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川辺 ナホ
Naho KAWABE
1976 Born in Fukuoka, Japan
Currently lives and works both in Germany and Japan
profile photo by Volker Renner
WORKS EXHIBITIONS NEWS STATEMENT CV

WORKS

  • Group Exhibition "Japaner im Revier Aufbruch ins Fremde?"
    2024
    Installation view
    Venue: Japanisches Kulturinstitut (Köln, Germany) / Photo by Nathan Ishar
  • Group Exhibition "Japaner im Revier Aufbruch ins Fremde?"
    2024
    Installation view
    Venue: Japanisches Kulturinstitut (Köln, Germany) / Photo by Nathan Ishar
  • Japaner im Revier
    2024
    digital c-print, Set of 3, each 297 × 420 mm
  • WINDS OF ARTIST IN RESIDENCE 2023 3rd Period Urban Phenomenology ―Just what is it that makes our future so uncertain, so appealing?
    2024
    installation view
    Venue: Fukuoka Asian Art Museum (Fukuoka) / Photo by Ittoku Kawasaki
  • In Search of Utopia  ( - Et in Arcadia ego)
    2024
    charcoal, coal, chamotte, urethane, rubber, plaster, photographs, dimension variable
    Photo by Ittoku Kawasaki
  • In Search of Utopia  ( - Et in Arcadia ego) 
    2024
    charcoal, coal, chamotte, urethane, rubber, plaster, photographs, dimension variable
    Photo by Ittoku Kawasaki
  • Study for a Drawing Room (for the Phantom of FAAM)
    2024
    charcoal and chair, 2000 × 3000 × 1000 mm
    Photo by Ittoku Kawasaki
  • Naho Kawabe & Hanae Utamura "STRATA"
    2022
    installation view
    Venue: WAITINGROOM (Tokyo) / Photo by Shintaro Yamanaka (Qsyum!)
  • Doppelwalzenschrämlader / Double waltzing rolling shearer
    2022
    charcoal, light bulb, plastic, string, pecker, ceramic, acrylic paint, acrylic lacquer, dimension variable
  • The fate of the lost energy (small version)
    2022
    charcoal, light bulb, commercially available wall-mounted shelf with a width of at least 100 cm and a depth of at least 26 cm all with a white surface (In the exhibition “STRATA”, we used the shelf made by IKEA), string, glass fiber, acrylic lacquer, dimension variable
  • coal beds
    2022
    Ink, lacquer spray, watercolor, 496 x 694 mm
  • coal beds
    2022
    Ink, lacquer spray, watercolor, 496 x 694 mm
  • On the social contract
    2022
    charcoal, plastic, book, acrylic paint, acrylic lacquer, 150 x 190 x 145 mm
  • Banana boat
    2022
    charcoal, plastic, acrylic paint, acrylic lacquer, 35 x 210 x 95 mm
  • Apple
    2022
    charcoal, plastic, acrylic paint, acrylic lacquer, 70 x 110 x 95 mm
  • Solo Exhibition "Black and Green"
    2022
    installation view
    Venue: TOM REICHSTEIN CONTEMPORARY, Hamburg, Germany / Photo by Claus Sautter
  • Social Distances 1.5M
    2022
    charcoal, barrier tape, motor, metal, dimensions variable
  • Black and Green (detail)
    2021
    lacquered MDF, plastic, book, charcoal, acrylic, pottery, dimensions variable
  • Blooming Black
    2019
    Charcoal, string, light bulb, battery
    Collection : Boxes Museum, Guangzhou (CN)
  • Aufenthaltswahrscheinlichkeiten
    2019
    Single channel video, sound, 17min.4sec.
  • Solo Exhibition “In Other Words”
    2018
    installation view
    Venue: Konya2025(Fukuoka) / Photo by Shintaro Yamanaka (Qsyum!)
  • Solo Exhibition “Save for the Noon”
    2018
    installation view
    Venue: WAITINGROOM (Tokyo) / Photo by Shintaro Yamanaka (Qsyum!)
  • Eine echte Frau löst jeden Knoten
    2018
