Born in 1982 in London, United Kingdom.
Lives and works in Berlin.
Education |
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| 2006–08 | Fine Art, Städelschule, Staatliche Hochschule für Bildende Künste, Frankfurt am Main |
| 2002–05 | Architecture BA, 1st Class Degree Hons with Distinction, Cambridge University |
Awards |
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| 2010 | The Baloise Art Prize, Art Basel 41, Switzerland |
| The Cartier Award, Frieze Art Fair, UK | |
| 2009 | Arts Foundation Fellowship Award, National Prize, UK |
| 2008 | Schindler Residency, MAK Center for Contemporary Art, Los Angeles |
Solo Exhibitions (selection) |
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| 2021 | new work, Kunstinstituut Melly, Rotterdam |
| Who the Bær, Fondazione Prada, Milan | |
| 2020 | Hope House, Blaffer Art Museum, Houston |
| 2019 | Joanne, Arken, Ishøj |
| 2018 | Revolution, Lafayette Anticipations – Galeries Lafayette Corporate Foundation, Paris |
| Joanne, Galerie Wedding, Raum für zeitgenössische Kunst, Berlin | |
| Hope House, Kunsthaus Bregenz, Bregenz | |
| 2016 | Figures in a Landscape, Kunsthalle Düsseldorf, Düsseldorf |
| Joanne, The Photographers' Gallery, London | |
| The Humanizer, Irish Museum of Modern Art, Dublin | |
| White Day, Tokyo Opera City Gallery | |
| The Way, Yu-un, Obayashi Collection, Tokyo | |
| 2015 | Modern Marriage, Public art sculpture (permanent), American Embassy Gardens, London |
| A Spire, Public art sculpture (permanent), Laidlaw Library, University of Leeds, Leeds | |
| 2014 | Three Easy Pieces, The Carpenter Center, Harvard University, Cambridge |
| Rebekkah, Contemporary Art Society, London | |
| 2013 | Grand Tour, Kunstverein Braunschweig, Braunschweig |
| The Problem of the Rock, Dazaifu Tenmangu Shrine, Fukuoka | |
| Simon Fujiwara, Art Sonje Center, Seoul | |
| 2012 | 1982, Tate St. Ives, St. Ives |
| 2011 | Welcome to the Hotel Munber, Power Plant Contemporary Art Gallery, Toronto |
| 2010 | The Personal Effects of Theo Grünberg, Julia Stoschek Collection, Düsseldorf |
| 2009 | Impersonator, Schindler House, MAK Center for Art and Architecture, Los Angeles |
Group Exhibitions (selection) |
|
| 2021 | Biennale de l’Image en Mouvement 2021 (BIM’21), Centre d'Art Contemporain Genève, Geneva |
| How Long Is Now, Israel Museum, Jerusalem | |
| It’s Just a Phase, Kjøpmannsgata Ung Kunst (KUK), Trondheim | |
| Gravity, Blitz, Valletta | |
| On Display V, Sammlung Philara, Düsseldorf | |
| The Way We Are 3.0, Weserburg Museum für moderne Kunst, Bremen | |
| 2020 | Intimacy: New Queer Art from Berlin and Beyond, Schwules Museum, Berlin |
| STUDIO BERLIN, Berghain, Berlin | |
| Me, Family, MUDAM (online), Luxembourg | |
| HEART–100 artists. 1 mission, Hamburger Kunsthalle, Hamburg and Bonner Kunstmuseum, Bonn | |
| State of the Arts, Bundeskunsthalle, Bonn | |
| 2019 | Manual override, The Shed, New York |
| The Seventh Continent, 16th Istanbul Biennial, Istanbul | |
| Sculptures infinies – des collections de moulages à l'ère digitale, École Nationale des Beaux-Arts, Paris | |
| Intimate distance. Masterpieces from the Ishikawa Collection, Mo.Co. – Hôtel des Collections, Montpellier | |
| Is This Tomorrow?, Whitechapel Gallery, London | |
| 2018 | Insane in the Membrane, Sammlung Philara, Dusseldorf |
| Motherland in Art, MOCAK Museum of Contemporary Art in Krakow, Krakow | |
| 2017 | Sur/Face: Mirrors, Museum Angewandte Kunst, Frankfurt am Main |
| 2016 | The Happy Museum, Berlin Biennale 9, Akademie der Künste, Berlin |
| Joanne, Okayama Art Summit 2016, Okayama | |
| 2015 | Storylines, Solomon R. Guggenheim Museum, New York |
| 2014 | Un Nouveau Festival, Centre Pompidou, Paris |
| 2013 | Sharjah Biennial |
| 2012 | Shanghai Biennial |
| Gwangju Biennial | |
| 2010 | São Paulo Biennial |
| 2009 | 53rd Venice Biennale |
The work of British-Japanese artist Simon Fujiwara offers a unique view into the mechanics of identity construction and the ‘industry of the individual’ in contemporary life. His works emerge from a personal grappling with the contradictions of inherited racial, national, historical, cultural values. In his most ambitious projects that range from a full reconstruction of the Anne Frank House (Hope House, 2016–18) to the “re-branding campaign” for his former high school art teacher after a nude media scandal (Joanne, 2016), Fujiwara deftly navigates culturally potent topics with enigmatic and surprising approaches that broaden conversations and avoid didacticism. Through his multiple formal strategies, Fujiwara is able to use the tools of our hyper-mediated world—from advertising, museum making to theme park design—to hold a distorted mirror to our contemporary, liberal societies possessed with spectacle, fantasy and authenticity.
