In the 16th edition of Channel, we present the works of the lithograph artist Matsumoto Haruka.
Don’t miss this singular world of art in which a variety of intersecting facts emerge after Matsumoto digests an incident that actually happened.

This exhibition, held in conjunction with 1995⇆2025: Our Lives from January 17,1995, takes a look back at the museum’s collection activities over the past more than three decades, dating to the founding of the Hyogo Prefectural Museum of Modem Art in 1970.
As part of a project to commemorate the Great Hanshin-Awaji Earthquake, the exhibition focuses on quake-related works as well as efforts to rescue and restore art.

In conjunction with the EXPO2025 and the Setouchi Triennale 2025, and as part of the Setouchi Art Museum Link, this exhibition highlights masterpieces from the museum collection as well as important works acquired during the last fiscal year that are being shown for the first time.

This exhibition focuses on Nakayama Iwata, one of the most accomplished Japanese photographers of the modern era. Born in Yanagawa, Fukuoka Prefecture, Nakayama moved to the U.S. after studying at the Tokyo School of Fine Arts. He established his own studio in New York and was also active in Paris until returning to Japan in 1927. He subsequently emerged as a leader of the Shinko Shashin (New Photography) movement while living in Ashiya, Hyogo Prefecture. Designed to commemorate the 130th anniversary of Nakayama’s birth, this exhibition, presented in three parts, provides a comprehensive overview of the artist’s work.

Form in Art – Perceiving with the Hand is a series of annual exhibitions that was launched in 1989. This edition, the 35th, centers on Nakatani Michiko (born in Tokyo in 1981), an artist who gained recognition for her unique reliefs in concave and convex are reversed.

In the 1950s and ’60s, many female artists garnered attention for their activities in the Japanese avant-garde. However, with the rise of the dynamic and powerful genre of action painting, female artists were no longer viewed as a topic of discussion. In this exhibition, we reassess the women’s antagonistic attitude toward action painting as “anti-action,” and trace the trajectory of their responses and challenges to the genre.

Since the opening of this museum, we have strived, in our role as a prefectural institution, to collect works by artists who were born, resided in or were otherwise linked to Hyogo, and pursued art that was cultivated in the local area. When all is said and done, Hyogo is an enormous place. This makes it possible to find people with outstanding talents in every genre of art, and a diverse range of creative expressions. In this exhibition, we introduce some of them based on several different topics.