    Single channel video, sound, 49min.13sec.
    video still
  • Circle of Everyday Life
    2018
    Charcoal powder, concrete, thread, motor, lead, feather, tree, aluminum, wire, Dimension variable (charcoal 1350 x 1350 mm)
  • LOL Memory
    2018
    All I’s from the novel: The ship who Sang (Anne McCaffery, 1961), acrylic, copper wire, linen strings, binding glue, paper, 305 x 220 mm each
  • LOL Memory – The Ship who killed
    2018
    All I’s from the novel: The ship who Sang (Anne McCaffery, 1961), acrylic, copper wire, linen strings, binding glue, paper, 305 x 220 mm
  • Division/2010s
    2018
    Charcoal, lacquer spray, glass, 500 x 400 mm
  • Division/1950s
    2018
    Charcoal, lacquer spray, glass, 500 x 400 mm
  • Circle of Everyday Life
    2018
    Charcoal, lacquer spray, glass, 500 x 400 mm
  • Solo Exhibition “The Children of Icarus”
    2017
    installation view
    Venue: WAITINGROOM (Tokyo) / Photo by Keiichi Amano
  • Argon Navis
    2017
    Wood, iron, fishing wire, plastic, paper, clay, aluminum, acrylic lacquer, LED, Earthmeter, Dimension variable
  • Continent of Africa
    2015
    Paper, pin, Approx. 100 x 140 mm each
  • Continent of Africa (Ver. A) #6
    2015
    Paper, pin, 100 x 140 mm
  • Continent of Africa (Ver. A) #5
    2015
    Paper, pin, 100 x 140 mm
  • Solaris
    2016
    All I’s from the novel: Solaris (Stanislaw Lem, 1961), linen strings, glue, 650 x 200 x 150 mm
  • The Black Cloud
    2107
    Wood, fishing wire, plastic, paper, aluminum, acrylic lacquer, flashlight, 1500 x 300 x 450 mm
  • Metasequoia
    2017
    Inkjet print, 300 x 450 mm
  • Patterns of Concealment
    2017
    2 pages from the book, tin, charcoal, glass, 300 x 400 mm
  • wise men's stone
    2017
    A page from the book, acrylic, tin, 60 x 60 x 60 mm
  • Nachts
    2016
    Plastic, glass, mirror, metal, thread, wood, LED, Dimension variable
    Installation view, Venue: Ermekeilkasernen (Bon, Germany)
  • Breaking Memory
    2016
    Installation view
  • Breaking Memory
    2016
    Single channel video, 7min.52sec.
    video still
  • Routes of migratory
    2015
    Paper, pin, Approx. 180 x 180 mm each
  • Fall, float evenly
    2010
    Single channel video, 7min.22sec.
    Installation view
  • Restrict
    2014
    Charcoal powder, 1000 x 3500 mm
    Installation view, Venue: 8. Bremer Kunstfruhling (Bremen, Germany)
  • Expurgation
    2014
    A page from a book, tin, 150 x 200 mm each
  • Swimming the wall
    2012
    Charcoal powder, glass, wood, 400 x 500 x 50 mm
  • Curtain
    2010
    Single channel video, 9min.30sec.
    video still
  • We are the Strangers!
    2012
    Paper, linen, 150 x 250 mm
  • sealed! #2
    2012
    Charcoal powder, light, 1500 x 1500 mm
    Installation view, Venue: Markisches Museum (Witten, Germany) boesner art award 2012 winning work / Photo by Ina Riepe
  • Song for the forbidden zone
    2011
    Single channel video, sound 5min.30sec.
    Online performance, June 11th 2011 / FOLD Gallery (London)
  • Solo Exhibition “Open Secret”
    2011
    Installation view
    Venue: Shiseido Gallery (Tokyo)
  • Der Weg I
    2008-2009
    Single channel video, sound, 31min.18sec.
    video still
  • Wash Your Blues
    2007
    Single channel video, sound, 4min.
    video still
  • Sugarhouse
    2004
    Single channel video, 4min.
    video still
/55

