「La collera della lumache」 Alta Val Pellice／トリノ 2016「Bucharest Biennale」Bld Cantemir x Calea Șerban Vodă／ブカレスト2014「DYAD」Room Artspace／ロンドン 2014「No Music Was Playing」Instants Chavirés／パリ 2013「The Silence Between」Paul Stalper Gallery／ロンドン 2009「Zen und Konkret」Wasserschloss Quilow／クイロー 2007「The Future Can Wait」 Atlantis Gallery／ロンドン 2005「The Golden Guilded Egg Box…」LOT／ブリストル

＜主なパフォーマンス＞ 2021「毛利悠子 & 中島吏英」Short Circuit, Holland Festival／De School／アムステルダム 2019「O YAMA O」Festival Novas Frequências Museu de Arte Moderna do Rio de Janeiro／リオデジャネイロ 2019「dara dara by David Toop＋鈴木昭男＋恩田晃＋中島吏英」Oscillation Festival／Recyclart／ブリュッセル  2019「O YAMA O with David Cunningham」BBC Late Junction Festival／EartH／ロンドン 2019「坂田明 × 中島吏英 ライブパフォーマンス」原美術館、東京 2018「Cyclic」Ikon Gallery／バーミンガム��solo） 2017「Dead Plants & Living Objects by 中島吏英 & Pierre Berthet」Meakusma Festival／オイペン 2017「Dead Plants & Living Objects by 中島吏英 & Pierre Berthet」 Serralves Festa／Jirdim das Virtudes、Serralves Museum／ポルト 2016「Saturday Live : Low」Serpentine Gallery／ロンドン（solo） 2016「BMW Tate Live : Tarek Atoui The Reverse Collection」Tate Modern／ロンドン 2016 「On the Edge: Young on Sylvian – Skrap –Rowe/Toop/Davies/Nakajima/ Durrant」Nasjonal Jazzscene／オスロ 2016「おとになる：鈴木昭男 × 中島吏英」シューゴアーツウィークエンド　ギャラリー／東京 2015「Performance Nacht, Zero」Martin Gropius Bau／ベルリン（solo） 2015「Christian Marclay」White Cube／ロンドン（solo） 2015「Over the Fence」Camden Art Centre／ロンドン（solo） 2015「boundary music」Whitechapel Gallery／ロンドン 2014「Dear Serge」De La Warr Pavilion／ベックスヒル (solo) 2014「New Experimentalists」The Arts Foundation Award／Queen Elizabeth Hall, Southbank Centre／ロンドン（solo） 2013「Blue, Yellow, Red」South London Gallery ／London 2011「für julius」Hamburger Bahnhof／ベルリン (solo) 2010「Rie Nakajima」Le Murate／フィレンツェ (solo) 2010「Art Birthday」Okno／ブリュッセル (solo) 2009「Unwind：川口貴弘 × 中島吏英」Void+／東京

＜キュレーション＞ 2015「Sculpture 7」Ikon Gallery／バーミンガム 2015「Sculpture 6」Serralves Museum of Contemporary Art／ポルト 2014「Sculpture 5」Lydgalleriet／ベルゲン 2014「Sculpture 4」Hepworth Wakefield／ウェイクフィールド 2014「Sculpture 3」Central Saint Martins／ロンドン 2013「Sculpture 2」Barbican Arts Centre／Dalston House／ロンドン 2013「Sculpture 1」Cafe OTO／ロンドン 2011「Lost Sounds, Miki Yui and Rolf Julius」Cafe OTO／Soundfjord／ロンドン

＜ディスコグラフィ＞

2022「mani mani」Pierre Berthet & Rie Nakajima (Kohlhaas/CD) 2021「Signal and Signaless」池田謙＆中島吏英（ftarri／CD) 2020「海彦山彦」坂田明＆中島吏英（TakuRoku／DL) 2020「KaruKuru」（TakuRoku／DL) 2019「Fusuma」(tsss tape／カセットテープ） 2019「1.May.2018」坂田明＆中島吏英　(Ikon Gallery／LP) 2019「Dethick」Angharad Davies+中島吏英+Alice Purton (Another Timbre／CD) 2019「Floating Weeds」池田謙＋大城真＋中島吏英 (901 edition／CD) 2018「O YAMA O」O YAMA O (MANA／LP) 2016「With many many…」（White Cube／LP) 2014「Four Forms」（Consumer Waste／LP)