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Guido Maus

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🔜YOSHISHIGE FURUKAWA: MATERIAL
A selection of works by Japanese artist Yoshishige Furukawa (1921-2008)
opening reception October 16 (6-8pm)

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She’s finally done. Time to varnish and photograph! Almost a year and seven months in the works. Come see my exhibition “ Sit With Me and Watch the World Burn” at @mauscontemporary on January 15th.

Time bomb
Acrylic on canvas
72” X 98”

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Join us tonight (6-8pm) at Maus Contemporary for the opening of YOSHISHIGE FURUKAWA: MATERIAL.

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Yoshishige Furukawa (1921-2008) spent his career testing the limits of painting through a dedicated engagement with American art trends and unconventional materials. Maus Contemporary is thrilled to present works from Furukawa’s Black Rubber Sheet series, a body of work which began and evolved through the 1970s, alongside a selection of 1970s works informing said series or following it.

The selection of works show an important shift in Furukawa’s practice - from a traditional, paint-based, to a process-based, minimalist approach, which ultimately culminated in the artist’s important and rare Black Rubber Sheets series from 1975 and 1976.

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image:
Yoshishige Furukawa
Untitled
1972
acrylic, enamel, and metal grommets on canvas
approx. 12 by 14 in.
(ca. 30,5 by 35,6 cm)

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#MausContemporary #YoshishigeFurukawa @mauscontemporary #JapaneseArtist #NewYork1970s #MinimalistArt

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Join us at Maus Contemporary this Friday, Oct. 16 (6-8pm) for the opening of YOSHISHIGE FURUKAWA: MATERIAL.

_____

Yoshishige Furukawa (1921-2008) spent his career testing the limits of painting through a dedicated engagement with American art trends and unconventional materials. Maus Contemporary is thrilled to present works from Furukawa’s Black Rubber Sheet series, a body of work which began and evolved through the 1970s, alongside a selection of 1970s works informing said series or following it.

The selection of works show an important shift in Furukawa’s practice - from a traditional, paint-based, to a process-based, minimalist approach, which ultimately culminated in the artist’s important and rare Black Rubber Sheets series from 1975 and 1976. The non-color of black and the solid sense of the material of rubber reflected a rather reticent and ascetic impression of 1970’s art. Despite this, the various variations that were woven by the black geometric forms in triangles, squares and polygons continued to evoke dynamic senses of motion and expression that were alike in appearances but different in nature from the regularly repetitive element inherent to Minimalism.

#MausContemporary #YoshishigeFurukawa @mauscontemporary #JapaneseArtist #NewYork1970s #MinimalistArt

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Reflecting on the past few months of Leave Your Baggage at the Door, my survey exhibition at the Museum of Wisconsin Art, I’m thankful for the opportunity to have lived with the work in this way.

Seeing paintings from different periods of my practice together gave me a chance to revisit earlier questions and discover connections between works made years apart. I appreciated having this time with the exhibition and sharing the full installation here.

Thank you to the museum team, the collectors and institutions who generously loaned work, and everyone who visited. I’m especially glad to acknowledge the exhibition’s closing and everyone who helped bring it to life and bring it to a close.

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The final days to see Leave Your Baggage at the Door. This exhibition has been a wonderful opportunity to bring together works from different periods of my practice and see them coalesce in conversation with one another.
Sharing a few installation views as the exhibition comes to a close.

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Commercial Break! ;) during this week of Art Fairs (in New York).
Thanks to @mauscontemporary for finding a permanent home (or a "parking spot"? ;) for these two "Concept Cars" (UV-stable polyurethane resin sculptures) and two related "Propaganda Posters" (paintings on paper), among the last pieces left from the "Meta-Futurism" series (2002-2012). Thanks J. for adding them to your wonderful collection!

The sculptures are based on the larger version, "Instant Before Incident (Marinetti's Drive 1908)," 2008 [image 9, as installed at the Mattress Factory, and previous IG posts from 2024]. Instead of a fetishistic metallized body, these objects provided a disoriented, distorted skin, with a variety of levels of transparency suggesting inner transience. A reference to Marinetti's crash, the car was a response to the technological anxiety, caught in its leap – a freeze-frame before the impact, the ego-ecstasy, and the discharge of the violence of the impact: an hypothesis of a different unfolding of events (history from a post-historical perspective).
One of the two paintings on paper incorporates the words of an ill F.T. Marinetti (as told by his daughter Vittoria, shortly before he died) in the "style" of propaganda posters, yet dismantled from the inside with hesitant language and non-heroic content [as in the rest of the multimedia project "A Very Beautiful Day After Tomorrow (Un Bellissimo Dopodomani)]
#contemporarysculpture #installationart #italianfuturism #incident #lucabuvoli

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Leave Your Baggage at the Door, @museumofwiart through October 11

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It’s so close to being done. I can almost taste it. I started working on this Peace May 2025. It’s been a long journey and I’m glad it’s almost over! Come check it out this January at @mauscontemporary . Let me know what you think?