EXHIBITIONS

NEWS

STATEMENT

“Coal” has long been a central material in my practice. In my spatial installations, I use lace curtains as stencils to lift powdered charcoal into floral motifs. This act poetically returns coal and charcoal to their primordial state as plants, imaginatively calling back the Carboniferous flora—transformed into black fossils under hundreds of millions of years of geological pressure—into the present as a “black flower field.”

The choice of medium and the form of each installation are based by meticulous research into the historical, cultural, and social contexts surrounding coal. Geological time, humanity’s relationship with carbon since prehistory, the memories and records of coal mining, and the urgent challenges of the climate crisis—these diverse temporal and spatial layers are carefully woven into my works through historical documents, personal testimonies, and contemporary perspectives.

I aim to remain within the dialectical fluctuations contained in the material of coal itself, allowing the issues we confront today to surface as an aesthetic tension within the work.

In recent years, my research has focused particularly on the historical and political dimensions of coal and the energy industry. During the Industrial Revolution, coal emerged as a primary energy source: it illuminated factories, powered steam engines that connected distant regions, and propelled modernization across the globe. This brought prosperity to people’s lives; even lace, once a luxury item, entered ordinary households through mechanization and mass production. Yet at the same time, structures of domination—colonialism and patriarchy—took root, laying the foundations for the economic inequalities we still face today. The current environmental crisis and carbon-related issues are, needless to say, the consequences of a capitalist system premised on growth through dependence on fossil fuels.

To turn my gaze toward coal is also to question the Eurocentric framework of art history. It resonates with a reconsideration of Japan’s rapid embrace of Westernization and its subsequent path toward imperialism. And in our present age—when humanity seeks new “territories” in outer space—coal may serve as an Ariadne’s thread, guiding us to pose questions that extend from the deep past to the uncertain future.

(Sept. 2025)

CV

PDF
EDUCATION
2006

University of Fine Arts of Hamburg, Diploma

1999

Musashino Art University, Tokyo, Bachelor

SOLO EXHIBITIONS
2026

Fern Flower, WAITINGROOM, Tokyo, Japan

2022

Black and Green, TOM REICHSTEIN CONTEMPORARY, Hamburg, Germany

2021

1/3 2/3 3/3, Paper Gallery, Pristina, Kosovo
Artist in Quarantine, nachtspeicher23 e.V., Hamburg, Germany

2019

Blooming Black, Boxes Art Museum, Guangzhou, China

2018

Save for the Noon, WAITINGROOM, Tokyo, Japan
In Other Words, konya-gallery, Fukuoka, Japan

2017

The Children of Icarus, WAITINGROOM, Tokyo, Japan

2016

delikatelinien, Ermekeilkaserne, Bonn, Germany

2013

Observer Effect, Wassermühle Trittau, Germany
Observer Effect, Galerie du Tableau, Marseille, France
relation, unscharf, STORE contemporary, Dresden, Germany

2012

Blüthenstaub, Port Gallery T, Osaka, Japan

2011

Open Secret: 5th shiseido art egg Award Exhibition, SHISEIDO GALLERY, Tokyo, Japan

2010

Most things happen in the interval, Port Gallery T, Osaka, Japan

2005

Helgoland, Gallery IAF SHOP*, Fukuoka, Japan

2004

dem Anschein nach, Einstellungsraum e.V., Hamburg, Germany

SELECTED GROUP EXHIBITIONS
2026

The 4th Fukuoka Art Award Winners Exhibition, Fukuoka Art Museum, Fukuoka, Japan

2025

Aichi Triennale 2025: A Time Between Ashes and Roses, Aichi Arts Center, Aichi Prefectural Ceramic Museum, Seto City, Aichi, Japan
The Lure of Outer Space Emigration to Moon, Mars, Venus?, Deutsches Auswandererhaus, Bremerhaven, Germany

2024

Micro Salon, CADAN YURAKUCHO, Tokyo, Japan
Kleine Gesellschaft für SCHWARZWEISS, Rote Flora, Hamburg, Germany
Japaner im Revier Aufbruch ins Fremde?, Japanisches Kulturinstitut, Köln, Germany
Natur, Enter. Teil 1, KÜNSTLERHAUS Bergedorf, Hamburg, Germany
WINDS OF ARTIST IN RESIDENCE 2023 3rd Period Urban Phenomenology ―Just what is it that makes our future so uncertain, so appealing?, Fukuoka Asian Art Museum, Fukuoka, Japan

2023

Recent Discovery CADAN × ISETAN ART GALLERY, Isetan Shinjuku Store Main Building 6F art gallery, Tokyo, Japan
de/cipher, Arti et Amicitiae, Amsterdam, the Netherlands
de/cipher, gkg, Bonn, Germany

2022

Naho Kawabe, Utamura Hanae, STRATA, WAITINGROOM, Tokyo, Japan
Himekore × Sasakore Enjoy with your five senses! Contemporary Art Collection Exhibition, Susaki Machikado Gallery, Former Miura House, Kochi, Japan
Exhibition of New Collections, Fukuoka Art Museum, Fukuoka, Japan

2021

Kleine Gesellschaft für Weg und Umweg, Hinterconti, Hamburg, Germany
OUT FOR ART Jugend kuratiert, Haerder Center, Lübeck, Germany
ISOLA, Galerie Hengevoss-Dürkop, Humburg, Germany

2020

10TH, WAITINGROOM, Tokyo, Japan
LRRH_Contribution, ZERO FOLD, Cologne, Germany
Aufenthaltswahrscheinlichkeiten, 8. Salon e.V., Hamburg, Germany

2019

Aufenthaltswahrscheinlichkeiten / Stochastic Effect, The Blend Apartments & Artist in Residence, Osaka, Japan
Naho Kawabe, Neil N Alone, Posture Training, FLAG studio, Osaka, Japan
RADICAL TWILIGHT, Frappant, Hamburg, Germany
Naho Kawabe, Daniela Wesenberg, drawings and objects, Galerie Nanna Preußners, Hamburg, Germany
Fuzzy Dark Spot, Deichtorhallen Sammlung Falckenberg, Hamburg, Germany

2018

Transitions, Frappant, Hamburg, Germany
Landschaft. Gebrochene Idylle, Schloß Agathenburg, Agathenburg, Germany

2017

NEWSPACE, WAITINGROOM, Tokyo, Japan
Naho Kawabe, Hendrik Lorper, wie es sich ereignet, Take Maracke & Partner, Kiel, Germany

2016

LIFESTYLES – KUNST aus FUKUOKA, JAPAN, Westwerk, Hamburg, Germany
QMAC Collection Exhibition ON THE WALL, Operation Table, Fukuoka, Japan
Grenzenlos – Himmlische Perspektiven, Schlosskirche, Universität Bonn, Bonn, Germany
The Material of Memory, Frise, Hamburg, Germany
ort_m migration memory, Frappant, Hamburg, Germany
FIELD of OUR IMAGINATION, Westwerk, Hamburg, Germany

2015

Von Wörtern und Räumen, Galerie im Marstall Ahrensburg, Ahrensburg, Germany
Sudden Change of Idea, Union Art Museum, Wuhan, China
Presente / Interchange & Commentary III, Frappant, Hamburg, Germany

2014

IN SEARCH OF CRITICAL IMAGINATION, Fukuoka Art Museum, Fukuoka, Japan
Notausgang am Horizont, 8. Kunstfrühling, Bremen, Germany
How Modular Is Now?, Künstlerhaus Sootbörn, Hamburg, Germany
Can I ask you personal question?, Sichuan University Art Gallery, Chengdu, China
Bien Merci, Galerie Le Couer, Cologne, Germany
Subreale Welten. Photography from Hamburg, Port Gallery T, Osaka, Japan
Naho Kawabe, Jane Brucker, piece, piece, Port Gallery T, Osaka, Japan

2013

… und Hamburg, was glaubst Du?, Kunsthaus, Hamburg, Germany
ONE YEAR, Galerie Marstall Ahrensburg, Ahrensburg, Germany

2012

boesner art award 2012, Märkisches Museum, Witten, Germany
Moving Surface, Künstlerforum, Bonn, Germany
Video Violence, Kunsthaus, Dresden, Germany
Thermal noise(The Bee to Bee Net), FRISE, Hamburg, Germany
Out of Space, Gallery SUZUKI, Kyoto, Japan
Toi, Port Gallery T, Osaka, Japan

2011

Archive und Geschichte(n), Galerie der Gegenwart, Hamburger Kunsthalle, Hamburg,Germany
JCE: Jeune Création Européenne (The Bee to Bee Net), Paris and other cities in Europe

2010

Versus Whiteout (The Bee to Bee Net), Kunsthaus, Hamburg, Germany
come into sight, Port Gallery T, Osaka, Japan

2009

The Bee to Bee Net, Künstlerhaus Sootbörn, Hamburg, Germany
Twinism. 20 years partnercity Hamburg / Osaka, Kunsthaus, Hamburg, Germany / AD&A Gallery, Osaka, Japan
StipendiatenArt, Johann-Friedrich-Danneil-Museum, Salzwedel, Germany

2008

The Bee to Bee Net meets hulahoop, Gallery hulahoop, Hong Kong
Einladung, Mecklenburgisches Künstlerhaus Schloss Plüschow, Germany
Wir nennen es Hamburg, Kunstverein in Hamburg, Hamburg, Germany