Time bomb
acrylic on canvas
72” X 98”

#pointillisme #pointillismpainting #contemporarypainting #colortheory #artlover

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Heading North to visit the retrospective "Leslie Smith III: Leave Your Baggage At The Door."
An exhibition organized by and currently on view at the Museum of Wisconsin Art, MoWA, in West Bend, Wisconsin through October 11, 2026.

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"Leave Your Baggage at the Door," a focused retrospective featuring 22 paintings by artist Leslie Smith III.

The exhibition brings together works created between 2010 and 2024, tracing a pivotal 15-year period in Smith’s artistic evolution. The works on view range from intimate-scale to monumental, highlighting the artist’s growing experimentation with form and space.

“As one of Wisconsin’s most compelling contemporary artists, Leslie Smith III continues to expand the possibilities of painting,” says Thomas Szolwinski, Curator of Architecture and Design at MOWA. “Through color, form, and shape, his work examines memory, emotion, and human connection. Leave Your Baggage at the Door highlights the evolution of his practice from traditional rectangular canvases to increasingly complex, multi-panel compositions that challenge conventional ideas of abstract painting.”

@artsmith3 @museumofwiart #LeslieSmith3 #LeslieSmithIII #LeaveYourBaggageAtTheDoor #MuseumOfWisconsinArt #MausContemporary

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TONIGHT! Please join us tonight (6-8pm) for the opening reception of AKIKO MASHIMA: SCULPTURE.

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Japanese artist Akiko Mashima (born 1952 in Saga, Japan) studied sculpture at the Musashino Art University in 1976, before transitioning to the Brooklyn Museum Art School in 1978-1979, and to the Art Students League (1979-1980). She lives in New York City and in Kanagawa, Japan.

She is the recipient of a Robert Smithson Memorial Scholarship in Sculpture (1978-1979), and received a Pollock-Krasner Foundation Grant in 1988.

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#AkikoMashima @akiko.mashima @mauscontemporary #MausContemporary #sculpture #drawing #worksonpaper

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Please join us this Friday, Aug. 21 (6-8pm) at Maus Contemporary for the opening reception of AKIKO MASHIMA: SCULPTURE.

image:
Akiko Mashima
"Space 03-01"
2003
wood, paint
approx. 60 by 54 by 2.4 in.
(ca. 152,5 by 137 by 6 cm)

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Japanese artist Akiko Mashima (born 1952 in Saga, Japan) studied sculpture at the Musashino Art University in 1976, before transitioning to the Brooklyn Museum Art School in 1978-1979, and to the Art Students League (1979-1980). She lives in New York City and in Kanagawa, Japan.

She is the recipient of a Robert Smithson Memorial Scholarship in Sculpture (1978-1979), and received a Pollock-Krasner Foundation Grant in 1988.

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#AkikoMashima @akiko.mashima @mauscontemporary #MausContemporary #sculpture #drawing #worksonpaper

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Akiko Mashima, "80-01", 1980, concrete, approx. 14.6 by 9.1 by 9.1 in. (ca. 37 by 23 by 23 cm)

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“(…) Present-day cities seem to exist on the opposite sides of the African and Amazonian jungles (architect Rem Koolhaas metaphorically wrote that Manhattan is ‘the 20th century’s Rosetta Stone’). But if a city is seen as one environment within a given era, then the ‘objects’ that people have created out of their actions and necessary conditions for living (that is, those ‘products’ that were manually processed using the limited materials that an individual can handle) should allow one to perceive the elements and possibilities that can be linked to the fragments of myths and forms that have been the subjects of study for anthropologists and archeologists. Like Mashima, the more that the straightforward artists are inclined toward the motivations and principles of the essential forms of creation, the more likely it is that their works are closer to ‘the woven-out world itself.’ The world is a fragmental one that is at the same time created from a non-segmented, linear time that suggests a totality.

Mashima experienced ‘one of the jungles’ just as the transitional period shifted into a new century. Since that time, our minds have been focused on the crises of the entire human race that is in a state of constant opposition and confusion. In such a state, my expectation toward Mashima is that she will show us a profound creativity that is on a humanity-wide scale, as if to demonstrate the state of the polyphonic world that refuses to settle into a certain rationality, allowing her to produce works along the lines of potsherds or passages from ancient handed-down stories.”

- Akihito Takami, 2005
translated to English by Taeko Nanpei

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Please join us this Friday, Aug. 21 (6-8pm) for the opening reception of AKIKO MASHIMA: SCULPTURE, the artist’s second one-person exhibition with the gallery.

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#AkikoMashima @akiko.mashima #MausContemporary @mauscontemporary
#sculpture #worksonpaper #JapaneseArtist

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