2007

Lebe wohl. Suizidalität, Kunst und Gesellschaft, Kunsthaus, Hamburg, Germany

2006

Migration Addict, Sculpture square, Singapore
Joint the dots, Ben Kaufmann Gallery, Berlin, Germany
Plattform#3, Kunstverein Hannover, Hannover, Germany

2005

Wintergarden, Raboisen, Hamburg, Germany
Migration Addict, Warehouse, Shanghai, China

2003

Sweet Tune, Hotel Stadt Altona, Hamburg, Germany

2000

KROM, Setagaya Art Museum Gallery, Tokyo, Japan

1998

World Wide Network Art, Asahi Super Dry Hall, Tokyo, Japan

FESTIVALS AND VIDEO SCREENINGS
2022

AWT VIDEO “Working, Crawling”, Earth Garden, SMBC East Tower 1F, Tokyo, Japan

2017

Smart Illumination Yokohama 2017, Zou no Hana Park, Kanagawa, Japan

2015

Performance, Artville / Rockville Festival, Hamburg, Germany
Transit. Über Medialität und Bewegung, Via Pietro Garzoni 5, Venezia, Italy

2013

Schwanken und Verschwinden, Via Pietro Garzoni 5, Venezia, Italy
MEDIA MATTERS, Museum Folkwang, Essen, Germany

2011

Online-Performance-Session, FOLD Gallery, London, U.K.

2010

Kongress für Anders, medibüro, Michaelis-Krankenhaus, Hamburg, Germany

2007

loop pool, Lounge for shortfilms, Oberhausen, Germany

2005

Berliner Kunstsalon (The Bee to Bee Net), Berlin, Germany
Juan Media Festival, Inchon, Korea

2004

Stand der Dinge, Metropolis Kino, Hamburg, Germany

2003

International Short Film Festival, Hamburg, Germany

2000

Mukojima EXPO, Tokyo, Japan

ART PROJECT
2022-2024

Japaner im Revier., https://www.nahokawabe.net/japaner-im-revier-aufbruch-ins-fremde/

2022

Das war mal ein ganz tolle Idee, https://www.nahokawabe.net/oase-der-kunst/

2020

Camera Isolata, Online Art Projekt, https://camera-isolata.nahokawabe.net

2019

Aufentwahrscheinlichkeiten, https://www.nahokawabe.net/aufenthaltswahrscheinlichkeiten/

ARTIST IN RESIDENCE
2023

Fukuoka Asian Art Museum, Fukuoka, Japan

2008

Salzwedel, Sachsen-Anhalt, Germany

2006

Mecklenburgisches Künstlerhaus Schloss Plüschow, Plüschow, Germany

AWARDS
2026

2026 The 4th Fukuoka Art Award, Excellence Award

2021

Nordhorn Art Award Short list

2012

boesner art award 2012, Jury's Special Award

2011

The 5th shiseido art egg Finalist

FELLOWSHIPS
2024

Toshiaki Ogasawara Memorial Foundation
Zonta Club of Tokyo I

2022

Toshiaki Ogasawara Memorial Foundation

2021

Zukunftsstipendium, Hamburg Cultural Foundation
NEUSTART KULTUR, Federal Republic of Germany

2020

Kunst kennt keinen shutdown, Hamburg Cultural Foundation

2019

15th Workshop Projekt, Boxes Museum, Guangzhou, China

2016

Project grant, the city of Hamburg

2013

Nomura Foundation Fellowship

2012

Wassermühle Trittau, Sparkassen-Kulturstiftung Stormarn

2009

Japanese Government Overseas Study Programme for Artists

2008

Hamburger Arbeitsstipendium für bildende Kunst

2001

DAAD

PUBLICATIONS
Japaner im Revier, Naho Kawabe, 2023 [privately published]
Aufenthaltswahrscheinlichkeiten, Naho Kawabe, 2019 [the 30th Anniversary Project of the Osaka–Hamburg Sister City Partnership]
Claus Böhmler. Smart Artist, Textem Verlag, 2019
TRANSITORISCH: STRATEGIEN GEGEN DIE VERGÄNGRICHKEIT, transcript, 2016
DELIKATELINIEN, Naho Kawabe, 2016 [privately published]
Observer Effect, Revolver Publishing, 2013
CATALOGUES AND BROCHURES
Aichi Triennale 2025: A Time Between Ashes and Roses, Aichi Triennale Organizing Committee, 2025
Fuzzy Dark Spot. Videoart from Hamburg, Deichtorhallen Sammlung Falckenberg Hamburg, 2019
Smart Illumination Yokohama 2017 PROJECT BOOK, Smart Illumination Yokohama Exective Committee, 2017
Belinda Grace Gardner, Transitorisch: Strategien gegen die Vergänglichkeit, transcript Verlag, 2017
Lifestyles, Lifestyles Exhibition Executive Committee, January 2017
ort_m (migration memory), Revolver Publishing, February 2017
Von Wörtern und Räumen, Stiftungen der Sparkasse Holstein, 4 October 2015
Kunst Frühling 2014, BBK Bremen e.V., 16 May 2014
IN SEARCH OF CRITICAL IMAGINATION, Fukuoka Art Museum, 10 February 2014
BOESNER ART AWARD 2012, boesner GmbH holdings + innovations, 2013
Moving Surface, ML Moving locations e.V., 2012
Shiseido art egg vol.5, SHISEIDO, May. 25, 2011
INDEX 11, Index, 2 November 2011
EXTRA 3, Kunsthaus Hamburg, 11 May 2010
The BeetoBee.Net, The Bee to Bee Net, 2010
TWINISM, Kunsthaus Hamburg, 2009
WIRNENNEMES Hamburg, Kunstverein Hamburg, 11 October 2008
28. Hamburg Arbeitsstipendium für bildende Kunst 2008, Hamburg City, 2008
index 2007, Index, 6 November 2007
EINLANDUNG, Förderkreis Schloss Plüschow e.V., 2007
VierTakter + X, EINSTELLUNGSRAUM e.V., 2005
ARTICLES
“Life with ART”, 25ans, No. 557, HEARST fujingaho, February 2025, p. 210
Tatsushi Fujihara “Facing the Skin of History”, Art Collectors, No. 188, Seikatsu no Tomo Sha, November 2024, pp. 136–137
Satoko Morita “The Way to Become an Art Collector｜Collector's File 04 Sasagawa Naoko”, Nikkei OTONA no OFF, No. 501, Nikkei Business Publishing, inc., January 2023, p. 126
Anny Shaw “Art Week Tokyo’s perfectly orchestrated official launch leads some gallerists to ask–do we really need fair?”, The Art Newspaper, 5 November 2022,
https://www.theartnewspaper.com/2022/11/04/art-week-tokyo
Andrew Durbin “A Critic’s Guide to Art Week Tokyo”, Frieze, 4 November 2022, https://www.frieze.com/article/critics-guide-tokyo-2022-november
Sachiko Shoji “New Experiences and Perceptions Encountered at the Museum”, Fukuoka Art Museum Blog, 22 April 2022, https://www.fukuoka-art-museum.jp/blog/36622/
Frank Keil “Visible behind the barrier tape”, taz, 23 January 2021, https://taz.de/!5745484/
Sachiko Shoji, “Curator’s note Local Prospects 4 The Past and Present Within Us: Kazutomo Tashiro, ‘Ulleung-do’ and Terue Yamauchi, ‘Crossing Tides’ / Naho Kawabe ‘In Other Words’”, artscape, DAI NIPPON PRINTING Co., 1 Decem-ber 2018, http://artscape.jp/report/curator/10150995_1634.html
Rie Kiguchi “Tracing the transparent outline”, Ikebana Ryusei, No. 704, Ryusei-ha institute, December 2018, pp. 28–29
“Exhibition information”, POPEYE, No. 859, Magazine House, November 2018, p. 214
Shohei Ogawa “Suspecting a fuzzy borders”, Nishi-Nihon Newspaper, morning issue, THE NISHINIPPON SHIMBUN CO.,LTD., 15 November 2018
Shohei Ogawa “Showing Boundary as A Swinging Thing”, Nishi-Nihon Newspaper, morning issue, THE NISHINIPPON SHIMBUN CO.,LTD., June 15th, 2017
Maren Kruse “Hinter die Dinge geschaut”, Kieler Nachrichten, 2 June 2017
Sachiko Shoji “REVIEWS We exist a lot in the universe”, Bijutsu Techo, No. 1053, Bijutsu Shuppan Sha, May 2017, p. 163
Kyo Yoshida “Exhibtion Review The Children of Icarus: Will the ‘first contact’ change our conscious of the border?”, TOKYO ART BEAT, 3 April 2017, http://www.tokyoartbeat.com/tablog/entries.ja/2017/04/naho-kawabe-the-children-of-icarus.html
“ART NAVI The Children of Icarus”, Bijutsu Techo, No.1032, Bijutsu Shuppan Sha, March 2017, p. 15
Chr. zu Mecklenburg “Schweben und Schwingen”, General-Anzeiger, 1 June 2016
Hayo Schiff “Geschichten von Geschichte“, TAZ, 5 March 2016,
https://taz.de/!5280816/
Cem Akalin “Kunst und die Absurdität von Grenzen”, General-Anzeiger, 14 January 2016,
http://www.general-anzeiger-bonn.de/bonn/stadt-bonn/Kunst-und-die-Absurdität-von-Grenzen-article1802898.html
Sabine Burbaum-Machert ”Grzymala erste Preisträgerin beim art award”, boesner Kunstportal, 18 February 2016, https://www.boesner.com/kunstportal/boesner-art-award/baa-2012/monika-grzymala-gewinnt-ersten-boesner-art-award-christian-henkel-peter-pumpler-naho-kawabe/
Jens Asthoff “Von Wörtern und Räumen”, KUNSTFORUM INTERNATIONAL, No. 237, KUNSTFORUM International GmbH, December 2015, p. 314
Akiko Sakamoto, “IN SEARCH OF CRITICAL IMAGINATION Rumor Project”, artscape, DAI NIPPON PRINTING Co., 15 January 2014,
http://artscape.jp/report/curator/10095396_1634.html
Yoko Minami “Gullible Uncertain Things”, Nishi Nihon Newspaper, THE NISHINIPPON SHIMBUN CO.,LTD., 3 February 2014
Hayo Heye, Wo Kunst Entsteht, Revolver Publishing, Revolver Publishing, 22 March 2013, p. 36
Patrick Niemeier “Beobachter-Effekt mit Blick von außen”, Stormarner Tageblatt, Stormarner Tageblatt Verlagsgesellschaft mbH,
2 April 2013, https://www.shz.de/lokales/stormarner-tageblatt/beobachter-effekt-mit-blick-von-aussen-id28386.html
“Eine Welt aus Kohlestaub und Glas”, LN online, Lübecker Nachrichten Verlagsgesellschaft mbH & Co. KG, 20 March 2013,
https://www.ln-online.de/Lokales/Stormarn/Eine-Welt-aus-Kohlestaub-und-Glas
Laura Treskatis “Trittau inspiriert zu Neuem”, Hamburger Abendblatt, Funke Mediengruppe, 19 July 2012,
https://www.abendblatt.de/region/stormarn/article108327974/Trittau-inspiriert-zu-Neuem.htmlL
Bettina Albrot “Kluger Kamerablick auf das Schöne”, Lübecker Nachrichten, Lübecker Nachrichten Verlagsgesellschaft mbH & Co. KG, 19 July 2012
Patrick Niemeier “Ein Jahr voller Möglichkeiten für die neue Stipendiaten in Trittau”, Stormarner Tageblatt, Stormarner Tageblatt Verlagsgesellschaft mbH, 19 July 2012, https://www.shz.de/lokales/stormarner-tageblatt/ein-jahr-voller-moeglichkeiten-fuer-die-neue-stipendiatin-in-trittau-id197013.html
Shigeru Takashima “A strong and ephemeral question thrown by the light”, Peeler, PEELER, January 2012, http://www.peeler.jp/review/1201osaka/
Ursula Meyer-Rogge “Metamorphosen Künstlerinnen in Hamburg”, Dölling und Galitz Verlag, 2011, pp. 209–216
Karin Schulze “Naho Kawabe”, MONOPOL, Res Publica Verlags GmbH, July 2009, p. 23
Aomi Okabe “Jumping Suicide”, Bijutsu no Mado, No. 297, Seikatsu no Tomo Sha, May 2008, p. 37
Belinda Grace Gardner “Lebe wohl”, DIE WELT, Axel Springer SE, 1 November 2007, https://www.welt.de/welt_print/article1319214/Lebe-wohl.html
PUBLIC COLLECTION
Fukuoka Art Museum, Fukuoka
Boxes Museum, Canton, China
Hamburger Kunsthalle, Hamburg, Germany
Sparkassen-Kulturstiftung Stormarn, Ahrensburg, Germany
Sichuan University Art Gallery, Chengdu, China
Brodtmann/Berenberg Bank, Hamburg, Germany
ARTIST WEBSITE
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